Show curtain for THE SORCERER, painted by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023. Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER by Wendy Waszut-Barrett, 2023.Painted detail from THE SORCERER. Portrait of Mr. Gilbert by Wendy Waszut-Barrett, 2023. Painted detail from THE SORCERER. Portrait of Mr. Sullivan by Wendy Waszut-Barrett, 2023.
While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune,” one that made me both celebrate and curse. It was a list of Sosman & Landis employees who made contributions to the Grant Memorial Fund that year.
As I read through the list, my heart sank. Although I had written biographies for several of the artists, the majority of names were entirely unrecognizable. This discovery means that I have thirteen more biographies to write. Yay! Argh!
Can you sense a hint of disgust with my jubilation?
Here is the article as it was published in the “Chicago Tribune” on Aug. 2, 1885 (page 9):
“Rolling it up.
Thousands contributing their dollars and dimes to the memorial fund.
There will be $50,000 in Bank before Old Commander is Laid to Rest.
Those who contribute should do so immediately – yesterday’s list of subscribers.
A committee from the clubs and prominent commercial lines to solicit donations. Following were the subscribers to the Grant Memorial find at the Tribune office yesterday:“
Here is the section on Sosman & Landis…
Following is a list of the employees of Sosman & Landis who subscribed to the fund:
I’ll keep you posted on my progress as I slowly work my way down the list, starting with George W. Dayton. There is no way to know whether it is George W. Dayton Jr. or Sr., as both were scenic artists.
In June 2021, I posted about the life and career of J. C. Blaine (1853-1935); he was Sosman & Landis employee No. 30. Blaine not only worked with Joseph S. Sosman in 1875 (before the establishment of Sosman & Landis) but also was part of the Sosman & Landis staff in 1891. Recently, I stumbled across additional information about Blaine’s early career with Sosman and contacted a few of his descendants. His grandchildren have been quite generous with their own genealogical research, sharing both family photos, stories, and a few private letters.
Photograph of J. C. Blain, posted to www.geni.com
I am going to start with the Blain/Blaine surname discrepancy. Early in his career, Blain added an “e” to his surname. This explains why he was listed as J. C. Blain in 1875, and J. C. Blaine in 1891 – same person. Blaine changed his last name about the same time that James G. Blaine gained national recognition in the 1884 presidential race. James G. Blaine ran against Grover Cleveland and lost. Keep in mind that name recognition was key to the success of any nineteenth-century scenic artist. J. C. Blaine even named his second son, born in 1883, James G. Blaine. James G. Blaine followed in his father’s footsteps as a decorative painter, but also went by the nickname Pete. An article about the name confusion between politician James G. Blaine and painter James G. Blaine was published in the “National City Star-News” on October 27, 1955 (page 17). There was a family connection mentioned in the obituary of Joe’s father, John R. Blain: John was a second cousin of politician James G. Blaine.
Here is how J. C. Blaine fits into the Sosman & Landis puzzle. I will start with the 1875 Joseph S. Sosman prequel, providing a little context for Blaine’s scenic art work in 1875.
Sosman’s scenic art career began only a few years earlier, in 1873 when he assisted Thomas B. Harrison. The two painted scenery for the new Chandler Opera House in Macomb, Illinois. Sosman had resided in Macomb for eight years, and was well-known as a sign painter by this time. Harrison was a well-known Chicago-based artist who hired Sosman to help paint scenery for the 600-seat venue. The stage at Chandler’s Opera House measured 50’ wide by 20’ deep. “Jno. B. Jeffery’s Guide and Directory” for theaters listed that the Chandler’s Opera House had six sets of scenery, meaning six different stock scenes that were available for touring productions.
Between 1873 and 1875, Sosman transitioned from a local sign painter to an itinerant scenic artist. 1874 was a transition point for Sosman, as he redirected his focus to scenic art opportunities. In the mid-1870s the demand for painted illusion was greater than the supply of scenic artists to paint it. This meant that an ambitious and talented painter could make an incredible amount of money, especially if he was willing to travel, and not settle down in any one place for long. Scenic art projects for the stage were considerably larger and much more lucrative than any sign painting and decorative painting project.
The beginning of 1874, found Sosman on the road, delivering scenery for a new stage in Mount Sterling, Illinois. On Jan 7, 1875, “The Macomb Journal” reported, “Joe Sosman, Macomb’s artistic painter, has gone to Mount Sterling to do some fine painting on a new hall in that place” (page 4). Mount Sterling, Illinois, was approximately 40 miles due south of Macomb, along the Wabash, St. Louis & Pacific Railroad. Sosman was starting to secure scenic art contracts throughout the state.
On September 23, 1875, “The Macomb Journal” reported, “Joe Sosman, Macomb’s talented young artist, left the city Monday last for Fairfield, Iowa, where he goes to paint scenery for a new hall erected there. He will be gone about three or four weeks, and will do a job that will suit the Fairfieldians to a T.” (page 3). Sometime between January 1874 and September 1875, Sosman partnered with Blaine.
On Oct. 14, 1875, Semon’s New Opera House in Fairfield, Iowa, opened to the public. The venue was similar in size to Chandler’s Opera House in Macomb, and described on opening day:
“STAGE AND SCENERY.
The stage is 44×20 in size, ample space being given for dressing rooms. There are two entrances to the stage from the audience and one by the outside stairway. It is circular in front, and the foot-lights, of which there are about 15, give plenty of light. The scenery was painted by Mr. J. S. Sosman, of Macomb, Ills., and bears evidence of the work of a master painter, and a man skilled in his profession. It consists of a magnificent drop curtain, representing the Bay of Naples. At the right and in the foreground of the scene is a ruined arch covered with ivy, the whole being surrounded by beautiful Etruscan border sixteen inches wide. The parlor scene is a representation of gorgeous panel work, and the flat is supplied with practical doors on either side of which are beautiful columns with handsome arches extending above the doors and resting upon the pilasters. The street scene presents a brick residence and a garden in the foreground, while in the distance appear business houses, churches, residences, &c. In the wood scene is a heavy wood, with a beautiful lake in the perspective. The kitchen shows us a dilapidated room with rough plastering and a number of holes in the wall which have a natural appearance, and various articles of household use. At the sides of the drop curtains is more panel work, the entire curtain being surmounted by rich crimson and garnet drapery, giving a perfect finish. The drawing is on canvas fastened on the flats which are 10×16, sliding in grooves, and the wings are 4×10 in size. The painting is a great credit to the artist and all pronounce Mr. Sosman a painter of ability.”
On October 21, 1875, “The Macomb Journal” reported, “From a Burlington Hawk Eye, recently received, giving a description of the finishing of an Opera House in Fairfield, Iowa, quite a lengthy description is given of the scenery painting, and great praise bestowed upon the artist. The design and execution is pronounced first class in every particular, and we believe every word of it, and so will you, reader, when we inform you that our talented young friend, Joe Sosman, did the job” (page 2)
Blaine’s contribution to the new stage scenery was later mentioned on Oct. 28, 1875, in the “Fairfield Ledger” when he assisted Sosman on another Fairfield project (page 6). The article reported, “Very Pretty. We mean that bulletin board painted by Messrs. Sosman & Blain, the artists who painted the scenery for the new opera house. The bulletin board is about 10×20 feet in size, and contains the cards of a number of our enterprising business men. It will be put up on the southeast corner of the Park, and will prove handsome and attractive advertisement. The work is a credit to Messrs. Sosman & Blain.”
Sosman & Blain, artists. Published in the “Fairfield Ledger” on Oct. 28, 1875.
On Nov. 4, 1875, the two were mentioned again in the “Fairfield Ledger”:
“Business Chart. – The most beautiful and attractive business chart ever seen in Fairfield is the on now on the north side of the P. O. building. In size it is 8×16 feet, and contains the business cards of about twenty of Fairfield’s business men. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blain, who handsomely painted the scenery at Semon’s Opera House.”
Sosman & Blain were also credited with painting scenery at Everson’s Hall in Washington, Iowa. On Nov. 24, 1875, the “Washington Evening Journal” published the following advertisement for the pair: “SIGN PAINTING. Messrs. Sosman & Blain, the Scenic Artists who are now at work painting the Scenery for Everson’s Hall, will, on completion of their work at the Hall, take orders for Sign Work. Fine Signs and Window Curtains made a specialty.”
On Dec. 17, 1875, the Washington Gazette listed “Sausman & Blaine – New style of advertising” in the “New Advertisements section (page 3). The article about their endeavor reported:
“New Style of Advertising.
The center attraction to the crowds who visit the post office is the new and elegant advertising bulletin recently put three by Messrs. Sausman & Blaine, the scenic artists and commercial advertisers who have just completed the painting of the scenery for “Everson’s Opera Hall.” The work throughout stamps them as first-class artists in their line, and the bulletin is certainly the handsomest, neatest and most attractive thing we ever saw in the line of advertising. It is painted on canvas, in oil colors, and in size is 8 x 16 feet. The cards. Twenty-five in number, are beautifully and artistically designed and are ornamented with the names and businesses of twenty-five of Washington’s most enterprising and wide-awake businessmen. The whole number of cards were taken the first day, and numerous applicants for cards were made after the required number was obtained, which pointedly shows that our business men know how to appreciate a good thing when they see it, but Messrs. S & B have made an imperative rule to take as advertisers but one firm in each distinctive branch of business, and erect but one bulletin of twenty-five cards in each city, and have adopted as their motto ‘first come, first served,” hence but first-class advertisements have or will be taken. In conclusion, we can heartily endorse Messrs. Sausman & Blaine as gentlemen who fulfill their contracts satisfactorily in every respect, and we wish them success and bespeak for them the liberal patronage which their work deserves, wherever they go.”
The partnership of Sosman & Blain lasted for less than a year. The reason for their parting may have had to do with Perry Lands. In 1876 Sosman partnered with Landis, the two raising enough funds to establish a studio in Chicago by 1879. If Sosman had not met Landis, the trajectory of Blaine’s career may have had a very different outcome.
Like Sosman, Blaine completed a variety of projects, working as a decorative painter, paper hanger, scenic artist, and a stage carpenter. Each traveled from town to town throughout the Midwest, completing a variety of projects during the 1870s. The greatest difference between the two occurred in the 1880s. Sosman established a business partnership, remained single. Blaine stayed solo, married in 1881, and raised a large family. In the end, the two became polar opposites.
James Culley Blaine was born on Sept 4, 1856 in Goshen Center, Elkhart, Indiana. He was part of a large family; one of several children born to John Roan Blain (1811-1890) and Hanna Nye (1816-1876). His parents were married on Dec. 11, 1835, in Elkhart County, Indiana, celebrating the birth of the following children over the course of two decades: Jasper (?-d. 1837), Mary Blaine (b. 1838), Francis J. “Frank” Blaine (b. 1842), Agnes (?-d. 1843), Henry Clay (1846-1885), Emily H. “Emma” (b. 1846/9-1908), Susanna (b. 1847), Corwin (?-d. 1850), Mary (d?-. 1878), Augusta (1853-1928), Joseph Culley (1856-1935), James Harvey Blaine (1858-1862), and Robert Blain (n.d).
By 1850, the US Federal census listed the Blain residence in Leesburg, Kosciusko, Indiana. The Blain household at this time included the following children that year: Mary (12 yrs.), Francis J. (8 yrs.), Henry C. (6 yrs.) Emily H. (4 yrs.) and Augusta (infant). Leesburg was only 18 miles south of Goshen where Joe was born in 1856. The 1860 US Federal Census listed the Blain family living in Goshen. At the time the household included Hannah (43 yrs.), Frank (18 yrs., painter), Henry (15 yrs.), Susanna (13 yrs.), Augusta (11 yrs.), Joe (7 yrs.) and James H. (3 yrs.). James Harvey Blain, passed away two years later, on March 3, 1862.
Joe’s father, John R. Blain, made the regional news a few times during the Civil War. On May 28, 1863, John R. Blain sent a letter to the “Goshen Times” about the Butternut War in Leesburg, Indiana (p.3), writing, “Butternut War in Kosciusko County. Leesburg, Ind., May 26, 1863. Dear Sire: – I will inform you how things stand in Kosciusko Co. Last Sunday there was a great battle fought three miles northwest of Warsaw, at a church. A young lady came to church with a Butternut breast pin on and a lady of the Union stripe walked up and took it off and fight ensued thereupon. About twenty engaged in the fight, the Federals came off victorious and the Butternuts retreated a little worse for wear so closed the fight. Yours Truly, John R. Blain”. A few years later, John Blain divested himself of Goshen property too. On Nov. 16, 1865, the “Goshen Times” reported, “Mr. Chas. Grosspitch has bought the John R. Blain property on Maine Street, containing a little over one lot, for about four thousand dollars.” By this time, Joe Blain was nine years old and the family was preparing to move west.
The 1870 US Federal Census listed the Blains living in Maroa, Macon County, Illinois. At the time Joe was 17 yrs. old. Maroa is located approximately halfway between Chicago and St. Louis. In Maroa, the Blain household included: John R. Blain (58 yrs., tin smith), Hannah (54 yrs.), Henry C. Blain (24 yrs., farmer), Emily (21 yrs., music teacher), Augusta (19 yrs., music teacher), Joe (17 yrs., works on farm) and Stephen (8 yrs.). Interestingly, all of the Blain children were born in Indiana, except Stephen, who was born in New York. In 1870, brothers Joe and Henry Blain purchased a 500-acre farm in Madison Township, Polk County, Iowa. For geographical context, their farm was approximately twenty miles northeast of Des Moines, Iowa. However, this was quite a distance from Maroa. For geographical context, Madison Township is approximately 325 miles northeast of Maroa. This move brings Blaine to Iowa, where he later meets Sosman.
After partnering with Sosman in 1875, Blaine continued west to Larned, in central Kansas. For geographical context, Larned is located Pawnee County. I have yet to pinpoint when Blaine moved west. However, he is well known in town by 1879. On April 2, 1879, “The Larned Eagle-Optic” of Larned, Kansas announced, “Mr. J. C. Blaine has taken a quarter section of school land in this township and erected a house thereon. We wonder who is coming from the east to occupy it with Joe” (page 2). Blaine had purchased land in an area known as “South Pleasant Valley.” This was the same area where his future wife lived with her family. Their meeting may have prompted Blaine to secure better employment. On August 9, 1879, “The Larned Eagle-Optic” mentioned Blaine in the “South Pleasant Valley” Section of the paper: “J. C. Blaine put in appearance in this part of the first week. He has accepted a job in the paint department of the Atchison, Topeka and Santa Fe railroad at Topeka” (page 3). Blaine moved to Atchison, Kansas.
On June 25, 1880, “The Larned Eagle-Optic” announced, “J. C. Blaine, formerly of this place but now of Atchison, was visiting friends here week before last” (page 3). Years later, Blaine was remembered in the Atchison newspapers, still owning property in town. On June 15, 1905, “The Atchison Daily Globe” reported, “J. C. Blaine, formerly an Atchison painter and decorator is in town. Blaine owns property in South Atchison. He has not been in Atchison before in ten years. He says he has been all over North America and South America. He formerly worked for A. B. McQueen. He located in Atchison some twenty-five years ago” (page 2). A. B. McQueen was a well-known individual who consistently placed advertisement in Atchison papers over the decades. In 1879, he primarily worked as a painter and glazier.
A. B. McQueen advertisement, 1879.
He was still living and working in Atchison in 1895, when Blaine last lived in town. That year, McQueen advertised as a house and sign painter, with paper hanging as a “specialty.”
A. B. McQueen 1895 advertisement, 1895.
Between 1880 and 1881, Blaine relocated to Ottawa with his new bride. On August 13, 1881, Joseph Cully Blain married Fanny W. Douglas Orrell (1860-1954). At the time, Fanny was 21 yrs. old, the eldest child of seven children in the Orrell household. Their mother, Mary Ann Montgomery Orrell, had passed away four years earlier, on Sept. 11, 1877, and was buried in the Larned cemetery.
As was the case with most nineteenth-century painters who secured work in larger metropolitan areas, Blaine headed to Kansas City. Anticipation of their first child may have been the cause. In the early 1880s, Kansas City bustled with opportunity. Theaters were rapidly being constructed throughout the region. Sosman & Landis even opened a branch office there in 1882. Numerous studios were hiring, offering ample opportunities to those willing to travel for work.
Ottawa is approximately 60 miles southwest of Kansas City.
On Dec. 22, 1881, Joe sent a letter to Fanny from Kansas City:
“My Dear Wife
I rec’d that nice long letter from you yesterday – was glad to learn that you were all well. I did think that I could get off this week but it don’t look much like it now. I have done well since you left. If I could have worked steady but it seems as if it all goes for board. I have only got myself a hat and boots and it seems as if that is all I can get. I have got the “blues” awful bad – you know how I act with them. I can make a living easy but that ain’t the thing. I want to get out of here so bad that I am nearly crazy. It would be nice if I could come there and live but you know there is nothing for me to do in the winter. I wish your father would go to Cali. Nothing would suit me better for that is a grand country. My tooth don’t hurt no more. I had to cut my boot in the instep in order to wear it. I will write another letter soon. Your friend Mrs. Murphy is dead. She was raving crazy for two weeks before she died. She suffered very much. It is snowing very hard. Let me hear from you soon.
From your husband”
What makes this letter significant is that it places Blaine in Kansas City at the same time that Sosman & Landis open a regional office in there. It also mentions California, where many Orrell family relations relocate, including Fanny by 1904.
Joe and Fanny celebrated the birth of first child, Mark, in 1882. It does not appear that he survived past infancy. Their second child, James G. Blaine, was also born in Ottawa the following year. On a separate note, T. B. Harrison (Sosman’s scenic art instructor and friend) painted scenery for the Ottawa Opera House in 1882. On July 26, 1882, the “Ottawa Daily Republic” announced, “Mr. Harrison, the scenic artist of the new Opera House had begun work on the large drop curtain, and it promises to be one of the handsomest pieces of art in the state” (page 1). In a small town, it is unlikely that Harrison and Blaine didn’t meet, especially since both had worked with Sosman.
For historical context, between the summer of 1881 and 1882, Sosman & Landis delivered scenery to the following opera houses:
Opera House, Detroit, Minnesota
Academy of Music, Minneapolis, Minnesota
Hill’s Opera House, Ann Arbor, Michigan
Humblin’s Opera House, Battle Creek, Michigan
Opera House, West Bay City, Michigan
Opera House, Grass Lake, Michigan
Opera House, Hancock, Michigan
New Opera House, Howell, Michigan
Union Opera House, Kalamazoo, Michigan
Arbeiter Hall, Ludington, Michigan
Opera House, Montague, Michigan
Edsell Opera House, Otsego, Michigan
Russell’s Opera House, Bonham, Texas
Brownsville Opera House, Brownsville, Texas
My Theatre, Fort Worth, Texas
Opera House Gainsville, Texas
Opera House, Mexia, Texas
Leach’s Opera House, Somerville, Tennessee
Kahn’s Opera House Boliver, Tennessee
King’s Opera House, Jackson, Tennessee
Vicksburg Opera House, Vicksburg, Mississippi
McWhinney’s Opera House, Greenville, Ohio
Yengling Opera House, Minerva, Ohio
City Hall, Athens, Ohio
Opera House, Nevada, Ohio
Bennett’s Opera House, Urbana, Ohio
Krotz’s Grand Opera House Defiance, Ohio
City Hall, New London, Ohio
Freeman’s Opera Hall, Geneseo, Illinois
Opera House, Hoopeston, Illinois
Opera House Cambridge, Illinois
Turner Hall, LaSalle, Illinois
Opera House, Greyville, Illinois
Opera House, Carthage, Illinois
Masonic Hall, Macomb, Illinois
New Hall, Good Hope Illinois
Temperance Hall, Seneca, Illinois
Opera House, Lockport, Illinois
New Opera House, Rockford, Illinois
Holt’s Opera House, Anamosa, Iowa
King’s Opera House, Hazleton, Iowa
Opera House, Denison, Iowa
Opera House, Jefferson, Iowa
Opera House Nanticoke, Pennsylvania
Opera House Athens, Georgia
Stummer’s Hall, Washington, Georgia
Opera House Reidsville, North Carolina
Opera House, Wilson, North Carolina
Opera House, Newbern, North Carolina
Opera House, Goldsboro, North Carolina
Stouch Opera House, Garnett, Kansas
Germania Hall, Blair, Nebraska
Klaus’ Opera House, Jamestown, Dakota
Opera House, Westville, Indiana
Grand Opera House, Richmond, Indiana
Odd Fellows Hall, Peshtigo, Wisconsin
Hyde’s Opera House, Lancaster, Wisconsin
Klaus’ Opera House, Green Bay, Wisconsin
Storie’s Opera House, Menominee, Wisconsin
Opera House, Fort Atkinson, Wisconsin
City Hall, Mineral Point, Wisconsin
Kolter’s Opera House, Wausau, Wisconsin
Opera House, Waupaca, Wisconsin
Soldiers’ Memorial Hall, Milwaukee, Wisconsin
Music Hall, Eau Claire, Wisconsin
Opera House, Stevens’ Point, Wisconsin (drop curtain, landscape with advertisements)
City Hall, Lewisburg, West Virginia
Opera House Moberlv, Missouri
Opera House, Unionville, Missouri
Opera House, Eutaw, Alabama
Opera House Demopolis, Alabama
Grand Opera House, Cheyenne, Wyoming
Cosmopolitan Theatre, Miles City, Montana Territory
Opera House, Harrodsville, Kentucky
Sosman & Landis were taking the nation by storm. No other scenic studio in the country was producing the sheer volume of work. And in 1882, the operated studios in Chicago, New York, and Kansas City.
Joseph S. Sosman (top) and Perry Landis (bottom) pictured in their 1889 company catalogue.
Blaine maintained a permanent residence in Ottawa, where he and Fanny celebrated the birth of ten children over the course of 22 years: Mark Blain (1882-?), James “Pete” Gillespie Blain (1883-1955), Dana Charles Blain (1886-1927), Lowell Henry Blaine (1889-1955), Mary Lena Blaine (1890-1966), Nelson Theodore Blain (1894-1914), Dorothea (b. abt. 1896), Kathryn Mae Blain (1898-1925), Orrell Maxine Blain (1901-1988) and Janice Meredith Blaine (1904-1974). A large family kept Blaine somewhat close to home. His name repeatedly appeared in Ottawa newspapers throughout the 1880s. Blaine began to focus more on decorative and sign painting. Here are a few newspaper announcements about Blaine’s painting projects:
On July 5, 1883, the “Independence-Journal” of Ottawa, Kansas, mentioned Blaine’s ornamental work. The article reported, “Have you noticed the water color decoration in the parlors of the Centennial House? This work was done by J. C. Blaine. Notice it” (page 3).
On Oct. 31, 1883, “The Ottawa Daily Republic” announced, “Mr. J. C. Blaine, who had the job of painting John Pollock’s new residence has completed his contract” (page 4).
On Nov. 23, 1883, “The Ottawa Daily Republic” reported, “One of the finest jobs of house decorating that we have observed in Ottawa is that which has just been completed by Mr. Blaine at Doc Bowles elegant residence. Mr. Blaine is evidently an artist, as well as a practical workman. The various rooms are finished in the most exquisite taste, and while no two are alike there is general harmony which makes a wonderfully complete whole. The library is a very handsomely finished antique style, and the ceiling of the front parlor in Renaissance. The side walls of this room are in graded paper of silver metal. An Adjacent bed-room is also a marvel of beauty and artistic effect. There is a gradation of tints from the ceiling down the walls, which only the mind and hand of an artist could conceive and execute” (page 4).
Blaine still maintained connections with Larned in Pawnee county. His 1884 listing in the Ottawa Directory includes the ties: “Blaine, J C, fr Pawnee Co, Kas, painter, res es Locust 3 d s 5th.”
