Copyright © 2023 by Wendy Waszut-Barrett
While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune.” The article made me both celebrate and curse. On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. This meant that I had to track down at least thirteen more individuals to include in the Sosman & Landis staff. That number immediately increased to fourteen, as George W. Dayton, could have been either the father or son; both were journeyman scenic artists, working in Chicago at the same time.
In 1885, George W. Dayton donated $1, the same amount as all of the other journeymen artists, with exception of Thomas Moses ($2) and Henry J. Buhler ($2). Dayton donated the same amount as fellow journeyman and one-time New York scenic artist, David A. Strong. Both Strong and Dayton were around the same age, and extremely well-respected by the theatre community, each well-versed in painted illusion and stage machinery for stage spectacles.
I am starting with George W. Dayton Sr., as he came first, and we share the same birthday.
George Washington Dayton, Sr. was born on June 19, 1839, in New York. The actual location of his birth varies, with some records suggesting Greene County and others New York City. Regardless of his birth location, his mother’s family (the Tompkins) was from Greene County. She was born, raised and married in Greene County, New York. For geographical context, Greene County is approximately 54 miles southwest of Albany, New York.
George was the youngest son of John Harvey Dayton (1797-1849) and Charlotte E. Tompkins (1794-1868). At the time of his birth, his parent’s had been married for over two decades and already celebrated the birth of eight children: James Harvey (1819-1820), Daniel (1821-1823), James Lewis (1824-1891), Mary Elizabeth (1825-1826), Oscar Veniah (1827-1898), George Washington (1829-1829), John Harvey Dayton (1830-), and Julie Ann “Emma” Dayton (182-1835). In examining both birth and death dates, many of the Dayton children did not survive infancy or early childhood. Little is known of Dayton’s youth, or any moment that prompted him to seek a career in scenic art. His father passed away in 1849, when Dayton was only ten years old. Five years later, Dayton was working at the Bowery Theatre in New York City; a 15-yrs.-old scenic art apprentice. For theatrical context, this is the second Bowery Theatre; the one designed by architect John Trimble that opened on August 4, 1845. The structure lasts until 1929. For geographical context, the Bowery Theatre was located on the Lower East Side of Manhattan.
I have yet to track down any early connections between the Dayton family and the Bowery theater, any tie to the theatre that may have prompted the selection of this occupation. However, the Bowery Theatre repeatedly placed want ads for scenic artists. April 9, 1856, “The New York Daily Herald” advertised:
“SPECIAL NOTICE – WANTED AT THE BOWERY theatre, a first-rate scenic artist; also a good property man. Apply, personally or by letter, prepaid, to Geo. H. Griffith, Acting Manager, Bowery Theatre, New York” (page 7). In 1856, the interior of the Bowery Theatre was featured in the Sept. 13 issue of “Frank Leslie’s Illustrated Newspaper.”
The Bowery Theatre Stage in 1856
Dayton was likely still living at home when he worked at the Bowery Theatre in 1857. His mother was listed in the New York City Directory: “Dayton, Charlotte, widow, h. 168 W. 37th.”
The Bowery lost a scenic artist the year before Dayton began there. On March 11, 1854, “New York Daily” announced that Bowery Theatre, Hamilton, scenic artist left for Australia (page 2). J. Thorne also worked at the Bowery in 1854. John Thorne was credited with painting scenery for the “Seven Temptations” at the Bowery Theatre as part of a “Grand Scenic Spectacle” of June 1855. This means that Dayton most likely assisted Thorne when he first started at the Bowery Theatre that year. In 1855, Thorne and Samuel Culbert were credited with new scenery for “A Grand Military Spectacle” (“New York Herald” 16 Aug. 1855, page 3). Thorne & Culbert had also painted scenery for the pantomime “The Enchanted Temple,” performed at the Bowery Theatre in 1854. In 1859, John Thorne was one of only two scenic and panoramic artists listed in the New York City Business Directory; the other was Oscar F. Almy.
As Dayton gained experience, he began securing employment elsewhere, working for George Christy at Dayton at Niblo’s Garden by 1857. About this same time, David A. Strong also worked at Niblo’s. By 1858, Dayton relocated to Boston where he briefly worked at the Howard Anthenaeum. In1860, he was again actively engaged at Wallack’s Theatre in New York, then American Theatre in Philadelphia.
It was during this time when Dayton married his first wife, Julia A. Sails. The couple soon celebrated the birth of their first child, George W. Dayton, Jr., in 1862. Dayton Jr. would continue in his father’s line, working as a scenic artist.
Between 1862 and 1867, Dayton worked as a scenic artist at the Grand Opera House in New York. In 1867, Dayton became associated with New York’s Broadway Theatre, credited with painting scenery for Tom Robertson’s “Caste.” Dayton continued to paint at a variety of venues throughout the region.
