Mike Hume and I arrived in Buxton on the evening of August 4, 2024.
The fence surrounding Buxton’s Pavillion gardens with the Opera House, pictured far right.A map showing the location of the Buxton Opera House in England.
On the morning of August 5, we had a little time to wander about town, taking in a few sights.
Buxton, England.
Buxton is a spa town in the east Midlands region of England, built on the River Wye. With ancient origins, Buxton became known for the healing properties of its waters. In fact, the one of the first things we did upon our arrival was to fill our water bottles at St. Ann’s Well, a shrine since medieval times.
St. Ann’s Well in Buxton, England.
Buxton’s website explains that St. Ann’s Well was denoted one of seven ‘Wonders of the Peak’ by Thomas Hobbes in 1678: “this cures the palsied members of the old, and cherishes the nerves grown stiff and cold”. Warm water, from a geothermal spring, flows at a constant 28 degrees Celsius (82.4F). High in magnesium, the same spring water is bottled and sold asBuxton Water.
Victorian spa in Buxton, now part of the Buxton Tourism building. Note the flowerpot sculpture – like in Settle!
Mike had scheduled an appointment with Willow Hick, production coordinator at the Buxton Opera House. I am still a little amazed that anyone allowed us to visit during the International Gilbert & Sullivan Festival.
It was also a perfect opportunity to visit old friends. As Diana Walkden lived nearby, we invited her to join us on our excursion. It was a really good thing too, as her involvement with the current Matcham exhibit on display in the building likely expanded or tour options that day!
Wendy Waszut-Barrett and Diana Walkden at the Buxton Opera House, August 5, 2024.One of the framed panels for the exhibit at the Buxton Opera House.Detail showing the layout at the Buxton Opera House.
Buxton’s Opera House was designed by Frank Matcham (1854-1920). This architect has quite a following, although that wasn’t always the case. He has a really interesting past and his theatres are absolutely gorgeous. For more information about Matcham, visit the Frank Matcham Society.
Opening on June 1, 1903, the Buxton Opera House featured live performances until 1927. As was the case with many theatre at this time, silent films were introduced, thus shifting the direction of scheduled entertainments. Although live performances persisted over the years, the Buxton Opera House primarily served as a cinema, then gradually fell into a state of disrepair. Fortunately, it has returned to its former glory, reopening on July 30,1979, with a performance of Lucia di Lammermoor.
Here are some of my favorite photos from our visit:
The Buxton Opera House, England.Entrance to the Buxton Opera House.The lobby at the Buxton Opera House.Ceiling mural detail in the lobby of the Buxton Opera House.Floor detail in the lobby at the Buxton Opera House.The safety curtain in at the Buxton Opera House on August 5, 2024.The Buxton Opera House.Ceiling at the Buxton Opera House.Sunburner and ceiling murals at the Buxton Opera House.Ceiling mural detail at the Buxton Opera House.Mural detail of comedy and tragedy masks at the Buxton Opera House.Proscenium detail at the Buxton Opera House.Proscenium detail at the Buxton Opera House.Theatre Manager’s box at the Buxton Opera House.View of the orchestra pit from the boxes at the Buxton Opera House.Another view of the Buxton Opera House.Buxton Opera House.Last row at the Buxton Opera House.Buxton Opera House.Mike Hume in action at the Buxton Opera House during our visit on August 5, 2024.
As with all of our theatre visits this trip, Mike Hume’s Historic Theatre Photography will share more detailed information and photos for this and other venues.
Leaving the Buxton Opera House on August 5, 2024.Wendy Waszut-Barrett, Diana Walkden, and Mike Hume in front of the Buxton Opera House, England.
C. M. Crouse was listed as a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune listed Crouse’s donation as $1.
In 1885, 48-yrs.-old Cyrus M. Crouse and his brother, 53 -yrs. old William F. Crouse, were well-known and well-respected stage carpenters. Both had been working as carpenters and master mechanics since the late-1850s, with decades of experience behind them as experts in stage machinery.
Their parents were John Crouse and Catharine Ziegler. Cyrus and William were two of nine children born to the couple; with only six children surviving infancy.
In 1850, the Crouse family home was in East Brandywine, Chester County, Pennsylvania. This is about 40 miles west of Philadelphia. Census reports that year listed the following individuals are part of the Crouse household: John (45 yrs.), Catharine Crouse (42 yrs.), William (18 yrs.) Amos (15 yrs.), Cyrus (13 yrs.), Mathilda (9 yrs.), Emma (7 yrs.), Charles (5 yrs.), Mary Ann Yoder (17). and Benjamin Harris (48). I am uncertain as to whether Yoder and Harris were extended family members or boarders.
The Crouse family moved to Carroll County, Illinois, in 1856. At the time Cyrus was 19 yrs. old. For geographical context, Mount Carroll is about ten miles east of the Mississippi River (a two-an-a-half hour drive from Chicago). This was part of a larger relocation plan for not only John Crouse, but also his older Daniel Crouse. Both are included in the History of Carroll County, Illinois (1878, page 405). Here are their listing in the section entitled “Portraits of Early Settler and Prominent Men” –
CROUSE, JOHN, Farmer; Sec. 27; P.O. Mt. Carroll; born in Chester Co, Pa., Nov. 24, 1805; was a tanner by trade’ kept hotel and public house 24 years; lived in Philadelphia and 50 years in the State of Pa; came to Carroll Co. in 1856, engaged in farming; owns a farm of 55 acres; married Catherine Ziegler, from Lancaster Co. Pa., in Feb 1828; they have six children: Amos L., William, Cyrus, Charles J., Mathilda G., and Emma; they have lost three children.
CROUSE, DANIEL,Farmer; Sec. 17; P. O. Savanna; born in Chester Co., Pa., July 17, 1803; lived in that state 53 years; was tanner and currier by trade for 20 years; came to Carroll Co., in 1856, and is engaged in farming and stock raising; owns 636 acres of land; has held the office of School Director; married Mary Maurer, from Chester Co., Pa., in March, 1830; they have eight children: Elizabeth, Henry M., Davis F., Jacob H., Hanna M., John, Daniel W., and Mary A.
Daniel Crouse’s land in Carroll County, Illinois, 1869. Daniel was Cyrus’ uncle.
It is important to understand that John and Daniel were “orphaned” in 1819 when their father passed away. Their legal status as “orphan” did not indicate that they had lost BOTH of their parents. The family had to go through orphan court to identify a new male guardian, or guardians, as their mother could not legally fill that role. This was an eye-opening moment for me, as I was reminded that women were not legally allowed to handle any financial or family matters, especially after the loss of a spouse if a large estate was involved. In 1819, the Chester County Orphan Court appointed three guardians to manage the estate and care for the Crouse children. There was one guardian appointed for all the boys, and two separate guardians for the girls.
Lets put this in historical context. The age at which a minor could request naming their own guardian was 14 yrs. old. Keep in mind that the age of consent was much younger than that for all of the nineteenth century. In 1880, 37 states set the age of consent at 10 years old, with only 12 states setting the age of consent at 12 years old. In some states this actually signified progress as in 1871 Delaware lowered the age of consent to 7 yrs. old.
The Crouse brothers’ move west in 1856 must have been a breath of fresh air, especially since John and Daniel had worked in a tannery for decades. The 1860 US Federal census listed the following John Crouse household members in Carroll County, Illinois, including: John (54, farmer), Catharine (51) Amos (25, blacksmith), Mathilda (20, dressmaker), Emma (17, milliner), Charles (16), and Eugene Cogley. Eugene was an infant, only 4 years old. The census listed that he had been born in Illinois, but I am unable to unable to determine if he was related, or an adopted orphan. Interestingly, John and Catherine Crouse would take in another child during the 1860s. The 1870 census listed that they were caring for their 8-yrs.-old nephew, Charles Crouse; not to be confused with their son Charles who was born in 1845.
Mount Carroll offered many possibilities for the Crouse family, especially for their two eldest sons. By 1860, both Cyrus and William had moved south and were living in St. Louis, Missouri.
By 1860, William had already married and celebrated the birth of two children. He and Cyrus were listed as carpenters in the US Federal Census. That year, the extended Crouse household in St. Louis included Cyrus, William F., William’s wife Charlotte, and Williams’ children Mary C. and William P. Crouse. At some point during the early to mid-1860s, Cyrus and William relocated to Chicago. Their move may have been prompted by the onset of the Civil War or employment opportunities.
Only a few years after moving to Chicago, Williams wife and children died. His son, William, was the first to die on April 11, 1864. His daughter, Mary C., died the next day on April 12. His wife followed less than a week later. Charlotte A. Crouse died on April 18, 1864. The Cook County Death Index listed the dates as April 12, 13, and 19. The close proximity of the dates, suggests illness swept through the family. All three were buried at Graceland Cemetery (Section G. Lot 951, graves 1, 2, and 3). The fourth grave in the same family plot is occupied by Henry P. Crouse, who died on Sept. 11, 1964. It is possibly that he was the third child of William and Charlotte.
Other family members include Blaney J. Crouse, occupying the fifth grave; he passed away on July 17, 1875.
William F. Crouse eventually joined his family and was laid to rest in grave 8 after his passing on Oct. 7, 1906.
The first mention that I have located of Cyrus in Chicago is from the fall of 1864. On Nov. 28, 1864, Cyrus M. Crouse was listed in the Chicago Tribune in the unclaimed letter section (page 3). It remains unclear as to exactly when Cyrus settled in Chicago and began working as a stage carpenter. He may also have been on the road, outfitting theaters throughout the region staying with his brother whenever he passed through town.
William, however, continued to live and work in Chicago. On Oct. 11, 1866, William F. Crouse and Catherine “Kittie” Doulin. The couple was listed in the Marriage section of the Chicago Tribune. A few years later they celebrated the birth of twin boys, William C. and Howard. A third son, Frank, arrived in 1870. All the while, William continued to work as a stage carpenter, becoming extremely well-known and well-respected by the theatre community for his knowledge of stage machinery.
C. M. Crouse followed his brother’s lead in the windy city and soon garnered a reputation as a master stage carpenter and mechanic. The second mention that I have located about Cyrsu in Chicago newspapers is from 1865. He was mentioned in a newspaper article, following year after fire broke out at a business block in Chicago. On Dec. 15, 1865, the Chicago Tribune mentioned that C. M. Crouse occupied room No. 18 fourth floor and sustained $50 worth of damage from the fire (page 4). Then he disappears from print again until 1869.
Both Cyrus and his brother were listed in the 1869 Chicago Directory:
Crouse, William F., stage carpenter, r. 147 Townsend
Crouse, Cyrus, carpenter, r. 112 Chicago ave.
Cyrus may have married around this time too. By 1870, Cyrus was living in the 20th Ward of Chicago. The US Federal Census that year listed Cyrus (34, stage carpenter) living with Hattie Crouse (27, keeps house). Although it appear he was married, I have yet to locate any records that confirm their relationship. Therefore, I cannot be certain that she was actually his wife. Hattie Crouse also seems to disappear shortly after the census was taken in 1870. Interestingly, Cyrus and Hattie Crouse were also living with another family in 1870 – the Wilkinsons. The Wilkinson family included Tom (33, Traveling Agent), Agnes (28, keeps house), Thomas (8, at school) and Harry (6).