On April 10, 1884, “The Ottawa Daily Republic” reported, “No better evidence of the progression of things material in Ottawa could be produced than the growth of the aesthetic in her private homes. The artist, not the ‘painter,’ is now in demand in our city, and this fact is evinced by the superb character of the work being done in most of our residences, When decorative artists of genius and skill, such as Mr. J. C. Blaine find it profitable to locate in our city, it speaks with emphasis undoubted for the growing taste and wealth of the community. We have already a vast number of beautiful homes, and many more are being added rapidly. Take for instance, the magnificent residence of Mr. T. J. Warren, corner of Cedar and Seventh streets, which has just been artistically completed internally by Mr. Blaine, in black and white walnut; the handsome residence of Mr. Simpson, on Cedar Street, also finished by Mr. Blaine and his corps of artists, in beautiful chestnut grain, and almost completed residence of H. J. Smith, on Elm and Fifth, where Mr. Blaine has just completed the decorating. Nothing more attractive or artistic can be imagined than is the work in these elegant homes. Mr. Blaine, however, does not confine himself to residences; business houses and offices are also finished and decorated by him in the highest style of art, As witness the just completed work in the Goodin Bank, well worth a call to see. Here is a magnificent counter, finished in French and American walnut, lined up with gold, red-lake and ebony, in exquisite style. Mr. Blaine is an artist well deserving extensive patronage.”
By 1884, Blaine was running his own studio and hiring assistants. As the newspaper article stated: “Mr. Blaine and his corps of artists.”
In 1884, Blaine also decorated the local jail. On April 21, 1884, “The Ottawa Daily Republic” listed his invoice for painting and papering the jail; it was submitted to the Franklin County Board of County Commissioner, totaling $64.74 (page 2). He submitted additional amounts on April 24, 1884 (page 4).
On April 22, 1886, the “Ottawa Daily Local News” reported, “J. C. Blaine, the favorite painter, has engaged the services of Allan McElroy, late of Indianapolis, as assistant. Mr. Elroy is a first-class decorator and artist. Mr. Blaine is now better prepared than ever to do the best of work with dispatch” (page 3). That June, the “Ottawa Daily Local-News” reported, “Mr. J. C. Blaine has finished a very handsome job of painting on the Agricultural hall in the west died of Forest Park.” (9 June 1886, p. 3).
On May 26, 1887, “The Ottawa Herald” reported, “J. C. Blaine has the contract for painting the names of the street on boards to be placed on the street corners. The price is ten cents apiece. Mr. Blaine is an excellent workman, and the HERALD can vouch for the correct and prompt execution of the work” (page 5).
On March 30/31, 1888, “The Ottawa Daily Republic” published the following announcement: “Parties desiring plastering, patching work or flue repairing, can have their orders promptly attended to by leaving word at the office of J. C. Blaine, east side of Public Square. Signed F. M. Kirkham” (page 4).
During the spring of 1889, Blaine was hired to work on the Hamblin’s College Addition as a decorative painter (Ottawa Weekly Republic, 21 March 1889, p 3).On June 27, 1889, “The Ottawa Herald” reported, “J. C. Blaine has gone to Atchison on business” (page 5). He submitted invoices to the City of Ottawa for $2
On July 4, 1889, the “Ottawa Weekly” reported, “In rescuing one of the horses which was in danger of suffocation, Mr. J. C. Blaine, painter, was struck in the stomach, but the injury does not appear to be dangerous. He was able to sit up last night and is no worse today” (page 3).
In 1890, Blaine shifted his focus back to theatre. On Nov. 20, 1890, “The Ottawa Herald” reported, “Sam Rohrbaugh has converted the old skating rink into a modern opera house and will open it about Christmas. J. C. Blaine will be manager” (page 5).
This shift coincided with his father’s visit, and the timing is just odd. Prior to managing the new opera house, Joe’s father arrived in town for a visit. He never left and soon passed away.
On September 8, 1890, “The Ottawa Daily Republic” announced, “J. R. Blain arrived last Friday from Decatur, Illinois, on a visit to his son J C Blaine. The old gentleman will be 79 years old Sept. 9 tomorrow, and is hale and hearty” (page 4). John’s health soon deteriorated. On Dec., 4, 1890, “The Ottawa Herald” reported, “J. C. Blaine’s father is very sick and not expected to recover” (page 5). On Dec 10, 1890, the “Chicago Tribune” published the obituary of Joe’s father (page 6): “Monticello, Ill., Dec. 9. – [Special.] – John R. Blaine, a cousin of James G. Blaine, died recently at the home of his son, Joseph Blaine, at Ottawa, Kas., aged 80. He has long been a resident of Central, Illinois, where he was well known. The remains were taken to Indiana, his former home, for burial.” On Dec. 11, 1890, the “Ottawa Herald” reported, “Mr. Blaine, father of James C. Blaine, the painter, died last Thursday of Heart disease at the residence of his son on Poplar St. His remains were sent to Decatur, Illinois for Burial. Mr. Blaine was a second cousin of J. G. Blaine, of national fame” (page 5).
Less than a year later, J. C. Blaine was working at Sosman & Landis. What remains unclear is if Joe was working for the Kansas City or Chicago office; however, it was likely the KC branch. On October 9, 1891, the “Salina Weekly News” reported, “Scenery Here. The new scenery for the Salina Opera House is here. It is elegant in design and finish. Mr. J. C. Blaine of the house of Sosman & Landis is also here as stage carpenter and at work. He was given notice while at Sulphur Springs, Arkansas and came on immediately. The work will require one week to finish as the plans for carpenter work in the hanging did not come in time for Contractor Gilbert to complete before the arrival of Mr. Blain. The chairs are elegant and comfortable and are now being lined upon the floor in a large Semi-circle” (page 4). Now this was quite a trek, as Salina was approximately 320 miles northwest of Sulphur Springs, Arkansas; no short jaunt.
By 1893, Blaine was working in Decatur, Illinois. His older brother, Henry C. Blaine, also lived in Decatur, having lived there for quite a few years. Already in 1889, Henry C. Blaine had been listed as an employee of Haworth & Sons in the Decatur City Directory, residing at 1366 N. Water. Joseph C. Blain was listed as a painter in the 1893 Decatur City Directory, living at 241 E. Edmond. Blaine’s trips to and from Illinois were often announced in “The Ottawa Herald.” For example, on June 29, 1893, the newspaper reported, “J. C. Blaine is back home from Illinois” (page 5). When Blaine returned to Ottawa that summer, it was likely to celebrate the birth of another child. On July 20, 1893, “The Ottawa Herald” announced, “J. C. Blaine has a new baby at his house” (page 4).
Around this time, Blaine begins to faulter, both with work and in his home town. On August 2, 1894, “The Ottawa Herald” announced, “J. C. Blaine was arrested by Ed Chenoweth for using harsh language. Blain was taken before Judge Robb and fined. He took an appeal to the district court” (page 5). Despite the bad press, Blaine remains in town for a while and begins to take on a variety of decorative projects again.
On Sept. 18, 1895, “The Ottawa Daily Herald” described another of Blaine’s Ottawa projects – decorating the Star Clothing House (page 3). The article reported “The store room (the one vacated by the Skinner establishment) has been in the competent hands of Mr. J C Blaine, and has been put in magnificent condition; it has been repapered and re-painted throughout, and is marvelously attractive.”
Sometime between 1895 and 1900, the Blaines move from Ottawa to nearby Harrison Township in Franklin County, Kansas.
The 1900 US Federal Census list the Blaine family residence in Harrison Kansas. The Blaine household included: Joseph C. (45 yrs.), Fanny (37 yrs.), James G. (son, 16 yrs.), Charles D. (son, 13 yrs.), H. Lowell (son, 11 yrs.), Mary Lena (daughter, 9 yrs.), Nelson (son, 6 yrs.) and Catherine M. (daughter 2 yrs.). Two more daughters were born in the next few years; Orrell M. in 1901 and Janice in 1904. This meant that there was a 22-yrs.-age gap between the oldest child, James G. Blaine, and the youngest child, Janice Blaine.
Blaine continued to work as a paper hanger and painter. In fact, Joe C. and his two sons, James and Dana, were both listed as painters in the 1905 Ottawa City Directory. Joe’s address was 1212 E. 7th, with James’ address as 724 E. 6th, and Dana’s address was 831 E. 8th. Son Lowell was listed as a student at 1212 E 7th, and daughter Dorothy was a stenographer, boarding at 418 W. 2nd.
Life was about to radically change for the Blaine family over the next few years,
The 1905 State Census that year listed Fannie and Joe Blain living with their children: Lowell (16 yrs.), Lena (14 yrs.), Nelson (11 yrs.), Catharine (7 yrs.), Orrell (4 yrs.) and Janeth (1 yrs.). However, Fannie was no longer living in Kansas. She moved to National City, California in 1904. According to family records, she left with her two youngest children, Orrell and Janice, to get away from Joe. Blaine’s grandchildren explain, “She was 44 and tired of having children.” Joe purportedly suffered from alcoholism too. Fanny would not return for seventeen years.
Why did Fanny pick California? Because of extended family. The Orrells had settled in National City during the 1880s. In later years, Fanny’s obituary remembered, “she came to California in 1904 to join her sisters and a brother. They were the late Mrs. Ida Jennings, San Diego, and Fran Orrell, National City, and Mrs. Al Addis, who still resides in National City. The 1900 US Federal Census listed Fanny’s father, William B. Orrell, living with his daughter, Ida B., and son-in-law Fred M. Jennings in San Diego, California.”
Joe and the older Blaine children remained in Kansas until 1910. In 1907 Joe Blaine was listed in the “Painter and Paperhangers” section of the Ottawa City Directory. His place work and home address were both listed as 1212 E. 7th. Other Blaine family members who were listed in the City Directory at that same address in 1907 City Directory included sons Dana Blain (paper hanger) and Henry L. Blaine (student at Ottawa University). In 1907 Dana moved to Cherryvale, Kansas, where he was listed as a painter in the Cherryvale City Directory. In Cherryvale, Dana worked for J. B. Bricker, a paperhanging and decorative painting firm located at 106 N. Depot. By 1910, Dana relocated to Wichita, Kansas, where he continued to work as a decorative painter. That year, Dana worked for Young Bros. Decorating Co., 142 N. Main, Wichita. However, Dana continued to sporadically appear in the Ottawa Directory. Both Joe and Dana Blaine were still listed as paperhangers in the 1910 Ottawa City Directory, before Joe and the kids joined Fanny in National City. Dana Blaine, however, remained in Wichita until his passing seventeen years later, in 1927.
According to Blaine descendants, there were numerous letters written from Joe and the children, pleading for Fanny’s return to Kansas. One of the letters that Blaine family descendants shared is dated March 16, 1908. Joe wrote:
Dear Wife,
Well I thought I would try it again. This is Mon. Morn 5:30” o’clock. So you see we rise early. Early spring is sure here. This month has been just like summer. We only use the kitchen stove. The grass is up the elm buds are out fruit trees ready to bloom. Even the Red birds & Robins are going around in their shirt sleeves. Our hens are beginning to lay. Even the duck (the only one left) lays a big egg every other day. You asked whether I have changed my underclothes or not. Yes I have except my drawers. There is enough in the legs to make another pair of socks by turning them down so I thought I would wear them a week or two longer. Just as soon as we are sure the cold weather is over we will expect to start. Don’t you think there is a danger of your wearing your welcome out? Just as soon as you want to come we will try to raise the money. We are all about worn out roughing it. We would like to see the girls and of course I would like to see the old girl to for absence makes the heart grow fonder.”
Some of the letter is illegible at this point and was not successfully transcribed’ it continues:
“Well this is spring and of course the young man’s thoughts turns to love & pastry. I bought a davenport lounge with a pale green velour upholstering with a design of art novau [sic. nouveau] in it. Also a nice stand for the parlor. Tink has more in the Miller house across the river. Well work has commenced. I am doing the Christian Church also the inside of the Catholic Church. Residence outside work has open up. This has been the dullest winter we ever passed through. Well I will close to go to work.
Your Joe
Don’t forget to arrange about settling for the property for if we get anything, we will want to remodel the house this summer.”
In a, Aug. 1, 1910, letter from Joe to a child, nicknamed “Sam,” he provides a little insight into his current projects and observations regarding the painting industry. I have a gut feeling that “Sam” was Joe’s pet name for daughter Orrell. She would have been 8 yrs. old at the time, and likely wondering why her father didn’t want to come to California. Joe explained a few reasons, writing:
“Dear Sam
Received your letter was glad to hear from you and hear you was well. Things are very dull here. I am working on the Washington School am doing it all through. Will amount to $500.00 so you see it is a big job. There is lots of work in my line…I found 15 men for every job of painting. When I came here I found 15 jobs for every man (in my line). So you see I am not very favorable impressed with the country. Your mother seems to think that anybody can do well there. She throws it up to me. How well your Aunt May is getting along on 60.00 per month. Well they may do it, but it cost me over $9.00 for their short stay there. So you see there is the difference…Write soon.
Your Father,
Joe Blaine”
The Blaine House at 1107 National City Ave., National City, California.
That same year, Joe and the rest of their children joined her in National City, California. The 1910 US Federal Census listed the following Blaine family members living in National City: Joseph C. (50 yrs.), Fanny (49 yrs.), Lena (19 yrs.), Nelson (16 yrs.), Kathryn (12 yrs.), Orrell (8 yrs.) and Janeth (6 yrs.). James G. Blaine also ventured west, relocating from Tioga, Neosho Cty., Kansas, to National City, California. James “Pete” Blaine continued to work as a painter in California.
In 1912, Joe Blaine partnered with another California artist named Jamison, establishing Jamison & Blaine. Their firm was located behind the news offices in the W. T. Johnson Building. Home of the local Masonic Temple. On June 8, Jamison & Blaine were mentioned as sign painters, tenants at the W. T. Johnson building during a renovation. The article mentioned that other businesses in the lower level of the building included the News office, electricians Lozier & Blanchard, realty brokers Stinsman & Nioble. The Masons occupied the second story of the building (page 1).
On June 15, 1912, Jamison & Blaine placed an advertisement in the “National City Star-News” for paperhanging and sign painting services (page 4)
Advertisement for Jamison & Blaine, 1912.
Work was not as successful for Joe in California as Fanny predicted. The Blaine’s began to fall behind and were unable to pay their property taxes. In 1914, J. C. Blaine was listed as delinquent in property taxes for three lots. On Feb. 14, 1914, the “National City Star-News” (page 4) published the following notice, identifying J. C. Blaine as delinquent for city taxes in the year 1913-1914:
Blaine, J. C. – Lot 1, Blk 1. Kimball’s sub 10 acre lot 4 qr sec 154, National Rancho.
Blaine, J. C. – Lot 2, Blk 1. Kimball’s sub 10 acre lot 4
Blaine, J. C. – Lot 3, Blk 1. Kimball’s sub 10 acre lot 4 qr sec 154, National Rancho.
Overall, 1914 was a very difficult year for the Blaine family. On Oct. 28, son Nelson T. Blaine died from injuries sustained during a railroad accident. On Oct. 31, 1914, the “National City Star-News” reported, “Nelson Blaine was fatally injured as a result of an accident which threw him head first from the Santa Fe locomotive, on which he was working, near Pomona.” The boy was picked up and hurried to Los Angeles, where he died Friday evening, at the Santa Fe hospital. Relatives were summoned from this city to his bedside, but he never regained consciousness” (page 4).
Joe continued to seek work.
By 1915, both Joe and James were still listed in the San Diego Directory:
James G. and his wife Ethel lived at es 1st av 1 s of 12th
Early in 1916, Joe and James headed back to Kansas, hoping for more work. Although Joe returned to California by winter, James did not. On Dec. 23, 1916. The “National Star-News” announced, “J. C. Blaine has returned to this city after spending some time in Kansas” (page 1). From 1916 until 1924, James G. Blaine was repeatedly listed in the Wichita City Directory. Both he and his brother, Dana, continued to paint. It was not until 1925, that James and Ethel returned to California.
Photograph of James “Pete” Blaine.
James’ return to National City was announced in the “National City Star-News on Aug. 22, 1924 (page 4). The announcement read, “Mr. Pete Blaine, a former resident of National City, but who has not been here for ten years, arrived from Kansas recently and is visiting his parents, Mr. and Mrs. Blaine of National avenue and Eleventh street.”
It was not until 1925 that Fanny returned to Kansas. On May 15, 1925 the “National City Star-News” announced:
“TO VISIT OLD HOME TOWN.
Mrs. J. C. Blaine and daughter Janice, are leaving next week on a three months visit among friends and relatives in Wichita, Kansas. Mrs. Blaine will visit one son she has not seen for seventeen years” (page 1).
Another version was published the next week – On May 22, 1925, “The National Star-News” reported, “Mrs. J. C. Blaine’s went back to Wichita wich is sum town in Kas. To see her son wich she ain’t seen in 17 years so I bet they will have a good time talkin about old times, Janice went also. For company I gess to stay 3 munths.”
Fanny’s son, Dana, passed away in Wichita two years later.
In regard to Joe, he continued to scramble for work in National City after his return in Dec. 1916. Blaine was listed in an article entitled “Board of City Trustees,” published in the “National City Star-News” on June 30, 1917. Blaine’s labor invoice was listed as part of an audit: “J. C. Blaine, printing St. Sign….2.50” (page 1). Not a big project.
Blaine couldn’t pay his taxes again in 1917. He was again part of the delinquent tax list in the “National City Star-News” on Feb 16, 1918, for “Lots 1,2 and 3, Block 1, Kimball’s Sub in 10 Acre, Lot 4, ¼ Sec. 154, National Rancho” (page 2). This problem continued into the 1920s, with matters getting worse. On Feb. 11, 1927, Blaine was again listed as a delinquent taxpayer for the same three lots (page 4).
In regard to political party, Joe Blaine consistently listed himself as a Republican until 1918, when he became associated with the Socialist. He was again listed as a Socialist in the in California Voter Registrations in 1920. Throughout the 1920s, J. C. Blaine was listed in San Diego Directory as a decorator.
Joe and Fanny Blaine in National City, California, 1920s.
Interestingly, the 1920 US Federal census listed Blaine as a decorator in the hotel industry. Blaine was the resident painter at the Coronado Hotel. That year, the Blain household included Joe, Fanny, and children: Katherine (21 yrs.), Orrell (18 yrs.), and Janeth (15 yrs.), all residing at the same home on 1107 National Ave. In 1920, the San Diego Directory listed Joseph working as a painter, Janeth as a student, Kathryn Mae as a telephone operator, Orrell as a nurse, and Lowell (unemployed).
By the onset of the Great Depression, Blaine shifted from “decorator” to “Painter.” The 1930 US Federal Census listed Blaine as a painter, and living with Fanny, Lowell (40, guard at prison camp), Mona (27) and lodger, Sarah M. Hanold.
The 1931-1933 San Diego Directories listed Joseph and James G. Blaine as painters. Joe, Fanny, Lowell H. and wife Mona Indy all lived at 1107 National av. James G., Ethel and son, James G. Jr. lived nearby at 1228 4th Av.
Joe C. Blaine passed away on April 27, 1935, in National City, San Diego County, California.
Blain’s obituary was published in the “National City Star-News” on May 3 1935 (page 1):
“Joe C. Blaine Dies After Long Illness.
Saturday morning Joe C. Blaine, a resident of this city for the past 25 years, died in his home on National Avenue after an illness covering several months. Mr. Blaine was well known to the residents here and his family went to school and were married and live in the city. Funeral services were conducted Monday by Mr. Dawson Funeral Home, Rev. Mr. Royer of the Methodist church officiating. Mrs. Olive Requa accompanied at the piano while Verna Hawkins sang. Burial was made in the family plot at Greenwood. Mr. Blaine leaves, besides his widow, Mrs. Fannie Blaine, three daughters, Mrs. O. D. Kelly [Lena], Mrs. Lyle Duncan of this city, Mrs. Ernest Gibbs of San Francisco, and James G. and Lowell Blaine of this city.”
No mention of any past successes or ties to Kansas. His life was so much more than the twenty-five years spent in California, but you would never know it.
Joe Blaine with his grandkids and Fanny near the end of his life.
In 1988, Blaine’s granddaughter briefly jotted down a few small snippets about her Grandpa Joe. They are also posted to geni.com. I feel compelled to share a few, as these memories paint a pretty vivid picture of Joe Blaine through the eyes of a child:
Called Joe most of the time, but also went by Cal other times.
He always wore a dark suit, white shirt and black shoes.
He sang some songs to us when he visited
One of the songs he sang was, “The moon went down, to take a peek. Oh Talollie hoo, Oh tallollie hoo.”
He chewed tobacco
He talked in a kind of brittle mid-eastern drawl
He slept in the back bedroom off of the kitchen. His bed was in a corner.
He walked with a stoop and kept to himself.
He liked dogs and he owned a greyhound, a tall skinny dog.
He poured his coffee in a saucer to cool, and always drank with his little finger poised out.
Fanny outlived her husband by almost two decades. She continued to live at their home on National Avenue throughout the 1940s. By 1950, however, she moved in with her younger sister Mary and brother-in-law Albert Addis at 1532 E. Ave. in National City.
Fanny Blaine.
Fanny passed away on Nov. 4, 1954 in San Bernardino, California. She was 94 yrs. old at the time. I wonder if there was ever any regret about relocating to California, or any reflection that Joe’s greatest successes were left in the Midwest.
In 1873, Joseph Sosman assisted scenic artist T. B. Harrison at the Chandler Opera House in Macomb,. Illinois. At the time, Sosman was well-known as a sign painter in town, having moved to Macomb only eight years earlier.
On April 17, 1873, “The Macomb Journal” reported, “SCENE PAINTING. As well as the entire design and arrangements of the stage is the handiwork of the eminent artist, T. B. Harrison, of Chicago. The stage, of course, is the focal point of all the attractions of the establishment and he who took the task of its design and execution has indeed an onerous one. But the one who looks upon the work of Mr. Harrison will decide that he has in masterly manner accomplished more than was expected. In the painting he has been ably assisted by our young friend, Joe Sosman; Joe has superior abilities, and our citizens will wake up some fine morning and fin in him, that Macomb has a first-class artist” (page 3). Sosman continued to make the Macomb news over the years, as this small town followed his continued success as a scenic artist and founder of Sosman & Landis.
This was a turning point in Sosman’s career, initiating his shift from sign painting to scenic art. In regard to Harrison, Sosman could not have selected a better mentor.
This post is about the life and career of Thomas B. Harrison (1836-1895). In later years, Harrison was remembered by citizens of Clinton, Missouri, as an “erratic genius” (June 23, 1900, “The Clinton Eye”). Harrison must have greatly inspired Joe Sosman at the beginning of his career. Here was an individual who appears to have dreamed big, trying his hand at everything within reach. Harrison was also key to the later Chicago connections for Sosman, facilitating many introductions for Sosman’s later success.
I do wonder how involved Harrison was with the mechanical engineering at Sosman and Landis throughout the 1880s and early 1890s. I also wonder how much he really contributed to the firm, contributions that made Sosman so loyal to Harrison throughout his life.
Newspaper accounts purport that Thomas Benjamin Harrison was born in Hull, England, on February 16, 1836. However, I have yet to locate any definitive proof. Harrison’s baptismal records were dated less than a week later on Feb. 21, 1836, in Selby in North Yorkshire. For geographical context, the Selby is approximately 38 miles due west of Hull, with a river and canal system connecting to two. In 1840 the railway from Selby to Hull opened, expanding transportation options.
The parish of Selby where T. B. Harrison was baptized in 1836.
Thomas was the eldest of two children born to Benjamin Harrison (1804-1891) and Ann Smith (1804-?). Benjamin and Ann’s Marriage Banns, dated from May 15, 1834, in nearby Leeds. This is the same year that the Leeds and Selby Railway was completed, further expanding transportation options for local residents. Leeds is approximately 25 miles due west of Selby. Selby is approximately halfway between Hull and Leeds. Here is a great link to an article about Selby that was published in the “Yorkshire Post” – https://www.yorkshirepost.co.uk/heritage-and-retro/heritage/history-selby-once-port-west-riding-and-reputed-birthplace-henry-i-2936178
The 1841 England Census listed the Harrison family as living in Selby. Household members included head-of-household Benjamin Harrison (35 yrs.), wife Ann (35 yrs.), son Thomas (5 yrs.) and daughter Ann (1 yr.). Sometime between the 1841 census and 1847, the Harrisons relocated south to Oxfordshire. In 1847 Benjamin Harrison was listed as a cabinet maker, located at 28 St. Aldate’s street. It remains unclear as to what prompted the move or what exactly happened to his first wife; I have yet to locate any death certificate.
The trip from Selby to Oxfordshire if one were to travel by foot.
In 1849, Benjamin Harrison married a second time. He and Sarah Schutt were wed at St. Wilfrid’s Church in Calverley on Feb. 18, 1849. Calverley is approximately six miles northwest of Leeds.
St. Wilfrid’s Church, Calverly.St. Wilfrid’s Church, Calverly.