In 1871 Dayton returned to the Grand Opera House, painting scenery for several Augustin Daly productions. Dayton and Louis Duflocq assisted Richard Marston on several productions, continuing to work with Heister until the mid-1870s. They painted scenery at various venues throughout the region, including a production of “Macbeth” at Boston’s Globe Theatre.
However, On June 9, 1871, Dayton’s work at Pike’s Opera-House was mentioned in “The American Israelite” (page 10). The article reported, “For the past few months, it is well known to our citizens that the enterprising Mr. S. N. Pike has been remodeling his concert hall with a view to its conversion into an opera-house that might equal, if not eclipse, in beauty and elegance of finish the former structure…The scenic artist is Mr. Joseph Pigott, and Mr. George Dayton, of the Grand Opera of New York, has been engaged to paint several scenes with special reference to the opening night.” Purportedly, it was James Fisk (managed of the Grand Opera House) who sent Dayton to the newly-constructed Pike’s Opera House in Cincinnati. Years later, Dayton recalled that when he arrived at Pike’s, “there was nothing but the bare wall.” Over the course of six weeks, he painted enough scenery to stage five operas. Interestingly, articles from the time note that the set pieces and wings were constructed of sheet iron.
In 1868, Dayton’s mother passed away in New York. At the time, Dayton was 29 years old; his career was taking off and he was making quite a name for himself. Her obituary simply announced: “DAYTON. – On Tuesday, March 10, Charlotte Dayton, aged 73 years, relict of John H. Dayton and daughter of Hon. Nehemiah Tompkins, of Greene County, N. Y. Funeral on Thursday morning at eleven o’clock from the residence of her son, 128th street and Seventh avenue.”
In 1869 the couple celebrated the birth of their second son, Charles E. Dayton. By 1870 Census Dayton household as including George W. (35 years old, painter), Julia A. (31 yrs. old). George W. Jr. (8 yrs.) and Charles E. (4 months old, born in Feb.). Sadly, Charles passed away the same year.
In 1872, Dayton was listed as an artist in the New York City Directory, living at 274 W 19th.
In New York, Dayton was also associated with Niblo’s Garden Theatre. This association was mentioned after a riding accident made the newspapers. On Aug. 24, 1874, “The Brooklyn Union” reported, “Mr. George W. Dayton, scenic artist of Niblo’s Theatre, Miss Margaret Clinton, and actress, Dr. Spier, and his wife of New York, visited Cypress Hills yesterday. While the carriage in which they were riding was descending one of the steep paths in the cemetery, a portion of the harness broke and the horses became frightened and ran away. The carriage was upset near the entrance and the driver and all the occupants were thrown out and sustained more or less serious injuries.”
This same year the couple celebrated the birth of another child, Florence Estelle Dayton (1874-1955). Florence was born in Flatbush, Long Island, New York. A section of her obituary notes her lineage: “Florence E. Dayton, born September 19, 1874, at Flatbush, Long Island, was descended from an old family who first settled in this country in 1629. Her grandfather, Jonathan Dayton, was the youngest signer of the Constitution of the United States, and her great uncle, Daniel Tompkins, was twice Governor of New York State and Vice-President under President Monroe.” This is not accurate, as her grandfather was born in 1797. I have yet to verify any connection to Johnathan Dayton (1760-1824), the 26-yrs.-old signer of the Constitution from New Jersey.
In 1875, Dayton was credited as one of the scenic artists credited with painting scenery for Charlotte Cushman. Her farewell performance at the Globe Theatre on May 15, 1875, listed George Heister, George W. Dayton and Joseph Schnell as scenic artists, as part of the executive staff.
As with many scenic art families, the birth of each Dayton child helps track the family’s travels. Sometime between the birth of Florence and the birth of Arthur, the Daytons moved from New York to California. By 1876, the Daytons relocated to California. Arthur B. Dayton was born in San Francisco that year. At the time, Dayton Sr. was listed as the scenic artist for Baldwin’s Academy of Music (also known as Baldwin’s Theatre). The remained in the area for three years. During this time, Dayton Jr. began assisting his father. In 1878, George W. Dayton, Jr., was also listed as a scenic artist at Baldwin’s Theatre, working as an assistant to his well-known father.
Geo. W. Dayton worked as a scenic artist at the Baldwin Theatre in San Francisco.
Dayton Sr. was making headlines in 1878 and was featured in “The Footlight,” a San Francisco Journal. The article about Dayton Sr. provides an abundance of details about his career up until this point. His portrait was included with the article and remains the only known image of the artist.
“The subject of our illustration, Mr. George Washington Dayton, whose scenery of Joaquin Miller’s California Drama, “The Danites,” lately produced and now being performed at Baldwin’s Theatre, has brought him prominently before the San Francisco public, belongs to a family of artists. His brother, Oscar V. Dayton, was scene painter for Maguire in 1849 and ’50, and may be said to have been a pioneer scenic artist in California. Old ‘49ers can remember with what pleasure the stage pictures, made to illustrate the plays, produced at the Jenny Lind Theater were viewed.
