Category: Drop Curtain

Tales from a Scenic Artist and Scholar. Part 1110 – Henry C. Tryon’s Little Brother, Spencer Tryon (1863-1912)

Copyright © 2020 by Wendy Waszut-Barrett

On January 30, 1883, “The Salt Lake Herald” reported, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tyron, the artist of the Salt Lake Theatre. He is very talented, and although scarcely more than a boy in years, he has produced some very fine work here and at the Tabor Grand Opera” (page 8). At the time, Spencer was twenty years old.

The Salt Lake Theatre in Salt Lake City, Utah
The Tabor Grand Opera House in Denver, Colorado

Like his older brother, Spencer changed his last name from Hoornbeck to Tryon when he began working as a scenic artist. To learn more about Henry B. Hoornbeck’s name change to Henry C. Tryon, visit: https://drypigment.net2020/10/16/tales-from-a-scenic-artist-and-scholar-part-1092-henry-b-hoornbeck-and-henry-c-tryon-1847-1892/ Their brother William Hoornbeck also adopted the last name of Tryon while living with Henry C. in 1878.

In 1870, Spencer was living with his mother, Ann M. Hoornbeck, and two brothers (Henry and Dell) at 384 Lake Street. This was the last year that Henry Hoornbeck (later Henry C. Tryon) was listed in directories under his birth name. Mrs. Hoornbeck and her children had moved to Chicago after the death of her husband in 1864.  Like Henry, Spencer was educated in Chicago public schools.

The earliest mention of Spencer working as a scenic artist is in 1882. At the time, he was listed as his older brother’s assistant and painting scenery for a hall in Springville, Utah.  On Dec. 13, 1882, the “Deseret News” reported, “Not only is the intention to have this model theatrical hall up to the times in point of architectural construction, by the scenery is to be of the very best description. With this object in view Mr. D. C. Johnson, who takes a leading part in the management has secured the services of Mr. H. C. Tryon and Mr. Alfred Lambourne. The latter accompanied by Mr. Spencer Tryon – Mr. H. C. Tryon’s assistant – left for Springville to-day, to begin the work, and Mr. Tryon will follow in a few days. The institution will have thirteen scenes complete, with sidewings, etc., and an appropriate drop curtain. The fact that Messrs. Tryon and Lambourne will do the painting is a guaranty [sic.] that the scenes will be of the most excellent description” (page 15). The venue was described as “a genuine opera house in a theatrical hall. The  extent of the stage from the footlights to the back is twenty-five feet, besides dressing and other rooms in the rear. The height of the stage from the floor to the rigging apparatus is twenty-two feet.”

The three artists were also credited with painting railroad scene a month later. Of the setting, the “Salt Lake Herald”  reported, “A. Railroad Scene in ‘Forbidden Fruit.’ A feature in the performance, on Monday night, which was not scene in the original production, will be the grand office scene, just painted by Mr. H. C. Tryon, Mr. W. C. Morris and Mr. Spencer Tryon, and now shown for the first time, represent the waiting room for the Pennsylvania Central Railroad. A number of gentlemen who saw the artists at work on the scene consider it one of the finest efforts the painters have yet made. It will be seen in act II, of “Forbidden Fruit” (Salt Lake Herald, 26 Jan. 1883, page 8). A later article stated, “The railroad scene painted by Mr. W. C. Morris, of Salt Lake City, and Mr. Spencer Tryon – and displayed last night for the first time in “Forbidden Fruit” – called forth a well-deserved round of applause. It was excellently painted, being full of character, and although (from the nature of the subject) without any pretense of color, was beauty owing to its truth and solidity.” The “Deseret News: reported, “The office of the P.C.R.R.. a new interior scene, painted by the Tryon Brothers and W. C. Morris, Esq., will be exhibited for the first time” (26 Jan 1883, page 3).

On January 27, 1883, the “Deseret News” reported that the new office scene for “Forbidden Fruit” was by Mr. W. C. Morris and Mr. Spencer Tryon” (page 3).

By the spring of 1883, the Tryon brothers were back working at the Salt Lake Theatre. Interestingly, Spencer was erroneously listed as his older brother’s manager on the project. On May 31, 1883, “The Salt Lake Herald” reported, “Henry C. Tryon and his manager, Spencer Tryon, are still industriously engaged. At present, Mr. Tryon is working on one or two special scenes for Lawrence Barratt [sic.], when he appears at the Theatre in ‘Francisca.’ The borders and wood scenes are all finished, and there is any amount of new scenes which have never yet been in use, and which, if occasion came, would show how well stocked the Theatre is even now, when the work is far from finished” (page 10). Spencer would soon be left alone in Salt lake City, without his older brother’s countenance.

On September 17, 1883 the “Deseret News” published a farewell letter to Henry C. Tryon: “Good Bye – Mr. Henry Tryon, the skillful scenic artist, leaves for the East to-morrow. Beside his remarkable talent he is the fortunate possessor of a genial disposition and a mind remarkably free from that species of petty jealously by which otherwise capable men too often dim the lustre of their capacities. He has made numerous friends here whose best wishes he carries with him. Good bye” (page 3).