Soon after their marriage, the Harrisons emigrated to the United States of America. Sailing aboard the Columbus, their arrival is documented in an Arriving Passenger Crew List, dated June 29, 1850. At the time, the Harrison family included Benjamin (46 yrs. cabinet maker), wife Sarah (41 yrs.), and four children: Thomas (14 yrs.), Ann (10 yrs.), Charles (9 yrs.) and unnamed infant. I have yet to confirm if Charles was the biological son of Benjamin and his first wife, or Sarah’s child from a previous marriage. He could have even been relative, simply traveling with the couple at the time, which may be possible as he disappeared shortly after arrival.
The Columbus sailed with 661 passengers from Liverpool to New York. Amazingly, the Harrison family is even included in the publication, “The Famine Immigrants: Lists of Irish Immigrants Arriving at the Port of New York, 1846-1851 Vil VI (June 1850-March 1851)” by Ira Glazier and Michael Tepper (Baltimore: Genealogical Publishing Co., 1985, pp. 1-150).
The Harrison family was also counted in the 1850 US Federal Census. At the time, they were living in Bloomfield, Clinton County, Iowa. Oddly, only two of the four children from the ship’s passenger list were listed in the census report: Thomas (15 yrs.) and Anne (11 yrs.). It remains uncertain if 9 yrs. old Charles and the infant passed away, or if they were reunited with relatives. There were only a few months in between their arrival and the census report.
Six years later, the Harrisons were living in nearby Maquoketa, Iowa, counted in the State census. The 1856 Iowa census listed 52-yrs.-old Benjamin Harrison as a cabinet maker, living with his wife Sarah (47 yrs. old) and four children: Thomas Harrison (20 yrs.), William H. (4 yrs.), Sarah J. (2 yrs.), and Mary A. (1 yr.). These were all the biological children of Benjamin and Ann, born after the couple’s arrival in America, and when Sarah was in her mid-40s; Thomas’ half-siblings. The 1850 census also listed Thomas Harrison’s occupation as a painter. Later reports purport that Harrison’s artistic and academic training were solely obtained in England, but this would have been only until the age of 14.
The 1860 US Federal Census report listed that the Harrison family household included Benjamin (58 yrs.), Sarah (50 yrs.), William (8 yrs.), Sarah (7 yrs.) and Mary (5 yrs.), all still living in Maquoketa. By this time, Thomas was 24-yrs.-old and living on his own. I have yet to locate his whereabouts between 1857-1861. He briefly disappears from public records until 1862 when he enlisted in the Iowa Infantry. He possibly traveled as an itinerant painter, going from town to town throughout the region, as was common with many scenic artists at the time.
Harrison’s US Civil War draft registration card listed his occupation as “painter.” At the time, he was 27 yrs. old. The US Army register of enlistments provides addition information about this young unmarried man. His appearance was listed as black, hair, black eyes, and a ruddy complexion. Harrison enlisted Sept. 30, 1862, as a 2nd Lieutenant in Co. B., 26th Iowa Infantry. He was soon discharged, however, due to constant illness. He served a second time, with the same company. Harrison’s obituary remembered, “He saw much service and was twice severally wounded at Fort Donelson and in Arkansas, from the effects of which he never recovered. He was a true soldier and patriot.” Harrison mustered out on March 10, 1863, in Young’s Point, Louisiana. From Louisiana, he headed to New York. By fall, he sailed from New York to New Orleans aboard the Evening Star. On Oct 18, 1863, “The New York Times” listed T. B. Harrison of a steamship passenger bound from New Orleans (page 8).
From New Orleans, Harrison moved to Chicago, where he rapidly rising to the top of his profession as a scenic and easel artist. In 1864, Harrison was listed a one of several artists exhibiting their oil paintings at Jevne & Almini’s. The group included two other well-known scenic artists such as Minard Lewis and William Voegtlin. On June 17 – 20, 1864, a “Chicago Tribune” advertisement announced:
“Chicago Artist’s Sale, by Gilbert & Sampson, of Fine Oil Paintings, at Auction. We will sell on Tuesday Evening, June 21st at 8 o’clock precisely, the fine collection of Oil Paintings, by Chicago Artists, which have been on exhibition at Jevne & Almini’s, and are now removed to our salesroom, in order to accommodate those who wish to purchase and could not get admittance at the room on Washington street. All the paintings exhibited at our room will be sold without reserve. The paintings of the artists who had someone to bid on their paintings unbeknown to the others will not be put into the sale. The paintings will be on exhibition day and evening until the time of the sale (Sundays excepted.) This collection has been very much admired and are from the hands of our best artists, viz: H. C. Ford, Mrs. Nicholson, J. H. Drury, Paul Brown, P. Fishe Read, Jacob Cox, J. R. Sloan, D. F. Bigelow, Alfred Sederberger, Belden J. Woodman, Kaye E. Cameron, H. N. Gager, Mary A. Thomas, Wm. Voegtlin, Miss E. Mackway, Minard Lewis, Mrs. Hall and T. B. Harrison. The attention of all our citizens who are in want of good paintings particularly called to this sale, and are invited to call and see then while on exhibition. Gilbert & Sampson” (page 4).
T. B. Harrison listed as one of the artists in 1864.
Now, this places a few key players in the same group. Harrison was intimately involved with the Chicago Academy of Design (CAD) and the Chicago Academy of Fine Arts. There is a fascinating article by John Dryer entitled “The Demise of the Chicago Academy of Design and the Rise of the Art Institute of Chicago (“Journal of the Illinois State Historical Society” Vol. 113 Nos. 3-4 Fall/Winter 2020). According to Dryer, “Shortly after the war ended, the CAD was founded in 1866. Its stated purpose was to offer artists a studio to rent, regular exhibitions and teaching ateliers.” By 1867, many of the organizations activities were held at the top floor of the newly constructed Crosby Opera House on Washington Street.
To place this within the history of American scenic art, Lou Malmsha (1845-1882) was one of the scenic artists who worked at Crosby’s Opera House during this time. He initially trained with Mr. Arragon at the venue, having emigrated from Sweden in 1863. By 1866, Malmsha was also painting scenery in New York, and was listed as one of the scenic artists who delivered scenery for the original production of “The Black Cook” at Niblo’s Garden.
Thomas G. Moses trained with Malmsha in 1873, at the same time that Sosman trained with Harrison. Both Moses and Malmsha also worked at P. M. Almini’s during this time as decorative painters. Late in life, Moses recalled the talents of Malmsha, writing, “He was a very clever man. In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work, very simple in drawing and color, but very effective.”
In 1868, Harrison was listed as one of the Committee members for a Chicago Academy of Design event, held at Crosby’s Opera House. At the time, there were approximately sixty members in the organization.
On March 3, 1868, the “Chicago Evening Post” included T. B. Harrison was listed as a Committee member or the tableaux vivant, a featured event for the Chicago Academy of Design art reception at the Opera House (page 4). The tableaux scenes that were reproduced included The Laocoon Groupe; Fighting for the Dead Body of Patrocius, as seen on the frieze of the Parthenon; Dirce; Thorwaldsen’s Apollo and the Muses; Groupings from Raphael and Murillo; and a scene reproducing the features of ancient Egyptian art. The article reported, “The effects of these pictures, given living figures, will be indescribably beautiful and afford something that has never been presented in this city. Tickets can only be attained from the Committee, which is composed of the following gentlemen: Chas. Knickerbocker, U. H. Crosby, Conrad Diehl, H. C. Ford, Walter Shirlaw, J. F. Gookins, Louis Kurtz, Chas. H. Brower, P. Almini, Chas. Peck, J. F. Aitken, G. S. Collis, T. B. Harrison, G. A. Binkert, W. B Baird, or at Room No. 9 Opera House.”
There are a few things to note about some of the abovementioned individuals in this group. In 1865 Jevne & Almini joined with Louis Kurtz to form the Chicago Lithographing Co. Their portfolios provide great insight into the bustling city of Chicago before the great fire of 1871. Kurtz, a German emigrant, moved to Chicago in 1864 where he worked as a scenic artist at both Crosby’s Opera House and McVicker’s Theatre.
The Chicago Academy of Design held private gatherings and public events at Crosby’s Opera House prior to the great Chicago Fire of 1871. The organization’s art exhibitions were frequently featured at the Crosby Art Gallery or in The Almini & Jevne Building on Clark Street. The CAD also leased space at a new building on Adams Street by 1870.
For a little more context, after the 1871 fire, Jevne and Almini separated, each going their own way and founded two new companies: Otto Jevne & Co., 226 E. Washington Street and P. M. Almini & Co., 344 State Street. Almini remained much more active with the CAD, constantly employing many of the artists.
Although CAD membership greatly declined after the firs, in 1872 the Council of the Chicago Academy of Design rented L. W. Volk’s building at the corner of Michigan Avenue and Van Buren Street (Chicago Tribune 18 Oct 1872, p 8). Leonard Wells Volk (1828-1895) was a sculptor and president of the CAD. This was a period of great transition for the CAD, helping prompt the rise of the Chicago Academy of Fine Arts.
Like many scenic artists after the fire, Harrison travelled throughout the country again, securing work as a scene painter, photographer, lecturer, and inventor. He sporadically appeared various directories across the country.
Keep in mind that his travels also coincide with the onset of the Long Depression in 1873, and economic downturn that and lasted until 1879. This period of financial struggle is considered the first Great Depression in the United States. The event prompted many artists to expand their services, and immediately grasp at any business opportunity that came their way.
The 1873 Chicago Directory listed Thomas Harrison as a photographer at 79 Blue Island Ave. Again, this was a common listing for many scenic artists who were very active in early photographic endeavors. They accepted a variety of projects that included, photography, interior décor, sign painting, carriage painting and illustration. Photograph was also the same occupation as Harrison’s later short-term business partner Ed Pearce.
In 1873 Harrison was likely accepting any work that came his way. It was at this time that he painted scenery at Chandler’s New Opera House in Macomb, Illinois. Again, it was in Macomb that he met, befriended, and trained Joe Sosman. Chandler’s New Opera House opened on Monday, April 21, 1873. Constructed by C. V. Chandler as a cost of $30,000, work commenced on April 7, 1872. The theater was located on the second floor of the building, with retail occupying the first floor. The lower story was 16’ high and the second story was 24’ high. The seating arrangements were divided as follows: level floor (60×40, 850 chairs); the rear 20×60 is separated by low balustrade, the seats five in number, rising one above another to the rear, thus giving the farthest from the stage an elevated position; about 175 persons can, with ample room for each occupy this division….Dress circle, or gallery seats 225.
On April 17, 1873, “The Macomb Journal” reported, “SCENE PAINTNG. As well as the entire design and arrangements of the stage is the handiwork of the eminent artist, T. B. Harrison, of Chicago. The stage, of course, is the focal point of all the attractions of the establishment and he who took the task of its design and execution has indeed an onerous one. But the one who looks upon the work of Mr. Harrison will decide that he has in masterly manner accomplished more than was expected. In the painting he has been ably assisted by our young friend, Joe Sosman; Joe has superior abilities, and our citizens will wake up some fine morning and fin in him, that Macomb has a first-class artist” (page 3).
On May 8 and 15, 1873, “The Macomb Journal” reported, “Oh! How beautiful! A thing of beauty is a joy forever. They include nearly every scene now finished in Chandler’s magnificent new Opera House and all are for sale any size card, stereoscopic, or 8 x 10. These pictures are from the paintings by Prof. T. B. Harrison, who is a master in his profession. They can be had at Hover & Zumbro’s, East Side Square” (page 3).
Harrison continued to travel throughout the country, and briefly settled in Boston during 1874. On Jan. 16, 1874, the “Chicago Tribune” announced Harrison’s arrival at the Sherman House in Chicago (p. 7). Despite extended travels, Harrison maintained a home with Edward Pearce in Macomb, Illinois, until 1875. On Jan. 7 and 14, 1875, “The Macomb Journal” announced, “Prof. T. B. Harrison and Ed Pearce have gone to make their home in the city of Quincy. How the band will get along without them we can’t tell” (page 3).
Pearce returned to Macomb two years later. On Oct. 25, 1877, “The Macomb Journal” reported, “Ed Pearce has returned to Macomb and opened a new photograph establishment in the rooms over Joe Adcock’s store” (page 3). He continued in this business for the next few years. On Oct 16, 1879, “The Macomb Journal” reported, “Ed Pearce having returned from taking lessons in the higher art of photography, can be found at Tom Philpot’s excellent photographic rooms” (page 3).
Harrison also returned to Macomb for various projects. In 1876 he designed “Red Man’s Room” decorations. The local newspaper described Thos. B. Harrison as “a well-known artist of this City.” The paintings were executed by both Harrison and Jos. S. Sosman.
On June 7, 1877, “The Macomb Journal” reported the following in regard to “Proceedings of a Regular Meeting of the Macomb City Council” (page 2):
“On motion, an appropriation of $10 was made to pay T. B. Harrison for a map of cemetery, and clerk was instructed to draw order on treasurer for the amount. A second announcement stated, “On Motion, T. B. Harrison was instructed to make another map similar to the one just finished, the cost not to exceed $7.50.”
Later in life, Harrison’s obituary recalled that he studied in Europe, Egypt and the Holy Land. It detailed that his natural proficiency for multiple languages prompted his career to branch off in an additional direction. Harrison’s obituary recorded that he contributed magazine articles on both scientific and art subjects under a nom de plume, and publicly lectured on foreign lands.
In 1878, Harrison was still traveling as a scenic artist throughout the Midwest. On October 10, 1878, The Osceola Sun reported, “T. B. Harrison scenic artist of Chicago is here painting the scenery for Hedrick’s new Hall. This hall when completed will be one of the best in southwest Missouri” (page 3). On Nov. 2, 1878 the Butler Bates County Record reported, “The Messrs. Hendrick, of Appleton City, are finishing one of the finest halls in the southwest. It is 25×100 feet, is provided with a stage and scenery and will be seated with chairs. The scenery and fresco work is being done by Mr. Harrison, a scenic artist of Chicago, and is as fine as that done anywhere. The Appleton Dramatic society will dedicate the hall as soon as completed, due notice of which will be given” (page 3).
Harrison purportedly helped establish the Chicago Academy of Fine Arts in 1879, later renamed the Art Institute of Chicago. Harrison was well respected as a professor at the Institute.
On Oct. 31, 1879, “The Cass County News” reported, “T. B. Harrison, the artist-traveler, has been entertaining our people with his lectures on Foreign travel during the past three evenings, closing the season for which he was advertised on Wednesday evening, having had good audiences of a highly appreciative class during the entire course. At the close on Wednesday evening a request was made by a unanimous expression of the audience, asking him to remain longer, whereupon Mr. H. signified his willingness, and announced the three nights closing the week. Our citizens who have not attended these superbly illustrated lectures, which are in themselves of the highest order, have missed a treat, Yesterday evening the lecture embraced a tour of Holland, Denmark, Norway, Sweden, Russia, Turkey and Greece. To-night (Friday) Africa, Palestine, the Ruins of Pompeii, and Spain. Saturday evening, the Lakes of Northern Italy, Milan, Pisa, Florence, Bologna, Naples, Venice, Rome, St. Peter’s Church and the Vatican. We predict large audiences, as a lifetime may be spent without another opportunity of hearing lectures of as high an order or of witnessing as superb illustrations” (page 3).
On November 29, 1879, “The Lexington Intelligencer” reported, “Thos. B. Harrison’s Pantascope, a unique series of art illustrations, forming an epitome of foreign travel, producing with realistic effect the most beautiful, picturesque and romantic places of the world, which has been exhibiting at the opera house the past week, is an entertainment of the highest order of merit and has been liberally patronized by our citizens. The programme for the first evening was France, Paris and Switzerland, the second evening, Germany and the river Rhine; third, England, Ireland and Scotland; fourth, the Netherlands, Russia, Turkey, Greece and Egypt, and last evening, the Holy Land, Pompeii, Africa and Spain. To-night will be Italy, Venice, Rome and the Vatican. There will also be a matinee this afternoon at two o’clock, at which will be presented Germany and the river Rhine. Mr. E. D. Graham, the advance agent and business manager, was formerly editor of the Clinton Advocate, in this state, and is a thorough gentleman, as are all those connected with the exhibition. From here they go to Richmond, and we cordially recommend them to the citizens of that ancient burg. The money expended in thus getting a glimpse of the Old World and its many historic places and buildings could not be more beneficially spent by either old or young” (page 3).
1880 advertisement for Harrison’s Pantascope.
On February 27, 1880, the “St. Joseph Gazette” included an advertisement for Harrison’s Pantascope (p. 1). Harrison exhibited “A Unique series of Art Illustration Forming a Perfect Epitome of Foreign Travel, producing with realistic Effect the Most Beautiful Picturesque and Romantic Places of the World.” The advertisement promised, “Am entertainment of the Highest Order of Merit, universally commended by all persons of culture, taste and refinement.” Harrison’s show was performed at the Fifth Street Methodist Church every day that week for a price of 25 cents for adults and 10 cents for children. A short announcement in the “St. Joseph Gazette” on Feb 27, 1880, reported, “Harrison’s Pantascope is among the very best entertainments of the season. To-night the program is unusually attractive. It includes a ‘journey’ through the Holy Land, views of Pompeii, and scenes in Old Spain” (page 4).
On March 11, 1880, “The Macomb Journal” announced, “T. B. Harrison, formerly of this place was in St. Joseph, Mo., last week, exhibiting his pantascope” (page 2). On Oct 29, 1885, “The Macomb Journal” reported, Professor Thomas B. Harrison, a former well-known citizen of Macomb, has been in our streets the present week” (page 5).
Later that spring Harrison returned to Macomb. The “Henry County Democrat” announced, “Remember, Pantascope, City Hall, April 19” (p. 3).
Although his work with Sosman in Macomb was short-lived, the two remained close friends until Harrison’s passing in 1895. Sosman was even mentioned in Harrison’s obituary. The “Henry County Democrat” remembered, “While painting scenes in the Macomb Opera House, he took in a young boy to mix paints and be of general utility. That boy was Joe Sosman, now senior member of Sosman & Landis, Chicago, the leading theatrical contractors, and outfitters in America. Joe Sosman made his fortune, but he never forgot how much he owed to Tom Harrison. And during all of the ups and downs of Tom’s career, Joe was his steadfast friend.”
Harrison was also an inventor, developing a series of inventions over the years that included a steam hammer, a compressed air hammer, and other improvements for both manufacturing machinery and typewriter machines.
Described as an “artist of rare merit,” he remained in Clinton, Missouri, after painting a drop curtain for the opera house, teaching both drawing and music.
While in Clinton, Harrison grew attached to Samuel J. Seifried, taking the young man on as an assistant The 1880 Census listed Harrison, Samuel Seifried, and his father, William Seifried, all living at the same boarding house on Main Street. The census report listed Harrison as a 41 yrs. old artist, Seifried as 14-yrs. old “at home,” and William as 36 yrs. old “hotel clerk
Samuel Seifried was born in 1866 in Missouri, the eldest son of William J. Seifried (1844-1935) and Amelia M. Heckler (1858-1885). His siblings included Henry C. (1872-1875), Charles E. (1875-1896), George E. (1877-1878), Willie E. (1879-1881), and Barbara (1882-1912). Amelia passed away on Feb. 18, 1885. William married his second wife Emma E. Volkman (1867-1934), about 1889, and five children were born to this union: Winfred W. (1891-1976), Louis M. (b. 1897), Alberta (1895-1979), Reinhold V. (1904-1968), and Eunice (?-1896)
Samuel’s maternal grandmother, Katherine Drach, was known in Clinton, Missouri, as “Mother Seifried.” She was born in 1818 in Unistadt, Germany, emigrating to America in 1837, and marrying Jacob Seifried (?-1899) in March 1841. The couple celebrated the birth of eight children, including Samuel’s father, William John Seifried (1844-1935).
For a little context…Samuel’s father worked as an interior decorator, who, in 1882, he was listed as a painter in the St. Louis directory, residing at 2821 Sheridan Ave.
On Nov. 1881, “The Windsor Review” in Missouri reported, “Last Weeks Spree. Four Days at the Appleton City Fair.
By the kindness of Mr. Harrison, the scenic artist, we were shown through the magnificent Durley Hall of which this town is justly proud. It is undoubtedly the finest Opera House in Southwest Missouri and stands an everlasting record to one man’s enterprise. Harry W. Grantley, the builder of this gran edifice has spare neither money nor brains in rearing it and it certainly does him great credit, Complete in every detail, any play can be realistically produced on the stage. The artist, Mr. Harrison, has done excellent work here, the drop curtain being a masterpiece of artistic originality, and all of the vast amount of scenery shows evidence of his genius.”
On April 23, 1882, The Leavenworth Standard reported, “Around the World. The unique art delineation of European life will open at the Delaware Street Opera House Tuesday evening. It is said to produce with realistic effect the most beautiful, picturesque and romantic places in the world. It is in the hands of G. W. Hutchins, of Philadelphia, and T. B. Harrison, artist traveler and member of the London, Paris, Berlin, Florence and Rome schools of art” (page 4)
On July 26, 1882, the Ottawa Daily Republic of Kansas announced, “Mr. Harrison, the scenic artist of the new Opera House had begun work on the large drop curtain, and it promises to be one of the handsomest pieces of art in the state” (page 1).
Harrison also produced stock scenery for Moore’s Opera House in Nevada, Missouri. Harry Miner’s Dramatic Directory for the 1882-1883 season credited Harrison with 20 sets of scenery at the venue. Harrison’s scenic art was also listed in Harry Miner’s Theatre Directories, for 1884 and 1887. He was credited with stock scenery collections at the Opera House in Clinton, Missouri; L&S Moore’s Opera House in Nevada, Missouri; Lamar Opera House in Lamar, Missouri; and the New Odeon Theatre in Maquoketa, Iowa.
Here is a summary of the known stock scenery collections delivered by Harrison during his lifetime:
Chandler’s Opera House (Macomb, Illinois, 1873)
Opera House (Clinton, Missouri, 1880)
Opera House (Lamar, Kansas, c. 1882-1884)
New Odeon Theatre (Maquoketa, Iowa, c. 1882-1884)
L&S Moore’s Opera House (Nevada, Missouri, c. 1882-1884)
Opera House (Ottawa, Kansas, 1882)
Opera House (Sedalia, Missouri, 1883)
On May 13, 1882, “The Falls City Journal” of Falls City, Nebraska, reported, “Around the World. A unique series of artistic delineations of European life; by G. W. Hutchings, of Philadelphia, and T. B. Harrison, Artist Traveler, and member of celebrated art schools of London, Paris, Berlin, Florence, and Rome. A perfect epitome of foreign travel. Am entertainment of the highest order of merit, universally commended by all persons of culture, taste and refinement. At the Opera House, May 16th and 20th, Admission 25 cts. Reserved seats 35 cts. Children and gallery seats, 15 cts. Season tickets only 75 cts” (page 5).
On Aug. 5, 1882, The Ottawa Daily Republic (Kansas) reported, “Mr. Harrison, the scenic artist at the new opera house, thinks the REPUBLICAN was premature in inviting folks to see the new drop curtain. He don’t care to be bothered by visitors and has locked the public out. So you needn’t go to see the new curtain just now.” (page 4)
1883- Sedalia, Missouri: On March 13, 1883, the “Sedalia Weekly Bazoo” of Missouri reported, “H. C. Moore, president of the opera house stockholders. presented T. B. Harrison, the scenic artist, with a fine gold headed case on which is handsomely inscribed” From W. C. Moore to F. B. Harrison, 1883” (page 5). All this time, Harrison traveled with his assistant “Sammie.”
On March 24, 1886, Harrison became a naturalized citizen in Montgomery, Missouri. This may have been prompted by a series of inventions that both he and Seifried were working on at the time. On Dec. 27, 1888, the “Versailles Republican” announced the patent was granted for T. B. Harrison’s Anderson, typewriter” (page 4).
Seifried proved to be not only a wonderful assistant, but also a fellow inventor. Harrison later listed “Sammie” as his adopted son, leaving him everything upon his passing in 1895; an estate valued at $4000. The two repeatedly toured the European continent for well over a decade, although I have yet to uncover any travel records or passport applications. During their travels through France became interested in the Braille system, returning with information and several ideas. Upon their return, the couple developed a typewriter for use by the blind and established the manufacturing firm of Harrison & Seifried. Harrison & Seifried was located at 181 E. Division Street in Chicago. They advertised as “Designers and Builders of Light Machinery.”