One of the most celebrated American scenic artists, Minard Lewis belongs to a branch of the Dayton family, being to George W., whose style closely resembles that of Lewis.
Possess of inherent and natural abilities to become eminent in his profession, Dayton has been quite fortunate in the school wherein he has gained knowledge and experience. At the age of 15, in 1855, he was employed at the Bowery Theatre, New York, then under the management of Messrs. Eddy and Johnson. In 1856 and ’57 under the direction of Mr. Lehman, he assisted in the production of the ‘Red Gnome’ and ‘Green Monster’ series of pantomimes by the Ravels, probably the most gorgeous spectacle of the kind ever brought out in the United States. In the same year, Dayton painted scenery for George Christy, next or to Niblo’s, and in the following year, 1858, we find him at the Howard, Boston, for a short session of six months, under engagements to J. M. Nixon. Returning, however, to New York, he was engaged in1860 at the Broadway Theater (then named the Wallacks) thence for a short season to Philadelphia at the American Theater, and back again to the Broadway Theater, New York under manager Wood and Barney Williams; from there to the Grand Opera House, managed by James Fisk, where he remained five years, and was sent by him in 1867 to Pike’s Opera House, Cincinnati. When Dayton commenced work at Pike’s Opera House, there was nothing but the bare walls and in six weeks he had scenery sufficient for the production of five operas, the set pieces and wing boards being painted on sheet iron. The Fisk engagement was followed by one of one year under Augustin Daly, as the Globe Theater, Boston, which brings his dates to 1875. From there he went for short season to Concord, N. H., where Tom Maguire the shrewd manager of Baldwin’s, who always keeps track of all kinds of first-class talent, until a favorable opportunity of securing it occurs, found and imported him expressly for Baldwins theater. The result has fully justified Maguire’s good judgement. Theater goers are familiar with the work Dayton has placed on view since his advent at Baldwin Theater and those possessed of aesthetic taste readily recognized the hand of a master craftsman. The modesty of the artist prevents his asserting his just claim to recognize.”
Th article is a remarkable compilation of events, constructing Dayton’s scenic art career from 1856-1878. This, combined with other historical records, give a detailed account of Dayton’s travels.
The Dayton’s were still living in San Francisco the following year. Dayton was still associated with the Baldwin Theater, but was also painting for the Grand Opera House. On April 9, 1879, “The San Francisco Examiner” announced, “Baldwin’s Theatre. – Another crowded house witnessed A Scrap of Paper at this place last evening. The play was admirably produced and the actors, with one or two exceptions, filled their roles to the entire satisfaction of all present. Mr. Dayton, the scenic artist, has surpassed all his previous efforts by the second and third scenes of the play. The formerly is arranged, and we understand that the articles on the stage used in the ornamentation are valued about $6,000” (page 3). On May 5, 1879, “The San Francisco Examiner” listed George W. Dayton as the scenic artist for ‘Aida’ at the Grand Opera House (page 2).
On August 16, 1879, “The Pacific Bee” mentioned Dayton in an article entitled “Stock Speculations” (page 2). The article announced, “He is interested in the actors’ mine known as Uncle Same, at Bodie, and has also bought a large farm in Maryland, where there will be quite a theatrical colony, since Lewis Morrison, Dayton (scenic artist) and many others have purchased land in the same district” (page 2). They kept a home in Harmony, Caroline County, Maryland in 1880, the US Federal Census listed the Dayton family in Harmony. The census was taken on June 3, 1880. George W. Dayton Sr. and Jr. were both listed as artists. Other members of the Dayton household included: his wife, Julia Dayton; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). The 1880 US Federal Census listed the Dayton Household in Chicago too, and including: head of household, George W. Dayton, Sr.; his wife, Julia Dayton; his eldest son, George W. Dayton, Jr.; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). Both Sr. and Jr. George W. Dayton worked as artists. The census listed both George W. Dayton Sr George W. Dayton Jr. as artists.In both census reports, Dayton Sr. was listed as 35 years old, and Dayton Jr. was listed as 19 yrs. old. In fact, Dayton Sr. was 41 years old. Daytons work in Chicago makes sense. This is the same time that Sosman & Landis began to expand their scenic art staff. Sometime between 1878 and 1880, Dayton relocated his family east, both he and his son continue to work as scenic artists.
Between the summer of 1879 and the summer of 1880, the Dayton family relocated with Chicago. Dayton Sr. was soon featured in the Chicago Tribune.
On August 15, 1880, the “Chicago Tribune” reported:
“Hamlin’s Scenic Artist.