It was around this same time that Cyrus became associated with Aiken’s Museum. Sometime between 1870 and 1873, Cyrus M. Crouse, stage carpenter, became known as C. M. Crouse, master mechanic.
Aikens Museum. From Chicagology.
Previously known as Wood’s Museum, after the infamous Col. Wood, the entertainment venue was managed by Frank E. Aiken from approximately 1867-1871. The museum featured natural history objects, paintings, panoramas, and performances in a lecture hall. The hall was actually a full-functional theatre; both Wood and Aiken had recognized the popularity of stage performances. Here is a link to learn more about the history of the venue: https://chicagology.com/prefire/prefire057/
On April 14, 1870, the Chicago Tribune published an advertisement for and event at Aiken’s Museum, announcing, “Friday evening. Benefit of C. M. Crouse” (page 4). Located at the rear of the museum, the performance hall was home to a stock theatre company, where Crouse was likely employed.
On Feb 22, 1871, the Chicago Tribune linked Crouse to Aiken’s Museum again:
“COMPLIMENTARY BENEFIT.
The following correspondence explains itself; Mr. Frank E. Aiken:
DEAR SIR: We, the undersigned, the Chicago Press, the members of your company, friends, and admirers, appreciating your merits, not only as manager and an artist, but a gentleman, would kindly ask you to accept a complimentary benefit, to take place on. Wednesday afternoon and evening, March 1. Wishing you every success in the future. We remain yours Truly.”
The letter was signed by sixty-seven people, including C. M. Crouse, Charles Crouse, and Charles’ roomate Fred Bowman.
Aiken’s reply was also published:
“To the Chicago Press, the Public, and my Brother and Sister Artists: I wish to tender my sincere thanks to the ladies and gentlemen whose names are signed to the above communications, this day received by me. I accept the proposed testimonial, not because I think I deserve it, or have any claim upon you, but as a mark of affection, which I shall ever cherish from my Chicago friends and the members of my company. With the hope that our intercourse may be as pleasant in the future as it has been in the past, I subscribe myself your obedient servant – Frank E. Aiken.”
Crouse was still associated with Fred Aiken in 1873, now at his new theatre. On June 15, 1873, the Chicago Tribune advertised “Enormous Attractions for the Summer Season!” with “magnificent new scenery by Halley and Smith, Mechanical novelties by our master mechanic C. M. Crouse, and assistants” (page 16).
C. M. Crouse is listed as the master mechanic at Aiken’s Theatre in 1873.
The timing of this is important to note with the context of Sosman & Landis. 1873 is two years before they meet and six years before Sosman & Landis establish a studio in Chicago. This means that when Crouse joins the staff at Sosman & Landis, he is a well-known quantity and an asset to the firm.
On July 19, 1873, The Chicago Evening Mail announced:
“Aitken’s Theater. A grand complimentary benefit for W. H. Harrison, Charles Crouse, Fred Bowman, and Cyrus Crouse, attaches of Aitken’s Theatre, is announced for next Monday evening. John R. Allen and wife, Harvey Pratt, Fred Woodhull, John Marble, Jennie Morgan, and a host of others, have volunteered for the occasion. The bill will consist of a light comedy and farce programme, with Billy Rice in a stump speech and Harry Hart in a recitation of ‘Shamus O’Brien.’ Ben Owens acts as conductor. The attendance will undoubtedly be large.”
On July 20, 1873, The Chicago Tribune reported, “On Monday night a complimentary benefit will be tendered the following-named gentlemen, attached of Aitken’s Theatre: W. H. Harrison, Treasurer, Charles Crouse, Fred Bowman, and Cyrus Crouse, upon which occasion J. R. Allen, Harry Pratt, Fred Woodhull, W. H. Otis, Mrs. J. R. Allen, Miss M. Vickers, Miss Kate Morriss, the Misses Grace and Ada Perkluc, and many others have volunteered to play. Besides, there will be the great Billy Rice and Harry Hart. The bill comprises a great variety of entertainment, and will, without doubt, net for the beneficiaries a very acceptable sun” (page 4).
Throughout the 1870s, Crouse’s reputation continued to grow. He worked at a variety of theaters throughout the region, venturing west to Iowa with several Chicago colleagues. On Nov. 27, 1881, the Burlington Hawk Eye of Burlington, Iowa, reported, “Cyrus M. Crouse, of the Academy of Music, Chicago, is in our city. Mr. Crouse has been for some years connected with that institution as stage carpenter and has earned a reputation for worksmanship unexcelled by any member of his craft” (page 4). By now, Crouse is 55 years old and well-versed in stage machinery. It would have been foolish if Sosman & Landis had not actively gone after Crouse to get home on their staff. We do know that by 1885, Crouse was working for Sosman & Landis. He may have been working part-time at the firm since 1879 when they leased their first shop space in Chicago.
On Jan. 7, 1882, the Chicago Tribune published an extensive article about the Burlington Opera House project, mentioning The building, which has a completeness of construction seldom reached by contractors, deserves a special notice, particularly as the contractors are all well-known Chicago men who make this class of building a specialty. The architect Col. S. V. Shipman, and the woodwork, which in construction of this kind is by far the most important item, was under the immediate charge of Mr. M. B. Bushnell, who in connection with the building of the Academy of Music and Haverly’s Theatre of Chicago, is already widely known…Further inquiry reveals the fact that the stage – a work usually set aside as calling for a special construction – was also built by Mr. Bushnell, and has all the necessary traps and other accessories necessary to a complete theatre. In every particular throughout the entire structure, we find that Mr. Bushness, assisted by able foremen, Messrs. James, Evans, and Crouse, and a gang of skilled workman, has been eminently successful” (page 5).
On Jan. 8, 1882, the Burlington Daily Hawkeye Gazette reported, “C. M. Crouse, of Chicago, superintended the stage carpenter work. That has been his life-long business, and what Mr. Crouse does not know about stage paraphernalia is not worth much trouble to find out. He was brought here from the Chicago Academy of Music to superintend the stage construction, and it is the general verdict that he has made an entire success. The stage appliances are as near to automatic as possible” (page 2). The same article also noted, “It is claimed by theater men that the Burlington Opera House is the most elegantly frescoed building in the northwest. The style is Moorish or Arabic and the work in detail and, as a whole, is artistic and worthy of the admiration so generally bestowed upon it by all who have seen it. Frank D. Skiff, of Chicago, is the scenic artist. He is from the Academy of Music, and his long experience enabled him to produce work that gives satisfaction and has achieved it with rapidity that is marvelous. He not only fulfilled his contract, but as a matter of fact, he has done more that he agreed to do. The opera house company will hold him in grateful remembrance. The drop curtain, which is truly “a thing of beauty,” was painted by L. L. Graham of Chicago, who ranks alongside the best artists in this line in the United States. The curtain is the topic of general conversation among the audiences and the subject of enthusiastic praise.”
And this is where several lives and careers intersect. L. L. Graham and Thomas G. Moses painted scenery at the Academy of Music in 1881; this is while Moses was working for Sosman & Landis. Moses’ sister Illie also worked as an actress at the Academy of Music during this same time. In 1882, Moses leaves Sosman & Landis to partner with L. L. Graham, establishing Sosman & Landis. By 1883, both are working at Sosman & Landis. In 1884, Graham relocates to Kansas City where he established his own studio and operated a branch office for Sosman & Landis. Also, in the spring of 1884 the Chicago Theatrical Mechanics Association was organized by John Barstow, John E. Williams and Frank Goss. Many of the Sosman & Landis stage carpenters, as well scenic artists, belonged to the organization.
Now read the next newspaper article about the new Burlington Opera House with a new perspective about what is going to happen.
Jan. 17, 1882, Ottumwa Daily Democrat reported, “The following, from the Fort Madison Plain Dealer, reads more like a Chicago item than an Iowa Item, “Burlington had to draw largely on Chicago for the skill and material necessary in the construction of the new opera house. The following list looks rather bad for the ‘home talent’ of the ‘metropolis of Iowa;’ The architect was Col. S. V. Shipman, of Chicago; the masonry work was done by George Chambers, of Chicago; the carpentry was let to M. B. Bushness, of Chicago; Fitzgerald & Querk, of Chicago, did the plastering; the cut stone and granite were furnished by Tomlinson & Reed, of Chicago; fresco work was done by P. M. Almini, of Chicago; Frank D. Skiff, of Chicago, painted the scenery except the drop curtain, which was done by L. L. Graham, of Chicago; C. M. Crouse, of Chicago, superintended the stage carpenter work; A. C. Hickey, of Chicago, did the plumbing and gas-fitting; Richardson & Boynton, of Chicago, furnished the heating apparatus; the galvanized iron and tin work was done by Kinsley Bors. & Miller, of Chicago; the roofing was put on by M. W. Powell & Co., of Chicago; the opera chairs came from H. Andrews & Co., of Chicago, the sculpture work was executed by D. Richards, of Chicago; the fancy tile flooring was laid by Henry Dibler, of Chicago; H. L. Berry, of Chicago, put up the iron shutters; E. Baggatt & Co. of Chicago, furnished the gas fixtures, and the silverplated work was done by Baldwin & Co,, of Chicago, Chicago ought to be well pleased with the part she took in Burlington’s Building. She was certainly well paid” (2).
Crouse remains in Chicago where is continues to be listed in the City Directory. Here is his 1885 Chicago Directory listing: “Crouse, Cyrus M. Crouse, carp. House 157 W. Washington.” Crouse continues to travel, keeping the same address for the next few years. During this time, Crouse continues to travel for work. Likely representing Sosman & Landis and leading on site installations and outfitting of stages. On Sept 10, 1886, the Columbus Enquirer Sun announced, the arrival of “C. M. Crouse, Chicago” at the Central Hotel (page 23).
Here are the Chicago directory listings for the next few years:
1887 Crouse, Cyrus M., carp. h. 157 W. Washington
1888 Crouse, Cyrus M., carp. h. 51 S. Union
1889 Crouse, Cyrus M., machinist. h. 51 S. Union
In 1889, Crouses’ residence, 51 S. Union, was a multi-residence building, home to a variety of businesses and people, including stage carpenter James A. Carana, was also boarding at 51 S. Union. For example, on March 3, 1889, the following want ad was placed in the Trades section of the Chicago Tribune (page 23):
“SITUATION WANTED – By practical engineer with best references, Chas. Jorgenson, 51 S. Union.”
In the late-1880s, there were dozens of stage carpenters working in Chicago, with many listed in the City Directory simply by the trade “carp”, for carpenter. Of these men, only a few were mentioned newspaper articles. This was a period of change in the industry, as allegiances formed, and groups worked toward a common goal. However, not everyone held the same common vision. While some worked toward a mutual aid association, others pushed for a labor society. Crouse was in the middle of this debate, a battle that made headlines in Chicago. On May 13, 1888, the Chicago Tribune published an article entitled “In Pursuit of a Corpse.” Theatrical charities were discussed, with emphasis on Chicago’s Theatrical Mechanics Association.