I have to wonder what was worse for Spencer; living in his famous brother’s shadow or painting at the same venue renowned for your brother’s artwork. Regardless, Spencer remained in Salt Lake City area for at least another year after his brother’s departure in 1883. For a while, he worked at the Salt Lake Theatre, but soon began working at the venue’s competitor – the Walker Opera House.

The Walker Opera House in Salt Lake City

In 1884 Spencer was working, and sleeping, at the Walker Opera House. The Walker Opera House was located on the south side of 200 South Street between Main and West Temple streets. Unfortunately, the venue caught fire one night as Spencer slept inside. On October 16, 1884, “The Salt Lake Herald” headlined “A Narrow Escape. The Opera House Barely Saved from Destruction” (page 8).

Sanborn Fire Insurance Map from 1884 for the Walker Opera House

The article continued:

“On Wednesday morning at about 4 o’clock, Nightwatchman Henry Heath in passing the Walker Opera House noticed that the glass windows of Evans & Spencer’s gun store wore a peculiar color. On looking closer he perceived the appearance was caused by the store being full of smoke, Hastily running down stairs to the saloon owned by Mr. A. G. Bechtol, he saw that its interior was also black with smoke, With all possible dispatch he hurried to the rear of the building and awoke Dave McElroy and Spencer Tryon, who were sleeping in the Opera House, rigging the hose from under the stage and in the parquette circle, and going to the rear door of the saloon himself, and upon bursting open the door he was almost stifled by the smoke, but throwing himself upon his face, with a hose in each hand, he turned a stream of water upon the ice chest and billiard table, from whence the flames were issuing. With the assistance of Messrs. McElroy and Tryon the fire was gotten under control before the fire brigade was summoned. The firemen made good time to the scene, but were not needed.” Interestingly, the 1884 Sanborn Fire Insurance Map provides a basic floor plan for the building. The two-store front were occupied by an ammunition shop and a confectionary. Records indicate that the scenery on stage was non-combustible; this means treatment with a product considered to be a flame retardant. Layout (https://utahtheaters.info/Theater/Facts/250/Walker-Opera-House).

Spencer Tryon’s narrow escape from the Walker Opera House made headlines in 1884

After Spencer’s near miss at the Walker Opera House, he seems to fade away from published history. Spencer remained out of the spotlight for the remainder of his life, unlike his older brother who continued to receive recognition at theatres across the country. I have yet to uncovered any mention of either Spencer Tryon or Spencer Hornbeck between 1885 and 1890. By 1891, however, he was back in Chicago and listed in the city directory, having resumed his birth name of “Spencer Hoornbeck.”  Interestingly, 1891 is the same year that the Walker Opera House burned down.

The 1891, the Chicago City Directory listed, “Hoornbeck, Spencer, painter, h. 621 N. Stephenson (P).” Within the next year, both his mother and his brother Henry would pass. At the time of Ann M. Hoornbeck’s passing, she was 68 years old and living with a son in Pullman, Illinois. Her internment was at Sandusky, Ohio, next to her husband. Sandusky was also the birthplace of their children.

By 1900, Spencer was again working under the name Tryon. The 1900 US Federal Census listed Spencer Tryon as boarding at 128 Throop Street in Chicago, working as a paper hanger and painter. Ten years later, he was still working in the same capacity and living alone, lodging a boarding house on Wabash in Chicago. Spencer passed away in 1912 at the age of 49 yrs. old. His older brother Henry had been only 45 yrs. old when he died the decade before.  At the time of Spencer’s death, he was listed as a painter, boarding at 19 E. 18th Street in Chicago. The next day, Spencer was buried at Mt. Greenwood cemetery.

Just like his mother Ann and older brother Henry, Spencer exited this world without fanfare or any published remembrances. I have to wonder if he had any loved ones to mourn his passing.  

To be continued…

Tales from a Scenic Artist and Scholar. Part 1102: Henry C. Tryon’s Drop Curtain for the Salt Lake Theatre, 1883

Copyright © 2020 by Wendy Waszut-Barrett

In 1883, Henry C. Tryon painted a drop curtain for the Salt Lake Theater. Many sources explain that Henry C. Tryon replicated a painting by William Linton (1791-1876), “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theatre’s drop curtain composition. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

Henry C. Tryon’s drop curtain for the Salt Lake Theatre, pictured in George D. Pyper’s 1937 publication, “The Romance of an Old Playhouse.”
Source that Henry C. Tryon used for “The Return of the Victorious Fleet” drop curtain at the Salt Lake Theatre, 1883.

On Sept. 2, 1883, the “Salt Lake City Herald” published a long description of Tryon’s drop curtain composition (page 4). Here is the article in its entirety:

“Henry C. Tryon, artist of the Salt Lake Theatre, has finished the drop curtain on which he has been engaged for some time past. To those who have been acquainted with the artist’s condition during his work on this picture, the result will be a profound surprise. He has had scarcely one day on it in which he had the strength necessary to the labor, to say nothing of the unfortunate condition of mind that naturally results from physical incapacity and sickness.