Mr. George W. Dayton, the scenic artist at the new Grand Opera House (Hamlin’s), began his labors last Monday, being assisted by his son. As very much of the success of the new theatre will depend upon the efforts of Mr. Dayton, a short sketch of his career as an artist is appended. Mr. Dayton comes from a family of artists, his brother, Mr. Oscar V. Dayton, having been the first artist in Maguire’s ‘Jenny Lind.’ Theater in San Francisco in 1849. Minard Lewis, recently deceased, was his cousin. Possessed of inherent abilities for his profession, Mr. Dayton has gained great knowledge and proficiency. At the age of 15 he was first employed at the Old Bowery Theatre, New York, then managed by Eddy and Johnson. In 1856 and 1857 he assisted in the production of the “Red Gnome” and the “Green Monster,” under the direction of Mr. Lehman. These painted pantomimic spectacles, which introduced the celebrated Ravel family, were at that time considered the most gorgeous ever produced in America. In 1857 he also painted the scenery for George Christy’s Minstrel Hall, next door to Niblo’s. In 1858 he went to the Howard, Boston, then under the management of James M. Nixon. In 1860 he returned to New York, engaging at the Broadway Theatre (then named Wallack’s). Thence he went to the American, Philadelphia, but returned to the Broadway when Wood and Barney Williams assumed its control. From Broadway he went to the Grand Opera-House with James Fisk, where he remained five years. Going to Cincinnati during that time to fit Pike’s Opera House with a stock of scenery. After the Fisk engagement he went to Boston with Augustin Daly as artist for the Globe Theatre. Mr. Dayton was then sought by manager Tom Maguire for Baldwin’s magnificent Academy of Music, San Francisco. Mr. Hamlin secures him direct from the last-named house.
Mr. Dayton is unknown to Chicago, but when it is understood that the scene for McKee Rankin’s “Danites,” which have so often received praise here, were originally designed by Mr. Dayton, there will be a favorable opinion of his merits as an artist. He was complimented with a call for each scene when they were first disclosed at Baldwin’s Theatre. There is no mean praise, coming as it did from the forty-niners themselves.
Mr. Dayton will have a new drop-curtain ready for the approaching opening of the new house.”
Both Hamlin and is son were also working as scenic artists at the new Grand Opera House. On September 5, 1880, the “Chicago Tribune” reported that “the entr’acte curtain has been painted by Mr. Dayton” (page 11). Later in the article, Dayton was again listed as part of the backstage staff: “George W. Dayton, scenic artist; George W. Dayton, Jr. assistant; John Foust, machinist; John Dolan, master of properties.” Dayton was mentioned in another Chicago Daily Tribune” article on that same day (page 16). The article reports, “In the way of a drop curtain a new departure has been made, one of a dark crimson cloth, with deep Roman fringe, having been chosen, while an entr’acte curtain has been painted by Mr. Dayton…The principal officers of the house will be John A. Hamlin, Manager; William H. Davis, associate manager; George W. Dayton, scenic artist; George W. Dayton, Jr., assistant…”.
However, George W Dayton Sr. and Jr. are counted in the 1880 census twice. The same happened in 1900.
On Oct. 2, 1880, the “Chicago Daily Telegraph credited George W. Dayton as painting scenery for T. W. Keene (p. 4). The article reported, “The plays in Which Mr. Keen has the honor to make his stellar debut in Chicago will be produced under the immediate supervision of the veteran Charles Webb, of Drury Lane Theatre, London. New and brilliant scenery by George W. Dayton.” I am relatively certain that the article is referring to Dayton Sr., despite the fact that he was continuously assisted by his son. In 1880, Dayton Sr. is 41 yrs. old, and Dayton Jr. is 18 yrs. old. Five years later, it was a different story. Age and experience in Dayton Jr.’s part brings his name into play.
Both Dayton and his son continue to paint scenery in both Chicago and New York. By 1882, Dayton Sr. is associated with New York’s Standard Theatre, where he worked alongside Phillip Goatcher, G. Heineman, John Mazzanovich and J. W. Rough. In 1883, Dayton paints scenery for “Michaëla,” with his son listed as an assistant. Other New York shows include painting with Mazzanovich to deliver scenery for “The Rajah” at Madison Square Theatre in 1883. The following year Dayton painted scenery for “Sea of Ice” with William Voegtlin and his son at the Buffalo Academy of Music. On September 9, 1883, “The Philadelphia Times” announced, “The scene in the Polar regions, which has been painted by George Dayton, the scenic artist at the Union Square Theater, for “The Sea of Ice,” to be presented at the Walnut, has been made from drawings furnished by an old arctic explorer. It is described as very novel and effective” (page 3).
In 1884, both Dayton Sr. and Jr. were listed in the Brooklyn City Directory:
George Dayton, painter, h. 28 Whipple
George Dayton, painter, 133 22nd.
The George Dayton at 133 22nd would retain this address until 1898, suggesting that this was the address of Dayton Sr; Dayton Jr. passed away in 1897.
In 1884, Dayton is working in Hartford, Conn. At the Opera House. On July 30, 1884, the “Hartford Courant” reported:
“WELCOME IMPROVEMENTS.