T. B. Harrison and Samuel Seifried advertisement for their firm Harrison & Seifried, Chicago.The typewriter manufactured by Harrison & Seifried.
The Hall Braille typewriter (also called a Braillewriter or Brailler) was invented in 1892 by Frank Haven Hall, who was the Superintendent of the Illinois Institution for the Blind. The Hall Braille typewriter was manufactured by the Harrison & Seifried company in Chicago, Illinois, USA. Hall introduced his invention on May 27, 1892, at Jacksonville, Illinois. It types raised Braille dots onto paper. For more information, see: http://www.enchantedlearning.com/inventors/1800b.shtml]
“In 1892, Hall had the skilled local Gunsmith and Metal worker Gustav Siebel make a prototype of his machine. Hall took Sieber’s prototype to the Munson Typewriter Company in Chicago, where superintendent T.B. Harrison and designer Samuel J. Seifried, inventor of the Munson typewriter, created six pilot models. Harrison and Seifried in seeing the great potential of this revolutionary machine, then left the Munson Typewriter Company to start their own company. They made an additional 94 machines based on the initial design for Hall. The Hall Braille-writers that followed were essentially of the same design but there were alterations to be seen, especially in the carriage construction.”
The braille typewriter manufacturer by Harrison & Seifried, c. 1892.
Previously, each was associated with the Munson Typewriter Company. On Dec. 7, 1890, the “Chicago Tribune” announced, Samuel J. Seifried, Secretary of the Munson Typewriter company, filed a certificate to record the increase of the capital stock of the company from $60,000 to $100,000” (page 6).
Harrison’s involvement with the typewriter was detailed in an 1887 newspaper article. On April 7, 1887, “Logansport Pharos Tribune” of Logansport, Indiana, reported:
“The Pharos spoke briefly the other day of the Harrison type writer being on exhibition in the city, but if failed to mention some interesting facts connected with the history of the patent. The machine is the result of the genius of Prof. T. B. Harrison, the gray-haired gentleman who gave a series of illustrated art lectures at Dolan’s opera house last year. The Professor has traveled all over the world and is a cultured and interesting talker. After leaving Logansport he went to Anderson, and while there fell in with Father Weichtman, the Catholic minister, a whole-souled gentleman who immediately took a great liking to the aged traveler. Prof. Harrison was full of his proposed type-write patent, and Rev. Weichtman immediately set to work to interest local capitalists in the device. The result was they advanced the money to secure the model and patent, and the little machine was finally built and improved, until it was brought to the point of perfection shown in this city, the model alone costing $900. We see from the Indianapolis papers that the Anderson company has been incorporated with $10,000 capital and will soon begin manufacturing Harrison’s typewriter. It can be stated in this connection that good judges in this city who examined the machine pronounce it decided improvement over other standard typewriters” (3).
Harrison continued to invest in the performing arts and established a touring company. I have yet to track down the details, but on July 7, 1892, the “Sterling Standard” the T. B. Harrison Theatrical Co. as the employer of leading man, Thomas Alexander (page 3).
In regard to Harrison’s extended family in America…his father, Benjamin, passed away on Oct. 8, 1891. Buried in Mt. Hope Maquoketa, Jackson, Iowa, he is buried next to several other family members, including his eldest son Thomas. Thomas B. Harrison passed away on August 13, 1895 in Chicago, Illinois. Newspapers reported that Harrison’s death was caused from “slight paralysis occasioned by excessive mental labor.” His noted occupation at the time was listed as “inventor.”
On Sept. 19, 1895, “The Henry County Democrat” of Clinton, Missouri (page &) reported,
“Death of Tom Harrison. Sketch of the Life of a Talented Artist and Genial Man.
The people of Clinton who learned to admire Tom Harrison, the artist, for his many genial qualities, will be pained to learn of his death in Chicago. Mr. Harrison painted the scenery for the Clinton Opera house and as a young man, of this city, Sam J. Seifried, has been his constant companion for years. The editors of the DEMOCRAT had a warm personal acquaintance with Mr. Harrison long before he came to Clinton. For many years he lived in Macomb, Ill., and every man, woman, and child in that city admired his abilities and excellent qualities of mind and heart.
While painting scenes in the Macomb Opera House, he took in a young boy to mix paints and be of general utility. That boy was Joe Sosman, now senior member of Sosman & Landis, Chicago, the leading theatrical contractors, and outfitters in America. Joe Sosman made his fortune, but he never forgot how much he owed to Tom Harrison. And during all of the ups and downs of Tom’s career, Joe was his steadfast friend. The Chicago “Inter Ocean” of Sept. 8th contains the following brief account of his life:
Thomas B. Harrison who died recently at his residence, No. 27 Pleasant street, of slight paralysis occasioned by excessive mental labor, was buried with Masonic and G. A. R. honors Friday, Aug. 30, at his former home, Maquoketa, Iowa.
He leaves a sister and half-brother, as well as an adopted son, Samuel L. Seifried, to mourn his loss.
Mr. Harrison came of an excellent English family and was distantly related to the family of that name which was so conspicuous in England and has been in the United States, two of the members having been presidents.
He was born in Hull, England, Feb. 16, 1836. His preliminary and academical education was obtained there and, in this country, though he was an essentially self-educated man, and his attainments in the arts, sciences and general literature were extraordinary. He has an immortality of fame in this connection and by virtue of his material achievements.
He came to this country in 1850, with his father’s family, which settled in Maquoketa, Iowa, where he lies beside his father.
At the outbreak of the war, he enlisted in an Iowa cavalry regiment, but after a few months’ service was discharged on account of constant illness. When restored he again enlisted in Company B., Twenty-sixth Iowa Infantry, served to the end of the war and obtained a captaincy. He saw much service and was twice severely wounded at Fort Donelson and in Arkansas, from the effects of which he never recovered. He was a true soldier and a patriot.
At the close of the war, he came to Chicago and entered upon a successful career as an artist, and at the time of the great fire he was in the front rank of his profession. He was one of the founders of the Academy of Fine Arts and one of its ablest professors. He lost largely in the fire, and instead of resuming his business he concluded to indulge he love for travel and adventure and gratify his professional instinct by a trip abroad.
Thereafter he was a constant traveler for fourteen years in most of the European countries, also visiting Egypt, the Holy Land, becoming familiar with the language, habits, and customs of many people. He could speak and write several languages. He was a contributor to magazine literature on scientific and art subjects, but always over a nom de plume, hence not known to the public directly. On his return to the country, he was engaged in various pursuits in connection with art and obtained favor as a lecturer on foreign lands.
He had decided genius as an inventor. Among the most useful of his inventions are a steam hammer, a compressed air hammer, various improvements in manufacturing machinery, a stereotype printing machine for making printing plates for the use of the blind. The latter is in use in all parts of the world. The last year of his life, while in partial retirement, was devoted largely to the inventing and perfecting of typewriter machines.”
Harrison lies in rest at Mt. Hope Cemetery in Maquoketa, Iowa, near many members of his biological family.
The grave of T. B. Harrison, scenic art instructor to Joseph S. Sosman.
After Harrison’s death in 1895, Seifried and his younger brother Ed developed the latest improved on the stereotype maker and created the Seifried Braille Shorthand Machine. In the years following Harrison’s death, Seifried continued to pop up in newspapers, here and there.
On April 25, 1897, “The Chicago Chronicle” announced the following real estate transfer “North Fifty-ninth st., 112 ½ ft. w of Wright st. s.f., 25.28×124 ½, April 22 – M. A. Trainer to S. J. Seifried” (page 21). This pinpoints a location for Seifried in the late 1890s.
In 1900, “The Clinton Eye” reflected on the town’s history, again mentioning Seifried and Harrison. On June 23, 1900, “The Clinton Eye” reported, “Sometime after T. B. Harrison, another erratic genius, came here to paint the drop-curtain for the opera house. He was an artist of rare merit. Though not learned, he was well read, cultured. He painted the curtain, taught drawing, music. Was so pleased with Clinton remained two or three years. He painted and arranged a scenic exhibition, writing the accompanying lectures, and interesting the genial Will Graham, then publishing the Advocate, the late Henry Marvin and others, put the venture on the road, with varying success. While here Harrison grew very much attached to Sammie Seifried, son of W. J. The attachment was so reciprocal that young Seifried became his protégé. They toured the continent, returning located in Chicago. The protégé proved to be a genius too, of the inventive sort, and bringing forth a typewriter of extraordinary value, and the firm Harrison & Seifried ventured into the manufacturing business, successfully. A recent production is a typewriter for use by the blind, spoken of in highest praise by the Eastern press. Harrison died a year or two since, but Sam J. Seifried revers his memory by continuing the business under his name” (page 6).
I was surprised to read about an accident involving Seifried and his sister in 1906.
On Sept. 27, 1906, the “Henry County Democrat” reported “Miss Barbara Seifried Narrowly Escapes Injury. The following from the Galesburg, Ill. Republican Register of Monday will greatly interest the many Clinton friends of Sam J. and Miss Barbara Seifried:
The second railway-automobile accident to occur I the history of Galesburg, took place Saturday night when S. J. Seifried and sister, Miss Barbara Seifried, narrowly escaped severe bodily injury at the crossing of the Knoxville road and the Peoria tracks, of the C.B.&Q., their machine being struck by a freight engine and the occupants severely shaken up. The accident occurred shortly after 7 o’clock. The machine in which the Seifrieds were riding was a light Frankly touring car and they were out for a ride to Knoxville. At the crossing of the Knoxville road and the Peoria tracks the road makes a sharp turn and crosses the tracks at a right angle.
No notice of the approach of the freight train was brought to the ears of the pair in the auto, until just as they were on the tracks when Miss Seifried noticed the engine of the train, then almost upon them. It was too late to attempt to run the car over ahead of the train and Mr. Seifried’s hastily utilized what spare moments were left in the effort to back the car clear of danger, Miss Seifried having jumped when the danger became apparent. The efforts to back the car clear of the tracks was successful and the entire front end of the machine was smashed by the pilot of the locomotive, entailing a loss of several hundred dollars.
Fortunately neither of the occupants were severely injured, although both were badly shaken up and would not care to repeat their experience. No bones were broken, Miss Seifried having sustained a sprained ankle in the jump from the car seat to the ground while the close proximity of the crash between the car and engine pilot to Mr. Seifried served to give him a severe shaking up. The nervous shock and narrow escape was unusually severe, and even as late as this morning neither of the pair had completely recovered their normal nervous state” (p. 2).
On Jan. 9, 1913 the “Henry County Democrat” of Clinton, Missouri, announced: “All persons having claims against the estate of Barbara H. Seifreid, deceased, are hereby notified to present same at once to Samuel J. Seifried, 1712 Foster Ave., Chicago, Ill.” (page 8).
Seifried passed away on Dec. 29, 1912 in Chicago, Illinois, and was buried at the Englewood Cemetery in Clinton, Missouri. He was only 45 yrs. old at the time.
“Great Loss.
Sam J. Seifried Mourned by the Blind.
The death of Samuel J. Seifried, whose funeral service was held in Clinton Thursday afternoon, will be felt with keenest sorrow in all parts of the civilized world, on account of the service his life has brought to the blind.
For many years he has devoted his energies to inventions and devices for the amelioration of the condition of the sightless. When a young man he was an intimate friend of Thomas B. Harrison, an artist well known here, and accompanied him on a journey to France. Both became much interested in the Braille system of writing for the blind, which had not made much progress in later years; and upon their return devoted much study to a plan of bringing it up to date. After Mr. Harrison’s death, the opportunity at length came to Mr. Seifried to carry out a long-cherished plan of devoting his entire time to the needs of the blind; and he added to inventive genius, a good judgement that placed the venture on a sound basis that insured its permanence. The company was incorporated and closely associated with the founder was his younger brother Ed. A practical type writing machine was invented making the Braille characters, so that books and manuscripts were easily transcribed for the use of the bind. The business so broadened so as to take care of every necessity of these afflicted ones, and it stands alone in the world today, the only one of its sort in existence. A recent triumph of his inventive genius is a stenograph or shorthand machine suited for the use of the blind; and there are stenographers and even court reporters who use these machines, indenting characters on a long tape which they can afterwards readily read and transcribe on an ordinary typewriter.
So it is that his life was one of service, too, where it was most needed. And -to-day, wherever there are those in darkness, they love this man who has gone to his reward and will long mourn him as a friend and helper.
Clinton is proud that one of her sons was permitted to achieve so much of real good in the world; and we ae also rejoiced that his work is not to stop, but will be taken up and carried on by his brother.
The funeral service was conducted at the home of his father, Wm. J. Seifried, on North Third street, on Thursday afternoon at 2 o’clock, by Rev. A. N. Lindsey, who spoke words of appreciation of the departed and comfort to the bereaved relative. The house was filled with old time friends who braved shill weather to show by their presence their friendship and extend their heartfelt.
The interment was by the Masonic fraternity, which deposited the body in mother earth with beautiful ritualism” (page 6).
On Jan. 9, 1913, “The Henry County Democrat” announced, “Ed Seifried and wife arrived last night from Chicago, to accompany the remains of the late Samuel J. Seifried” (page 3).
The story of American scenic artist and studio founder, Joseph S. Sosman, begins like many other German-Americans. “Joe” was the grandson of George Sosman (1768-1848) and Catherine Wethers (1765-1842). On July 16, 1796, George, Catherine, and their two young daughters boarded a ship in Hamburg, Germany. They arrived in Baltimore, Maryland, on October 9, 1796, and settled in Hardy County, Virginia; an area now located in West Virginia.
1794 map of Virginia.
Joe Sosman’s father, Hiram A. Sosman, was the youngest of three sons born to the couple after moving to the United States. His two older brothers were George (1797-1863) and Jacob (1800-1866).
The Sosman family moved west to Ohio in 1821. In Chillicothe, George Sosman opened a bakery on Water Street, between Paint and Walnut. His shop was located near a major shipping route. Keep in mind that the construction of the Ohio & Erie Canal occurred throughout the 1820s and 1830s. Chillicothe became a major canal port, especially for merchants, mills, and meat processors. In the midst of the town’s progress, Hiram matured to adulthood and married his first wife, Eliza Green (1804-1839). The couple was married on February 26, 1828, and soon celebrated the birth of four children: George William Sosman (1832-1832), Mary Jane Sosman (1834-1916), William M. Sosman (1836-1912), and Maria Sosman (1838-1839). Eliza and their youngest child passed away in 1839.
Hiram married his second wife, Rachel Edmonds (1817-1896), on September 20, 1841. The couple celebrated the birth of three children, with two surviving to adulthood. Their daughter, Martha M. Sosman was born in 1844. Joseph S. Sosman arrived two years later on September 12, 1846. The same year that Joe was born, artist Henry Howe created the engraving, “Chillicothe, from the hill west.” It shows a picturesque view of the small town, with Mount Logan in the distance. Here is the link to Howe’s engraving: https://www.ohiomemory.org/digital/collection/p267401coll32/id/8264
Chillicothe, Ohio, in 1846. Engraving by Henry Howe.The woods near the Mound City Group in Chillicothe, Ohio. 2020.Fall foliage near Chillicothe, Ohio. 2020.
The Sosmans prospered in Chillicothe for almost another two decades. In 1850, the Sosman Household included Hiram, Rachel, and the four children: Mary J. (15 yrs.), William M. (13 yrs.), Martha (6 yrs.) and Joe (4 yrs.) Hiram and his father, George, operated a bakery. Sadly, the building burned to the ground two years later. Their disaster was included in B. F. Sproat’s publication, “The Great Fire: Chillicothe Ohio, 1852.” Sproat wrote, “Mr. George Sosman’s bakery on West Water street was established June, 1924. His son, Frank, says that when it caught fire, his father pumped water to extinguish the flames until the pump itself caught fire” (page 17).
A map and article about the great Chillicothe fire from 1852, listing the Sosman bakery on Water Street between Paint and Walnut.The Sosman bakery was located on Water Street between Paint and Walnut. This was right next to the Scioto River in Chillicothe, Ohio.
Joe’s older brother, William M. Sosman, followed in his father’s and grandfather’s footsteps. In 1858 he worked with his father at the Union Bakery, located on the west side of Walnut Street, between Water and Second St. Two years later, William introduced the first mechanical machine to make crackers. At the peak of his success, Civil War broke out.
Coin for William M. Sosman, the Chillicothe baker, was Joe Sosman’s older brother.The reverse side of William Sosman’s coin, recently listed and sold at NGC Coin.
Hiram was one of many prominent Chillicothe citizens who took a firm against slavery and supported the Union. He helped organize the Chillicothe Association on March 21, 1863. This group organized to oppose rebel sympathizers and the Knights of the Golden Circle.
William was the first to enlist, joining the 54th Reg. Ohio Volunteers. William later served in Co. F, 63rd Ohio Vol. Infantry, His final commission was second lieutenant in the 106th regiment, U.S. colored troops. He made quite a name for himself during the Civil War, and continued to make news for his heroic feats and accomplishment throughout the remainder of his life. Joe was especially close with his older brother, evening hiring William’s son, Fred H. Sosman, in the 1890s.
Joe enlisted as a private in the Union Army on May 2, 1864, mustering with Co. C if the 149th Regiment, Ohio Infantry. Soldiers for the 149th were recruited from Ross and Clinton Counties. This regiment was one of several, established for a 100-day service in 1864. The veterans from these regiments were nicknamed “The Hundred Days Men.” Although short-term and lightly trained, these troop freed veteran units from routine duty, such as guards, laborers and rear echelon soldiers, allowing troops to advance to the front line for combat. The 149th Regiment was organized at Camp Dennison near Cincinnati, Ohio, and mustered in as an Ohio National Guard unit for 100 days of service on May 8, 1864. They were under the command of Col. Allison L. Brown.
Col. Allison L. Brown pictured in Perkin’s book.
On May 11, 1846, Sosman was transferred to Co. A of the 149th Regiment. He was transferred on the same day that the regiment left for Baltimore, Maryland. The regiment became attached to the 8th Army Corps. From various points along the eastern shore of Maryland in June, they moved to Monocacy Junction on July 4. They were involved in the Battle of Monocacy Junction on July 9, with 100 casualties. On July 13 they moved to Washington DC, then advanced to Snicker’s Gap, Virginia. On July 20, they were attached to operations in the Shenandoah Valley and saw action with Mosby at Berryville on August 13. The regiment mustered out on August 30, 1864, completing their 100 days of service. On gentlemen from Sosman’s Company A, George Perkins, wrote of their return to Chillicothe:
“A special train was furnished, cars with seats in them, and we sped homeward. When we arrived in Chillicothe we were met by a large outpouring of the citizens, who, to music furnished by the German Brass Band, escorted us up town. We marched up Main Street, and we stepped proudly, but were saddened as we passed the homes of James Ghormely and Edward Armstrong. We were coming home, but these, our friends and comrades, never returned. They starved to death in Salisbury, N.C. prison pen. The good people of Chillicothe had prepared a dinner for us in the market house, and we did justice to it. After dinner we “fell in” for the last time. Marched up Paint street and drew up in front of the Court House, where after a few remarks by the Colonel we broke ranks, each went to his home, and the 149th Regiment, Ohio Volunteer Infantry, became a memory” (page 38).
Here is a link to Perkin’s publication, “A Summer in Maryland and Virginia; or, Campaigning with the 149th Ohio volunteer infantry, a sketch of events connected with the service of the regiment in Maryland and the Shenandoah Valley, Virginia” – https://archive.org/details/summerinmaryland00perk Perkins was credited as “a member of Company A, at the earnest request of his Comrades of the Regiment,” and publication was printed in Chillicothe.
George Perkins was in the same company as Joe Sosman in 1864.
At the end of the war, Hiram relocated his family to Macomb, Illinois. Only William remained in Chillicothe, where he continued to work as a baker. Meanwhile, Hiram established another bakery in Macomb.
Little is known about Joe Sosman’s artistic studies before the war. However, there was an art supplier on Second Street in Chillicothe . J.R. Whittmore placed a series of advertisements in the “M’arthur Democrat” during the 1850s. On Dec. 6. 1855, his advertisement stated,
“Artist’s Materials of every description furnished at short orders and fair process. A large supply of paints and brushes for Portrait Landscape Painters, Toy Paints and Best Water Colors on Hand” (page 3).
If Sosman dabbled in any type of painting before the war, he likely purchased supplies from Whittmore. In Macomb, Joe was recognized as a successful artist and sign painter. Newspaper articles and advertisements track both Joe’s social interests and sign painting career between 1867-1872.
Sosman’s first business partner in Macomb was fellow Independent Order of Good Templars member John B. Russell (1847-1909). John was the eldest son of Hiram Russell (1816-1893) and Elizabeth W. Vaughan (1825-1897). Russell was previously associated with the painting firm of Hail & Russell, “practical painters and paper hangers” (The Macomb Journal, 25 Oct., 1867, page 4).
Hail & Russell advertisement from 1867.Sosman & Russell advertisement from 1868.
On Dec. 6, 1867, “The Macomb Journal” listed Jos S. Sosman as Worthy Secretary of Olive Branch Lodge, No. 165, I.O. of G.T.” (page 1).
Membership certificate for the Independent Order of Good Templars, c. 1868.
Founded in 1851, I.O. of G. T. was a temperance group, working to promote the avoidance of alcohol and other addictive substances. Other I.O. of G. T. officers in 1867 included D.M. Graves, Worth Chief Templar; S.J. Clarke Past Worthy Chief Templar; Geo. W. Hamond, Worthy Financial Secretary; Mary Hampton, Worthy Vice Treasurer; T. Bonham Worthy Chaplain; J.E. Russell, Worthy Marshal; Tillie Graves, Worthy Guard; Junior Treasurer Russell W. Sen.” In 1868, J. B. Russell was listed as the Worthy Chief Templar of Olive Branch No. 165 (The Macomb Journal, 17 April 1868, page 1). In that same issue, Russell advertised his new business venture with Sosman.
On April 17, 1868, “The Macomb Journal” reported, “Our young townsmen, Sosman and Russell, have some time since formed a partnership in the business of painting. Their shop is on south Lafayette street over McClintocks wagon shop. Those who wish any work in their line are requested to give them a call.- We hear it said that Sosman is a real fine artist, and can letter a sign equal to the best” (page 3). The accompanying J. S. Sosman & J. B. Russell advertisement included the following information:
“SOSMAN & RUSSELL,
Tender their services to the people of Macomb and surrounding country as House, Sign & Ornamental painters, paper hanger, grainers & Glaziers,
A fair share of work is respectfully solicited, Shop over McClintock’s Wagon shop, South of Square, on LaFayette st.”
Sosman & Russell continued to place advertisements in the paper later that spring and summer. I have yet to uncover how long their firm lasted, or what prompted its dissolution.
In 1870, the US Federal Census listed Sosman as a painter, still living with his father, mother, and sister. He continued to be listed as part of the Sosman household until 1880. The scope Sosman’s painting projects began continued to expand throughout the decade. On April 12, 1872, “The Macomb Journal” mentioned Sosman’s sign painting work in “Our Chatter Box” section of the newspaper: “E. H. Black, one of Macomb’s enterprising Book Store men, has treated his establishment to a new and elegant sign; of course from the brush of Joe Sossman [sic.]” (page 3). His painting works consistently made the local news, especially after finishing a new sign for the newspaper.
On June 21, 1872, Sosman placed an advertisement in The Macomb Journal (page 3):
“Stencil Outfit for Sale at a Bargain. – a complete set of Stencil and Key-Check Dies, consisting of three sets of Dies for cutting name plates, etc. – Two sets for making key and baggage checks, and material enough for making 300 name plates and a like number of key checks; also a lot of hotel room and baggage checks, inks, brushes, boxes, etc., and all tools necessary for working. Every thing complete and ready for traveling. To aa person wishing to travel in a light and profitable business, this is a rare opportunity. Tools, etc., from S. M. Spencer & Co., the best made. For particulars call on, or address, J. S. Sosman, Macomb, Ill.”
On August 29, 1872, the “Macomb Journal” reported, “That beautiful new sign, the handsomest in town, in front of the ‘Journal Office’ is the work of Joe Sosman, of whom there is not a more artistic sign painter in the west.” This was the beginning of Sosman’s intimate relationship with the press, and soon, Sosman was called upon to paint scenery at the local opera house. Sosman’s first scenic art project was at Chandler’s Opera House in Macomb.