The picture is from a painting by W. Linton, called “A City of Ancient Greece, with the Return of a Victorious Fleet,” but the lines of the composition have been materially altered, and it must be admitted, with happy results. Instead of making the city of primary interest, Mr. Tryon has made the “Return of the Victorious Fleet” the subject of his story, using the city as a necessary detail to the perfection of the tale. The hour is just before sunset, the sky soft, warm, and tender – just such a sky as any lover of nature might have noticed here repeatedly about a week ago when our warm Indian summer evenings began; and one of who had watched the progress of the picture must have felt forcibly on many occasions during the past two weeks what a powerful effect our summer evenings have had on the artist’s mind and with what trust and feeling he has expressed the sentiment they awakened in him.

The scene opens in a broad harbor. Showing the grand architectural structures of the period and nationality in the rear, gradating into the distance with a few hazy mountains, as an accessory background, the outlines of which are made apparent by a remarkable atmosphere and soft clouds tinged and iris-hued by the rays of the fast sinking sun, the existence of which, while not visible, is none the less strongly felt. On the right, and very prominent, are marble supports and marble steps leading down to the water’s edge; opposite to the left there is a distinct intimation of the same architecture, only hidden by a profusion of foliage and the sails and banners and pennants of the incoming vessels. A viaduct beneath which a stream of water flows fringes the centre of the harbor in the rear, and here again the foliage golden tipped by the sun, grows in glorious profusion and saves the eye from that sense of weariness which architecture, bare and unrelieved, however magnificent, however fascinating for the time being, invariably produces upon a longer acquaintance.

With the genuine landscape artist’s feeling, which does not exist where it does not reach after trees and water generally, foliage freaks out from unexpected yet natural points, and while doing service by relieving the monotony of architecture, introduces a feeling which, even though unobserved, gives a sense of satisfaction which is experienced and enjoyed without passing through the judgment for approval. The story of the picture is told in its title – “The Return of the Victorious Fleet.” There need be no title for the picture explains itself. The vessels filled with warriors enter at the left, pass up the harbor, then turn to the right where they group together, where wives, children and friends rush out of the grand marble structures and are massed between the marble columns, and receive the dear ones who have come home safely and victoriously out of the contest with a powerful foe. Everything is glowing, warm and cheerful, the expression being free and happy, while the bright colors, the brilliant banners, streamers and pennants, the colors commingling and toned down by the intervening atmosphere, give to the principal chapter of the story a gala-day appearance, and inspire a sentiment of pleasure in the bosom of the spectator. There is enough omitted detail to give the imagination ample sway, hence it is that the story continues to the right outside the picture, leading to the belief that the scene which the eye beholds is continually indefinitely, and that the same happy and joyful sentiment prevails at other colossal structures which do not appear in the picture.

The story is made the richer by the happy idea of coloring which the artist has employed – that is, the line of light follows the interest of the story, which begins at the left, spreads bout two-thirds over the picture, and culminates at the extreme right hand. So the shadows are deepened at the left (the bright colors of the sails just entering the harbor relieving it of a dismal air) the light gradually dawning towards the middle of the picture where it breaks in a glorious flood just at that point where the interest of the story culminates, and then modulates and tones down to the right, leaving the impression that away in the distance the story is concluded, leaving also to the imagination just as much as is essential to the perfection of a charming sketch. One objection that might naturally be interposed to the detail of the story is the fact that on the front marble steps there are no figures such as can be seen in the rear, and which as a matter of fact ought really to be visible at the point referred to. But there are weighty reasons why these were omitted. In the first place, Mr. Tryon is essentially a landscape painter, and confesses his inability to paint respectable figures. This being true, he could add nothing to the effect. But even were he capable of painting figures, for the truth of the story they are better omitted in this picture. To paint them well, or even indifferently, would be to arrest the eye, and in the degree in which this result was produced, just in that degree would the interest of the story be interrupted, and the idea of the artist be disadvantageously affected. It is a principle in all art that too much detail ruins the finest paintings, as in all stories, those details only are to be tolerated which are essential to the solution of the plot, that moment it is an injury.

Therefore, for the reason that he was incompetent for good figure-painting, and because such a detail would arrest the eye at a point where the injurious, Mr. Tryon wisely deemed it best to leave out the figures, and made the architecture as simple as possible, relieving it only by the water at its edge, and the prows of the two vessels just turning one of the columns. So much for mechanical thought and labor. But who can explain in words the sentiment, the tone, the poetic idealism the artist intended and has expressed? It is in these mainly that his genius is manifest; and every eye that rests upon the glowing canvass will behold beauties peculiar to itself; in every mind it will awaken thoughts that may occur to none other, and the impression and sentiment that it may arouse will be individualized in each bosom. Imagine, a warm, rich, summer day, the haze of an Indian summer’s eve lingering lovingly and tenderly overall, toning down features that might be harsh and making indistinct and indefinite points that seem to fade away into atmosphere so delicate, so mild, so feeling, so tender!