John Bairstow, stage carpenter at the Grand Opera and McVicker’s, was also featured in the article:
“Chicago has also a Theatrical Mechanics’ Association, which takes in all the hands about a theatre except the actors and managers. Many persons are employed in the purely mechanical department of the theatre. At McVicker’s 120 persons were behind the curtain when Irving played, their duty being to look after scenery, lights, traps, ‘drops,’ properties, etc. It required sixty to look after ‘A Run of Luck,’ and forty is the average number of men employed. Mr. John Bairstow, master carpenter at McVicker’s, has been the head of the Theatrical Mechanics’ Association since it was started, but recently has been pushed out by radical members, who wish to make the society a labor instead of a mutual aid association. The men work only a couple hours a night, and they want $9 a week instead of $6. This exorbitant demand is likely to be firmly resisted by the capitalist managers. The theatrical mechanics will likely find that they have destroyed a worthy charity in forming a worthless labor machine” (page 25).
Although Crouse continued to work as a stage carpenter in the 1890s, his name no longer makes news. I have only been able to trace him to a handful of Chicago Directories. Here are his listings in the 1890s:
1890 Crouse, Cyrus M., carp. 116 S. Halsted
1891 Crouse, Cyrus M., carp. 116 S. Halsted
1896 Crouse Cyrus M., Cyrus M., carp. 118 S. Halsted
1897 Crouse, Cyrus M., carp. h. 51 S. Union (same home address as he listed in 1888 – 1889)
1898 Crouse, Cyrus M., carp. h. 51 S. Union
Crouse passed away on Sept. 9, 1899, in Chicago. He was 62 years old and listed as a stage carpenter. Like many of his Sosman & Landis colleagues, Crouse was buried at Forest Home Cemetery, Forest Park, Illinois. Forest Home Cemetery is located at 863 S. Des Plaines, Ave. in Forest Park. His name was published in the Official Death Record section of the Chicago Tribue on Sept. 12, 1899 (page 5). The listing for Burial Permits issued by the Health Department included, “Crouse, Cyrus M., 62; 188 S. Halsted-st., Sept, 9.”
Sadly, I cannot even include a picture of Crouses’ gravestone as cemetery records do not indicate where he was actually laid to rest in 1899.
Fred Evans was a scenic artist at Sosman & Landis who specialized in painting street scenes. I have yet to locate definitive employment dates for Evans at the firm, but it was the early twentieth century.
Gravestone of Fred A. Evans, a scenic artist at Sosman & Landis Scene Painting Studio.Acacia Park Cemetery and Mausoleum in Norwood, Illinois.
Frederick Arthur Evans was born in Wales, sometime between 1853 and 1855. He was the son of Robert Evans and Mary Roberts, with his birth possibly registered at Merthyr Tydfil in Glamorgan County. To date, nothing is known of his early childhood or emigration to America, yet Frederick was living in the United States by 1870 and naturalized by 1872. The 1870 US Federal Census lists a 16-yrs.-old Frederick Evans living with Robert Roberts and Elizabeth Roberts in Chicago’s Sixth Ward. As Roberts was his mother’s maiden name, this was possibly a maternal familial tie, likely an uncle. At the time, Robert Roberts was 32-yrs. old and employed as a brass moulder.
By 1875 Frederick was listed in the Chicago Directory as a printer. The next year, in 1876, he was listed as a painter, boarding at 514 Wabash Avenue in Chicago. Evans would continue to work in both the printing and painting fields for the remainder of his life. From 1878 until 1901, the “Chicago Directory” pretty consistently listed Evans as a printed, and the 1910 Census listed him as a “lithographer.” That being said, this does not mean that Evans solely worked for the printing industry, as many professional lithographers also worked at scenic artists throughout the late-nineteenth-century and early-twentieth-century. Even in 1920, the federal census listed two occupations and industries for Evans: the first entry was “editor” in the “newspaper” industry, and his second entry was “laborer” in the “drops” industry. Evans represents a unique type of career combination (scenic artist/lithographer); one that I have encountered before. These dual careers paired so well together at this time.
I am going to take a moment to address this blending of printing and painting occupations, a group of artists who lived with one foot in the painting profession and the other foot in the printing industry. Nineteenth-century scenic art paired beautifully with other illustrative arts. There is something extremely comforting about being able to paint both big and small, and there were always the small models and color renderings to create for projects. Until scenic studios began to function like a factory, scenic artists had to be well-versed in a variety of artistic mediums and scales.
Two of the most famous painter/printer pairings were Otto Jevne and P. M. Almini. There is a lovely article about the two at Chicagology, here is the link: https://chicagology.com/prefire/prefire175/
Jevne & Almini not only ran an extremely successful decorative firms, but also were well known for their pre-1871 color lithographs of Chicago. The two partnered in 1855 to establish Jevne & Almini, fresco artists. By the 1860s, they entered the publishing business. Their most popular work was a series entitled “Chicago Illustrated,” beginning in 1866. The publication included stunning views of Chicago and descriptive text.
Plate published by Jevne & Almini. Posted to Chicagology.Color lithograph published by Jevne & Almini.
They did not leave the decorative painting business to focus on publishing, instead they diversified their interests. All the while, the two operated a successful painting firm and artistic supply business, securing interior decoration contracts for numerous churches, assembly halls, and public buildings across the country. Their project’s included well-known theaters such as McVicker’s Theatre and Crosby’s Opera House in Chicago, as well as other prominent structures across the country, including state capitols in Madison, Wisconsin, Des Moines, Iowa, and Topeka, Kansas. In addition to painting and publishing, Jevne & Almini also featured a “Free Art Gallery” and sold painting supplies in the mid-1860s, located at 152-4 Clark Street. An advertisement from 1869 announced, “JEVNE & ALMINI, Importers and Dealers in Artist and Painters’ Materials, and Fresco Painters, 152 & 154 Clark Street, Chicago. They became a hub, gathering a variety of artists and forming an incredible network of skilled labor; this was a brilliant business marketing strategy.
Unfortunately, it was the Chicago fire of 1871 that terminated the partnership and end their involvement in the publication business. The two split, with each artist establishing their own firm. Many Sosman & Landis artists got their start at P. M. Almini & Co., including last president of the firm, Thomas G. Moses (1856-1934). In the early 1870s, Moses worked for Louis Malmsha at Almini’s company, gilding opera boxes and assisting with ornamental painting projects. Moses entered the scenic art profession as an after-hours-assistant to his mentor Malmsha, painting stage settings at McVicker’s Theatre.
1872 P. M. Almini & Co. advertisement
Another example of this dual career approach is Charles S. Graham, who also greatly influenced Moses’ scenic art career (link to my past post about it: https://drypigment.net2018/10/03/tales-from-a-scenic-artist-and-scholar-part-524-charles-s-graham/). Graham was another professional who worked as both a scenic artist and lithographer, making a national name for himself by the late-nineteenth-century. His work was especially popular at Harper’s Magazine. Here is a work by Graham for Harper’s, dated Nov. 30, 1878; it really bridges the gap between lithography and scenic art:
By Charles Graham for “Harper’s,” 1878.
So, you see, Fred A. Evans working as a printer and painter is a common pairing.
I am including listings for Frederick A. Evans’ from the Chicago Directory, c. 1875-1901. There are a few gaps in years, but it still gives a pretty good scope of his printing career and residences in Chicago. It also provides a sense of how difficult it is can be to track down an individual with slight name changes; it involves searching each directory and making comparisons with other artists.
1875 Chicago Directory: Evans, Frederick. printer. R 49 W. Ohio.
1876 Chicago Directory: Evans, Frederick. painter, boarding at 514 Wabash av
1877 Chicago Directory: Evans, Frederick A. foreman 170 Clark, h 152 Douglas Av. [This is where the publication office of the Educational Weekly was located in 1877 until it moved to 170 Madison later that year].
1878 Chicago Directory: Evans, Fred A. printer, h 163 24th
1882 Chicago Directory: Evans, Fred A. printer, h 2828 Groveland
1885 Chicago Directory: Evans, Frederick A. printer 18 Fullerton av h 372 Chicago av
1885 Lakeview, Illinois, City Directory: Evans, F. A. clk. Deering & Co. r 372 E. Chicago av [William Deering & Co. was a farm machinery firm; likely an illustrator for ads or painter of equipment.]
1886 Lakeview, Illinois, City Directory: Evans, Frederick. lithog, r 763 Sheffield av
1887 Chicago Directory: Evans, Frederick A. printer, h 763 Sheffield av
1887 Lakeview, Illinois, City Directory: Evans, Frederick A. lithographer, r 763 Sheffield av
1888 Lakeview, Illinois, City Directory: Evans, F. A. clerk, W. Deering & Co. 18 Fullerton av
1888 Chicago Directory: Evans, Frederick A. printer, h. 763 Sheffield av
1889 Chicago Directory: Evans, Frederick A. clk. 16 Fullerton av. H 763 Sheffield
1889 Lakeview, Illinois, City Directory: Evans, Fred A. clerk, W. Deering & Co. r. 760 Sheffield av
1890 Chicago Directory: Evans, Frederick A. printer, h. 763 Sheffield av
1891 Chicago Directory: Evans, F. A. clk. 18 Fullerton av. h. 763 Sheffield av
1896 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av.
1897 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av
1898 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av
1899 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av
1900 Chicago Directory: Evans, Fred printer h. 666 Sheffield av
1901 Chicago Directory: Evans, Frederick A. printer h 1239 Montana
The 1880 Census listed Fred Evans living with Ada Evans, still working as a printer. They lived at 2964 Dearborn St in Chicago. In actuality, Frederick Evans married Adah (Ada) Senior on June 10, 1885 in Norwood Park (Cook County), Illinois. They would later be buried in Norwood too. Adah L. Senior (b. 1859) was the daughter of Anna (Ann) Hewes and Fred Senior. Born in England, she emigrated to the United States in 1877 and was naturalized in 1892.
Gravestone of Fred A. Evans’ wife Adah L. Senior Evans.Acacia Park Cemetery and Mausoleum in Norwood, Illinois.
Any information pertaining to the Evans family has been extremely difficult to track down and I have spent countless hours examining census reports, immigration records, ship’s manifests, and city directories. Here is what I have located to date: The couple celebrated the birth of a daughter between 1888 and 1894. Pearle A. “Annie” Evans was listed as Annie, Perala, and Pearl. The 1910 US Federal Census lists Frederick A. Evans as a 53-yrs.-old lithographer working in the newspaper industry. At this time, he was living with his 49-yrs.-old wife Adah L. and is 22-yrs.-old daughter Annie S. (Pearl Annie), at 4148 Sacramento Ave.
In 1914, there were two Pearl (Pearl Annie) Evans in the Chicago Directory: One as a stenographer with Swift & Co. stockyards, h. 3850 Indiana av and the second a stenographer 1047, 175 W Jackson bl h 5949 S Wood. Meanwhile, Fred and Adah were living at 4140 Sacramento av, with Fred Evans still listed as a printer.
On July 19, 1918 the “Chicago Tribune” listed Adah L. and Pearle A. Evans’ involvement with the Grover Cleveland school dedication services (page 7). The article reported, “Mrs. Adah L. Evans sang “The Star Spangled Banner,” accompanied by Miss Pearle A. Evans, who was pianist for the evening.” On July 22, 1918, the “Chicago Tribune” reported that Mrs. Adah L. Evans would sing “Star Spangled Banner,” accompanied by Miss Pearla Evans (Miss Evans is also a musician during the ceremonial part of the evening). The performance “for the installation of officers at the White Star auxiliary to the Second Illinois Infantry, now the 132 United States infantry” (page 11).