When the entertainment season at the opera house reopens, a few weeks hence, the patrons of this place of amusement will observe and appreciate many improvements. Just now the stage is piled up with work benches and the paraphernalia used by scenic artists and stage carpenters, and on every hand sections of scenery are stacked in confusing order. High upon the wall back of the stage, on an improved platform, scene painters are working on the new drop curtain for the proscenium arch, which is to take the place of the green cloth curtain that had done service since the opera house was opened. The subject for the new curtain is the popular picture by Carl Becker of ‘Othello’s Story.’ The Moor leans against the railing of the Venetian balcony recounting his exploits to Brabanco, and Desdemona sits at her father’s feet a charmed listener, while in the distance, across the grand canal, loom up the Campanile tower and the church domes, just as they now do in sleepy old Venice, and as Becker believed they did when Othello was moving the susceptible heart of Desdemona. The curtain will be 45 by 39 feet square. It is being painted by Mr. George W. Dayton of the Star theater, New York, a scenic artist of considerable reputation, and whose work is known to Hartford’s theater-goers by the few sets of new scenery introduced at the opera house last season and the year before. Mr. Dayton has been at work at the opera house for the past six weeks, and among the new scenes that he has painted are a mediæval castle gateway, hemmed in with battlement walls; an interior prison scene – very effective in drawing and perspective; a street scene specially adapted for pantomime tricks; a baronial chamber of the Norman period; with its stone walls and tapestries; and attic scene, and others of minor nature. All these scenes have the necessary border drops and wings. The auditorium of the theater has been renovated and freshly painted and the entrance from Main street is made more inviting by a fresh coat of paint. Mr. Roberts is to be commended for giving his opera house these new touches, and he will no doubt reap a compensating patronage from them” (page 2).
In 1885, Dayton and his son primarily work and exhibit their fine art in Chicago. This is what makes the 1885 Sosman & Landis staff list difficult to interpret. In 1885, Dayton Sr. had been working as a scenic artist since 1856. His son had been listed as a scenic artist since 1878. Although Dayton Sr. Had much more experience, 29-yrs.-old Dayton Jr. was also a journeyman artist. Both were listed in the Scene Painter’s show of 1885. Dayton Sr. and Dayton Jr. were even part of the planning committee. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4). Both Dayton’s were also mentioned in John Moran’s article about the event, published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Moran wrote,” “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr.” I would suspect that BOTH George Dayton Sr. and George Dayton Jr. were part-time employees at Sosman & Landis in the mid-1880s. During this time, Sosman & Landis also ran a branch office in New York. Many of their employees shifted between the two regions; heading wherever their skills were needed. Such was the case with Dayton Sr. and Dayton Jr. By 1885, they had consistently worked together since 1878. It seems unlikely that only father or son would work at Sosman & Landis, as they worked as a pair.
On April 15, 1885, the “Buffalo Morning Express” mentioned Dayton’s continued scenic art work in New York (page. 5): “Mr. J. C. Rother, who ranks among the foremost portrait artists of Buffalo, had not yet moved to New York, as has been stated. On his recent visit to New York, he made arrangements with Mr. George Dayton, the celebrated scenic artist, formerly of the Standard and Star Theatres, New York, whereby he is enabled to furnish scenery for theatres and halls from the cheapest to the most elaborate and artistic. Mr. Rother has moved his studio from the Austin building to his old stand, No. 366 Main Street, so that he can personally supervise his sign and decorative establishment, and will also continue his portrait painting, Mr. Rother’s abilities as an artist are too well known to need further comment. If he goes to New York to live it will not be until autumn, and in the meantime, he will receive orders for portraits as heretofore.”
It was in 1885 that his first wife passed away. He remarried two years later. His second wife was Mary McCarty (1866-1931). The couple celebrated the birth of three of whom survived infancy. Their children were Irvin W (July 1888), Eugene H. (July 1891), and Oscar V. (Sept. 1897).
In 1887, Dayton was again working in New York with Voegtlin and delivering scenery for “Peg Woffington” at the New York Lyceum. He was also working with George Hineman. On May 26, 1887, “The Morning Journal-Courier” announced their work at the New Haven Opera House: “Two scenic artists of acknowledged ability, George W. Dayton and George Hineman, have already arrived and begun the work of adding important improvements in the scenic department, under Manager Wall’s direction” (page 2).
In 1889, Dayton Sr. and Dayton Jr. were again living out east, each listed as a painter in the Brooklyn City Directory, with George Dayton Sr, residing at 133 22nd and
George Dayton, Jr. at 203 Varet St.; their residences located quite far apart. Dayton and his father soon began representing the William F. Wise studio in Tyrone, Pennsylvania.