Years later, “The Macomb Journal” remembered, “In 1873 [Sosman] was at his home in Macomb, Ill., and had partially painted the Macomb Opera House, when the owner sent to Chicago for an expert to put on the finer finishing touches” (May 26, 1886). Sosman worked as an assistant to Thomas B. Harrison. Harrison’s permanent residence was in Chicago, but like many itinerant artists at the time, he completed projects throughout the region.
Chandler’s Opera House in Macomb, Illinois.Chandler’s Opera House Block in Macomb, Illinois.Photograph of the Chandler Opera House block in Macomb, Illinois.
After the opera house opened, Harrison went on his way, and returned to sign painting. On Sept. 25, 1873, “The Macomb Journal” announced, “……..New signs have been flung out at the First National Bank, Davis’ grocery store, Philpot’s photograph rooms, and Bowles grocery store; they are artistic in design, and of course the work of that excellent artist, ‘Joe Sosman.” On Oct. 9, 1873, “The Macomb Journal” reported, “Business Directory. Macomb’s talented young artist, Joe Sosman, is engaged in getting up a business directory of our city, different from any heretofore gotten up. It will be some 18×24 inches, then center of which will contain a photograph of McDonough Court House. Around this will be grouped Business Cards. Quite a number of cards will be printed, framed and hung up in the Dept, Hotels, and other prominent places of resort in the county. As an advertising medium, it will surely pay. We bespeak him a liberal patronage among our business men”(page 2).
Sosman’s success prompted him to embark on new business ventures. On April 30, 1874, “The Macomb Journal” reported, “Our enterprising and energetic fellow townsmen, C. Hamilton and Jos. Sosman, have purchased an out-fit and will travel through the states with beautiful and instructive “Sun Picture” entertainment. They have purchased entirely new pictures, and the most powerful magnifying instrument manufactured. They intend giving an entertainment in this city next week, after which we will give them a more extended notice. In the meantime we hope that every citizen of this town will turn out to their exhibition, and give them a good ‘send off’” (page 3).
I need to clarify exactly what Sosman and Hamilton were peddling. Their sun picture entertainment is not to be confused with the photographic process of using the sun to capture and image; that practice was also referred to as “sun pictures.” On October 31, 1874, “The South Bend Tribune” advertised “A Fine Entertainment. Hamilton & Sosman will give an exhibition of colossal sun pictures, representing a tour round the world at Good’s Opera House, on next Monday night, which will be free to all” (page 4). This was a magic lantern show.
Hamilton & Sosman advertisement from South Bend in 1874.
I was curious about Sosman’s second business partner, Hamilton, so did a little digging. Charles Wilson Hamilton (1853-1901) was the son of G. W. Hamilton, a hardware merchant in nearby Prairie City, Illinois. For geographical context, Prairie City is located only 10 miles northeast of Macomb. In 1870, the US Federal Census listed Hamilton as living with his family in nearby Prairie City. Sosman and Hamilton’s business venture did not last a year. By 1875, Hamilton returned to his family home. In 1880, he was listed as Dry Goods Merchant in Prairie City, a profession he continued until his passing in 1901.
The downfall of Hamilton & Sosman in 1874 may have been competition. In 1874 there were many other sun picture entertainments, including the the Tremain Sun Picture Troupe and Leslie’s sun pictures and concert troupe. These two touring shows were much more impressive and littered regions with advertisements. From a cultural context, Sun pictures” had been popular for quite a few years by this point. Some Sun pictures blended scenic illusion with projections. On Jan. 27, 1870, “The Baltimore Sun” published an advertisement for Prof. Merchant’s Sun Pictures at the Maryland Institute (page 2). His advertisement promised, “Remarkable, exquisite, instructive and pleasing chemical dissolving diorama of cities, ruins, plains, lakes, mountains, rivers, forest and valley. Depicted with remarkable fidelity. Each picture fourteen feet square, and not hastily drawn and painted, but the combined efforts of the Best Artists in the Country. The public can form no estimate or magnitude of this singular and beautiful entertainment, unless and optical demonstration is had. Admission 25c; Reserved seats 50c. Children accompanied by parents, 15 c. Family Matinee Saturday Afternoon.”
In 1874, Hamilton & Sosmans’ sun pictures entertainment competed with Tremaine’s Colossal Sun Pictures of Travel and Art. On Nov. 4, 1874, “The Times Herald” of Port Huron, Michigan, advertised the themes for daily shows: Wednesday Evening – From New York to Jerusalem; Thursday Evening – The Splendors of Paris, the Ports of the Mediterranean and the old City of Rome; Friday Evening – “Central Europe,” Italy, Switzerland and Germany; and Saturday Evening – From Constantinople to Jerusalem – A Grand Tour through the Bible Lands (page 8). On May 7, 1874, “The Oskaloosa Herald” in Iowa reported, “The Tremaine Sun Picture Troup exhibited at City Hall some half a dozen evenings, and is highly spoken of by all who saw the exhibitions. We can recommend it to our brethren of the press” (page 2).Five years later, on May 6, 1879, “The Junction City Times” reported, “The sun picture entertainment at Centennial Hall, on Monday, Tuesday, Wednesday and Thursday evenings, next week, will be rendered by the aid of a powerful calcium light, and the views will be as plain and beautiful as the original. The entertainment will consist of views in every part of the world” (page 3). Previously, artists crossed the country with illustrated lectures featuring moving panoramas. This remained
Despite the failure of Hamilton & Sosman, Joe continued to travel. On Jan 7, 1875, “The Macomb Journal” reported, “Joe Sosman, Macomb’s artistic painter, has gone to Mount Sterling to do some fine painting on a new hall in that place” (page 4). Mount Sterling, Illinois, was approximately 40 miles due south of Macomb. 1875 seemed to be a transition point for Sosman, redirecting his focus to scenic art opportunities. His scenic art skills, acquired while assisting Harrison in 1873, became a very valuable asset on the road. Scenic art projects were considerably larger and much more lucrative than commercial signs and decorative painting.
To fully appreciate Sosman’s transition from sign painting to scenic art, I will explore the life and career of Thomas Benjamin Harrison in my next post.
This is my last Sosman & Landis employee biography – number 100!
I began this journey on March 28, 2021, with the story of Frank Landis, Perry’s younger brother and salesman for the firm. At the time, I had a few dozen names and planned to spend only a couple months researching and writing biographies. Fortunately/unfortunately, new names continued to pop up all over the place as I read newspaper articles and searched various databases. Never in a million years could I have anticipated writing one-hundred biographies over the course of twenty months.
As planned, I have a garnered a great sense of the various personalities who passed through the studio over the course of several decades.
This last employee – A. M. Paton – ties many loose ends together. I first encountered Paton in a Sosman & Landis newspaper article while researching George Wood and Lawrence Donohue. His tale really sums up the experience of so many artists who left everything familiar and settled in the United States during the 1880s. In my opinion, this particular decade was a golden era – the perfect time to begin work as a scenic artist in America. There was a greater demand for scenic illusion than scenic artists to paint it, especially in the western United States where the construction of new theaters offered endless opportunities and high profits.
Paton, like both Joseph S. Sosman and Perry Landis, also invested in a variety non-theatrical business endeavors. I have now encountered numerous artists who dabbled in newspapers and real estate. How brilliant, as good publicity and a good location remain key to the success for many artists and businessmen.
From Newcastle-on-Tyne, England, to Ulysses, Kansas, in the United States, here is Paton’s tale.
Advertisement in the Ulysses Tribune. March 14, 1888, page 1.
Alexander M. Paton was born in Edinburgh, Scotland, in 1858. He was the son of Alexander Paton Sr. (1818-1894) and Margaret Russell (1820-1891). One of ten children born to the couple, his siblings included: Jane (b. 1843), Genia (b. 1844), John (b. 1845), William (b. 1847), Elizabeth (b. 1848), Mary (b. 1849), Agnes (b. 1850), Margaret (b. 1855), Robert (b. 1860) and Richard (b. 1963). Between the births of the two youngest sons, Robert and Richard, the Paton family moved from Edinburgh, Scotland, to Berwick upon Tweed, England. Berwick is a town at the mouth of the Tweed River, approximately 56 miles southeast of Edinburgh and 65 miles north of Newcastle upon Tyne. For geographical context, the Tweed River is the demarcation line between Scotland and England along the east coast of each country.
Paton came of age working for his father in Berwick. He worked alongside his younger brother, Robert, in their father’s bookstore. A. Paton & Sons, bookseller, was located at 51 High Street in Berwick-on-Tweed in England. The 1879 Post Office Directory of Durham and Northumberland listed Alex Paton as a stationer in on High St., Berwick-on-Tweed, with the Trade Section of the Directory listing Paton as a bookseller – A. Paton, High St., Berwick-upon-Tweed. Berwick’s town center is Mary Gate and High Street, placing the Paton’s in the center of town.
The 1881 England Census listed the Paton family living at 49 Mary Gate, listing Alexander Paton Sr. as a bookseller and printer. The occupations of his three sons were as follows: Alexander Paton Jr. (23 yrs., bookseller), Robert R. Paton (20 yrs., printer and compositor), Richard Paton (18 yrs., chemist and druggist). Other members of the household at the time included Alexander M. Paton Sr. (62 yrs., bookseller and printer) and Margaret R. Paton (25 yrs., housekeeper).
Sometime in 1886, or early in 1887, Alex Paton Jr. began reading the “Grant County Register,” published in Ulysses, Kansas. Possibly sent by a friend, this newspaper was first published on July 21, 1885, for a town of approximately 500 settlers. At the time, A. Bennett was the editor and proprietor, with Charles D. Majors as the general manager. Grant County’s “Register” began as an eight-page folio, with the first number printed in Lakin, Kansas; the printing press was late upon its arrival to Ulysses. For geographical context, Ulysses is located in southwestern Kansas, about halfway between Wichita, Kansas. and Pueblo, Colorado; 45 miles southwest of Garden City, Kansas.
Map showing the Kansas towns of Ulysses and Surprise in Grant County, 1887.An early photograph of Ulysses, Kansas.
On June 1, 1887, the “Ulysses Tribune” reported, “A. M. Paton of Newcastle-on-Tyne, England, arrived in New York on the 23d ult., and is now located in Ulysses. He is an old friend of Harry King and T. D. Hind, who were glad to greet him.” Both Harry King (1858-1946) and Thomas D. Hind (1848-1940) were fellow Englishman. Hind moved with his family from England to Illinois in 1877, continuing west to settle in Kansas by 1878. King also emigrated with his family to the United States (by way of Canada) in the 1870s, settling in Kansas and starting a family by 1880.
On June 4, 1887, the “Grant Country Register” also announced Paton’s arrival (page 5). The article detailed, “A.M. Paton arrived Monday from Newcastle on Tyne, England, and is the guest of his old friends, Mr. and Mrs. T. D. Hind, of Riverside hotel. This is Mr. Paton’s first introduction to America, and he says it suits his taste better than old England. He read the Register across the waters, and the contents of the paper induced him to make the voyage. He was disappointed at every city he visited in Kansas except Ulysses, which agreeably surprised him. Mr. Paton will make this city his future home.”
Thomas D. Hind was part of the Kansas, Land, Loan, Irrigation & Investment Co. of Hutchinson County, Kansas.
One of many advertisements placed by Hind in newspapers during 1886.
Hind was named in advertisements in 1886 attempting to entice settlers to Surprise, Kansas promising, “the benefit of good schools, churches and the best of society” (The Surprise Post, 6 July 1886, page 8). Surprise was purportedly located twenty miles due south of Hartland. In 1886, Hind not only was an official agent for the Surprise Town Company, but also was proprietor for The Prairie Queen hotel there.
Hind’s ads in “The Surprise Post” stated:
“T. D. Hind,
Agent for the Surprise Town Company,
Is empowered to offer special inducements to investors. The lots have been placed at low prices, in order to build up the town and make money for the purchasers. Come early and secure choice lots in one of the most promising towns in Southwest Kansas. Correspondence solicited. Address T. D. Hind, Surprise, Hamilton County, Kansas.” (The Surprise Post, 10 June 1886, page 8).
Although Hind initially promoted the new town of Surprise, Kansas, he soon set his sights on Ulysses, Kansas. Ulysses is located approximately 14 miles south of Surprise
On Oct. 30, 1886, the “Grant County Register” announced, “T. D. Hind, formerly town agent of the Surprise Town Co. and landlord of the Prairie Queen hotel at Surprise, has rented and taken personal charge of the Riverside hotel, Ulysses, which he is giving a thorough renovation. Mr. Hind is an experienced hotel man and will run the Riverside in a creditable manner. The table is first class” (page 1).
One of Hind’s Riverside Hotel advertisements in the “Ulysses Tribune,” 1887.Hind remodeled the Riverside Hotel during the summer of 1887.A. M. Paton stayed at the Riverside Hotel as a guest of Thomas D. Hind upon his arrival to America in 1887.
Interestingly, Hind was not always popular with everyone.
I am including a few more articles about Hind to “set the stage” for Paton’s arrival in 1887. On Nov. 19, 1886, the “Garden City Daily Herald” included an article entitled “Pistol Practice” about Hind reporting:
“A shooting scrape occurred at Ulysses Wednesday between T. D. Hind and A. D. Hunt which came very near to resulting in the fatality as to the latter party. Hunt followed Hind into the post office and commenced abusing and applying all sorts of offensive ephithels to him when Hind pulled out his revolver and fired five bullets at him. The first two shots went into the ceiling, but the third and fourth shot struck Hunt in the right side, just under the arm, the bullet coming out of the back under the shoulder blade. Mr. Kiarney stepped in about this time and caught Hind, but was unable to control him until he had emptied his revolver. None of the shots, however, took effect. The shooting caused intense excitement. Hind was arrested by the constable, Daniel Springer, and was bound over to appear at the district court in the sum of five hundred dollars. At last accounts he had not succeeded in securing bonds and will probably have to go to jail. Mr. Hind has a wife and two children and is running the hotel at Ulysses. We are informed that he has but few friends in the community. It is thought that with good care Mr. Hunt will recover, although his wound is very painful and only missed the heart a few inches” (page 1).
On Feb 12, 1887, the “Grant County Register” reported, “We were glad to see T. D. Hind return to Ulysses Sunday. Mr. Hind was bailed out by the Ulysses Town Company” (page 8).
In the spring of 1887, Hind was living at his Riverside Hotel, but began to expand his real estate acquisitions. On April 16, 1887, the “Grant County Register” reported, “Joseph Bittiker’s house has been rented by T. D. Hind, of the Riverside, who will use it for sleeping accommodations for his numerous guests” (page 5).
Although Hind lived at the Riverside hotel, he was building a large home on the outskirts of town. During construction, his wife and children lived in a “shanty” at his land claim. On April 20, 1887, “The Garden City Sentinel” provided a little glimpse into Hind’s shanty (page 3):
“T. D. Hind went out to his claim with a covered hack to bring his family into town, and on arrival at the shanty he found his wife and children in a sad predicament owning to the water running into the house. The house is five feet in the ground. It was not made waterproof. Mr. Hind is building a fine residence on the southeast corner of the claim, in full view of Ulysses, Cincinnati and Surprise.”
A few months later, Paton was Hind’s guest at the Riverside Hotel. After deciding to stay in the area, Paton placed an advertisement for work in the “Ulysses Tribune.”On June 11, 1887, Paton’s advertisement listed that he was a “sign painter, decorator, and artist in oil colors [who] undertakes all kinds of work in this line. For moderate estimates apply at the Riverside Hotel.” His advertisement was also mentioned on the front page: “Read the advertisement of A. M. Patron, artist, in this issue.” There are a few things to consider. The first is that when Paton arrived in Ulysses (at the age of 29), he advertised himself as a painter. I highly doubt that he embarked on an entirely new career at this time. In other words, his advertisements as an easel artist, sign painter and decorative painter suggest some training and past experience in England.
On July 23, 1887, the “Grant County Register” reported, “Mr. A. M. Paton, who lately arrived in Ulysses from England, is in receipt of several letters from his father, who cannot for the life of him, in merry England, conceive how a habitable house can be built here for ten pounds. To give Mr. Paton’s inquiries, his surmises and doubts, would fill an interesting column. We ask him to address a letter to the Register.” This was the same paper that Paton first read in England, likely the same newspaper that was still being sent to his father’s bookstore. It indicates that his family knew where he was and stayed in contact.
Nineteenth-century photograph of frame houses in Ulysses, Kansas.
Some of Paton’s earliest painting projects in the area were contracted by Hind. On June 15, 1887, the “Garden City Sentinel” reported, “A. M. Paton, a new arrival in Ulysses, from England, has a painted picture of the Riverside hotel and is at present engaged on one of Dr. C. B. Core’s new residences. Mr. Paton will also paint the signs for the new Edwards hotel.” Hind also owned and managed the Edwards hotel in Ulysses. He remained associated with the property until the fall of 1887, when “The Grant County Register” reported, “T. D. Hind has withdrawn from the management of the Hotel Edwards, his successor being G. S. Hoffecker.”
Paton’s name continued to appear in local newspapers, providing insight into not only his past life, but also his current activities in Kansas. On October 12, 1887, the “Ulysses Tribune” reported, “At the literary Wednesday evening, Mr. A. M. Paton read ‘Tam O’Shante’s Tale’ in the Scotch dialect. Mr. Paton is a native of Edinburg, and his rendition of this popular poem was easy and natural and the dialect perfect.” Here is a link to “Tam o’Shanter” by Robert Burns: https://www.scottishpoetrylibrary.org.uk/poem/tam-o-shanter-tale/
By the fall of 1887, Paton began to diversify his employment and investments in the region. On Nov. 9, 1887, the “Ulysses Tribune” announced, “Mr. A. M. Paton has accepted a position with this paper in the capacity of business manager, and will lend his time and labors toward increasing the patronage and circulation of the Tribune.” This was only six months after the newspaper was founded by George W. Perry, providing Paton with a wonderful opportunity to promote both himself and his various activities.
A, M, Paton listed as the business manager for the Ulysses Tribune in 1888.
In addition to the newspaper position, Paton began investing in local business enterprises. On Dec. 21, 1887, the “Ulysses Tribune” reported, “A. M. Paton and Wm. Brown will erect a building on Central Avenue to be used as a barber shop and bathroom. Work is to be commenced at once.” The bathhouse opened, listing Paton as the sole proprietor. He placed a series of advertisements in the “Ulysses Tribune” for several weeks.
An advertisement placed by A. M. Paton for his bathhouse in Ulysses, Kansas.
By the beginning of 1888, Paton began to travel throughout the region. On Jan. 21, 1888, the “Garden City Register” announced, “H. G. King, A.M. Paton and W.B. Rorick were in Garden City this week” (page 5). All the while, he continued to paint. On March 7, 1888, the “Ulysses Tribune” announced, “A. M. Paton has painted a very handsome sign for H. G. King’s real estate office” (page 1). By this time, Paton, King, and Hind were all investing in land. In the end, however, they failed to pay the necessary taxes and were subsequently listed as delinquent tax payers. This prompted a swift relocation for all parties involved.
By the fall of 1888, Hind and Paton had left town. In October, Paton put his house up for sale and moved west to Kansas City, Missouri. He placed advertisements for his frame house, measuring 12×16, in the “Ulysses Tribune”. The advertisement listed – “House for sale. A 12×16 frame house for sale belonging to A.M. Paton. House now located at the east end of Prospect Avenue, Ulysses. Will be sold cheap for cash. Apply at this office.”
Similarly, Hind moved from Ulysses to Hutchinson, Kansas. On Nov. 23, 1888, “The Larned Eagle-Optic” reported, “Mr. T. D. Hind, of Hutchinson, a professional dresser and trimmer, who learned the business in London, England, and subsequently followed it to New York and Philadelphia, spent last week in this city dressing the show windows and decorating the interior of the Boston Store, and completed the work in genuine metropolitan style, displaying rare genius in the artistic arrangement of draperies and the harmonious blending of colors. The Boston Store in consequence presents a most beautiful and attractive appearance, equal to anything that can be found in our largest cities. Mr. Hind, we are informed, will pay this city another visit shortly before Christmas and dress the Boston Store in its holiday attire” (page 3). There is absolutely no mention of his stay in Surprise, Ulysses, or any past land investments.
As for Paton, by the spring of 1889 he was living Kansas City, Missouri. Paton was listed in the City Directory as working at 124 Commercial block, and rooming at 717 Penn. He continued to take out advertisements, marketing himself as a Scottish artist.
On April 7, 1889, he advertised in the “Kansas City Times”:
“Personal – Alec Paton, artist, from Edinburgh, Scotland, gives lessons in oil painting morning or evening, 50 cents per lesson. Visitors are invited to the studio. Room 124, 1108 Main st.” For geographical context of the location, the W. W. Findlay art store was located a few doors away at 1112 Main. Findlay ran a well-known establishment, originally founded in 1870.
Advertisement in the Kansas City Directory for W. W. Findlay.
Paton continued to run advertisements that spring, each with a little variation:
April 16, 1889, “Kansas City Times” – “Aleck Paton, artist, teaches drawing and oil painting in a few lessons; 50 cents a per lesson, room 124, 1108 Main.”
May 15, 1889, “Kansas City Star” – “Aleck Paton, artist, gives lessons in painting daily; pupils always successful; exhibition of work shortly; visitors invited. Studio 1108 Main st.”
May 18, 1889, “Kansas City Star” – “Enlarge your own photographs life size – Crayon, pastel or oil portraiture taught in 5 lessons: proficiency guaranteed. Paton, artist, 1108 Main st.”
May 31, 1889, “Kansas City Star” – “A. Paton, artist, gives lessons daily in drawing, painting and art decorating; 3 hour lesson 50c; materials provided. Studio 1108 Main st.”
Paton did not remain in Kansas City for long, and moved to St. Louis, Missouri by the fall of 1889. Paton traveled quite a bit during his time, advertising in many other newspapers across the country, including the “Tarborough Southerner” in North Carolina, always listing his home residence as 1114 Olive Street.
Advertisement by A. M. Paton in 1891.
In addition to offering art lessons, Paton began advertising “crayon portraits,” rapid sketches in pencil or charcoal. Paton’s new home and studio was located at 1114 Olive. He advertised in both St. Louis and St. Joseph newspapers. On March 16, 1890, the “St. Louis Globe-Democrat,” mentioned A. M. Paton performing as “the crayon artist” as part of the Arcade Club Entertainment at West St. Louis Turner Hall, located on the corner of Beaumont and Morgan streets (page 8). Paton’s artistic performance was listed alongside musical entertainment for the evening. His title as “crayon artist” changed to “lighting artist” the next month. On August 6, 1890, the “St. Joseph Herald,” listed Mr. A. M. Paton as a “Lightning Sketch Artist” who was part of Ideal Mandolin Club Plays program (page 7). Lightning artists were very popular at the time, recognized as stage performers who entertained crowds with quick sketches. Their performance often includes narrations by the artist and funny tales, while drawing, painting, or sculpting clay.
It was likely his Lightning artist act that brought him into contact with P. J. Toomey of Noxon & Toomey, St. Louis. Paton soon began representing the firm as a scenic artist and decorator. On April 6, 1891, “The Kearney Hub” reported, “Decorators Here. The opera house decorators did not arrive Friday as expected, but are here now. A. M. Paton, representing Noxon & Toomey, scenic artists, of St. Louis, and Messrs. Parquette and Coldewe arrived last night, The latter gentlemen were melting glue and grinding colors to-day, and to-morrow will begin the work on the ceiling. The foreman will be here ton-night” (page 3). He returned with Toomey for opening night at the Opera House and was again mentioned in “The Kearney Daily Hub” on May 2, 1891 (page 1): “In the other box of the second tier were seated P. J. Toomey, of Noxon & Toomey, the scenic artists, A. M. Paton, their representative here, and Miss Helen Harney.”
Interior of the Kearney Opera House on opening night, 1891.
This is quite significant and indicates the value that Toomey placed on Paton’s work. It is unusual for a studio owner to very publicly attend an event with an employee unless that individual is a great asset to the firm. By 1901, Paton is still working with Toomey, listed as the Secretary of the Toomey & Volland Co. However, Paton’s employment as a scenic artist in America tales many twists and turns before that.
In 1892, Paton partners with another artist named Keller to establish Keller and Paton. The two place the following advertisement in the “St. Louis Globe-Democrat” on July 10, 1892 (page 20): “Keller & Paton, artists, studio, 307 Hagen Opera House, Specialty – Fine Portraits; inspection invited.”