Here and there a flood of warm light develops a particular feature in order that the contrast may heighten the effect, as for instance in the foliage under the viaduct, or as a single point in the architecture; as a cloud catches a single ray of the warm sun as to appears on the ripples on the waves. The beauty of the water in the harbor must strike every artist and art lover as a thing of surpassing loveliness, in that it is true to nature and nature is beauty. The reflection of the brilliant colors from the prows of the bright colored boats, mingling in the waves, produces a combination of brilliant colors, which is rendered beautiful from the very indistinguishable profusion of the hues and the brilliance of the effect, rendering the transparency of the water so realistic that the deception is perfect. But who can describe a painting in words, however beautiful, however poor? It may be pronounced good, bad, or indifferent, particularly points favored and others condemned; it may awaken thoughts that otherwise would remain dormant, and may call to view things of beauty which would otherwise have blossomed and blushed unseen, but to the artist alone is given to produce anything approaching an imitation of the evanescent beauty, the supreme grandeur of nature. The critic cane merely direct public attention, and that is all we dare attempt with regard to Mr. Tryon’s picture. The drop curtain just finished, establishes, or will establish a fact that has always been claimed by the HERALD, that a successful scene painter is every inch an artist. Only view “The Return of Victorious Fleet” by Mr. Tryon, and be convinced.”

The newspaper article stated that Tryon replicated a painting by William Linton (1791-1876) – “A City of Ancient Greece, with the Return of a Victorious Fleet” for the Salt Lake Theater. The actual title of the painting was “A City of Ancient Greece – Return of the Glorious Armament,” and was painted by Linton in 1825. By 1840, the composition was engraved by J. W. Appleton and published by the Royal Gallery of British Art in 1840 with the title “A City of Ancient Greece.”

William Linton’s 1825 painting was sold at auction in 2015

In 1910, Tryon’s drop curtain was replaced with a new one, tucked away in storage for the next two decades. Of the event, “The Salt Lake City Herald-Republican” reported,

“After thirty years of almost continuous service, the drop curtain at the Salt Lake theatre is to be replaced by a new one which manager George D. Pyper expects to have in place in time for the engagement of Henry Miller, beginning September 29. The subject of the new curtain will be Salt Lake Valley in the days of the pioneers, and it will be copied from a painting by William M. Minor, scenic artist at the theatre.

It will be difficult to exceed the beauty of the old curtain, whose artistic coloring and good drawing have made it a favorite for years. “The Return of the Victorious Fleet” was painted by Henry C. Tryon, one of the best artists in his line who ever came to Salt Lake. Those who have studied the stately ships coming into harbor may have wondered at the absence of life in the picture. The original, which is in the possession of Mr. Pyper, contained a crowd of people on the steps of the buildings, but Mr. Tryon was not a figure painter, and rather than mar his painting by inferior work, left the out altogether.

Except for the short intervals, “The Return of the Victorious Fleet” has hung in the theatre nearly thirty years. Some years ago an attempt was made to replace it by a picture of the chariot race in “Ben Hur.” The artist made the horses of heroic size, and so near the edge of the curtain that they seemed to menace the spectators who sat close. One critic of the day said that a certain scene in a play created a strong effect until “Pyper’s horses came clattering down” that there were plans for a new drop curtain for the Salt Lake Theater” (Salt Lake City Herald-Republican, 18 Sept. 1910, page 26).

Tryon’s curtain remained in storage until 1930 when it was donated to Kingsbury Hall. Tryon and his drop curtain made headlines again on January 9, 1930, when the “Deseret News” announced, “S. L. Theatre Curtain to be Hung at ‘U’” (page 9). The article reported, “The beautiful old Salt Lake theatre curtain, which hung for more than 40 years and witnessed, if curtains have that power, some of the earliest graduating classes of the old University of Deseret, will now function entirely as a cohort of education. It was announced Thursday that George D. Pyper, former manager of the theatre, had presented the curtain to the University of Utah to be hung in Kingsbury hall on that building’s completion. The curtain carries a painting by Henry C. Tryon entitled, “The Return of the Victorious Fleet.” “It was the most popular curtain ever hung in Salt Lake,” says Mr. Pyper.

On January 10, 1930, the “Salt Lake Tribune” reported, “ University Auditorium Gets Historic Curtain. Announcement was made Thursday by George D. Pyper, manager of the old Salt Lake Theater, that the curtain which was used in the historic structure would be presented to the University of Utah for the use in the new auditorium of the state institution, Kingsbury hall. The Salt Lake theater was razed last year, and the curtain is among the few relics of the building. It is decorated with a painting by Henry C. Tryon entitled, “Return of the Victorious Fleet.” Kingsbury hall will be completed about March 1. The new curtain will be hung shortly thereafter, with some form of ceremony” (page 7).