On September 17, 1889, the “Tyron Daily Herald” reported, “Two young men named Leon Moan and George Dayton [Jr.], scenic artists who have been in the employ of W. F. Wise in Tyrone for nearly three months had their room in the building of Mr. Scullin, the tailor. About a month ago they broke a large French plate mirror in their room. They promised to pay for the damage done, but last night it was discovered that they were trying to sneak away on Philadelphia Express. Mr. Sculin did not care as far as the price of glass was concerned but he deemed it right to put a quietus on such a mean trick. Accordingly, he armed officer Snyder, with a warrant and together they went to the depot for the men. The fugitives were in hiding on the hill side of the railroad, and when the train arrived, they endeavored to board without being seen. Mr. Scullin and the officer made a dash for their men and secured Dayton, but Moan succeeded in eluding his pursuers. Dayton was taken before Esquire Taylor and settled the affair by paying the damage and costs” (page 2).
By 1889, George W. Dayton is listed as an artist in the New York City Directory, living at 330 E 77th. By 1891, only George W. Dayton, Jr. was listed in the New York City Directory, living at 324 E 85th St.
In 1891, the Dayton family lived in Pennsylvania, as a son, Eugene was born in Philadelphia that July.
From 1892 to 1894, the Daytons lived in New York, as “George Dayton, artist,” was listed in the directory, living at 513 E 117th St.
In 1894, Dayton’s past affiliation with Wallack’s Theatre in New York was mentioned in various newspaper articles about Henry Arthur Jones’ touring production of “The Silver King.” On Dec. 7, 1894, “The Clinton Register” reported that “All of the beautiful scenery for which the ‘Silver King’ is famous, is carried completed and was painted by George Dayton, former scenic artist of Wallack’s theater in New York” (page 2). On Oct. 16, 1895, the “Argus and Patriot” advertised the show at the Blanchard Opera House in Montpelier, Vermont. It noted, “All of the beautiful scenery for which ‘The Silver King’ is famous is carried complete, and was painted by George Dayton, former scenic artist at Wallack’s Theatre, New York” (page 3).
Interestingly, in 1896, the former residence of George W. Dayton was mentioned in the “Brooklyn Citizen” (2 Aug. 1896, page 23). The home and grounds were described in great detail. The article reported, “Patrick Ford lives on the Coleman place, now called ‘Dayton’s’ because it was once owned by George W. Dayton, the scenic artist, who during his occupancy of the place entertained some of the stage celebrities of the times.”
In 1897, however, both Dayton’s were listed in the NYC Directory:
Dayton Geo W artist h 1088 Park av
Dayton Geo W artist h 264 W 118th
That year, Dayton Jr. died of tuberculosis laryngitis at 34 yrs. old on April 5, 1897. He had been sick for three months before he passed. Dayton Jr. was buried in Middle Village, Queens, New York, he left a 2 yrs. old son (Jerome J. Dayton) and five-yrs. old daughter (Julia Agnes Dayton) daughter. Dayton Sr. had only a little time to grieve the passing of loved one. Three weeks later, he was bas at work. On April 28, 1897, the “Tyrone Daily Herald” of Tyrone, Pennsylvania, reported, “George W, Dayton, the veteran scenic artist, with a. corps of assistants, has begun work upon the extensive scenery to be used by the Harry M. Dry Pyrotechnic company in their new spectacular production ‘The Bombardment of Fort Sumter or the Siege of Charleston,’ which will be ready for presentation on the road in a few weeks. Altoona is anxious to be the first city to witness this gorgeous pyrotechnic festival, and it may be that the season will be opened there” (page 4).
Dayton Sr. had relocated to Tyrone. This move was recalled by his son, Oscar Dayton, years later. On Dec. 22, 1976, the “Tyrone Daily” published an article about the loss of the Wilson Theatre, entitled “The Curtain Comes Down” (page 6). Much of the artist focused on George W. Dayton, Sr.:
“Oscar Dayton’s father was a member of the Wise Studio, and a superb painter. Originally from New York City, the elder Dayton was employed by a very industrious organization of that city as a scenic painter and artist. When the Wise Studio came into being during the 1880s, George W. Dayton was contacted by Wise to come to Tyrone and further his professional technique by joining Wise’s staff in his studio on 12th street. The offer was accepted, and the Dayton family moved to Tyrone, where living conditions were less expensive than the larger, metropolitan areas, and, yet, the wages were most attractive. George W. Dayton continued his profession until his death in 1908. The Wise studio was a very busy establishment, painting scenery for theatres over a vast area. In fact, orders were well ahead of the work and became so prominent. That Wise drew in professional painters from many large cities.”
Oscar Dayton reminisced, “Ten professional painters worked from dawn to dark. It was a tremendous business, since scenery was an exclusive part of stage settings, and was in constant demand.”