There were quite a few Midwestern artists who shared he last name of Keller. However, the likeliest candidate seems to be Jacob Keller, a German-born artist who worked in St. Louis from 1880-1915. In 1880, Keller was listed as a fresco artist in the St. Louis Directory. He remained in St. Louis, working as an artist until his passing in 1915. Both of Keller’s son’s, Arthur and George, followed in their father’s footsteps and were listed as “sign writers” in the 1900 US Federal Census. In 1892, Jacob Keller was 45 years old, and Alexander Paton was 34 yrs. old.
A month later, the “St. Louis Globe-Democrat” mentioned Keller and Paton transparency paintings in an article entitled “Panorama of Light” –
“The illumination test last night was a magnificent success, and the down-town thorough-fares looked like street of Candy Town in Fairyland. Thousands upon thousands of many-colored globes shed their mellow lines upon the enchanted crowds that thronged to see them; electric lights almost without number flashed in gorgeous festoons from every meeting of the vast network of wires on Broadway, Twelfth and Olive streets, Washington and Franklin avenues; and dozens of colossal set pieces told in pictures of flame the story of the nation’s discovery, growth and prosperity. The beauty and colossal proportions of the display outrivaled anything ever before attempted in the world. For without electricity competition would be in vain; and the present is the most costly and extensive electric illumination ever contracted for.
The ‘test’ display of last night was begun a few moments before 7 o’clock and lasted until 8:30. The arches, gas and electric, on Broadway, Olive street, Washington and Franklin avenues were first turned on, making the several streets light as noon. The green arch of the Presidents on Broadway, between Pine and Chestnut, the transparency of the sailing and landing of Columbus on Broadway and Locust street and the accurate likeness of Washington at Broadway and the avenue of his name all inspired unbounded admiration. The Columbus portrait at Thirteenth and Olive streets looked natural as life. The painting of the transparencies was executed by Keller and Paton, and are really admirable from an artistic stand-point. The greatest terrestrial globe at Broadway and Olive was somewhat tardy in lighting up, but at 7:45 it began to whirl on its axis, and the oceans, islands and continents, sprung out in bold relief. The globe is the Kohinoor of the illumination. The Santa Maria arch at Twelfth and Market streets, vying for supremacy with the great globe in point of beauty, created a decided sensation when finally lit. The quaint old-style ship, riding over gloriously tinted waves- and waves. Too, that seemed to swell and heave in brisk gale – was a sight certainly unique. The statue of Liberty in a new dress of bronze lifted her blazing beacon to the world as patiently and proudly as during the last year.
“Owing to the fact that the final touches had not been put on the star of the Western World set piece at St. Charles and Twelfth streets and the Grants flags, these two prominent designs were not illuminated. The electric power was found to be more than enough on the ‘Globe’ at Broadway and Olive, many of the small incandescent burning out completely and a large rent being made in the surface of the miniature earth. When the grand affair began to hiss and sputter threateningly the big jam at the intersection of the streets below resolved itself into a panic-stricken mob. The wife of a real estate man fainted and fell to the pavement. But for the timely assistance of Officer N. C. Vaugn the lady would have been trampled to death by the throng. She was revived at a drug store and was none the worse for the experience. Two little boys were knocked down by horses on Twelfth street, near Olive, but neither were injured on account of the slowness of the beasts.
“It is estimated that fully 80,000 people were on the streets last night. Nothing like the throng has been seen since last year’s Veiled Prophet’s parade, and it is doubtful if the thoroughfares were more ‘jammed’ then. The next illumination will be given on September 1.
“The illumination was the occasion of a large number of visitors to the new Globe-Democrat building, while waiting the grand display of electric lights and gas-jets, took advantage of the opportunity to inspect the largest and most perfect newspaper establishment in the world. They were shown through the mammoth building and viewed with interest the complicated machinery and latest appliances of modern invention to be found in an office building, as well as the intricacies of the interior workings of a great newspaper” (August 16, 1892, page 12).
In St. Louis, Paton purchased a home. On Jan. 17, 1893, He was listed in “St. Louis Globe-Democrat” when he purchased a home from the Tuxedo Park Land improvement Company for $500 (page 5). With a St. Louis home, Paton became subject for other civil duties in the cities, including jury duty. In the end, he was excused as he was not a US citizen. The article “St. Louis Post-Dispatch” from April 24 announced, “Are Not Citizens.” The article continued, Alexander M. Paton, an artist living at 10 South Sixth Street, and John T. Mooney, clerk at Scruggs, Vandervoort & Barney’s, residing at 2215 Sidney street were summoned to act as jurors in the Criminal Court this morning, but were excused on the ground that they were not citizens of the United States.”
Article announcing Paton’s excuse from jury duty on the grounds of non-citizenship statues, 1893,
He continued to work as an artist, and became secretary of the St. Louis Sketch Club (18 Feb 1896, St. Louis Globe-Democrat, page 4). Paton continued performing on the stage too. A very interesting article about his sculpture work made newspapers across the country. On Dec. 11, the “Albany Democrat” in Oregon described Paton’s latest performance:
“We hear a great deal about mud slinging during a political campaign. The St. Louis Republic tells of a case of genuine mud slinging that is very interesting and beats politics at every corner. At am entertainment the unique feature of the program was a surprise sprang by Mr. A. M. Paton, the well-known artist. He was down on the program for lightning sketch and modeling, and after the usual display of rapid picture making he had his assistant bearing forward a table covered with about 50 balls of mud. Standing in front of the platform he began throwing the balls at the surface of his modeling board, and before the audience quite understood the meaning of the queer proceeding, he had shaped the conglomerate mass of clay into the shape and features of a human head and face. With a few rapid strokes of his deft fingers a wrinkled face appeared, with hollow cheeks and sunken eyes of old age, the sweep of a comb, and a matted beard and mustache was there on an aged face, leering from the board. The artist was greeted by surprise applause, and without removing the clay changed the plastic mass, into the typical faces of all the races of men. The Scotman, Irishman, negro, Englishman and Chinaman, gave way to the American Indian, and them to the well-known face of Uncle Same. The face presented was the common in the end to all, the grinning skull.”
Paton continued to return to England and appears on the Outward passenger lists from the UK and Ireland on Jan. 5, 1901; sailing on the Umbria. Paton continued to live and work in St. Louis where he remained associate with P. J. Toomey’s scenic studio. Remember that in 1891 he represented Noxon & Toomey.
On May 10, 1901, Paton was working for Toomey & Volland at the Stone City Opera House in Bedford, Indiana. On May 10, 1901, “The Bedford Weekly Mail” reported, “Mr. A. M. Paton, Secretary of the Toomey and Volland Scenic Co., of St. Louis, has for several days been placing the scenery upon the stage of the new Stone City opera House, for its approaching opening and future mission. By courtesy of Mr. Paton we were permitted to view the splendid array of scenery, and were lead into a full detail of its arrangement, which owing to the complete and modern construction of the house, the gentlemen claim, will make a most satisfactory showing when completed – which we were informed will be about the last of this week – will constitute one of the most elegant and perfect working stages in Indiana.
“The Toomey and Volland Scenic Co., of St. Louis, enjoys the distinction of being the first in scenic art and stage equipment, and the management of the new Stone City has been very fortunate in securing work of their execution, and their personal services in dressing the stage.”
There is a little backstory that will provide context for Paton’s work at Noxon & Toomey and Toomey & Volland in St. Louis. All of the players really shape Paton’s scenic art experience. Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He apprenticed himself to Thomas C. Noxon at Deagle’s Varieties. The two established Noxon & Toomey in 1869, with Ernest Albert joining them in 1881 to form Noxon, Albert & Toomey. Although it was a short-lived firm, it shows indicates the high quality of scenic artists passing through the studio doors at the time. At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14).
Studio stencil for Toomey & Volland.
Noxon passed away in 1898, but the firm of Noxon & Toomey continued for the next threeytears. In 1901 the name changed to Toomey & Volland, reflecting the new second partner, Hugo R. Volland. Volland rose through the ranks in a similar fashion to Thomas G. Moses at Sosman & Landis. Both Moses and Volland eventually took over the running of each firm. Toomey was a close friend of Thomas G. Moses of Sosman & Landis. Prior to the death of Toomey in 1922, the two studios shared both projects and artists over the years. So, when Paton begins working for Noxon & Toomey in 1891, it is under the leadership of senior partner Noxon. Toomey was the junior partner who frequently traveled for the firm, hence why he attended the 1891 opening of the Kearney opera house with Paton. Noxon & Toomey become Toomey & Volland after Noxon’s passing in 1898, but it takes a few years. At this point, Toomey becomes the senior partner, and Volland is the junior partner. The dynamic of the studio shifts. After Toomey’s passing, Toomey & Volland is immediately renamed Volland Scenic Studio.
Portrait of PO. J. Toomey from 1896.
The studio’s namesake, Hugo R. Volland, was born on May 6, 1866 in Großenbach, Germany. He was first listed as a St. Louis resident in 1888, living with his brother Otto Volland, and advertising as a painter. He first worked for Noxon & Toomey as a scenic artist and later secretary for the firm by 1892. By 1901 be was listed as vice-president of Toomey & Volland, with Paton stepping in as Secretary for the firm.
Volland Studio Stencil.
In regard to scenic projects that occurred during Paton’s time at both Noxon & Toomey and Toomey & Volland, it greatly varied as in many studios at the time. However, Toomey was best known for his electrical floats, and excelled in this line for over 25 years, placing his studio staff at the forefront of many projects. Paton likely gained much of his electrical knowledge from Toomey in the 1890-1891. This was immediately before he partnered with Keller on the Panorama of Light project in 1892.
In 1902, Paton briefly works with Sosman & Landis on a project in Bowling Green, Ohio. Although the newspaper misprints the initials of his first name, this is the same guy. On August 6, 1902, “The Daily Sentinel-Tribune” of Bowling Green, Ohio, reported, “F. A. Paton, representing the Sosman & Landis company, scenic artists of Chicago, was here yesterday making arrangements for the scene and curtain painting for the new Chidester theatre. The work will be handsome and attractive when done.” (page 5). The venue opened Dec. 19, 1902.
Sosman & Landis studio project pictured in the “Chicago Tribune, 2 Feb 1902.Sosman & Landis catalogue, 1894.
In 1904, Paton again relocates his home and business, heading west with many other scenic artists who recognize the untapped potential of the West Coast. In addition to an abundance of work, California’s temperate climate was ideal. Many Chicago scenic artists moved to the west coast, after apprenticing in Chicago. On Nov. 27, 1904, Paton sells his Tuxedo Park home at a loss, receiving $100 less than he originally paid for it (St. Louis Globe-Democrat, page 32). He journeys we where he purchases several properties from the Jacob Heyman Co. in San Francisco (San Francisco Chronicle and San Francisco Examiner real estate transactions, July 1905). He also buys property in Los Angeles from H. W. Wilson (Los Angeles Herald, 4 Nov. 1905, page 7).
Paton is listed in both the 1905 San Francisco Directory and the 1906 Fresno Directory, working as a scenic artist and living at 609 Jones. Other scenic artists listed in these two directories included:
Barr, A. L., 426 Eddy
Bell, George R., 660 Castro
Brooks, Joseph M., 361 Geary
Cutler, Frank E., 522 Van Ness Av.
Duran, Edward C., 8 Gough
Dye, Clarkson, 1418 California
Englander, Edward, 536 O’Farrell
Engwer, Charles F. 1117a Filbert
Fest, Oscar L., 1616 Turk
Grabach, Charles, 631 O’Farrell
Porter, W. T., 507 Mason
Rose, Charles F., 1117 Filbert
Sheppard, Arthur F., 676 Hayes
Williams, Edward S. 1281 O’Farrell
By 1910, Paton was listed in the San Diego Directory as a scenic artist at the Garrick Theatre, 1614 Front Street. The Federal Census confirmed Patron’s employment as a scenic artist, working on his “Own Account.” At the time, Paton was living as a boarder at 1614 Front in San Diego. He was boarding with a 40-yrs.-old widow, Maude M. Kelly, and her two teenage sons, John R. Kelly (son, 18), and James H. Kelly (son, 16). The census report listed Paton’s date of immigration as 1890, and that he was a naturalized citizen.
During the fall of 1910, Paton sold his Los Angeles property at the northwest corner of W 10th and Fedora Street. In the real estate transaction listing, he again listed his business residence as the Garrick Theatre in San Diego. Between 1911 and 1912, Paton also sold several of his San Francisco properties. This was likely to finance a new business venture with stage carpenter Thomas B. Wylie. The two established Paton & Wylie scenic studio in 1911. The 1911 San Diego Directory listed that the Paton & Wylie (AM Paton and TB Wylie) was located at 203 5th. In 1912, Wylie was listed as the stage carpenter for the Isis Theatre in San Diego, living at 1329 8th.
This partnership did not last for long. In 1912 Paton was listed solely as a scenic artist at the San Diego’s Savoy Theatre, living at 1431 First. He continued to reside at the same addressfor the next few years. By 1913, Paton partnered with fellow scenic artist, Frederick Rickeman (1874-1951) to form Paton & Rickeman. At the time, Rickeman was living in the Point Loma neighborhood of San Diego. In 1914, Paton & Rickeman, listing their studio as the Empress Theatre. Rickeman was listed in the 1915 San Diego Directory as living at 715 10th. By 1916, Paton & Rickeman listed Spreckels Theatre as their new business address. Interestingly, Spreckels Theatre was constructed in 1912 to commemorate the opening of the Panama Canal.
Rickeman was the son of German immigrants who had moved to California by 1911. Born in Phillipsburg, New Jersey on July 29, 1874, Rickeman worked as a scenic artist all over the country before heading west. His US Passport applications from 1890 and 1900 describe him as 5’-8” tall, with blond hair, blue eyes, Roman nose, round chin, oval face, fair complexion, and a moustache. A trip to France in 1903 resulted in marriage to his first wife Gabrielle. The two returned to the United States were Rickeman worked in New York as a decorator by 1905. In 1918, Rickeman married in second wife, Eva Minosa Forneri (b. 1890 in Minneapolis, Minnesota). The Rickeman’s celebrated the birth of two sons, David E. (b.1919, Indiana) and Donald J. (b. 1929, San Diego). After ending his partnership with Paton, Rickeman moved to LA where he continued to work as a scenic artist. At the time of his passing in 1951, Rickeman’s obituary identified him as a “film studio scenic artist.”
Paton remained in San Diego for the remainder of his life, continuing to work as a scenic artist on various projects. Unfortunately, Paton’s projects seem to dwindle in the post WWI years. The last mention of his work that I have located to date is from 1924; this is just one year before his passing. On Feb, 22, 1924, the “Weekly Times-Advocate” announced that Paton was one of two scenic artists working on the Escondido Fruit exhibit for San Diego County at the National Orange Show in San Bernardino, California. The article reported, “A. M. Paton and E. E. Knight, San Diego artists, were put in charge of the construction, and the exhibit was built there and taken in sections to San Bernardino, where the finishing touches were applied by Mr. McLean, Mr. Knight, and M. E. Salsberry, horticultural inspector at Escondido, who had charge of the mechanical end. C. E. Bell, assistant manager of the San Diego-California club, is now at the orange show, distributing San Diego literature and ‘selling’ the city and county to interested inquirers” (page 2).
Paton died the following spring on April 28, 1925. I have yet to locate any obituary or gravestone.
The biography for Lawrence Edward Donohue (professional name L. E. Donigan) is connected to Sosman & Landis employee No. 98, George Pat Wood. They were relatives.
Wood’s mother was Bridget “Della” Donohue/Donigan, the sister of scenic artist Lawrence E. Donohue/Donigan. Both Donohue and Wood worked as scenic artists in St. Louis and Chicago, as well as many other cities across the country. In 1913 they were associated with Sosman & Landis, painting stock scenery together for the Empress Theatre in Des Moines, Iowa.
Postcard of the Empress Theatre in Des Moines, Iowa.
I have been unsuccessful in my attempt to track down Donohue’s early theatrical career in either the 1870s or 1880s. This is not unusual if he were working as a scenic artist assistant or at a scenic studio during this time. Such is the case for many itinerant scenic artists who went from town to town looking for work. For example, when Sosman and Landis began their partnership in the mid-1870s, the continually traveled before selecting a permanent residence.
By 1890, Lawrence E. Donigan changed his name to Laurence E. Donohue. He was listed in the 1890 and 1891 Chicago Directories as an artist, residing at 20 Gurley. He remained in the region for the next few years, marrying Chicago-native Mary Muir Dinnervell on June 25, 1894. Interestingly, Mary’s maiden name also varied from Dinnervell to Drimervell, Dennerwell, and Dinnerville. The surnames were certainly a challenge this time! Their wedding announcement was published in Chicago’s “Inter Ocean” on June 26, 1894 (page 8).
Shortly after marrying, the couple relocated to St. Louis, Missouri and celebrated the birth of Lawrence Edward Donohue Jr. (May 1895). At the time, the small family was living at 1302 Sidney St. Lawrence. Lawrence was listed as an artist in the St. Louis City Directory in 1895 and 1897. The following year he celebrated the birth of a second son, James P. Donohue. Their stay in St. Louis was short-lived and the small family soon returned north.
By 1899, the Donohues were back in Chicago where their third son, Walter J. Donohue, was born. The couple celebrated the birth of at least two more children over the next several years. Mildred Donohue was born in 1901, with Mary Florence Donohue following in 1906. It is likely that more children were born, but did not survive infancy.
By 1900 the Donohue residence was located at 20 Vernon Park, Chicago; they would remain at this location until the 1930s.
It was also at the onset of the twentieth century that Lawrence E. Donohue changed his professional name to Lawrence E. Donigan. I have yet to find any official records which explains why census reports consistently listed Donohue or Donahue, but all newspaper references listed L. E. Donigan; they were the same person. Even his death certificate lists both names, suggesting that Donigan was simply an alias for work.
Lawrence E. Donigan continued to work as an itinerant scenic artist, traveling across the country for work. He was listed as the scenic artist for the Grand Opera House in Memphis Tennessee, during 1900. For a year, he was even listed in the Memphis Directory, rooming at 441 ½ Main. Scenic artists frequently listed themselves in local directories, despite having a permanent residence and family in another city. The key is “rooming, “boarding,” or just listing the address of a theater. This was to ensure that they were able to receive mail during extended absences from their permanent residence.
By 1902, he was working at the Academy of Music in Chicago, placing an advertisement in the “Chicago Tribune” on July 20, 1902: “WANTED FRESCO PAINTER: Must draw and paint ornaments. Academy of Music. L. E. Donigan.” This also foreshadows his transition to the decorative arts during the Great Depression.
Want Ad in the Chicago Tribune from July 20, 1902.
In Chicago, Lawrence also began working at Sosman & Landis, later securing a position for his nephew, George Pat Wood. Wood likely started with the firm about the same time as John Hanny and Art Oberbeck, c. 1905-1907.
Donohue continued to work for the Chicago-based firm under his professional name, L. E. Donigan. On July 8, 1913, both Donigan and Wood were mentioned in the “Des Moines Tribune” while working at the Empress Theatre in Des Moines, Iowa. The article reported, “…the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
Over the years, the Donohue family remained at their house on Vernon Park Place in Chicago, although the renumbering of streets shifted their house number from 20 to 857. Donohue/Donigan continued to work as a scenic artist until the 1920s, eventually drifting toward the decorative arts. The last mention that I have located of Lawrence’s scenic art work is in 1922. That year Lawrence E. Donigan was credited with painting the scenery for the Oliver Player’s production of “The Barrier,” an adventure melodrama. On April 29, 1922, “The South Bend Tribune,” reported, “L. E. Donigan, scenic artist for the Oliver Players, has endeavored to reproduce the actual atmosphere of the mining country with the aid of Mr. Burham, who has himself sent many months in Alaska” (page 6).
The Market Crash of 1929 changed everything for many scenic artists, including Donigan. John Hanny described the shifted in a letter to Dr. John Rothgeb: The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musical, etc. if any were being produced in New York and Hollywood. At this point the studios disappeared but the scene painter couldn’t disappear and had to become freelancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay.”
The 1930 US Federal Census reported that Lawrence Donahue was working as a painter in the building industry. I have yet to locate any newspaper reports for L. E. Donigan at this time. This is not unusual as scene painters gradually began to fade from the public notice.
During the 1930s, the Donahue family home moved from Chicago to Oak Park, the same western suburb that had housed many other scenic artists since the 1890s, including Thomas G. Moses and Joseph Landis (Perry’s older brother).
The 1940 US Federal Census listed the Donahue residence as 829 South Cuyler, Oak Park. The household included: Lawrence (head, 76 yrs.), Mary (wife, 68 yrs.), Marie (Mary Florence) Krbec (daughter, 33 yrs.) and Marcelle Krbec (grandson, 9 yrs.). Their son James P. Donohue, who had continuously lived with his parents since birth was missing that year. James P. Donohue’s 1942 draft registration card listed that he was working for the U. S. Army Signal Corps in Chicago. However, his home residence was still listed as 829 South Cuyler, Oak Park.
Both Lawrence E. and Mary Donahue passed away in 1944, within weeks of each other. Their two children, James P. Donohue and Mary Florence Krbec inherited the house, remaining in the Oak Park family home for at least another decade.
On Feb. 13, 1944, Mary Donahue’s obituary was published in the “Chicago Tribune” (page 18). It announced:
“Mary Muir Donahue, of 821 S. Cuyler avenue, Oak Park, beloved wife of Lawrence, fond mother of Lawrence E., James P., Walter T., Mildred M. Cotey and Mary F. Krbec, sister of Walter Dinnerville, Ina Frank and Louise Humphries. Resting at funeral home, 17, Madison street, Oak Park, Funeral notice later.”
Ten days after the announcement was published, Lawrence passed away on Feb. 23, 1944. The Illinois Death Index lists both surnames for Lawrence on his record: “Lawrence E. Donigan or Donahue.”
On March 2, 1944, the Oak Park Leaves announced,
“L. E. Donohue Dies;
Scenic Artist
Lawrence E. Donohue of 821 South Cuyler died on Wednesday, February 23, at his home after suffering from an ailment of two years standing. His wife, the late Mary Muir Donahue passed away on February 12 of this year. Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia. He was a business agent for the Scenic Artists’ union 350 for a number of years and was active until a few weeks before his death, despite poor health.
Born in Alton, Illinois, in 1864, Mr. Donoahue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mirs, Mildred M. Coty of Chicago, and of James PO., and Mrs. Mary Krebec who live at home, and brother Peter J. Donigan and Mrs. Mary Berry of Chicago. Services on Saturday were conducted at Ascension church with burial at All Saints” (page 50).”
George Pat Wood (left) and Victor Hubal (right) in 1912.
Victor Hubal & George Wood are pictured together in a 1912 photograph; each working as a scenic artist in Winnipeg at the time. The caption written on the photograph reads, “Dad [Hubal] in 1912 at Winnipeg, Canada, Scenic Studio. His Pal Scenic Artist George Wood.” At the time, Hubal was 24 and George was 21 yrs. old; both were associated with Sosman & Landis. As with many artists at the Chicago-based firm, they traveled all across North America, rapidly painting scenery as they journeyed from one venue to the next. Although Sosman & Landis was known for shipping scenery to distant locations, many of their projects still continued to be painted on site. Much had to do with the fact that despite the large size of their main studio and additional paint spaces at various annexes, some projects were still completed on site.
It has taken me quite a while to track down George Patrick Wood, as there are several George Woods who worked as artists from the mid-nineteenth century to the mid-twentieth century, including his father, George Wood Sr.
George Patrick Wood was born in Chicago on April 10, 1891, although his birth was not registered with the State of Illinois until July 31, 1891. Later in life, he would go by George Pat Wood in newspaper article. He was one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (also erroneously listed as Donahue/Donaghue/Donigan in many historical records), Della Bridget Donohue was born about 1870 and named after her maternal grandmother Bridget (McDermot) Donohue.
Wood had two younger brothers: Arthur Francis Wood, born in Feb. 1893, and Walter James Wood, born in Feb. 1895.
I have uncovered very little about their early childhood, or the Wood family’s activities between 1895-1900. However, sometime between the birth of Walter Wood in 1895 and the US Federal Census in 1900, the Wood family moved from Chicago to St. Louis, Missouri. They likely followed Della’s older brother, Lawrence E. Donohue, who worked as a scenic artist and moved from Chicago to St. Louis in 1895. L. E. Donohue was listed as an artist in the St. Louis Directory from 1895-1897. Two of his younger children were born in St. Louis, suggesting that his family also relocated from Chicago to St. Louis. By 1899, however, Donohue returned to Chicago where another child was born that fall. He continued to work as a scenic artist throughout this entire time.