Six years later, the 1920 census lists Pearla Evans as a dancer in the “stage” industry, living with her parents on Sacramento Ave. At this time, Fred was still associated with the publishing and scenery professions. In 1920, “Pearla” listed her age as “26” in the census, but I highly suspect this information.
Both Fred and Adah died in 1925 and were buried at the Acacia Park Cemetery and Mausoleum in Norwood, Illinois. It originated as a cemetery for Masons and their families, opened on Chicago’s far northside in 1922. Fred died on January 9, 1924,with Adah following on March 18 of that same year. By 1940, the federal census listed Pearl Evans as an “inmate” (b. 1894) at the Lincoln State School and Colony. It was not a prison, but an asylum for the “feeble minded” in West Lincoln Township, Illinois. The census notes that Pearl only attended the first grade of school; no other information about her past was provided. I have no way of knowing if this is the real fate of Fred and Ada’s daughter. I have yet to locate any marriage or death records for her.
The only other information pertaining to Fred Evans’ scenic art career at Sosman & Landis was provided by Art Oberbeck in an interview with Dr. John Rothgeb on July 24, 1976. Oberbeck worked at Sosman and Landis at the same time Fred Evans, approximately 1907-1915. He referred to the former Sosman & Landis as a 75 yrs. old “oddball;” but age and character is quite subjective, so I take his comments with a grain of salt. Oberbeck credited Evans’ approach to laying out street scenes as infallible. His process was accounted by Randi Givercer Frank’s M.A. Thesis, “Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925.” She credits Evan’s Sosman & Landis’ foremost “street painter.” Evans process for laying out street scene included placing the perspective point or horizon line should approximately 5’-9” up from the bottom of the painted composition. For many, this fell at eye-level when painting on a vertical frame. Once the horizon line was established, the correct way to position any single-story building was to put two-thirds of the of the building above the horizon line and one-third below the horizon line. If it was a two-story building, the height of the first story was simply doubled. Keep in mind that painted perspective for the early-twentieth-century stage did not follow the conventional rules for perspective in fine art.
On that note, I am going to include an excerpt from a publication written by another Sosman & Landis employee, Frank H. Atkinson. Atkinson’s publication “Scene Painting and Bulletin Art” (1916) includes a section entitled “Stage Perspective.” Atkinson writes, “Rules of perspective are often very much modified, or even rejected, in scene painting, and “stage perspective” is adopted, especially in the creation of wings or side scenes. In true perspective all lines must converge to a single vanishing point, or they must converge to a double vanishing point. But in scene painting it becomes necessary to violate the rules in order to avoid embarrassment in the result which would follow if true perspective rules are applied below the horizon line. Stage perspective dictates that all lines below the horizon line be kept parallel to the stage floor and the horizon line.” Atkinson’s illustrations place the horizon line at approximately 5’-9” in most scenarios. I am including mention of Atkinson, as he enters the storyline tomorrow when I explore the life and career of Sosman & Landis employee #41 Frank Lewis. Lewis’ younger sister married Atkinson, and they were all living in Chicago and working at Sosman & Landis when Atkinson published his book.
Finally, Dr. John Rothgeb interviewed another former Sosman & Landis scenic artist John Hanny between 1976 and 1983. A letter from John Hanny to Dr. John Rothgeb on July 14, 1976, stated, “[Sosman & Landis] was a wonderful place to work – especially for young and hopeful painters where they could get fine training and experience working with such men as Thomas G. Moses. David Strong, Fred Evans. Frank Lewis, Fred Scott, and William Nutzhorn and others.”
One of the many letter’s from written by John Hanny to Dr. John Rothgeb at the University of Thexas, Austin, between 1976 and 1983. This one is not dated.
William C. Morris first popped onto my radar after my trip to the Tabor Opera House in Leadville, Colorado, last spring. While documenting the historic scenery collection, I encountered a tree profile painted by Frank Cox in 1888. Cox painted his initials on the set piece, as if they were carved into the trunk. In addition to his initials (“TFC” for Tignal Frank Cox), he painted the initials “WM” and “JC” below. Although it was a long shot, I decided to see who was working as a scenic artist in the west at the time, with the initials W. M. My search resulted in five possibilities, with William Morris as one of the options. Regardless of whether the painted initials “W.M.” were for William Morris or not, Morris entered into the Henry C. Tryon storyline by 1882. Both painted for the Salt Lake Theatre. Let me provide a bit of context first.
On September 14, 1882, the “Salt Lake Herald” reported, “Mr. Henry C. Tryon, a well-known scenic artist, is en route for San Francisco, on pleasure. Mr. Tryon is the scenic artist of the Tabor Grand Opera House in Denver” (page 5). Regardless if the intent were pleasure or work prospects, a few month later the San Francisco Opera Tryon a position as their scenic artist. He published this offer in January 1883, using it to pressure the Salt Lake Theatre into also offering him a position; a smart move that worked.
In the spring of 1883, Tryon again headed west to the coast, this time bringing a friend and fellow scenic artist, William Clyde Morris. At the time, Morris was a thirty-nine yrs. old Salt Lake City mormon. On March 12, 1883, the “Deseret News” announced, “Back from the Coast.-To-day Mr. Henry C. Tryon and Mr. W. C. Morris, returned from their trip to California. They took in all the sights anywhere near San Francisco and had a very enjoyable time. They received marked courtesy everywhere and had freedom of all the theatres at all hours.” (Deseret News, 12 March 1883, page 3).
After painting scenery for the Tabor Grand Opera House and Tivoli Theatre in Denver, Tryon working in Utah alongside many locals, such as William Clyde Morris and Alfred Lambourne. William Clyde Morris’ father, William V. Morris, was primarily a decorative artist, but also painted scenery for the Salt Lake Theatre until the time of his passing in 1878. His death was possibly why the Salt Lake Theatre sought out Tryon, another experienced scenic artist from the region. In 1882, Henry C. Tryon and his little brother Spencer were working at the Tabor Grand Opera House in Denver. Both the Tabor Grand Opera House and the Salt Lake Theatre were located on the same circuit for many touring productions, the venues also shared artists.
From the fall of 1882 until the fall of 1883, Morris worked alongside the Tryon brothers at the Salt Lake Theatre. Morris and Spencer Tryon were credited with a railroad scene for the production of “Forbidden Fruit.” On January 30, 1883, the “Salt Lake Herald” reported that the scene “was displayed last night for the first time in “Forbidden Fruit.” The article announced that their scene, “called forth a well-deserved round of applause,” elaborating, “It was excellently painted, being full of character, and although (from the nature of the subject without any pretense to color, was beautiful owning to its truth and solidity.” The article’s author congratulated each artist, noting, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tryon, the artist of the Salt Lake Theatre, He is very talented and although scarcely more than a boy in years, has produced some very fine work here and at the Tabor Grand Opera House, Denver. We congratulate Mr. Morris upon the opportunities for the display of his recognized ability, which the scenery at the Salt Lake Theatre has given him, and which will give him in the future, as he has been engaged to assist the artist upon all work done.” This presents Morris as the assistant to the Tryon Brothers.
William Morris, from the Utah Department of Heritage and Arts digital photograph collection. Here is the link: https://collections.lib.utah.edu/details?id=432462&q=%22william+morris%22&facet_setname_s=dha_%2A
Morris’ father was a well-known decorative artist the Salt Lake area. William V. Morris (1821-1878), William Clyde Morris (1844-1889), and William Charles Morris (1871-1853) all worked as painters, specializing in the decorative artists. It is difficult to juggle all of the details surrounding the Morris family due to multiple marriages and dozens of off spring. I’ll try to stay on task, so here goes…
William Clyde Morris (1844-1889) was the son of William Vaughan Morris (1821-1878) and Sarah Isabelle Gwilt (1826-1851). Morris was born on July 15, 1844 in Liverpool, England, the only child born to the couple. His mother died in Liverpool when Morris was only six years old. Father and son migrated to America sometime after that and joined a Mormon wagon train by 1855. They are recorded as participating in Mormon Pioneer Overland Travel’s Company 11. Their wagon train departed at the end of July in 1855 and arrived at the beginning of November of that same year. 61 individuals and approximately 34-38 wagons departed the outfitting post at Mormon Grove in Kansas (near Atchison), bound for the Salt Lake Valley. Mormon Grove was really a temporary village, a rallying point where members from the Church of Latter-Day Saints gathered prior to emigrating west. In 1855, nearly 2,000 Latter-Day Saints with 337 wagons left Mormon Grove for Salt Lake. Here’s the link to “The Mormon Trail: A Photographic Exhibit,” as it is a fascinating story- https://historytogo.utah.gov/mormon-trail-exhibit/
On the trail, William married his second wife, Hanna Hinchliffe Midgley (1928-1892); their marriage date is recorded as September 5, 1855. The couple celebrated the birth of two sons, Thomas Conway Morris in 1858 and Brigham Morris in 1862, half-brothers to William Clyde Morris. Only Thomas survived to adulthood. William V. Morris also married Nancy Cook (1833-1909) and the couple celebrated the birth of Hanna Barbara (1866-1931) and Eli Elias (1873-1940). There is no record of divorce and Hannah did not pass away until 1928. So, it appears that William V. was married to both Hannah and Nancy at the same time, fathering nine children between the two. Also, in 1861 Morris was naturalized, becoming a citizen of the United States of America (“Deseret News,” 11 Sept. 1861, page 5).
William Clyde Morris on seems to have married only once. On June 21, 1868, he married Diantha Empey (1848-1928). The couple celebrated the birth of five daughters and two sons: Mary Ann (1871-1927), Diantha Isabelle (1873-1940), William Charles (1874-1940) and Price LeRoy (1877-1958), Cora Conway (1881-1893), Minevia Morgan (1883-1904), and Klea Vaugh (1888-1972). His son, William Charles Morris, also became an artist. This muddies the waters, as they both went by William C. Morris.
William V. Morris and William C. Morris placed many ads for Morris & Son. Here is one from the “Deseret News,” 18 Jan 1870, page 1.
In 1870, William V. and Willian Clyde ran the painting firm of Morris & Son in Salt Lake City. Posted notices in the “Deseret News” advertised, “Painting in all its branches by Morris & Son. We beg to offer our services to the public at large in our line of business on a reasonable term as any other form. Plain House painting; glazing and paper hanging; carriages, signs, both plain and fancy; ornamental decorations and gilding; graining and marbling of all kinds; and theatrical decorations and sceneries” (18 Jan 1870, page 1). Their shop was in the Alley on Main Street, rear of E. Martin’s Photograph Gallery. In 1873, William Clyde designed the new diploma for the Agricultural and Manufacturing Society of Utah (Deseret News, 26 Nov. 1873, page 9).
Detail from William C. Morris’ diploma design.
Morris & Son were also mentioned in 1874, when they directed the decorations for the Sunday School Jamboree, a big event in Salt Lake. Little is mentioned in regard to the firm after that, and by 1878, William V. passed away.
After William V. Morris’ death in 1878, his son Willian Clyde Morris continued as a decorator. Here is an advertisement from the “Deseret News,” 29 Sept 1888, page 3.
William Clyde continued work as a decorator. In January 1888, he became part of the art committee with George M. Ottinger, Henry Squires and Mrs. Reading for a benefit art drawing for Harry Brown of Logan. By the way, Ottinger also worked as a scenic artist for the Salt Lake Theatre.