George Dayton Sr. and the Wise Studio made headlines again in 1993. On July 24, 1993, the “Tyrone Daily Herald” published an article on the renovation of the oldest building in Tyrone (pages 1-2). On the second page of the article, the history of the building was examined: “The Woodshop building, which looks similar to a big old red barn, has a long history in the community, being the oldest building now standing in the borough. Built in 1855 it was first used as a church by the former United Brethren Congregation (now First United Methodist Church), and later became a Civil War hospital. The next occupancy of the building came in the form of scenic artists and a theatrical studio for W. F. Wise Co. and for George Dayton. Eventually Miller Brothers (Hardware) used it for storage for about sixty years, selling it to Lee Wertz, who also used it for storage. Mr. Anderson purchased the property in 1992 with a goal of restoring the building and using the second floor for his custom woodwork shop. Among his talents, Mr. Anderson makes moldings for other people restoring buildings.” The building stands at the corner of 12th Street and Washington Avenue. It was the theatrical posters uncovered during Anderson’s restoration that brought this building into the public eye again. On Feb. 27, 1993, the “Tyrone Daily Herald” reported, “Some pulley fixtures used for lifting scenery were found on the second floor. They were unique because of the four cut-out heart designs on each side of the pulleys. Samples of wall covering in which old wall paper was used as the canvas have been given to the historical society” (page 1). Here is a link to a photo gallery for Tyrone’s Oldest Building: https://tyronesoldestbuilding.com/gallery/
Additional research revealed that in 1888 the church building was sold to W.F. Wise and W.B. Stewart. The building was again sold in 1895 to A.A. Stevens and it would never again be in a position of importance to the community until it became the oldest building in Tyrone. After the purchase of the building by A.A. Stevens in 1895, it changed hands 11 more times.
On Feb. 24, 1898, the “Tyrone Daily Herald” included two articles about Dayton. The first was a letter written by Dayton entitled “A Strong Team” (page 4). It reported, “After frequent solicitations of a number of my friends who wished me to teach the art of drawing and painting in their several branches, I write this to all those who wish to take lessons, that I have associated myself with the Penn Art Co. school as one of their instructors and will faithfully do my part to educate all pupils who study with me, and if they will prove as studious and apply themselves on their part, they will have no cause to complain; attentive pupils will certainly attain such progression that they will be more than pleases with their venture. – Geo. W. Dayton.”
The second article reported, “The fine suite of rooms comprising the second floor of the First National Bank building is now occupied by the Penn Art company, of which M. D. McOmber is manager. The four rooms have been newly papered and renovated, presenting an attractive appearance. The front rooms will be occupied as the main office and clerical department, and the rooms facing Tenth street will be devoted to the teaching departments in charge of George W. Dayton and William H. Kellogg. The Penn Art company have for a long time been negotiating with some of the well-known artists of the country and have finally secured the services of these two experienced artists, who are known throughout the United States, and their paintings have been recognized and acknowledged by the artists of the world as masterpieces. As experienced teachers they probably have no superiors” (page 4).
Dayton Sr. continued to be listed in the newspaper. He was mentioned in a multi-page article entitled “How a Play is Staged.” On Aug 21, 1898 the “New York Times” reported, “Scenic artists have for years used the device of model scenes – that is, they have roughly constructed a small model as guides to the carpenters in making the larger scenery’ but Josef A Physioc, the young scenic artist of the Garrick Theatre, claims to have been the first to use the miniature stage, complete in every detail, for the guidance of actors, managers, carpenters, and ‘utility’ men. The accompanying picture of the model stage, set for the first scene in ‘Tess of the D’Urbervilles,’ illustrates the miniature stage as used by Mr. Physioc…Another picture shows the model stage set for a scene in ‘Couried Into Court. These miniature scenes are constructed in the ‘model room.’ The picture shows Mr. Physioc and George W. Dayton. An ‘exterior’ painter, at work upon a sketch preparatory to transforming their idea into a model. On the walls, on the table – everywhere – are models, sketches, and the countless suggestive things that litter up the studio.” (p. 27). Dayton Sr. was noted as simply “an exterior painter.”
By that fall, the Dayton family had moved again. On October 3, 1898, the “Altoona Tribune” announced, George W. Dayton, 623 West Washington. The scenic artist, with his family has removed to Thomastown” (page 3)
Dayton Sr. was listed as still living at Park Ave., confirmed in the 1900 US Federal Census. That year, the Dayton Sr. household at 1088 Park included: Geo. Sr. (Jun 1840, 59 yrs., married 12, scenic artist), Mary (Aug 1866, 33 yrs., mother of 4), Irwin W. (July 1888, 11 yrs.), Eugene (July 1891, 8 yrs., Philadelphia), Oscar V (Sept, 1897, 2 yrs.), Florence E (Sept 1874, 25 yrs.), Arthur B. (Nov 1876, 23 yrs., California, artist), Mary McCarty (Mother-in-law, May 1843, 57 yrs., mother of 13).
They were also counted in a second census report that year. In 1900 the Dayton family was also listed as living in Snyder, Blair, Pennsylvania. The Dayton household included George, Mary, Irwin, Eugene, Oscar V., Florence, Arthur, and his mother-in-law Mary McCarty.