George D. Pyper wrote about the history of the Salt Lake Theatre in the 1937 book, “The Romance of an Old Playhouse.” Pyper recalled the popularity of Tryon’s drop curtain at the venue, writing:

 “Many other artists have contributed to the scenic investiture of the plays produced in the old theatre, among whom may be named J. Guido Methua, George Tirrell, De La Harpe, R. Kirkham, Henry C. tryon and later James Anderson. Of these, most interest is centered on Tryon who painted “The Return of the Victorious Fleet” o a drop curtain which hung for many years in the Theatre, and which Salt Lake theatregoers never grew tired of. It was quite marvelous that Tryon’s curtain should have been so well regarded, because, while the original picture contained what seemed to be thousands of figures, Tryon’s reproduction contained absolutely none. Years later, desiring a change, I was induced by one of the artist’s to allow him to paint the chariot race from Ben Hur” with figures heroic size. The curtain was hung but did not make a hit. Mr. LeGrande Young, a regular patron and an expert on horses, came to me and said seriously that I might fool him on a landscape or marine scene, but I could not fool him on a horse; that those Ben Hur horses were spavined and their shoulders out of joint and that unless I took down the curtain he would not patronize the theatre. Then one of the newspapers said that in a very quiet scene which required a slow curtain, “down clattered Ben Hur’s horses and spoiled the scene.” So the noisy horses were turned out to grass and up again went “The Return of the Victorious Fleet” to the great satisfaction of the theatrical patrons. Only when it actually became thread-bare and the stage lights could be seen through its worn fabric would the public permit me to junk it” (pages 143-144).

The “Ben Hur” drop curtain that replaced Henry C. Tryon’s “Return of the Victorious Fleet” for a short period of time.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1108 – Henry C. Tryon and the Bowdoin Square Theatre, Boston, 1892

Copyright © 2020 by Wendy Waszut-Barrett

Henry C. Tryon was associated with the Bowdoin Square Theatre when he passed away in 1892. Planning for the Boston theatre began early in 1890.

The Bowdoin Square Theatre in Boston, Massachusetts

On May 18, 1890, the “Boston Globe” reported, “If the new Bowdoin Square Theatre becomes a reality it will be commodious, convenient, and will open with a big attraction.” It took quite some time for the theatre to open, with the first opening planned for January 1, 1892. This tentative date was delayed until February 15, 1892.

The entrance to the Bowdoin Square Theatre from “The Boston Globe,” Feb. 14, 1892.

On February 14, 1892, the “Boston Globe” published a detailed article about the new building. One section of the article described the new stage and scenery:

“The stage, one of the largest in the city, is fitted with every modern mechanism necessary for working the scenes. The prompter’s table and appliances for controlling gas and electric work are elaborate and convenient. The width of the stage is 71 feet: total height to gridiron or rigging loft, 67 feet in the clear…The provision against damage by fire are quite ample. Standpipes, hose and automatic sprinklers are placed at various points behind the scenes and a perforated pipe closes the curtain opening. The fly-men have a special fire-escape running from the gallery.

An asbestos curtain is in place to be used in case of fire. The drop curtain is a drapery design, essentially a decorative work, with a landscape accessory, a bit of mountain scenery from Switzerland. A second curtain shows an exterior scene more elaborate in treatment. These beautiful drops are the work of Mr. H. C. Tryon who also painted the front draperies. One border is a rich maroon with gold embroider, the other, or what is known as the working border, is a delicate blue on which is seen the harp and olive branches.

The house will be completely stocked with scenery. The two interiors to be used on Monday night were painted by Messrs. Arthur H. Davis and William F. Hamilton.”

[Less than a decade later. Will Hamilton would partner with Thomas G. Moses to form the New York scenic studio, Moses & Hamilton]

The Bowdoin Square Theatre pictured in “The Boston Globe,” Feb. 14, 1892.

The article included a list of the executive staff for the Bowdoin Square Theatre, with H. C. Tryon and A. H. Davis as scenic artists for the house.

The Bowdoin Square Theatre was a sizeable venue with 1,600 seats. “Julius Cahn’s Official Theatrical Guide” provided more technical specifications for the stage in 1896. The width of the proscenium measured 32’-0” wide by 34’-0” high.  There was 40’-0” from the footlights to the back walls, with 2’-0” from the curtain line to the footlights.  The backstage was commodious, measuring 70 between the side walls. It was 69’-0” from the stage to the rigging loft and 50’-0” between the girders.  Two paint bridges were located in the upstage area. The depth under the stage was 12’-0” with ten traps. The theatre also had a scene room. By 1896, the scenic artists for the Bowdoin Theatre were Conrad Tristchler and Charles Walker.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1101 – Henry C. Tryon and the Salt Lake Theatre Renovation, 1883

Copyright © 2020 by Wendy Waszut-Barrett

The Salt Lake Theatre renovated their stage in 1883, adding a fly loft. Henry C. Tryon left the Tabor Opera House in Denver and traveled south to Utah for this and other projects.

Salt Lake Theatre ticket from 1883. Utah Department of Heritage and Art, Theatre Programs Collection, 1866-1995.
https://collections.lib.utah.edu/details?id=549570

On Feb. 2, 1883, the “Deseret News” presented “important interior improvements” at the Salt Lake Theatre. (page 3). The article reported “Everything is being reconstructed in harmony with the latest and best metropolitan ideas. The immense stock of scenery is being duplicated on new materials. There will be painted 45 “pairs of flats,” 172 wings and set doors, 50 “borders” and “set Pieces ad infinitum. The mere matter of canvass alone will cost over $2,000 and the entire expense will be more than sufficient to build an ordinary theatre. A new “rigging loft” is now being built 15 feet higher than the [resent one, and as soon as it is finished the old one will be torn out and the entire height will be great enough to raise the new drop curtain bodily up without rolling. Everyone of the scenes put upon the stage will have a height of 15 feet greater, and apparently the difference will be still more.”