By fall 1888, Morris was primarily producing signage for the Utah Exposition building, constructed by the Deseret Agricultural and Manufacturing Society on the Tenth Ward Square in Salt Lake City. On September 29, 1888, Morris placed the following advertisement:
“W. C. Morris, the Decorator is still in the front! Notice! Notice! W. C. Morris, having secured the privilege of introducing Pictorial Signs to advertise the Prominent Business Firms of this city in the Utah Exposition Building, is now running his force to the fullest extent, and as the line is limited, parties interested will please bring in their orders immediately. Size of panels 8 x 14 ft. Painted and Lettered in the Highest Style of Art. For further particulars see W. C. Morris.” (page 3). Many events surrounded the opening of the building, including an art exhibition. On Oct 5, 1888, the “Salt Lake Herald” reported that W. C. Morris’ entry in the art department for the Utah Exposition. He was awarded best ornamental painting, silver medal, and best display pastel work, vegetables. Morris continued to focus on decorative work for the remainder of his career.
William Clyde Morris and William V. Morris were remembered in an article published in the “Ogden Standard-Examiner” on Feb. 3, 1924 (page 5). The article reported, “In 1861, George M. Ottinger arrived in Salt Lake City and permanently established himself in his profession. At this time the people of Utah had somewhat emerged from the straightened circumstances of earlier days and buildings were being erected with some pretentions toward ornamentation. The Salt Lake Theatre was shortly completed and Ottinger, the painter, and William V. Morris, the decorator, found employment in painting the scenery and decorations. It was later carried to completion by William Morris’ son, William C. Morris on whose shoulders the mantle of his fathers’ talents seems to have fallen.” This article also indicates why Tryon was hired at the Salt Lake Theatre in 1883 when it was renovated. Tryon brought the theatrical experience necessary for the successful completion of the project, as he specialized in stage art.
Detroit scenic artists, Robert Hopkin and his son William G. Hopkin, traveled west in 1881 to paint scenery for the Tabor Grand Opera House and the Grand Opera House in Colorado Springs. Representing the Chicago firm J. B. Sullivan & Bro., they created similar drop-curtains for each stage. My interest in Hopkin is two-fold: first and foremost, his connection to the Tabor Grand Opera House in Denver, and secondly, his mentorship of Thomas G. Moses in the 1870s.
Robert Hopkin pictured in an article published in the Detroit Free Press on September 23, 1906.
On Sept. 23, 1906, the “Detroit Free Press” published an article about the life and career of “Robert Hopkin, Painter” by John Hubert Greusel. He passed away only three years later. I am including this article in its entirety, as it provides great insight into the nineteenth-century generation of scenic artists who trained the generation of Thomas G. Moses.
“ROBERT HOPKIN, PAINTER
Robert Hopkin’s pipe kept going out. Every few minutes, he would go to the corner of his studio, tear a leaf out of a magazine, twist the paper and set it on fire at a gas-burner, and so get a fresh fire for his pipe. Many times during the afternoon he kept that up. It was chat, smoke, show pictures, hunt through albums, delve into portfolios.
The artist looks like a sailor; collar open at the neck, weather-beaten face, silvery gray hair close-cropped, straightforward, candid man, who has nothing to say of his ambitions.
I could scarcely believe Robert Hopkin to be the master of that wonderful chiaroscuro of the sea, visible in many paintings which, one after the other, he placed on the easel. He appeared to me more like one of those rough and ready sailormen that he paints with fidelity; and as he examined the relics in the corners, Bob reminded of Jack looking over souvenirs of voyages taken years ago. He showed me a wooden soup-box filled with odds and ends, and fished out photographs to men prominent in Detroit forty years ago; reads scraps of poetry; studied forgotten theatrical programs, and I know not what else.
He always kept smoking his briar pipe which just as persistently kept going out and had to be relighted, with the twisted papers.
SOUVENIRS OF HOPKIN’S HISTORY
Robert Hopkin still has the sure touch of his younger days, the breadth of the distinguished Dutch marine-painters. Many of his scenes on the Great Lakes resemble the work of famous sea-painters along the Zuyder Zee and are at the islands of Marken and Monnickendam.
Bob tells me that he grew up on the Detroit wharves, passed through an apprenticeship in mixing colors for decorators, drifted to scene painting, and finally made easel pictures. As he finished around in his boxes and albums for souvenirs of his early life, at last he brought up a faded photograph of the first drop-curtain of the Detroit Opera House. The theme was an allegorical landscape surrounded by Corinthian columns, supporting a flat arch – an arch that builders always said was impossible. But a fig cared Bob, the scenic artist, for these mechanical criticisms. He also showed me a drawing of the second curtains, bearing the familiar lines:
So fleet the works of men back to their earth again
Ancient and holy things fade like a dream
And Bob with a merry laugh told me that George Goodale used to be worried half to death to satisfy curious letter-writers, who wanted to know where the quotation came from. The dwellers along the English Channel, says Bob, held a fete each year to scrub a great white horse, carved in chalk cliffs; and Kingsley’s lines are found in the opening of the description.
SMELL OF THE SEA
Once in a while, Bob makes pictures that are not for sale, paints ‘em for himself. No one is to have ‘em! He is that much od an artist. He spoke of “The Kelp-Gathers,” one of his favorites. But he did not show it to me. He is peculiar that way. He may bring out his pictures or he may keep them stacked up. He did hunt out a green-covered book, “The Land of Lorne,” and gravely handed it to me. On the title page, I read, “To Robert Hopkin from his friend Mylne, March 3, 1879. Mylne was one of Bob’s earliest admirer’s Some day you may see a picture by Wenzel, three men talking, called “The Council of War.” One is Bob, the other is William Mylne, the artist, and the third is George W. Clark, lawyer, cronies, all dead now, except, Bob. Wenzel, a society cartoonist, and the best, put patent leather shoes on Bob. Bob smiled as I showed it to him. He himself always wears old carpet slippers in his studio at this time of year.
How many pictures has Robert Hopkin made? He does not know. He has never kept a studio register. His plain ways were shown when he brought out an album, photographs of his paintings. Under one, here and there, was written in lead pencil, Mr. Muir, Mr. Robinson, Mr. Chittenden, Mr. Clark. That is his style of bookkeeping.
BOB’S DELIGHT
“Have a pipe?” He brought out paper and tobacco for me. Have I ever read “White Wings, a Yachting Romance,” by William Black? Bob again visited that mysterious rear-room and returned with a copy of “The Princess of Thule.” I opened it at random and leaning back in the tall old horse-hair upholstered chair, began reading the first thing.”
“A dreary sky, a dreary fall of rain. Long low flats covered their own damp breath through which the miserable cattle loomed like shadows. Everywhere, lakes and pools, as thickly sown amidst the land as islands amid Pacific waters. Huts, wretched and chilly, scarcely discernible from the rock-strewn marshes surrounding them. To the east, the Minch, rolling dismal waters toward the far off headlands of Skye; to the west, the ocean, foaming at the lips, and stretching barren and desolate into the rain-charged clouds.”
I have no doubt that the sea and the storm and the wind came back to the venerable artist, as I read on and on. He had never followed the sea, he told me, but some of his ancestors were seafaring people around the isle of Bule and the boy was a frequent visitor at the home of his grandfather, a sea captain of Rothsay, who took little Bob on many of his short coasting trips. He has spent his Boyhood in Glasgow, has seen the ships around the world, and wished to go to sea. At 11, with his father, Bob came to Detroit and has been here for 60 years, barring cruises here and there. In the early days he was never away from the wharves; worked in the shipyard at the foot of Cass street, knew the sailors, riggers and owners. He did boat-painting but soon drifted to scene painting and color work for Tuttle & Patton, the late William Wright, Dean Godfrey & Co. In 1871, Bob went over to Chicago, was burned out, came back to Detroit, began easel-work and has followed it ever since for pure love.
Suddenly, turning the talk, he asked me if I had seen that moonlight, last night, coming down from the Flats? It was fine, the moon on the red buoys, and the light through the clouds. He might paint it, sometime. And then, in his quiet, unimportant way, he went on to tell me that he could carry these pictures in his mind for a long time. He thinks in pictures, the way other men think in figures or in vague flashes. Bob’s mind is like a picture-book.
That he is filled with the mystery and witchery if the sea was easily seen, and it was not long before he was saying that he didn’t wonder sailors were superstitious, often imagined they saw ghosts and goblins. The lonesome life at seas appeals to Bob’s imagination. It was plain that he had been under the spell, many of time.
COLOR
He spoke of clipper-built ships as the finest every built by man.
Last year, he took a trip to Scotland, went on a slow boat, he said, so that it would last longer. The Irish channel is rough all the time. But Bob is never seasick.
Ireland is righty named the Green Isle. The mists hang over it and keep the sun from burning up the grass. In Scotland, it’s the same. The figs are fine. The dark glen of Scotland famed in poetry, is also fine, to the artist’s eye. In Ireland there is so much color. Women in the back countries dress in bright tints. A long way off, the Irish girl’s red hood and cloak is visible. In America the only people that still have a touch of color in their daily loves are Syrians and the Italian immigrants. How pretty they are with their rings and their bright shawls. Civilization robs them soon of these gay colors.
Bob smokes and talks like that. There is no haste. It takes a long time.
Did I tell you that Bob, who is a plain main, dresses plainly and sticks to boots, like those worn in Detroit 40 years ago?
You learn, slowly, more things. Bob will never put a brush to canvas while anyone is near. He works alone. He has no secrets but he doesn’t want anyone around.
If he hears that you are going to say a word or two of his work, he begins to fidget, objects, backs away, shuts the door of his studio and draws in the latch-string.
And beyond all other things, he hates newspaper notices – despises them.
The most money he ever received for a painting was $2,300; – Cotton Exchange, New Orleans. The worst treatment he ever had was at the Centennial of 1876. Through a mistake Bob’s picture was hung in the Michigan building, instead of in the art gallery. That sickened Bob of exhibits. He hasn’t bothered himself to send anything to any of them for years. Some years ago he was asked to exhibit in the Royal Academy, England. “What’s the use? Too much trouble! What’s it all amount to anyway?” says Bob.
He has a memory for technique. If he ever sees a scrap of canvas; well, he’ll know it again, after years. The other day, a friend found something in a second-hand store and asked Bob to take a look. Bob did so and the friend bought, on Bobs recommendation. On cleaning the painting, the name Bob had predicted was found there. The picture was by a Canadian artist of renown, but his works are known to only a few collectors. Bob had seen only one, years before. He knew the style almost at a glance.
IMPRESSIONIST
As for art, he is an impressionist, not in any high technical or extreme sense, but in the simple meaning, to reproduce and impression; to see something, in your own way. Many years before impressionism became the vogue or before we knew one school from another, he went direct to nature’s heart for his school and his instruction and took for himself and his school all that was good without being an extremist in impressionism. His teacher was Mother Nature; his school, the seas. He paints as he breathes, that is to say, naturally as you wink you eyes. What more is there to be said?
He is likely to get up at 4 in the morning and go to the wharves. Sunset often finds him strolling about, looking at the river.
He does not paint in open air. He makes sketches, perhaps adding a dab of color, for a key. He scribbles notes of backgrounds, or color scheme. The actual spirit of the scene he keeps in his heart.