On March 31, 1904, the “Tyrone Herald” reported, “George Washington Dayton, Tyrone’s boss artist, Vail’s central station postmaster, and the general community’s greatest jokester was in town Monday with four telescopes, a monster magnifying glass, a double-action six shooter Colt’s army revolver and a belt full of cartridges, looking for a lot which he purchased recently and upon which he advanced one-third of the purchase money but failed to get information as to the location of the property” (page 5).
On Sept. 11, 1904, “The Brooklyn Daily Citizen” reported, “The veteran scenic artist, George W. Dayton, painted the scene for Milton Nobles’ new comedy, ‘The Days of ’49.’ In 1875, Mr. Dayton got up the first scene for ‘The Phoenix,’ when Milton Nobles came forward as a star, in the now famous play of that name. Mr. Dayton has painted nearly one-half of the cycloramas that have been exhibited in this country since the Civil War” (page 3].
George W. Dayton Sr. passed away shortly after his 80th birthday, He died in Snyder Township, Blair Country, Pennsylvania, on June 25, 1909. The cause of death was listed as “Chronic Interstitial Nephritis,” an ailment that had lasted for approximately 6 months. His occupation was listed as “artist.” Dayton was buried in Grandview Cemetery, Tyrone, Blair County, PA. His obituary was published in the “Tyrone Daily Herald on Jan. 27, 1909 (page 4). It stated:
“FAMOUS ARTIST GONE. On Monday afternoon at 8:30 o’clock, George W. Dayton, the famous scenic artist. Died at his home at Vail. Mr. Dayton had been in failing health the past years from complication of diseases and was unable to leave his home the past two months. He gradually grew worse until death claimed him at the above-mentioned time. He was a kind, affectionate husband and father and will be greatly missed in the home. George W. Dayton was born in New York City, June 19, 1839, making his age 69 years, 7 months and 6 days. Mr. Dayton was married twice. His first wife preceded him to the grave in 1885. Two children were born to this union. His second wife, Mary E. Dayton, and the following children survive’ Mrs. William Ruhe, of China, Arthur B. Dayton, New Milford, Ohio, Irving. Eugene and Oscar, at home. The funeral will occur on Thursday afternoon at 1:30 o’clock. Services conducted at the home by Rev. George T. Gunter. Interment in Grand View Cemetery, Tyrone.”
His Eulogy was also included in the article:
“Eulogy of Geo. W. Dayton. One more friend is gone, one more father less, one more familiar face missed from among us. George W. Dayton passed away Jan. 25the. He has left a vacancy in the world of painters, for he was no common craft. His hand that held the brush was of cunning skill, as he stood high among the galaxy of old school painters fast fading from our midst. Although old it be, yet it was glorious in its day, as it has pointed the way to the newer school of painters. Just as from Chaucer sprang the renaissance of English literature, so from men of Dayton’s day evolved the present school of scenic art, He painted great scenes. He put his brush to a white mass of canvas and behold, trees rustled in the breeze, mountains swam in the hazy distance, mosses clung to magnificent architecture, shapely columns and sweeping arches gleamed among cypress and cedar. His touch had magic in it; his color was sweet and harmonious – never jarring or gaudy. An artist who stands high in his profession, said to me not long ago, ‘If I could handle the difficulties of scenic art as Dayton once did, I should consider myself a master.’ One of the charms of Mr. Dayton was his unfailing cheerfulness. His life had its ups and downs, its smiles and tears, but through all, he never changed. In my long association with him I never heard him condemn. ‘If you can’t speak well of anyone, hold your tongue,” was his oft-repeated advice. He was born in New York city considerably over a half century ago. In his early youth he showed decided talent for his chosen profession. There is much that is somewhat obscure in his early days. A hint or two he let drop led me to believe that his first venture was a turn in a circus, but of this I am not sure. The first definite knowledge we have of him was when he was about eighteen years of age. Then owing to the undoubted talent he displayed he was installed as a scenic artist of the old Bowery theatre in New York. This position he filled for three or four years. When his marked ability became apparent, his services were in demand. After a prosperous career here, he was offered an engagement in the principal theatre of San Francisco, his salary being among the highest in those days, paid in gold. He, owing to his genial disposition and talent, was presented with a handsome gold watch in token of esteem. All artists are more or less nomadic; so later we find him holding positions in many of the principal cities of the country. He was in Chicago immediately before he came to Tyrone. About twenty years ago he became a member of the corps of artists in the studio of Wm. F. Wise & Co. Many remember some of the drop curtains he painted and how his ability was felt by all. Now his eventual life is ended. When he lay upon his bed of death, his hands clasped by two of his friends, he looked up at us and with a flicker of his old time smile, joked even then, and after a pause, he turned to his wife and said, ‘I do not fear death.” There was no pain and he passed on a few days later into a calm and peaceful sleep. -A friend.”