This was a monumental project and the article continued, “In order to arrange the mechanism and thus gain these advantages, much must be done, and in this case, owing to the necessity of rearranging all the girders, beams and supports of the roof, it requires some nice mechanical calculation, which the ordinary observer even would perceive were he to see the work in progress.” Local architect Henry Grow (1817-1891) was selected for the task, and assisted by William Ridd. He was a Latter-day Saint builder and civil engineer, responsible for the Salt Lake Tabernacle.

The managers of the theater were J. T. Caine, H. B. Clawson and David McKenzie. Of the renovation project, the article noted that Mr. Clawson was personally attending to the work. And, here is the interesting paragraphs to read… “Mr. Clawson is personally superintending all this work and, seeing clearly the result ahead, has entered into it with enthusiasm and vim. He is really the motive power in the affair, and it will be found to be only another example of the fact that he does not trouble himself about small matters, but carries important ones to their full and proper conclusion.” 

Three month later the “Salt Lake Herald” announced that Tryon “was given carte blanch to follow his own sweet inclinations,” in regard to the scenery and stage machinery renovation on stage (12 May 1883, page 8).  From January until May of 1883, Tryon transitioned from freelance scenic artist to the scenic artist on staff at the Salt Lake Theatre. While painting for the nearby Springvale Music Hall, the San Francisco Opera offered Tryon a scenic art position. Tryon shared this offer with the local newspapers, as well as the Salt Lake Theatre. Although Tryon had worked on new scenery for the Salt Lake Theatre since fall 1882, he had no official position at the venue: this changed in early 1883.

On May 12, 1883, the “Salt Lake Herald” reported:

“STAGE EFFECTS.

How the Stage of the Theatre has Been Metaphised.

Since the coming of Mr. Henry C. Tryon, to Salt Lake, the patrons of the theatre have enjoyed a series of the most agreeable and delightful surprises, which have crowded upon each other in rapid succession. These surprises being the many superb scenes from his masterly hand. But one portion, however, of Mr. Tryon’s labor and suggestions have been invisible to the public, until last night., when, the “snap” was given away, and the work which it has taken months to accomplish was displayed to the public. This at once became a matter of general conversation and all expressed their admiration of the marvelous change that had been wrought. A brief description, however, will be of as much interest to the public at large and afford the same pleasure it did to those who were present last night. It may be well to state right here, that this new feature makes the Salt Lake Theatre the equal to any building in the country for the production of scenic effects and magnificent displays.”

And here is the description of the renovation that is worth noting:

“The stage of the theatre in width and depth is one of the largest in the country, but a portion of this great space has heretofore been practically useless, owing to the fly gallery projecting more than was necessary, thus materials cutting off the width of the scenery. At the back of the stage was a wall partition with an opening in the centre and the space in the rear was used as a storage room for the storage of scenery not in use. These partitions have been torn down and the depth on the stage increased by twenty feet.”

“A serious defect under the old arrangement was that fact that fifteen feet in height (immeasurably important in scenic manipulation and effect) was rendered valueless by a plaster ceiling. This desirable space has been entirely lost to the stage and scenic equipment. By cutting out the ceiling referred to, a height of sixty feet from the stage has been obtained, which is not only sufficient to give room in which to take up the drop curtain (to be painted) bodily, without rolling, but affords ample room for any stage purpose whatever. If the audience sat at the theatre last night, who saw the enormous foliage borders which, starting from the tops of the wings, filled up the space visible through the lofty proscenium opening, will consider the height necessary to pull them up and out of sight, they can readily understand the value and necessity of a rigging loft. In building this there were some peculiar mechanical difficulties to overcome, owning to the fact that the roof, in great measure, was supported by beams from the former ceiling. These supports had t be entirely readjusted, and Mr. Henry Grow carried this part of the work to an entirely successful conclusion. To sum up there has been the entire change in the arrangement of everything connected with the stage, the management wisely concluding that everything had been wrong and nothing right; while now there is not a theatre in the land with features of any great importance not possessed by this.

“The same sweeping changes have been made in the scenery have been made and are now being made in the scenery and by the time the management call the house complete, not a foot of old scenery will remain, and the Salt Lake Theatre will be as thoroughly equipped in amount and in artistic quality as any other. The credit for pushing these improvements to so successful an issue is due to General H. B. Clawson, whose instructions to those employed have been to make everything as complete as the most perfect theatre can boast.