Mcedag [sp?], the great Hollander, who paints everything thought the window of his studio, which opens over the sea, has one, perhaps two moods. Hopkin has as many moods as the sea has lights and shadow. You see his ships in a heavy storm, in a fair wind, in a dead calm, in moonlight. He knows all the caprices of the sea, He paints them all.
One day, his paintings are going to come into their own.
INSIGHT
Newspaper waifs of verse appeal to Bob. One day, Charles L. Clark read Bob a newspaper poem on ocean’s wonderous caves. That was enough! Bob painted them. On another day Bob read a bit of newspaper poetry entitled “The Graveyard by the Sea.” It told of a strange thing that the sea does somewhere on an unchartered coast, buries the dead in the crawling sands, heaps up the sands, while the storm sings in requiem. Bob was amazingly caught by the conception. In his mind’s eye he already saw it all. In the Detroit Museum of Art you will find a painting called “The Graveyard by the Sea.”
The graveyard by the Sea-
Where ocean breezes sweep across the restless deep.
It stands, with headstones quaint, with sculpture rude.
Robert Hopkin is touched by the pathos of the sea, the forlorn lives of toilers.
Bob has always been amiable in business. What does he care? Hasn’t he enough for himself? To begin with, he lacks the self-conceit of artists and musicians. For publicity or art criticism he cares absolutely nothing. He prefers to let his paintings tell their own story. Who is the man, that called today? A writer do you say? And he is going to say something of me in the paper? This will never do. Is there not some way to stop him?
Bob will avoid all his cronies for a week after reading wat is told of him here, today. It will cause him a bad quarter of an hour.
BOB’S STUDIO
It’s not the conventional studio with bronze lamps, bright silks, divans, mirrors and statuary. Bob’s place is a loft where a painter works; and the corners are stacked with stuff.
His atelier is in the rear of this house, No. 247 First street. A brick barn, reached by a stairs, with two turns. A hall, a wooden door of undressed lumber, black with age. An old-fashioned latch-string. A room perhaps 10×12, divided from another room of equal size. A blackened skylight, under which is the easel, on which is a picture of a full-rigged ship at sea. Here’s where you find Robert Hopkin.
Bob keeps a tiny point of gas burning for a pipe-lighter. He uses it often, for his pipe has a way of going out unexpectedly.
A base-burner with a long pipe stands in plain view and on the pipe someone has drawn a skull and cross bones. IN the corner, are two stone jugs, tubes of color, pipes, tobacco, a large mirror and above is the motto, in old English text, “Cheerful Company Gladdens the Hour.”
WORLD A PICTURE BOOK
The world to him is a picture book of the sea. We are coming to it, little by little. He is a man that grows on you. You must wait for him to reveal himself. He goes with his paint box and brushes and paints his seas. He does it not for money or for glory and never bothers his head over formal prattle. Bob tried symphonies in greens, greys and blues, on gold background, long before Whistler was known to fame. Bob had painted in the various schools, but he is not an impressionist, or realist, or an schoolman, or any stylist. He is himself. He paints the sea in his own way. When he shuts the door of his studio, he might as well be out at sea. He is alone, with his thoughts. The ship is in the harbor ready to sail. There is a fair wind and the tide is strong. The sails are set and she starts on her voyage.
Where does he get his knowledge of light? Why is the sea a mystery to him – a mystery yet an open book. The seas is his friend and confidant, because he loves the sea. He makes the waves roll, Storm or sunshine, and always that wonderful atmosphere of the sea – the old man puts them in his canvas. As he paints it, the sea loves. The ships all but sail out of the water. His pictures are all of flesh and blood people, hard-handed men and women who have to struggle to earn their daily bread. It is not the statuesque Barbizon peasantry, but he larger unidealized and yet idealized race, as Hopkin sees the people of the sea.
Robert Hopkin, master marine painter, seems to have a hand too large to be restrained by convention; that hand is therefore guided over the canvas by a sort of intuitive constructive imagination, restrained but not lost in the knowledge of the practical sailor.
The serious old man is there beside you, smoking his briar pipe. He is the sailorman and the artist; his shirt collar is open at the neck, his big sunburned hands rest in his lap. He is come home from the sea to tell us another story. Look upon him well; study his weather-beaten face and kindly eyes; – for among the world’s great marine painters you may not soon see his like again.
“Come up and have a smoke again, some day,” he tells me as I shake hands at the studio door.
Robert B. Hopkin (1832-1909) was a scenic artist and easel artist, well known known for his marine paintings in Detroit, Michigan. Reminiscing about Hopkin, Malcolm W. Bingay wrote, “Robert Hopkin painted because he found soul satisfaction in thus expressing himself. He cared nothing for the opinion of the world. He earned his living as a scenic painter so that his art could be his own. He did not want to sell his works. When he did, it was only to meet his family needs. Often urged to exhibit he gently refused. “Somebody might buy the ones I wish to keep,” he would answer” (“Detroit Free Press,” 7 Aug 1943, page 6).
Hopkin’s last name is frequently misspelled in historical documents; people and publications consistently adding an “s” to Hopkin. Even Thomas G. Moses wrote about his one-time mentor Robert Hopkins. When Thomas G. Moses first entered the scenic art profession, he assisted both C. C. Louis Malmsha in Chicago and Robert Hopkin in Detroit.
Both Malmsha and Hopkin were mentioned by Moses in a 1909 newspaper article the “Press and Sun Bulletin” article included a section on Moses’ early training, reporting that Moses “hired out as a painted boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work. Robert Hopkins, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist” (5 Dec. 1909, page 14). In 1875, Moses wrote, “I worked for a while on the “Naiad Queen” scenery under the celebrated Robert Hopkins, a friend of Malmsha’s.”
There is a Robert Hopkin senior and junior by 1870 both painting in Detroit. The 1870 census listed Robert Hopkin Sr., age 37 yrs. old, and the members of his household. At the time, he was living with his wife and children. His wife, Evaline, was 38 yrs. old, and their children ranged from ages 8 to 17 yrs. old: Sophia (age 17), Robert Jr. (age 15), William G. (14), Marshall (8) and George Ruby (17). In 1870 Robert Jr. was listed as a “painter” and his father an “artist.” William also entered the painting profession, traveling west with his father in 1881. The two painted scenery for three Colorado theaters, representing the firm of J. B. Sullivan & Bro. of Chicago. On March 5, 1881, the “Detroit Free Press” reported “Robert Hopkin, the artist, and his son William G., left for Colorado on Thursday to paint the scenery and curtains for three opera houses. Before leaving “Bob” remarked to a scribe of THE FREE PRESS, “the boy is up to the old man with the pencil, and ain’t much behind him with the brush” (page 1). To date, I have confirmed that two of the three theaters were the Tabor Grand Opera House in Denver and the Colorado Springs Opera House.
Notice about Robert Hopkin’s departure from Colorado after painting the drop curtains for the Tabor Opera House in Denver, Colorado, and the Colorado Springs Opera House, 1881.
On September 24, 1881, “Great West” announced, “Robert Hopkins and son, the principal artists for Sullivan & Co., and the painters for the drop curtain in the Opera-house, left for the East on Sunday evening. Mr. Hopkins has left and enviable reputation behind him for his work in our theater and the one in Colorado Springs” (Denver, CO., Vol II, No. 13, page 5). Colorado Spring’s “Daily Gazette” reported, “The appointments of the stage will fully equal and in the best metropolitan establishments. The scenery is of the most elaborate and tasteful description and is painted by the well-known artist, Mr. Robert Hopkins” (Colorado Springs, 19 April 1881, pages 1-2).
The Colorado Springs Opera House also made news in Leadville, Colorado, also a stop on the circuit. “The Leadville Daily Herald” reported, “Mr. Robert Hopkins, of Chicago, an artist of large experience, has had charge of the scene painting, and it, together with the arrangements for shifting, are equal to that of any stage in the country. There are thirteen sets of scenes, supplied with all the accessories to make each complete.” The article continued to describe the theater, “The general decoration of the auditorium is rich and appropriate. Private boxes flank the proscenium arch upon either side, which are handsomely furnished and draped in maroon and old gold, with lace trimmings. The parquette circle and balcony are all furnished with A. H. Andrews & Co.’s model seats, upholstered in marron plush…Resolved, That the cordial thanks of the citizens of Colorado Springs are due to Messrs. Howbert, Crowell and Humphrey, for erecting here this beautiful temple, dedicated to music and the drama, and their liberality and public spirit eminently entitled them to the grateful respect of their fellow citizens. Mr. J. L. Langrishe responded with a few pointed and fitting remarks in which he said that he had seen and played in a great many theatres in America and that the Colorado Springs opera house was the handsomest of its size in the United States” (April 19, 1881, page 1).
On April 9, 1881, the opera house was further described in a section entitled, “Stage Arrangements” :
“The stage is very large considering the size of the theatre, and the finest scenic effects can be produced upon it. The proscenium arch is 24×24 feet, thus giving ample room. The drop curtain is an exceedingly handsome bit of work, representing a Venetian scene. The decoration of the theatre and the painting of the scenes are under the direction of J. B. Sullivan & Bro. of Chicago. The artist in charge of the scene painting is Mr. Robert Hopkins, who is the general designer of the decorations. These designs are entirely original, having no duplicates in any theatre. The scenery and the arrangements for shifting it are equal to that of any stage. The scenes are shifted upon the Breach system, by means of counter-weights. There are thirteen separate sets of scenes, which are supplied with all the accessories to make each compete. Following is a partial synopsis of the scenes: garden scene, set cutwood flats, garden flat, vases, borders, statuettes, set arbor, walls, balustrades, ancient street scene, modern street scene, street arch, cave scene with accompanying wings, kitchen scene, plain chamber, palace scene, interior gothic scene, garret scene, prison castle, open wood, dense wood, rocks, grounds waters, set trees, horizon, numerous landscapes. There are over 200 pieces in all and the scenery will be so arranged that each scene will be complete from wing to wing that there rarely be need of pillar for instance, to enclose a wood scene, the scene being all woodland scenery within the stage borders, it will be a picture in a frame.”
Drop curtain painted by Robert Hopkin for the Colorado Springs Opera House in 1881.Drop curtain painted by Robert Hopkin for the Tabor Grand Opera House in Denver, Colorado, 1881.
This was comparable to the scenery collection at the Tabor Grand Opera House in Denver, signaling a standard of excellence at western theaters. I found it intriguing that Hopkin was specifically connected with a Chicago decorating – J. B. Sullivan & Bro.
1890 advertisement for the Chicago decorating firm J. B. Sullivan & Bro.