It remains unclear as to whether Della Wood returned with her brother to Chicago at the same time. However, by 1900, neither George Wood nor Della Wood were living with their three children in St. Louis. They both appear to have vanished from public records, with George Sr. never reappearing in the lives of his wife or children. My gut instinct says that George Sr. passed away, Della became a single parent, and could not provide for her sons, leaving them at an orphanage. My theory is based on the 1900 US Federal Census.
St. Louis Home of Refuge where George Pat Wood, Arthur Wood and Walter Wood lived as “inmates” in 1900.
In 1900, George, Arthur and Walter Wood are all listed as “inmates” at the “St. Louis Home of Refuge.” The term “refuge” is a little misleading, as the home was well known as an abusive penal institution for juvenile offenders, as well as orphans. It remains unclear as whether all three boys were arrested for delinquent acts or committed by a family member, but their young ages suggest the latter. The ages of the three boys were listed as 9, 7, and 5 yrs. old. I have no idea how long they stayed at the St. Louis Home of Refuge or remained in the St. Louis area. They, like their parents, disappear from public records for about a decade.
By 1913, George and Arthur are again living with their mother, now in Chicago. I have no idea when they returned to the Windy City, or where their youngest brother Walter during this this time.
Newspaper accounts from 1913 indicate that George Wood worked as a scenic artist with his maternal uncle, Lawrence Donohue. Both painted scenery for the Empress Theatre in Des Moines that year; a Sosman & Landis project.
The Empress Theatre in Des Moines, Iowa, became the Pantages Theatre.
On July 8, 1913, the “Des Moines Tribune” reported:
“Rushing work for Empress Theatre.
Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
I am going to pause here as newspapers are rife with misspellings, especially last names. As this was a Sosman & Landis project, Lawrence Donahue would have been the head scenic artist, with his tow assistants – George Wood and Art Oberbeck. This was very common for the studio at the time; a master artist and two assistants on site. In many ways it was cheaper to put up three staff members, than painting and shipping scenery from Chicago, especially during busy periods.
The Des Moines article continued:
“All is activity in the Elbert & Getchell building studio. More than thirty house sets of scenery will be provided for the Empress stage in addition to the settings that are carried by larger acts on tour. The management promises that there will be no better dressed stage in the country than that of the new Empress. Elbert and Getchell leave that latter part of the month for New York and other eastern cities, where they have many of next seasons musical comedy company for the Princess tentatively under contract. It is their purpose to complete the company on this trip and to bring the members back with them about Aug. 10 when stage director Wedgewood Nowell will be here to begin rehearsals. The new company will number fifty and the management promises a surprise when the roster is announced.” The Empress Theatre opened in September 14, 1913. It was located at the intersection of 8th and Locust Street.
From 1913 to 1914, George, Arthur, and Della Wood were listed in the Chicago Directory, living at 736 Wrightwood. Della Wood was listed as the widow of George Wood, and her sons, were each listed as an “artists.”
George Wood divided his time between Chicago and New York while working for Sosman & Landis. In August 1915, he left the firm’s New York branch to take a design an painting position at the Grand in Fargo North Dakota in 1915. On Aug. 14, 1915, The Fargo Forum and Daily Republican listed George Woods in a list of individuals secured for the upcoming season (page 8). The article announced, “The scenery will be designed and painted by Geo. Wood, who comes direct from the Sosman & Landis studio, New York City.”
By the onset of WWI, however, Della and her sons all returned to St. Louis, Missouri. In St. Louis, George, Arthur and Walter all registered for the WWI Draft. Walter joined the Navy, and Arthur served in the Army for both WWI and WWII. It doesn’t appear as if George was ever drafted into the military.
The gravestone of George Pat Wood’s younger brother Arthur F. Wood.The gravestone of George Pat Wood’s youngest brother, Walter J. Wood.
Wood registered for the WWI draft in St. Louis eleven days after his wedding, listing his wife and mother as a draft exemption. His draft card listed that he was living at 2215 Benton in St. Louis, MO, working as a scenic artist for himself. Wood also requested a draft exemption to “support wife and contribute to mother.” In regard to his occupation, Wood listed his present trade as “scenic artist” and current employer as “himself.” He was described as medium height, medium build, light brown hair, and grey eyes.
George Pat Wood’s WWI Draft Registration Card, dated June 12, 1917.
It was on June 1, 1917, that George P. Wood married Alice V. Chalfont (1898-1981) in Jackson County, MO; he was 25 and she was 19 yrs. old. Their marriage was announced on Sept. 21, 1917, in the “St. Louis Star and Times” – “George P. Wood, 1825 North Garrison avenue; married June 1” (page 3). George and Alice Wood celebrated the birth of their only daughter the following year. On August 29, 1918, Joy Patricia Wood was born in Kansas City, Missouri. Unfortunately, their marriage was extremely short lived, ending in divorce by 1920. The 1920 US Federal Census listed Alice and Joy Wood living in St. Louis, Missouri, with Alice’s parents, Julian O. Chalfant (1857-1932) and Virginia “Dolly” Wetzel Chalfant (1857-1931). In 1920, George was again living with his mother.
Della Wood married her second husband, Rudolph Luedewink, by 1920. The census that year listed George Wood and Arthur Wood the Luedewink’s step-sons. At 48 yrs. old, Luedewink was also a painter, employed at the J. W. O. C. Painting Co. The same census listed George as an artist and Arthur as a paperhanger.
George’s ex-wife Alice also remarried. The first name of her second husband remains a mystery, but his last name was Knox. I have yet to locate a marriage license or anything else that indicates when Alice V. Wood and Joy P. Wood became Alice V. Knox and Joy PP. Knox, however they began using the last name of Knox by 1921. In 1930, Alice V. Knox and Joy Knox were still with Julian and Virginia Chalfant in St. Louis, Missouri.
George continued to work as an itinerant artist, going from one project. In 1921, he was working at the Orpheum Theatre in Montreal, Canada. On Sept. 24, 1921, “Billboard” announced, “George Pat Wood is again at the Orpheum Theatre, Montreal. Mr. Woods went there at the end of last season, and after a short vacation resumed work for the coming season” (page 21). This means that he arrived in Montreal during the spring of 1921 and stayed until the spring of 1922. By 1923, he relocated to Cincinnati, Ohio, and was listed in the City Directory as a scenic artist, rooming at 3422 Ibsen Av. There was no mention of his wife, but it was common for itinerant scenic artists to list themselves in a directory when working in one area for an extended period of time.
In Cincinnati Wood became associated with the Stuart Walker and his touring company. It was a successful working relationship that would last for six years. On August 26, 1924, “The Post” (Covington, Kentucky) listed Wood as the scenic designer and artist for Alice M. Bradley’s new play “Three Roses” at the Cox Theater, produced by Stuart Walker. The article reported “the scenes are designed and executed by George Pat Wood.” Peggy Wood starred in the three roles -Rose Lovejoy, Rose Payne and Rose Frely. The article reported, “Peggy Wood, guest player, who portrayed each of the three Roses …has a certain vitality, and intensity, which is of great assistance to her in interpreting the high courage and independence of the various Roses. She as in addition a charming personality, and in her acting is quite free from theatricalism.” On July 2, 1921, the “Indiana Daily Times” announced that “Mr. Walker has engaged Peggy Wood herself, to appear in her own play ‘Artist’s Life.’” (page 7). I have yet to locate that George was related to Peggy Wood in any way. However, George did remarry in the 1920s. I have no idea what her first name was or when they were married.
On July 2, 1926, an amazing article was published in the “The Kentucky Post and Times-Star that indicated BOTH George Pat Wood and his wife were working as scenic artists (page 30). It also discusses the importance of lighting on stage scenery.
I am including the article in its entirety as female scenic artists were seldom mentioned in the press at this time:
“Only three or four people were sitting in the theater Monday morning when Stuart Walker called a scene rehearsal of ‘The Swan.’ Painters, carpenters, property men, and others were rushing around putting on finishing touches or checking over lists. When on the day of an opening performance Walker orders all scenery set and the stage arranged for the various acts, nothing must be missing.
These scene rehearsals usually constitute Walker’s first view of the settings. He has conceived what they should look like, for he himself has drawn the designs, selected the furniture and properties and visualized the whole play.
He walked in, looked over the first sets, approved it with some minor suggestions and ordered the second scene put up. The work began. Two men carried out a superfluous piano. Two others dragged in a throne chair which they stood against the back drop in the banquet scene. Two others lugged in great tall pillars, apparently of black Italian marble. These they handled easily. There were six of them in all.
Then came the banquet table, covered with lacy cloths, brilliant silver candelabra and so on. A man walked in with two enormous champagne collers which caused sarcastic remarks from everybody on the stage.
Then a spontaneous touch of realism was added when the chef from the Havlin Hotel, in cap and white apron walked upon the stage with two huge platters, on which were the broiled salmon and the salad needed in the dinner scene. He proudly submitted these ‘properties’ for inspection and the praise he received delighted his artistic soul. Then he brought out the bullion and set the 10 or 12 cups on the table.
Boyd Again, property man and actor, practical person that he is called to ‘Jack,’ a stage hand, and said, ‘Put this soup some place where it won’t get dusty. Jack grinned and obeyed.
Finally, the beautiful scene, which throughout the week has evoked applause from the audience, was ready for inspection.
‘Somebody call Mr. Walker,’ directed Again and everyone stood about in expectancy mixed with some anxiety. Finally Walker, appearing from somewhere, walked down the aisle of the theater. A moment of silence, then,
‘Where’s Mr. and Mrs. George Pat Wood?’ The call was taken up by those standing at the rear of the stage. Finally it reached the place where the Woods, scenic artists, happened to be.
A droll figure walked out and stood before the footlights. It wore a cap pushed back over short hair. Its body and legs were covered with paint smeared overalls, much too large. The bottoms dragged on the floor, concealing what appeared to be very small feet. But under the visor of the cap were two very alert, if startled eyes.
The figure looked like a larger edition of Jackie Coogan. Seeing it, Walker said in a somewhat positive tone, ‘Mrs. Wood, that is not the set I designed. It is nothing like it.’ So, the little figure was a woman, it seemed.
Mrs. George Pat Wood went one step forward and said quietly, “I’m sorry. I’ll come down where you are.’ And she scrambled into the darkness of the auditorium. There was something in her bearing which suggested a shattered dream, a keen disappointment.
A few moments later two bobbing heads were seen near one of the boxes. Then the petite Mrs. Wood scrambled back onto the stage and disappeared thru a door at the rear. After that came a readjustment of the lights, a softening of the tints, a mellower effect generally. And finally the voice of Walker again.
Oh, Mrs. Wood.’ The call again was repeated and Mrs. Wood, very feminine despite her overalls, came forward.
‘I spoke too soon, much too soon,’ said Walker generously. ‘It’s lovely.’
Mrs. Wood executed a sprightly little jig, just a few steps which indicated immense relief and pleasure.
And that was that, and all of it. But it showed that Walker makes his amends just as publicly as he does his criticisms.
The whole episode was just one of those little things which are a happening constantly around a repertoire theater but which not many people see.”
Portrait of Pat Woods in the article “Born to Blush Unseen,” 1927.
On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush Unseen” (page 33). The article reported:
“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.
From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.
Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.
And so this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.
Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’
‘Pat,’ as he is known by members of the Stuart Walker Company got his start in the scene-painting business when he visited his uncle in Chicago. This uncle, one Peter Donegan, is a sort of scenic baron in the Windy City, doing the stage sets for the Chicago Opera Company and for most of the large theaters. His studio proved a fascinating place to hang out, and presently the nephew began dabbing in paint. Soon he was a regular member of the force. And so he began, rather far up the line as scenic artistry goes, by designing stage sets for the Chicago Opera. Following other successful positions, Pat was retained to assist in fashioning stage sets for Max Reinhardt’s first production of ‘The Miracle,’ the most stupendous and magnificently stages spectacle the American stage has ever seen.
In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season.
Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”
George Pat Wood pictured in the “Cincinnati Commercial Tribune” in 1928.
On July 15, 1928, a portrait of Wood accompanied an article in the “Cincinnati Commercial Tribune” entitled, “Busy Building Italian Scenes For First Play on New Stage” (page 38). The article reported, “While members of the entire Stuart Walker forces are busy preparing to move to their new home at the Taft Auditorium at Fifth and Sycamore street, one member, George Pat Wood, artist of the Stuart Walker Company, is particularly busy at the Taft designing and painting the settings for ‘The Firebrand.’ For the past few weeks Mr. Wood and Stuart Walker have been panning the final arrangements for the scenery for this lavish production.
‘We have studied many old books and looked through volumes of Renaissance art to get the correct details for the production of ‘The Firebrand.,’ said George Pat Wood. ‘We really started brushing up on our early architecture last spring, when it was decided ‘The Firebrand’ would be one of the plays to be presented in Cincinnati this summer. In designing a setting there are many details that must be perfectly worked out. Color schemes must be in harmony with the spirit of the play as well as with the costumes that will also blend with it. In a play of a period, such as ‘The Firebrand,’ arches, windows, vases, lights and all very small trinkets that are seen from the audience must harmonize with each other.
‘In a period play the exact date of the piece will determine its architecture, naturally, but all the other articles, naturally, but all the other articles in the room must also be of the same period and keep the unity. There must be no anachronism, nothing that will break the illusion.’
When asked if he ever ran out of ideas in designing stage settings Pat Wood merely replied: As no two homes are ever alike, so no two stage sets are ever alike. If we study the spirit of the play we will know very nearly how the characters think, and with a little imagination we can picture their homes. That much accomplished, all there is left to do is to execute it. So you see it isn’t so very bad.
‘The scenery for ‘The Firebrand’ is dated about the early fifteen hundreds, and as the locale is Florence it calls for some very rich settings at the time when Medicis were in all their glory. The scenery must express the feeling of age, the romance and gayety of the Court of Florence, and the richness of the beautiful city. All this must be brought out without making the audience realize that they are being told all this as the curtain goes up and brings them into a new atmosphere. We hope that the settings for ‘The Firebrand’ will do all things.’
The beautiful stage settings of the Stuart Walker productions have been one of the charmingly distinctive features. Already this season the productions have brought forth no end of favorable comment on each play. Particularly attractive sets this year have been in ‘The Jest,’ a charming costume play presented earlier in the season, ‘Interference,’ ‘Crime,’ ‘Her Cardboard Lover,’ ‘The Baby Cyclone,’ and last week’s revival of ‘The Dover Road.’
All of these sets owe their beauty and charm to the combined work of Mr. Stuart Walker, George Pat Wood, and George Kinsey, the stage manager” (page 38).
George Wood and Stuart Walker enjoyed a very successful run. I have not uncovered any additional information about Mrs. George Pat Wood at all.
However, George Pat Wood continued to work for Stuart Walker. Their working relationship was the subject of a newspaper article on Jan. 29, 1929, published in the “Cincinnati Post” (page 2):
“Venice.
Although Stuart Walker still clings to house slippers and a chair by the fire because of his flu failings, he calls his players to his house every day for rehearsal. And he has worked out in his characteristically elaborate setting for the Venetian scene of the first act of “The Big Pond” for next week.
One sometimes suspects that his sets cost Dr. Walker more beads of hearts blood than do his artists. A performer can be tossed a script early in the week, then whipped, cuffed and cussed toward steady improvement. If he or she looks deplorable on Wednesday a director can strive for a better appearance by diligent application of the lash, so that a presentable portrayal may be forthcoming by the following Monday.
But a set is different. Once “cast,” it’s done. You can’t expect it to grow doggier or any worse.
Consequently, the aesthetic Mr. Walker ties himself 18 knots every time he evolves instructions for a stage scene.
When [Stuart Walker] and his artist, George Pat Wood, conferred in the Eden Park mansion of the producer it must have been almost terrifying, considering the fury with which Mr. Wood blasts smoke and sparks from his pip even when calm and the zeal with which Dr. Walker flagellates his soul when thinking up eyeful settings.
The two of them wrestle beauty for every show, almost always turning out something convincing. One of the very few times when they have felt they missed their mark came in the set for “Treasure Island” which showed an English quay. Somehow that did not look exactly British and it seemed a trifle too lovely in a Latin way for the situation.
But since Dr. Walker knows more about scenery that your deacon ever will dream of, we take it that his quay set had in it something artistic which passed quietly over our brow. The Venetian scene for the next week is to show a palace in which lives a bizarre American family. The set must be persuasively imposing to bring out the artistic shortcomings of the Ohio people moving through it. It is exactly the thing on which Dr. Walker likes to cast up wave on wave of devotion.”
After years of existence, the Cincinnati Stuart Walker Company was incorporated on July 1, 1929, in Cincinnati. It only lasted a few years, and was dissolved on Dec. 29, 1931; it did not survive the economic downturn.
The last article that I have located about George Pat Wood as a scenic artist is from the fall of 1930. On Nov. 16. 1930, “The Cincinnati Enquirer” reported, “George Pat Wood, scenic artist at the Taft, designed and painted his settings for “Monna Vanna” from color plates used in Stuart Walker’s earlier production of the Maeterlinck play here three years ago” (page 71).
This is the last reference that I have found citing Wood as a scenic artist. As with many theatrical scene painters at this time, it is likely that Wood sought work as a decorative painter to keep afloat during the Great Depression.
At some point, Wood returned to his remaining family, as Rudolph and Della Luedewink were still living in St. Louis. His move may have been prompted by aging parents.
In regard to Wood’s mother and stepfather …
Rudolph Luedewink was still listed in the 1931 St. Louis Directory as a painter a 4245 St. Louis Ave. This is about the time that George Wood returned home.
His mother passed away in 1934, with her obituary published in the “St. Louis Post-Dispatch” on March 7, 1934 –
“Luedewink, Della (nee Donahue) – Entered into rest Mon. March 5, 1934, 4:20 PM, beloved wife of Rudolph Luedewink, dear mother of George Pat, Arthur F. and the late Walter J. Wood, our dear grandmother and aunt. Funeral from Arthur J. Donnely’s Parlors, 3840 Lindell bl. Thurs., March 8, 9 a.m., to Notre Dame Church, Interment Calvary Cemetery. Alton (Ill) and Chicago (ILL) papers please copy.”
Her son Arthur was listed as the informant on her death certificate when she passed away from pneumonia. At the time of her passing, Della was living with her son Arthur at 1328 Annie Ave. By 1930 Arthur F. Wood was employed as a mail carrier, a profession that he continued for the remainder of his life. He married Mabel Eppley late in life, celebrating the birth of a son late in life, James A. Wood.
George Wood’s WWII Draft Card listed him as running his own Interior Painting & Decorating business. His wife was listed as Frances Wood and the two were living at 5645 Summit Place, St. Louis. I have yet to locate another other significant mention or further information about the couple.
George Patrick Wood died in Dec 1980 and is Buried at Calvary Cemetery and Mausoleum in St. Louis. His first wife, Alice V. Chalfant Wood Knox, was laid to rest in the same cemetery a year later. Their daughter, Joy Wood Knox MacKinnon (1918-2007), is also buried at Calvary Cemetery and Mausoleum.
The gravestone of scenic artist George Patrick Wood.
Painted detail from the Twin City Scenic Co. drop curtain delivered to Shieldsville, Minnesota, c. 1914-1915.
My relationship with the Church of St. Patrick in Shieldsville, Minnesota, began in 2015. That fall, the office administrator, Tracy Velishek, contacted me about preserving an historic backdrop.
She wrote:
“Wendy, Attached is our old social hall which will be torn down in December. The other is the backdrop we would like preserved. I got pictures of the other backdrop but am not very techy and cannot figure out how to send it to you from my phone. I will have my son help me later today. It is our understanding that the building was an opera house in its early days. We are trying to find out what we can about it. Thank you for your time. I look forward to hearing from you. I have the backdrop we want to save in our new social hall rolled up so after Thursday I will know a timeline as to when we will be doing something with it.”
Picture of old St. Patrick’s social hall sent to me in 2015.
Musicals and dramas were presented in the Church of St. Patrick’s parish hall under the ministry of Father John J. Molloy (1866-1962). He served at the Shieldsville parish for 52 years, from 1909 to 1961. By the way, this was the first Irish Catholic parish in the State of Minnesota, founded in 1856.
Rev. J. J. Molloy was responsible for purchasing scenery from the Twin City Scenic Co. in 1914.
Molloy’s service was included in Margaret Hagerty’s 1940 publication “Meet Shieldsville: The Story of St. Patrick’s Parish Shieldsville.”
Hagerty’s entry for Rev. J. J. Molly:
“Rev. John J. Molloy was born in the County Mayo, Ireland, and was educated at St. Patrick’s college in Kildare. He was ordained at Maynooth in 1891 and a few months later came to America. He was assistant pastor at St. Patrick’s in St. Paul from October 1899 to April 1900 and then spent one year at St. Mary’s in St. Paul. The next three years he was assistant pastor at St. Anthony’s in Minneapolis. He then organized St. Joseph parish in Montevideo and was in charge there three years. The next two years were spent at St. George’s parish at Glencoe and then nine years were spent at St. Mary’s, Wilmar. He came to Shieldsville in 1909 and for the last thirty years has made a splendid record. “Father Molloy faced a tremendous task when he arrived in Shieldsville. The place was sadly run down and in need of repairs, so he astounded us all by taking off his coat, rolling up his sleeves and going to work. Up to that time none of us knew that a priest’s coat or a Roman collar were removable, He had the house remodeled, cleaned, and painted. The church too was redecorated, and the landscape worked over and improved. A new fence was built around the cemetery. To keep the young folks near home for entertainment a pavilion as built in the grove, and it proved to be such a success that Father Molloy was encouraged to build St. Patrick’s hall. Much of the work on the hall was donated and every man in the parish was busy. The women raked their brains to think up ways and means to pay for the lumber and furnish the kitchen. It was a delightful change for the ladies of St. Patrick’s parish to have a spacious kitchen to work in and to have a dining room large enough to serve 100 people at a time.”
In 1961, Father Molloy was observed as the oldest priest in the St. Paul Archdiocese and the priest with the longest service, serving under four bishops. He passed away on June 29, 1962, and is buried in St. Patrick Cemetery at the site of the Crucifixion monument, erected in the 1950’s.
Molloy’s dramatic contributions were again remembered in “History of Our Parish,” written by Catherine Spartz in 1971:
“Father Molloy loved people around him and believed in having the social life of his parishoners inherent with their religion. Musicals and dramas were presented in the hall during Father Molloy’s ministry, with the principal performers, members of the parish. St. Patrick’s day in March and the Feast of the Assumption of the Blessed Virgin in August were special times in Shieldsville, Father, who himself had a beautiful speaking and singing voice, organized an outstanding choir.”
The St. Patrick’s Hall stock scenery collection was delivered by the Twin City Scenic Studio, c. 1914-1915, and included a drop curtain, two painted grand tormentors, a garden roll drop, a rocky mountain roll drop, four folding wood wings, a double-painted interior set (center door fancy/rustic interior), and an advertising curtain.
Painted detail from garden drop.Painted detail from folding wood wing.Drop curtain detail with Twin City Scenic Co. signature.
Over time, the stage fell into a state of disrepair and much of the stock scenery found its way to an attic where it was subjected to water damage from roof leaks and stains from bat guano.
Two interior flats brought to the new social hall while I was working on site in 2017.
In December 2015, the old social hall was torn down, but the scenery survived. At the time, Tracy’s son (Andy Velishek )was running a local theatre troupe and hoped that the flats could be repaired and used for upcoming productions. Despite the filth that covered the scenery, Velishek rescued the scenery and stored them in a barn.
There, they sat in relative safety for the next two years.
Conversations with the Church of St. Patrick resumed during the spring on 2017 when I was contracted to restore the ad drop and install it in the new social hall.
Restored Ad Drop. 2017.The new social hall is pictured on the right side.
While working on site that summer, Andy Velishek brought over some of the other salvaged scenery, including the two other roll drops, the woods wings, grand tormentors, and some interior flats. Despite the extensive damage, their beauty was unmistakable.
Before and after restoring the Drop Curtain. 2018. The greatest challenge was identifying the original colors, as so much of the composition had dusted off and was faded.Painted detail showing before and after restoration. 2018.