Of course we say nothing here of the improvements that are to be effected in the auditorium, as this will be palpable to the public from time to time as they progress. The management of the Theatre is to be complimented no less of the energy and liberality with which it has had the work here referred to prosecuted, than in the choice it has made of the person by whom these improvements have been brought. At the time Mr. Tryon came here the improvements were contemplated and already commenced, but he so thoroughly entered into the idea of the management and showed such consummate knowledge of stage machinery as well as scenic effects, that the task was immediately resigned into his hands and he was given carte blanche to follow his own sweet inclinations. How well Mr. Tryon has acquitted the task assigned him, every patron of the Theatre and every lover of art already knows. Such effects as have already been wrought by his brush have never been seen here, and rarely anywhere else. He is essentially a scenic artist – a genius in his line – an indeed he is an artist in the highest sense of the word, his superior taste and unerring judgement being recognized no less by his associates as the Theatre than by members of the art fraternity of this city.  It is not surprisingly therefore, that a man possessing his unusual talents, and having withal so large experience, should be capable of working such rapid changes, that the troupe now performing at the Theatre, which here about three weeks ago – expressed the utmost astonishment at the wonderful alterations that had been effected in the theatre during so brief a period. The delicate taste, the blending of colors, the peculiar character which belongs to each scene and which marks it from every other scene, all give evidence of the master hand and of the thoughtful artist; and cause his handwork to be admired by those who, unlearned in the details of the glorious art, are nevertheless sensible to its beauties, as well as by those cultivated taste and of experience.”

By the time Tryon’s drop curtain was unveiled, his notoriety had increased substantially throughout the western region. His drop curtain for the Salt lake Theatre was pictured in George D, Pyper’s 1937 book, “The Romance of an Old Playhouse.”

Henry C. Tryon’s drop curtain for the Salt Lake Theatre, included in Geo. D. Pyper’s book, “The Romance of an Old Playhouse.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1098 – Robert Hopkin, Representing J. B. Sullivan & Bro. in Colorado, 1881

Copyright © 2020 by Wendy Waszut-Barrett

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.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1097 – Henry C. Tryon and Robert Hopkin, Scenic Artists at The Tabor Grand Opera House

Copyright © 2020 by Wendy Waszut-Barrett

For the past month, I have explored the lives and careers of various scenic artists who worked for the Tabor Opera House in Leadville, Colorado, and Tabor Grand Opera House in Denver, Colorado. Last week, before I left for Richmond, Virginia, I was in the midst of exploring Tabor Grand Opera House scenic artist Henry C. Tryon. Beginning his life as Henry B. Hoornbeck, he officially changed his last name to Henry C. Tryon in 1882. This is similar to the British actor Ebenezer J. Britton, who painted under the alias Harley Merry.

It is important to recall the timeline for both Leadville’s Tabor Opera House and Denver’s Tabor Grand Opera House. The Tabor Opera House in Leadville opened on November 20, 1879. By March 1880, H. A. W. Tabor announced that he purchased land in Denver to build another opera house. The new venue was named the Tabor Grand Opera House, and designed by Edbrooke and F. P. Burnham of Chicago. Keep in mind that these the architects provide another concrete connection with Chicago scenic artists of the day. The Tabor Grand Opera House opened on August 1, 1881. That year, newspapers across the country described the theater:

“The stage is constructed and fitted up on a scale that would cause envy in many Eastern theatres. The decorations in the body of the theatre itself are of the most beautiful description, and one can see at a glance that expense was not considered in the least” (New Orleans, 6 Dec. 1881, page 9). “Harry Miner’s Dramatic Directory” described the Tabor Grand Opera House: “Size of stage, 45×75; size of proscenium opening, 34×33; height from stage to grooves, 20; height from stage to rigging loft, 66; depth under stage, 12; traps, 6, and 2 bridges; number sets of scenery, 50.”

Henry C. Tryon painted for the Tabor Grand Opera House. Various newspapers and theatrical directories identify Tryon as the scenic artist there from 1881 to 1882. In addition to working in Denver during 1881, Tryon also painted in Cincinnati, Minneapolis, and Chicago. Like other scenic artists at this time, Tryon was constantly on the go and zipping across the country at an amazing speed to complete numerous projects.

Interestingly, another artist was credited with the Tabor Grand Opera’s drop curtain – Robert Hopkin (1832-1909). At the age of 49 yrs. old, Hopkin was a well-known artist all across the country, but primarily lived in Detroit. 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). Even year later, article about Hopkin would recall, “He decorated and painted the drop curtain and scenery for Tabor’s opera house at Denver, at the time one of the finest theaters in America.

I have written about Hopkin in the past, as well as his connection to Thomas G. Moses. Both Tryon and Moses worked as assistants to Hopkin Sr. in 1875 on a production of the “Naiad Queen.” Moses kept in touch with Hopkin, and also admired his artwork. In 1884, Moses visited the Tabor Grand while on a sketching trip with three other scenic artists: Edward Morange, Hardesty Maratta, and John H. Young. The four traveled from Chicago to Breckenridge, Colorado, to gather source material and hone their artistic skills. While on their trip, the visited the Tabor Opera House in Denver to see the drop curtain by their friend Robert Hopkins. The next year, Moses went on another sketching trip to West Virginia with Young and Tryon. Of the Colorado trip, 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, having done a similar one in Detroit” (The palette & Chisel, Vol. 1, No. 3, March 1928).  A photograph remains of Hopkins’ drop curtain for the Tabor Grand Opera House, now part of the Denver Public Library’s online collection.