James Bernard and Michael Joseph Sullivan’s firm was located at 266 N. Clark in 1877 (Lakeside Directory of Chicago, 1877-1878). This was just down the street from Sosman & Landis Scene Painting Studios. J. B. Sullian & Bro. was established in the 1850s, with founding dates varying from 1853 to 1857. The Sullivan brothers were included in “History of Chicago: From the Fire of 1871 until 1885” by Alfred Theodor Andreas. Here are the entries for the two brothers:
“James Bernard Sullivan, of the firm J. B. Sullivan & Bro., painting, decorating in fresco, etc., is the son of Michael and Hannah Sullivan, and was born in Troy, New York, on November 29, 1830. He remained at home until he was twenty years of age, during which time he received a thorough education, and then went to New York, where he engaged with John S. Perry, painter, decorator, etc., with which he continued one year. After mastering his trade, he continued his vocation in Troy, until 1855, when he came to Chicago. In the following year he began business on his own account, and in 1857 established himself at Nos. 266-268 North Clark Street, his present location. He associated with his brother M. J. Sullivan, in 1869, under the firm J. B. Sullivan & Bro. This establishment has kept pace with the rapid development of the decorative art, and is recognized by the trade and the public as one of the leading houses in the Northwest. First-class materials and expert workmen are only employed, and to these aids the Messrs. Sullivan attribute their success. Mr. Sullivan was married, in 1859, to Mrs. Margaret Cunningham of Schenectady, N. Y., who dies in 1868, leaving four children, – Mary E., Margaret F., James B. and Agnes M. His second marriage, to Miss Elizabeth Glassbrook, of Chicago, occurred in 1870; they have two children, – Joseph and Irene.”
Michael Joseph Sullivan of the firm J B. Sullivan & Bro., painting and decorating, etc., is the son of Michael and Hannah Sullivan, and was born in Troy, N. Y., on October 3, 1846. He attended public schools of his native city until fourteen years of age when he came to this city, and engaged in his trade in the establishment of his brother, J. B. Sullivan & Bro., and in 1872 became full partner. He is thoroughly conversant with the details of the decorative art, and is known to the public as one of the best-posted men in the trade. Mr. Sullivan was married on October 3, 1872, to Miss Ellen Braley, and accomplished lady of Chicago. They have two children,- Francis J. and Marie E.”
Advertisements from the 1880s note that the firm was divided into three departments: Wall Paper and Paper Decorations; Painting and Glazing Department; and Fresco and Decorative Department (1877 Inland Architect and News Record). Additionally, ads promised, “Work in various departments is under the personal supervision of the firm. Competent men sent to any section of the country. Designs furnished. Correspondence solicited.” Although residing in Detroit, Robert Hopkin Sr. was principal artist for the Chicago firm in 1881, traveling west to complete theatre projects that included stage scenery.
In 1921, Thomas G. Moses wrote, “Mitchell of
Mitchell and Halbach has engaged my services for Dallas, Texas, for the new
Majestic Theatre.”
The Majestic Theatre in Dallas, Texas.
To clarify, a well-known interior decorating firm subcontracted some of the work for the new Majestic Theatre in Dallas to Thomas G. Moses, representing Sosman & Landis. Since the establishment of Soman & Landis, the firm delivered stage scenery and painted décor for a variety of venues. This does not mean that Moses was credited for any of the Majestic Theatre painting as a subcontractor.
Since the late nineteenth century, Mitchell and Halbach were
well known interior decorators and furnishers, located at 1715 S. Michigan Ave.
in Chicago, Illinois. In 1921 they advertised as “specialists in high class
interior decorations and furnishings for public and private buildings. Moses had even hired Mitchell & Halbach
to decorate the rooms in his own home.
Later in 1921 Moses specified his contribution to the
Majestic Theatre in Dallas, writing, “I was successful with the asbestos
curtain, and then went on to the wall decorations, which were very interesting
and finally the playroom which was doubly interesting.” Moses remained in the
south for nine weeks, working on the Majestic Theatre, Dallas Shrine scenery, and negotiating future
contracts with the Scottish Rite in Little Rock, Arkansas.
Asbestos curtain painted by Thomas G. Moses, representing Sosman & Landis, that was subcontracted by Mitchell & Halback for the Majestic Theatre in Dallas, Texas, 1921.
Moses was accompanied by his wife Ella [Madam] when they
headed south that February, writing, “On the 15th I started for
Dallas, where I arrived the next day, late in the afternoon. I was pleased to get this work as it was away
from the extreme cold weather and a novel adventure for the Madam and myself.”
Later that spring, Moses wrote, “Made a side trip to Little
Rock to settle on the Scottish Rite Temple.
I hope to be able to close the contract very soon. I enjoyed the trip as I saw some very
interesting old buildings. On my return
to Dallas, it didn’t take me long to complete the work.
Of Moses’ Majestic Theatre painting, advertisements
announced, “In the vast auditorium that seats 3,000, a Roman Garden has been
reproduced in detail. Overhead a sunset sinks to rest, sending the flaming
amber tinted farewell to a sky that heralds the night with its millions of
twinkling stars. One every side, seen over flower-covered walls, is a vision of
‘Gods Out-of-Doors, cloud-kissed hills with dormant Vesuvius rising on the distance to greet them”
(Corsica Daily Sun, 1 April 1921, page 10).
Dallas Majestic Theatre advertisement published in the “Corsicana Sun,” 1 April 1921, page 10.
The Majestic Theatre in Dallas
opened on April 11, 1921. It was advertised as the “New 2 Million Dollar Peak
on the Dallas Sky-line” (Corsicana Daily Sun, 1 April 1921, page 10). This was
the flagship of Karl St. John Hoblitzelle’s Interstate Amusement Company chain
of theaters. Replacing Hoblitzelle’s previous Majestic Theatre from 1905 that
burned to the ground in 1916. Located at the corner of Commerce and St. Paul
streets, the five-story building boasted 20,000 square feet and was also home
to business offices for Hoblitzelle. The Renaissance Revival structure was
designed by John Eberson.” Later in 1921, Moses would write, “Did two
watercolors for Mr. Hoblitzelle, which I trust will be pleasing to him and his
wife.” Moses frequently gifted fine art paintings to his theatre clients. It
was a personal thank you for the work and added credibility to the artistic
works for the stage.
Dallas Majestic Theatre advertisement published in the “Dallas Express,” 8 Oct 1921, page 7.
On October 13, 1921, the “Corsicana Daily Sun” reported, “When Fair visitors go to Dallas this year there will be one place they will all want to go – The New Majestic of Dallas, For to come to Dallas and fail to see this palatial show house would be like going to Rome and forgetting to visit the Vatican. The New Majestic of Dallas is conceded to be the peer of all playhouses in the world for it possesses a Majesticland. A playground that is all of 90 feet long and 50 wide- containing all manner of toys, animals, merry go rounds, slides, etc. Mary Garden the famous diva of the Chicago Symphony Opera Co. declared that even she – in her plans and ambitions for an ideal playhouse never dreamed of such innovation and theatredom as Majesticland. But Majesticland is the only one of the many perfect details of this beautiful theatre. Throughout it is an example of the highest art. Patterned after the beautiful decorations of Louis Sixteenth it stands alone in its simple elegance of beauty n in the entire southwest” (page 10).
Advertisements stated, “The ancients never thought of going to Rome without visiting the Coliseum. No one thinks of going to Paris without visiting the Louvre. No one thinks of going to Washington, D.C. without seeing the Capitol Building and White House. Correspondingly – on one thinks of going to Dallas without visiting the New Majestic Theatre – the Greatest Amusement Institution in America” (Dallas Express, 8 Oct. 1921, page 7).
The “Scenic Artists” column in “The Billboard” that year reported, “Thos. G. Moses, art director for the Sosman & Landis Studios, is at Dallas, Tex., painting the new curtain and mural gardens in the new Majestic Theater now under construction. Mr. Moses states that this new Dallas House is one of the most wonderful in the country, having a number of unique features that make it interesting.” This article was clipped by Moses and placed in his scrapbook. There is no exact date or page number.
Front curtain by Robert Hopkins for the Tabor Grand Theatre in Denver, Colorado, 1881.
Yesterday I explored the drop curtain created by Robert Hopkins
for the Tabor Grand Opera House in Denver, Colorado. On Thomas G. Moses, Edward
Morange, Hardesty Maratta, and John Young visited the Tabor Opera House in
Denver to see the drop curtain by their friend Robert Hopkins in 1884. Moses
wrote, “We all attended the theatre, the famous Tabor Grand, and we found it
all we had expected it would be, nicely decorated and fine woodwork. The Drop Curtain was very good: an old ruin
with some poetical feeling that pleased everyone. It was painted by an old friend of mine, Mr.
Robert Hopkins, of Detroit, Michigan.
This is a favorite subject of his, he having done a similar one in
Detroit” (The palette & Chisel, Vol. 1, No. 3, March 1928).
So who was Robert Hopkins? He was a scenic artist from the Midwest
who began his career in Detroit, and later was associated with other large
metropolitan areas through his work. Hopkins came from a family with four consecutive
generations of Detroit artists named Robert Hopkins. The patriarch of the
family specialized in marine scenes and never appears to have left the Detroit
area. I believe that it was his son, Robert Hopkins, Jr. who ventured to
Chicago and continued to travel west for theatrical opportunities.
Robert Hopkins, Jr. was born in 1856, the same year as
Thomas G. Moses. As Moses sporadically worked in Detroit throughout the
duration of his career, it is likely that their friendship began with the
Hopkins family in Michigan. Unlike Moses who started his artistic career at the
age of 17, Hopkins was already actively working and listed as a painter by 15
years old. The 1870 census listed Scottish artist Robert Hopkins Sr., age 37,
as an artist and his son Robert Jr. as a painter. Hopkins Sr. was married to
Evaline, age 38 at the time, with four children: Sophia (age 17, b. 1854),
Robert Jr. (age 15), William G (14), Marshall (8) and George Ruby (17). During
this time, the family was listed as living at 664 Detroit Ward 5, E Wayne,
Michigan.
In 1875, Moses recorded that he worked on scenery for the “Naiad Queen”
under the “celebrated Robert Hopkins.” Hopkins was a close friend of C. Lou
Malmsha (1847-1882), another well-known artist whose career soared, but he passed
away at the young age of 35. Malmsha seems to half left an indelible mark on
all who knew him. Moses worked as both Malmsha’s assistant and under the
direction of Hopkins at the in the beginning and this experience certainly
shaped his approach to scenic art. Less than a decade later Hopkins was
credited as producing the scenery for Detroit Opera House, according to Harry
Miner’s American Dramatic Directory for the 1882-1883.
It remains unclear as to whether Moses worked with the elder or younger
Hopkins in Detroit. Although it seems reasonable that it would be the elder
Hopkins, fame struck many scenic artists at an incredibly early age in the 19th
century; sometimes it just took one show. I believe Moses was referring to Robert
Hopkins Jr. Keep in mind, less than a decade later Moses left Sosman &
Landis for the first time to form a new scenic studio with Lemuel L. Graham,
future founder of Kansas City Scenic Co. Moses’ ascent to the top of his
professional was relatively quick too, he was just a few years behind Hopkins
despite their same age.
Like many itinerant artists at the time, the Hopkins
traveled from town to town and tried to secure as many painting contracts in an
area before departing. What I have noticed is that when a scenic artist came to
town to paint scenery for one theater, other venues took advantage of their
arrival. This means that a talented artist was immediately approached after
arriving in any town or territory. If
their name was associated with a popular touring show, the arrival was even
more anticipated and people lined up with projects. During 1881, Hopkins seems
to have settled in Colorado for a spell, before returning east. Hopkins produced scenery for both Tabor’s
Grand Opera House in Denver and the new opera house in Colorado Springs.