Studio stencils and shipping tags clearly indicated the collection’s artistic provenance.
The backside of stock flat delivered to Shieldsville in 1914.Shipping tag clearly noting Rev. J. J. Molloy as recipient.
By the beginning of 2018, I restored the three remaining roll drops – drop curtain, garden drop, and rocky mountain pass.
Removing bat guano from the garden drop.Matching distemper colors and restoring areas with paint loss in 2018.The restored garden drop and rocky mountain pass in the new Church of St. Patrick Social Hall. 2018.The Social Hall at the Church ofSt. Patrick in Shieldsville, Minnesota, where four of the historic drops are displayed. 2018.
They were installed in the new social hall attached to the sanctuary at the Church of St. Patrick’s in Shieldsville. When I delivered and hung the drops that spring, I considered my work with the St. Patrick’s Hall scenery collection over.
I was surprised to receive the following text on Nov. 4. 2022:
“Hey there, Wendy. Tracy Velishek here. Don’t know if you remember me but you finished our backdrops at St Patrick in Shieldsville a few years ago. I hope you are doing good and still doing the work you love… Our son Andy still has a bunch of flats that he has to get rid of because he has run out of room…Do you know if anyone who would want them? They have not been cleaned and one or two have some tears…If he doesn’t find someone to take them, he is going to burn them. I would hate to see that and hope you would know of SOMEONE who would want them. I look forward to your reply.”
Burn them…if she had texted anything else, I may have put this project on hold for a few months. I was opening a show that evening and traveling to the Louisville Scottish Rite theatre for a restoration project the next week.
The Gilbert & Sullivan Very Light Opera Co. “Pirates of Penzance” setting, 2022. Distemper paint (dry pigment paste and diluted hide glue) was used for the entire set (facade, drop curtain, wings, borders, shutters, and painted fabric masking).
After striking Gilbert and Sullivan Very Light Opera Company’s “Pirates of Penzance” on Nov. 20, I found myself driving south to Lonsdale, Minnesota, where the historic scenery collection was now stored. Half of my rental trailer was occupied with set from “Pirates.” It was a small wing-and-shutter stage.
A grand tormentor and foliage wing when the were set up in the new social hall at the Church of St. Patrick in Shieldsville, Minnesota. 2018.
The other half of my rental trailer was reserved for the historic scenery. Amazingly, the St. Patrick’s Hall stock flats would also work in my small Pirates stage.
When I picked up the scenery, Tracy gave me a big hug and handed me a gift bag with four jars of their homemade jelly. Historic scenery and a bag of jelly; who could ask for more?
My bag of jelly from Tracy when I picked up the scenery.
The scenery is currently at my studio, awaiting cleaning, repair, and a second life on the stage. I will continue to update this post as each piece is restored and displayed.
The historic flats, as they are currently stored in my studio.
My recent scenery restoration project at the Louisville Scottish Rite Theater began three years ago in 2019. These projects are often years in the making, and it really takes the right person to set the ball in motion. I have watched scenery collections crumble from both indecision and poor stewardship. Time is often of the essence when historic scenes start to fail. Scenery that survived decades against an upstage wall can rapidly deteriorate over the course of a few years if the conditions are right.
My initial visit to the Louisville Scottish Rite was a side trip while attending USITT (United States Institute of Theatre Technology). Whenever I attend the annual conference, I try and schedule a visit to a nearby Scottish Rite theatre or historic opera house. These side trips provide me with an opportunity to learn and document “just one more” scenery collection.
Visiting the Louisville Scottish Rite during the USITT conference in 2019.The Louisville Scottish Rite Auditorium.The Louisville Scottish Rite.
The only day that I could photograph Masonic scenery while attending USITT in 2019 was on Wednesday, March 20. Preparations for the Scottish Rite reunion were scheduled to start the next day. I had from 9AM to 3PM to document as much as possible and make my way back to the convention center for a meeting.
I must have made an impression, as the Louisville Scottish Rite hired me that fall to assess the collection. I was contracted to compile condition reports, historic analyses, and replacement appraisals for each drop in the collection. My documents that December were so well-received that I was asked to visit Louisville and present my findings at a special event.
The Egyptian Setting for the 31st degree was one of six settings featured during my presentation on March 7, 2020.
On March 7, 2020, I was the guest speaker for Family night at the Louisville Scottish Rite. I gave a presentation about their historic scenery collection, tracing the history of Masonic scenery in the United States and placing the Louisville Scottish Rite scenery collection withing the context of American theater. At the time I was also asked to work as an historical consultant for upcoming interior renovations throughout the building. After speaking at the Scottish Rite in Louisville in March 2020, the pandemic put everything on hold.
March 2020 – May 2022
Eventually, I lost touch with the Louisville Scottish Rite and moved onto other projects, yet the Louisville Scottish Rite scenery collection continued to lurk in the back of my mind. Surprisingly, Randolph Starks, Secretary of the Louisville Scottish Rite, reached out again last spring. On May 2, 2022, I received the following text: “Hi Wendy. It has been a very long time since we spoke, but I have enjoyed seeing your Facebook posts, the reports of your travels, and the images of your beautiful artwork. I would like to renew our conversation about you providing advice and guidance on some renovation and painting of our Scottish Rite temple. Let me know when you would be available to schedule a phone call to discuss this.” I received this on the same day that my mother went into the ER, so our conversation was again placed on hold for a few more months.
Stark contacted me again on June 29, 2022, but for another reason.
I received a series of pictures of the Egyptian cut drop, with the text message, “Hi Wendy. We just discovered this damage to this scenery drop today. I don’t know how it happened. I would like to know if it would be possible to repair and restore it.”
Damage to the Egyptian Cut Drop at theLouisville Scottish Rite.Damage to the Egyptian Cut Drop at theLouisville Scottish Rite.
My response was, “Yes. You will need to take the drop down, or damage will continue- I am mid-project, but can chat tomorrow afternoon.” Realistically, I was in no position to take on another project and knew that I would have to mostly advise from afar. Starks gathered a team to lower the drop, and I then directed its preparation for short-term storage, until I could travel to Louisville that fall. We tentatively scheduled my visit for November. I would not only repair the scene, but also advise on some upcoming interior renovations. I was also scheduled to again speak about the history of the Louisville Scottish Rite scenery (another Masonic event on Nov. 10, 2022).
Repairing the Egyptian Cut Drop
Unfortunately, there were a series of obstacles to overcome before rolling and storing the cut drop to await my future repairs. The first obstacle was removing wood from the backside, as several “stiffeners” were glued to the cut edge. Many cut drop openings without netting for support curl over time. As a preventative measure, some scenic studios attached wood stiffeners upon installation. These stiffeners were frequently thin strips of pine that were secured to the drop with a strip of glued muslin. Removing an original stiffener is often simple, as the fabric and wood easily peel off of the fabric.
Over the decades, Masonic stage crews tried to replicate this technique. Unfortunately, instead of using thin strips of light-weight pine, they improvised, using a variety of hard woods and solvent-based or inappropriate adhesives. Over the years I have encountered oak strips attached with contact cement (Wichita, KS), lathe attached with wood glue (Fort Scott, KS), yard sticks attached with plaster of paris (Fargo, ND), just to name a few.
Patch on a cut drop at the Scottish Rite Theatre in Fargo, North Dakota.
In Louisville, however, an enterprising Mason opted for a black substance that looks like coal-tar pitch; this was a new one to me.
Photograph sent to me by Jordan Morgan, showing stiffeners attached with a black adhesive.Wood attached to the backside of many cut drops at the Louisville Scottish Rite.
In addition to the stiffeners, ¼”-thick black flexible foam was secured to all of the cut edges with spray adhesive. Sadly, I have encountered this before too, at the Scottish Rite in Cheyenne, Wyoming. Although it works in the short term, it wreaks havoc when repairs need to occur. In Louisville, a solvent-based spray adhesive was used, partially melting the foam and permanently affixing it to the backside of the drop.
Removing the flexible foam from the Egyptian cut drop.
And there was one more thing…
The original netting in the cut opening was replaced with plastic netting that was hot glued on.
Plastic netting attached with hot melt glued, placed over original cotton netting.
Although I feel like a broken record, constantly repeating myself, here goes…NEVER use hot melt glue on historic stage scenery. Hot melt glue has no place in historic preservation, as it severely damages fragile fabric, embedding itself in the fabric’s fibers. Often the hot melt glue is even visible from the front, marring a once beautifully painted composition. Attaching anything to historic scenery with hot-melt glue makes the repair irreversible and flammable. It is especially unfortunate if the new netting is plastic or poorly positioned in the cut opening. Both were the cases with the Egyptian cut drop at the Louisville Scottish Rite. When conducting the initial examination of the scenery, I recognized that the plastic netting would have to remain, as there was so much hot melt glue applied to the fabric that it is now permanently affixed to the cut drop.
The stiffeners, foam, and plastic netting prohibited any expedient storage of the scene last summer until my fall arrival. Fortunately, one diligent Masonic volunteer, Jordan Morgan, spent over thirty-hours removing both foam and wood. Despite his diligence, some areas were left for me to deal with once on site. As I expected, removing the foam and stiffeners could not occur without damage to the painting and fabric. Some of the foam remains firmly adhered to the cut drop.
Egyptian cut drop with flexible foam around cut openings.Removing the flexible foam.
My trip to repair the scenery was slotted for November. During my stay, I would not only fix the damage to the cut drop, but again speak as a guest lecturer and continued to function as a historical consultant for a few anticipated interior renovations.
On the afternoon of Nov 8, 2022, my plane touched down and I was off to the races. This was well after casting my vote at 7AM; it was election day, and I was thankful that the Minnesota polls open so early. After renting a car, checking into my hotel, changing into work clothes, and driving to the Scottish Rite, I began the slow process of setting up the workspace. Once everything was set, I carefully unrolled the damaged cut drop and assessed the damage, simultaneously planning my attack. Despite the dozens of pictures that were sent, nothing replaces examining the damage in person. I went to bed that night, weighing the pros and cons of various approaches to the damage.
The Egyptian cut drop on the stage at the Louisville Scottish Rite.Beginning the repair
Arriving at the Scottish Rite the next morning, I met my onsite assistant, Jordan, and we began the painstaking process of cleaning both the cut drop. This is necessary before any fabric repair.
Cleaning the backside of the fabric prior to repair.
I focused on the biggest damage, before tackling the dozens of small punctures. By midmorning, I realized that the project would go far beyond patching visible damage. I had to do some preventative care – placing vertical reinforcement strips on every seam and weak area. The culprit of the anticipated damage? Flame retardant.
Split seams caused from repeated applications of flame retardant over the decades.
A repeated application of flame retardant often causes the greatest damage to historic scenery; it is like giving the drop cancer. Applying different flame retardants over the decades creates a toxic environment for the fabric and the very fibers begin to break down. Therefore, I need to help support the fabric so that the weight of the fabric will not cause stress that results in tears.
Now, I was dealing with a few different problems. The central portion of the drop is much older than the top and the bottom; the oldest portion dating from the previous building, c. 1910. Toomey & Volland Scenic Studio records indicate that scenery was delivered to the Louisville Scottish Rite in 1910.
Original fabric (below) and fabric extensions (above) added in the 1920s.Original fabric (below) and fabric extensions (above) added in the 1920s.
These drops were later refurbished, enlarged, and installed in the current building during 1923. Over the years, there have been several alterations made to the collection. Initially, the top sandwich batten was removed and replaced with jute webbing and ties lines. This likely occurred when the 1910 scenery was refurbished and moved into the new building. The first-generation bottom sandwich battens were replaced with pipe pockets at this time too.
Flexible black foam attached to the cut edge with spray adhesive.
However, over time, as the pipe pockets failed, ripping off, second-generation pipe pockets were added, the latest being thick, clear plastic that was glued to the back.
Plastic pipe pocket glued to the back of a Louisville Scottish Rite backdrop.
Additional scenery was purchased from Volland Studios between 1951 and 1952, then again in 1968.
Additional repairs, fabric reinforcements and attempts to consolidate loose pigment occurred continuously over the decades. For example, olive green edging (similar to a coarse bias tape) was sewn onto the offstage edges. This was an early attempt to prevent tearing from contact. Although this has prevented some damage and deterioration, the actual sewing greatly damaged the painted surface and has weakened the fabric over time. Other drops have large pieces of mesh glued to the entire back, possibly an attempt to prevent rips. However, the added weight is now jeopardizing the top of each scene.
Mesh glued to some of the backdrops at the Louisville Scottish Rite.
Over the course of three days we cleaned, patched, and reinforced the fabric of the Egyptian cut drop. Paint touch-up of visible patches will occur on my return. I only transport my distemper palette by ground, and therefore will drive on my next trip.
On the morning of Nov. 12 (my fourth day), I supervised the hanging of the repaired cut drop. Everything looked perfect!
Front view – the repaired cut drop.The repaired cut drop, as viewed from behind.Details of repaired damage. Egyptian Cut Drop. Repair work Completed from Nov. 8-12, 2022.
I then assessed the remainder of the collection and began planning for the complete preservation of the entire collection.
Painted detail from another Louisville Scottish Rite scene.
By the afternoon I was on my way home, only 96 hours after my arrival. It was an action-packed trip that I have yet to recover from.
In regard to the history of the Louisville Scottish Rite scenery, my research indicated that Kentucky may have been the earliest state in the Southern Jurisdiction to use stage scenery for their degree work. Here is an excerpt from the document that I submitted in 2019 as it helps frame the significance of the scenery collection and my restoration project.
“The History of Degree Productions at the Louisville Scottish Rite.
Scottish Rite Valley’s bordering the geographical demarcation between the Northern and Southern Jurisdiction were experimenting with stages in Masonic Halls and common lodge room long before the first “official” Scottish Rite theater was constructed in the Southern Jurisdiction, c. 1890s. The earliest Scottish Rite stages frequently referenced in the Southern Jurisdiction are Little Rock, Arkansas and Oakland, California in 1896. Theatrical staging of degree work in Louisville, Kentucky, may have predated these two Valleys, signifying the inclusion of the earliest Masonic stage settings in the Southern Jurisdiction.
The Wilkes-Barre Times of Pennsylvania, the Arizona Daily Star of Tucson, and the Akron Beacon Journal of Ohio all published the following article in 1895:
“BIG SCOTTISH RITE DEDICATION. Louisville, Ky., Oct. 15 – The Scottish Rite Cathedral of the Ancient and Accepted Scottish Rite for the Southern Jurisdiction of the United States, at Sixth and Walnut street was dedicated today. This dedication surpassed anything ever seen in Masonic ceremonies in this city. It was open to the public, and conducted with all the pomp, which the occasion calls for. The remainder of the inaugural week will be given in reunion, during which all degrees will be conferred. The new cathedral in point of general magnificence is surpassed by only two in the United States, those being cathedrals of the Grand Consistories of Illinois, at Chicago, and of Ohio, at Cincinnati.” Both Chicago and Cincinnati boasted theatrical stages with elaborate scenery collections, but they were in the Northern Jurisdiction.
The article also notes, “All degrees will be conferred,” which translates to “all degree will be dramatically presented” aligning with the staged degree productions in the Chicago and Cincinnati Scottish Rite theaters at the time.
The Grand Consistory, Ancient and Accepted Scottish Rite, was organized in Louisville, August 21, 1852, with meetings being held on the Southwest corner of Fourth and Jefferson Streets. By August 1876, the Louisville Scottish Rite occupied the Courier-Journal Building, located on Jefferson Street, between Third and Fourth Street. In 1894, the Louisville Scottish Rite Bodies purchased the St. Paul’s Episcopal Church at Sixth and Walnut Streets. The church has been partially destroyed by fire when they acquired the building, and approximately $41,000 was spent on remodeling the facility. By 1895, it was dedicated as a Scottish Rite Cathedral. This predates what Little Rock and Oakland would do in 1896; remodel an existing space to include a Scottish Rite theatre to fully confer, or stage, the degree work. This Louisville Scottish Rite building was used until 1923, when their new home was constructed at Brook and Gray streets.
In 1910, Toomey & Volland business records note that they delivered a scenery collection to the Louisville Scottish Rite. This scenery would have replaced the original scenery installed in the renovated Episcopal Church space. Churches were perfect buildings to retrofit with theatrical stages for degree productions.
There is not yet a definitive indicator of the scenic artist or studio that first delivered the original scenery in 1895. However, it was not Toomey & Volland, as the firm was not established until 1901. Toomey and Volland delivered scenery to the Louisville Scottish Rite Cathedral in 1910, with many of their backdrops being refurbished and transported to the new building during 1923. This was a common practice throughout both the Northern and Southern Jurisdiction at the time. The Guthrie, Oklahoma, Scottish Rite even reused and transported their 1910 scenery collection to the new building during this same time.
The first Scottish Rite Cathedral in Louisville was a remodeled building. St. Paul’s Episcopal Church at Sixth and Walnut Streets was renovated for Scottish Rite purposes in 1895. From this moment forward, the Masonic membership in Louisville continued to grow at a rapid rate, as was common with many other Valleys that began producing degree work for the stage. By 1919, Louisville’s Scottish Rite candidate class size numbered 200, and the overall membership began exceeding the building’s capacity.
During the 67th annual spring reunion in 1919, the president of the “Victory Class “of Scottish Rite candidates introduced a resolution. Dr. T. H. Tuley urged, “the Grand Consistory immediately to make plans for the erection of a [new] Scottish Rite Cathedral in Louisville which will prove a credit to the Rite and to the city.” The Courier-Journal reported, “the reading of the resolution was greeted with applause, and from the manner in which the proposition was received it seems possible some steps in this direction will be taken” (26 April 1919, page 4).
Previously, the Courier-Journal reported, “Largest Class in History of Consistory Attending Scottish Rite Meeting. 200 At First Dinner” (23 April 1919, page 9). The session opened at 10AM on April 22, with conferring the Lodge of Perfection degrees (4-14). The article noted, “For several months the Scottish Rite has been practically overwhelmed with applications for membership, every Masonic lodge in the State reporting unusually large numbers of initiates.
The result has been that for the first time in many years it has been necessary to hold two spring Scottish Rite classes, the first one having completed work only about ten days ago.” Capt. John H. Cowles, sovereign grand inspector general of the Supreme Council of the Rite, was interviewed by the Courier-Times. The newspaper reported, “He says unusually large classes are being accepted into the rite in all consistories of the southern jurisdiction. He was highly pleased with the showing made by the Louisville lodge, especially in view of the fact that he received his degrees here and is a native of Kentucky, having lived for many years in Louisville.” In 1919, the Louisville Scottish Rite premiered a four-page publication for attendees titled “The Reunion News.” It was published every day during the Scottish Rite reunion. Interestingly, the Scottish Rite once met in the same building as the local newspaper, the Courier-Journal.
Scottish Rite membership was explosive during the 1920s, and the influential power of the Freemasons was substantial. This is a moment in time when the Rite, especially the Louisville Scottish Rite, was very vocal about their activities and positions on both political and social issues. From the late-nineteenth century to early twentieth century, it was not unusual to find detailed information pertaining to daily activities at Scottish Rite reunions, a list of members, the history of the organization and their stance on public and political topics. For example, the views of the Rite regarding public education were published in the local newspapers for all to read. When a potential candidate thought about joining a particular Scottish Rite, there was no question in his mind about what the organization stood for and could determine in advance if it was a good fit. This may be why the Scottish Rite continued to gain ground and dominate the fraternal landscape of America during the late-nineteenth and early-twentieth centuries.
In regard to the construction of their new home, on May 11, 1923, the Courier-Journal published, “Scottish Rite Masons will begin a three-day campaign May 23, to raise the $300,000 necessary to complete their building fund for the proposed $750,000 cathedral at the southwest corner of Fourth and Breckinridge Streets. Ground for this structure will be broken in September, it was said. The cathedral will have four stories and basement, with an auditorium seating 1,350 persons. Solicitation will be from the 2,286 members in the State of which 1,200 are in Louisville, The campaign will be in charge if Benjamin S. Washer, Richard Priest Dietzman, Edward F. Metzner, Harvey White and Dr. E. L. Henderson” (page 18).
On June 27, 1923, the old Scottish Rite was sold, becoming the new R. E. Jones Temple, Methodist Episcopal Church. On September 9, 1923, the Courier-Journal announced, “The contract for the construction at Fourth and Breckinridge Streets will be awarded shortly after bids are opened about October 15” (page 34). The building was sold to the Methodist Episcopal Church, becoming the R. E. Jones Temple. Rev. Dr. Robert Elijah Jones (1872-1960), namesake for the new church, was also a 33rd degree Scottish Rite Mason. Within a year, however, tragedy struck the old Scottish Rite building. On May 27, 1924, the Courier-Journal reported “Five Firemen and a negro preacher were overcome by smoke last night when flames of undetermined origin ignited debris in the basement of the R. E. Jones Temple, formerly the Scottish Rite Cathedral at Sixth and Walnut Streets” (page 5).
There is one thing to consider about the original Scottish Rite stage and scenery when the Louisville Scottish Rite Cathedral changed ownership. When the building became the R. E. Jones Temple, it is highly unlikely that any fraternal artifacts or decorations were left behind. This means that the old scenery, stage machinery and other stage equipment was either returned to scenic studio (for credit on the purchase of a new collection), it was enlarged for their new stage, or it was sold to another Scottish Rite. To all indications, there remains a significant amount of scenery used by the Louisville Scottish Rite that predates the current building, c. 1910.
In 1910, the Louisville Scottish Rite purchased scenery from Toomey & Volland. Interestingly, Toomey and Volland advertisements from 1912 do not list Louisville alongside fifteen other Scottish Rite Cathedral installations by that time, suggesting that they may have only been adding to a previous purchase. Toomey & Volland could have simply expanded an earlier collection, possibly the one delivered in 1895. There is a distinct possibility that scenery was delivered by the precursor to Toomey & Volland – the scenic studio of Noxon & Toomey.
Thomas C. Noxon was a Freemason, and extremely active in the Shrine. Also, in 1895, Noxon & Toomey delivered stock scenery to Louisville’s Amphitheatre Auditorium. This may have been the crucial connection, a preliminary link with Louisville Masons and the scenic studio of Toomey & Volland. It would not be surprising to learn that Noxon visited the Scottish Rite while installing scenery for another theatrical venue; a common practice among scenic studio owners at the time.
It remains uncertain as to whether the major Scottish Rite scenery supplier to the Southern Jurisdiction at the time, E. A. Armstrong Manufacturing Co., delivered any scenery to the Louisville Scottish Rite Cathedral. Scottish Rite minutes may point to a specific vendor. If the theater work was contracted to E. A. Armstrong, Sosman & Landis were the preferred subcontractors in the mid-1890s, the scenic studio who manufactured and installed the scenery for this fraternal supplier. However, the Louisville Scottish Rite is not listed in a 1902 E. A. Armstrong advertisement that notes all the Consistories they had equipped since 1897. Keep in mind that was after the potential 1895 date of delivery. If it was manufactured at the Sosman & Landis studio, David A. Strong would have been the Masonic designer and primary scenic artist for the earliest Louisville collection due to his early Masonic affiliation. Strong was instrumental in producing much of Chicago’s Scottish Rite scenery for stages starting in 1873; this was the other Masonic theater that Louisville was compared with in 1895.
There are two other possibilities in regard to regional artists who may have created the original 1895 scenery collection Louisville Scottish Rite Cathedral –scenic artists E. T. Harvey or Henry C. Tryon.
Harvey was the scenic artist who designed, painted, and installed Scottish Rite scenery collections for Cincinnati in 1886 and Cleveland in 1901. In 1886, Harvey delivered eighteen sets of scenery to the Cleveland Scottish Rite Cathedral’s stage. Keep in mind that Louisville’s 1895 Scottish Rite Cathedral was compared with the Cincinnati Scottish Rite Cathedral in the newspaper article; “The new cathedral in point of general magnificence is surpassed by only two in the United States, those being cathedrals of the Grand Consistories of Illinois, at Chicago, and of Ohio, at Cincinnati.”
Tryon was the scenic artist credited with scenery and stage machinery at the Indianapolis Scottish Rite a few years earlier in 1883. Both Harvey and Tryon were close friends with Thomas G. Moses, who was in charge of the design, painting, construction, and installation of all Scottish Rite scenery at Sosman & Landis (Chicago) after 1904.”
There is so much more that I could write about this project and the collection as a whole, but I need to pause here. For more posts about this collection, keyword search “Louisville Scottish Rite.”