Of his 1881 Colorado Springs project, “The Leadville Daily
Herald” reported, “Mr. Robert Hopkins, of Chicago, an artist of large
experience, has had charge of the scene painting, and it, together with the
arrangements for shifting, are equal to that of any stage in the country. There
are thirteen sets of scenes, supplied with all the accessories to make each
complete” (April 19, 1881, page 1).
Front curtain by Robert Hopkins for the opera house in Colorado Springs, Colorado, 1881.
Colorado Spring’s “Daily Gazette” reported, “The
appointments of the stage will fully equal and in the best metropolitan
establishments. The scenery is of the most elaborate and tasteful description
and is painted by the well known artist, Mr. Robert Hopkins” (Colorado Springs,
19 April 1881, pages 1-2). Hopkins was mentioned again in the section entitled,
“Stage Arrangements,” providing a little my information about the scenic
artists and the stage house for the April 9, 1881, opening of the opera house
in Colorado Springs:
“The stage is very large considering the size of the
theatre, and the finest scenic effects can be produced upon it. The proscenium
arch is 24×24 feet, thus giving ample room. The drop curtain is an exceedingly
handsome bit of work, representing a Venetian scene. The decoration of the
theatre and the painting of the scenes are under the direction of J. B.
Sullivan & Bro. of Chicago, The artist in charge of the scene painting is
Mr. Robert Hopkins, who is the general designer of the decorations. These
designs are entirely original, having no duplicates in any theatre. The scenery
and the arrangements for shifting it are equal to that of any stage. The scenes
are shifted upon the Breach system, by means of counter-weights. There are
thirteen separate sets of scenes, which are supplied with all the accessories
to make each compete. Following is a partial synopsis of the scenes: garden
scene, set cutwood flats, garden flat, vases, borders, statuettes, set arbor,
walls, balustrades, ancient street scene, modern street scene, street arch,
cave scene with accompanying wings, kitchen scene, plain chamber, palace scene,
interior gothic scene, garret scene, prison castle, open wood, dense wood,
rocks, grounds waters, set trees, horizon, numerous landscapes. There are over
200 pieces in all and the scenery will be so arranged that each scene will be
complete from wing to wing that there rarely be need of pillar for instance, to
enclose a wood scene, the scene being all woodland scenery within the stage
borders, it will be a picture in a frame.”
This was a comparable scenery collection to that delivered
to Tabor’s Grand Opera House in Denver during 1881. It signifies a standard of excellence for
western theaters, as well as significant profits for a scenic artist.
The same year that Walter W. Burridge passed away, an interesting article was written about the demise of the decorative painting business. Many scenic artists and studios relied on decorative painting work. Ornate auditoriums and picturesque murals were often the work of the same artists who delivered the stock scenery and stage machinery. However, the world of painting and its place in the theatre industry was changing.
“The Truth About the Painting Business,” was included in
“The Road to Success,” was a publication by the Charles Kraut Academy of
Decorative Art in Chicago. Here is an
the article that especially resonates with the state of scenic art today:
“The Truth About
the Painting Business.
Of great importance to every man interested in the
Painting and Decorating Business, be he Master or Workingman.
READ CAREFULLY AND EVERY LINE OF IT.
The
Painting business in the United States and Canada has been on the downward
grade for a number of years. Every painter knows this and has wondered why it
is that the Painter is classed now with the unskilled laborer, where in fact he
ought to be considered a high grade and skillful mechanic.
The reason is that the great majority of the Master Painters, as well as the Painter in general, have neglected to go with the times. The majority are satisfied with the “unskilled labor” part of the business. They are satisfied if they can even make a few dollars out of a job, which they got away, perhaps through unfair competition, from the other fellow, where by rights he ought to make good money and have twice the amount of work on the same job. Now-a-days a painter, if he thinks at all, thinks and tries to invent new mixtures to skin the work still more to beat his competitor, while by rights he ought to strive and learn something that the other fellow does not know and start in on a competition of skill, and persuade to House owners to have rooms decorated in refined taste. This will give him more work to do on individual jobs, he will be able to employ the working men longer, he will get more money for the job, he will be recognized as an artist and he will get more satisfaction and pleasure out of the work.
Now comes the objection that every painter springs on me,
and that is: The public in general does not know anything about Art, the people
are not educated in this direction and are well pleased with “wall paper” which
is cheaper. I admit that this is true, but who’s fault is it tat the public is
ignorant of Art, and especially Decorative Art?
“It is the duty of the Painter to educate the general
public. The general public is willing, even anxious, to be educated in this
line, every house owner, or the lady of every household will gladly listed to a
painter in the direction, providing the painter knows what he is talking about
and has a reputation in this direction; and as it stands now, there is only
about one Painter in every hundred who can carry on a conversation of this sort
which he will convenience the head of the household that he is able to carry
out what he proposes. It is a wonder that people prefer to have their homes
tinted in plain colors or are satisfied with wall paper? Is it a wonder that they do not ask the
painter to think up some decorative scheme for their rooms? They do not trust
the man, because he does not make the suggestion himself, and consequently
class him with the unskilled laborer.
In Europe, the general public is educated in this
direction, and no flat, no matter how small, is without some decoration,
free-hand work, while all the Residences, Churches, Theatres, etc. are
elaborately decorated. Well, who would educate the people in Europe? Do you
suppose this line is taught in the public schools? No, the Painter did this; in
Europe competition in skill is considered first and above the competition twice
[Me: Re-read the last line, as this was the case in
American until a notable shift occurred during the 1890s].
Is it not high time that something is done to regain the
prestige of the Painter in this Country and to get more and better work at
higher profits?
This can only be done by first educating the individual
Master Painter and workingman, and he in turn is bound to educate the general
public. It is high time that a move in this direction should be taken. Every
Master Painter and Painter has the opportunity now to educate himself and at
very little expense. Of course he can not learn in a month or one year
everything which a practical Decorator must know, but he can gradually educate
himself by practicing during his spare hours at home, an opportunity that is
not given the painter in Europe.
A man who can afford to practices and study for about
three months at a stretch every year (during Winter) will do wonders in that
line. A man can become a skilled and high grade mechanic only be devoting his
spare tie to study and practice for a year or two, and if he makes up his mind
to succeed, he cannot fail, if he practices as much as is necessary, and he
will never regret having taken the trouble.
At every Convention of Master Painters and Painters so
far, it has always been emphasized that it is necessary to educate the Painter
in the business,-the school question has always been a leading item, If the
Master Painters and Painters will only co-operate in the direction laid down by
me, a revolution in our profession is sure to come. Educate yourself, tell your
men to acquire and education in the business and to become Decorators, and the
education of the public is bound to follow.
Do not be afraid of over-production in this line. Only
the narrow man will think it. There is no over-production in Europe, although
schools have been turning out Decorators for over 100 years, and the schools
are still growing. The more Decorators there are, the more the general public
will become educated in this line. Within a short time competition in skill
will take place in the painting and decorating business in this Country, and
the man not educated in this line will have to be satisfied to be known and
classed with the laborer, while the other man who gets an education in the
decorating business will have the opportunity and ability to complete with the
man who is taking the extra cream of the work now, and by that competition in
skill will ensue. Your old customers will certainly have more respect for you,
if you can prove that you are able to execute artistic work.
It is high time that a move in this direction should be
started, because the most beautiful of all styles in decorative work is coming
to us now. This is the “Up-to-date Conception of the Italian Renaissance,” a
style in which very elaborate Ornaments, Flowers and Figures are employed, To
be able to do this kind of work, a schooling is absolutely necessary, as the
work is all frees-hand, and stencils will not be used, You can watch this style
breaking through everywhere. Look at the new Furniture, Frames, or Wood-work
(trim) of high grade work, go to the leading Hotels and look at the Banquet
Halls and Lobbies which have been decorated recently, and you will see the new
direction, Within two of three years it will be in full swing, and you ought to
prepare yourself and also tell your men to prepare themselves to be able to
meet the demand when it comes.”
But a world war was just waiting around the corner, and
the education that he spoke of took a different turn. This sets the groundwork
for Thomas G. Moses 1914 entry in August.
To be continued…
Example of decorative painting at Schloss Rosenau in Austria.Above the curved staircase. Example of decorative painting at Schloss Rosenau in Austria.Example of decorative painting at Schloss Rosenau in Austria.The curved staircase. Example of decorative painting at Schloss Rosenau in Austria.The curved staircase. Example of decorative painting at Schloss Rosenau in Austria.The curved staircase. Example of decorative painting at Schloss Rosenau in Austria.The curved staircase. Example of decorative painting at Schloss Rosenau in Austria.
Here are a few examples of decorative painting at Schloss Rosenau in Austria. Here is one of many links about this interesting building: https://www.inspirock.com/austria/schloss-rosenau/osterreichisches-freimaurermuseum-im-schloss-rosenau-a1254825113
In 1912, Thomas G. Moses wrote, “In May I went to Grand Rapids, Michigan, to paint an asbestos curtain from a scaffold – it was a bad job to do, but as usual, I got something out of it and it pleased the manager. I saw a number of old friends. One of the men that I knew in the orchestra thirty-five years ago, told me of one of my girl friends, Jennie Wilson, who was a clerk in a music store, selling sheet music when I knew her at the time. She was still there. I thought I would call on her. One evening I walked down to the store and was going in. I saw her back of the counter near the window, the same place, but what a change in her – stopped, almost white hair and wrinkled face, but the same black eyes. I didn’t have the nerve, so I turned and walked away. I felt afraid I might not be welcomed – what a ravisher of good looks is our old friend ‘Father Time.’ One that never deserts us – with us from start to finish.”
Some of Moses’ old stomping grounds were in Grand Rapids,
Michigan. Although promised to Susan “Ella” Robbins in Sterling, Illinois, he
certainly maintained a social life as he traveled about the country. At the age of 19 in
1875, Thomas G. Moses found himself “out of work and very little money on
hand.” He managed to secure a job as a
train boy, working the run from Grand Rapids, Michigan to St. Joseph. His work for
the railroad left him well traveled and well fed, but yearning for artistic
work and a better income. While waiting for his train to depart from Grand
Rapids one day, Moses strolled about town and wandered into Powers
Theatre. Of his visit to Powers Theatre,
he wrote, “I went in and found an artist at work on the paint frame. I called up for permission to go up. I found that I knew the artist – he was from
Chicago. He had an Odd Fellow Hall to
decorate and needed help. I agreed to
quit my job within a week and help him out.
I did the thing I thought was best and Christmas found me very busy on
all kinds of decoration.”
By the spring of 1876, Moses was known as a decorator of fine
homes in Grand Rapids, completing one project after another. In July he had even received the contract to
do the decoration on Pearl Street’s big arch.
While completing this project, Moses met a Frenchman named Wardus who
was decorating St. James Catholic Church. Wardus was in desperate need artist
and contracted Moses. The project also called for a good figure painter, and
the couple placed a newspaper advertisement. After receiving numerous
responses, they selected Tom Brown, an Englishman from New York. They also
hired an assistant, a young local by the name of John H. Young. Moses wrote, “We three, the same age, roomed
and chummed together and we had a fine time.
And, as I remember, we did some pretty good work.” Wardus began advertising
Moses, Brown and Young as the “Three young Roman Artists,” with Moses recalling,
“We didn’t look it – we were all quartered at a cheap hotel and we met a great
many young people.” It is likely during this time that Moses met Jennie Wilson,
the clerk at the music store who was still working there in 1912.