Years later, the “Detroit Free Press” interviewed Robert “Bob” Hopkin and touched upon the drop-curtain for the Detroit Opera House (23 Sept 1906, page 51). The article reported, “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 fished around in his boxes and albums for souvenirs of his early life, as 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 have 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 curtain bearing the familiar lines: “So fleet the works of men back to their earth again; Ancient and holy things fade like a dream.” Hopkin’s drop curtains for both the Detroit Opera House and the Tabor Opera Grand Opera House used the same inscription below the ruins of a Greek temple.

The front curtain was often considered a project in itself, sometimes taking much longer than most other scenery delivered to a theater. Many nineteenth century articles identified artists who specialized in drop curtains. In 1894, the “Philadelphia Inquirer” reported, “The drop curtain is the most expensive piece of furniture in any playhouse. Managers are more solicitous about the care of a handsome curtain that almost any other appointment in their theatres. They are usually painted by artists of wide fame in a particular branch of art which they represent, whose charges for the work range from $1,000 to $3,000.” That amount is today’s equivalent of $29,000 to $89,000 for the front curtain.

So, consider the 1881 drop curtain painted by Hopkins for the Tabor Grand Opera; an incredibly expensive items for a theater, possibly one of the most expensive appointments at a performance venue. Theatre owners, artists and patrons understood the importance of this large-scale artwork; a drop-curtain set the tone for the interior and was a culmination of the painted décor.

Drop curtain painted by Robert Hopkin for the Tabor Grand Opera House in Denver, Colorado.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1074 – Earle Van Buren Ackerman (1877-1970)

Copyright © 2020 by Wendy Waszut-Barrett

Philip Dodd and Earle Van Buren were the sons of Joseph Van Buren Ackerman (1848-1882) and Frances Talulah Dibble (1842-1916). Earle was two years younger than his older brother Philip, born on January 29, 1877, in Pensacola, Florida. Throughout the duration of his career, Ackerman was identified by a variety of names, including Earle Van Ackerman, Earle V.B. Ackerman, E. V. B. Ackerman and E. V. Ackerman and E. Van Ackerman. There is no indication of how, or why, the world of theater beckoned both Philip and Earle, luring each to New York. However, when they entered the scenic art profession opportunities were abundant and financial prospects high. Earle completed four years of high school before venturing north to New York.

The first mention that I have located of Earle’s scenic work was in 1897. That year, “E. Van Ackerman” was credited with painting a new drop curtain for B. F. Keith’s Union Square Theatre. The “New York Times” reported that Ackerman’s drop curtain depicted a “handsome interior with a view of a drawing room and distant conservatory” (Dec. 8, 1897, page 4). This was the same year that Earle married Rhoda Beatrice Snell in Brooklyn (1877-1953). His brother Philip also married his first wife Margaret in 1897.

Earle and Rhonda celebrated the birth of their son Robert on August 28, 1898 in Brooklyn, NY, the same year Philip and Margaret celebrated the birth of their daughter Emma. The two couples lived in Brooklyn, each man trying to succeed in the theatre business. The brothers sporadically worked together over the years, eventually forming Ackerman Bros. Scenic Studios by 1914. Unfortunately, the partnership never lasted long.

When they did work together, Earle functioned as a scenic artist and Philip as the supervising designer. It was Philip’s career that really took off by, with “P. Dodd Ackerman” appearing in one newspaper article after another. This may have prompted the two brothers to part ways; very little was published about the younger Ackerman’s scenic art and designs.

In 1909, however, the “Brooklyn Citizen” reported that E. Van Ackerman prepared twenty floats for the big Mardi Gras Carnival on Coney Island. Ackerman was working with Llewellyn J. Bruce on the project, and the carnival procession was estimated to be over a mile long, with 250 horses pulling floats and over ten thousand electric lights (Brooklyn Citizen, 25 Aug 1909, page 6). The 1910 US Federal Census listed Ackerman’s occupation as “artist” in “studio” as his industry.  He was living with his, wife, son and a boarder, John J. Redmond, who listed as a thirty-six yrs. old musician.

I wrote about Earle V.B. Ackerman in a past post while exploring the studio fire at Harley Merry’s old space in January 1912.  The incident had prompted me to track down a little information about Earle, the final renter of the studio space. His brother P. Dodd Ackerman had been on my radar for a while, but Earle was new to me. In 1911 Earle Ackerman partnered with J. Katser, also listed as Kapher and Kopher in newspaper articles. The two were renting Harley Merry’s old studio. Harley Merry was the scenic artist alias for British actor Ebenezer J. Britton. “The Brooklyn Citizen” reported “The Harley Merry Studios had been located on Franklin avenue for more than forty years. Harley Merry was an old-time actor and built scenery for Booth, Barrett and other well-known old-timers. Six months ago, Merry died and the business has since been carried on by E. Van Ackerman and J. Kopher” 9 Jan. 1912, page 12).

Here is a recap on the studio fire:

On January 9, 1912, the “Brooklyn Daily Eagle” reported, “The Harley Merry scenic studio in Franklin avenue, near Malbone street, in which the scenery for many of the greatest dramatic productions was painted, was destroyed by fire today. The entire contents of the building, including the completed scenery for one production and the partly finished scenery for another play, was lost.  The building loss is estimated at $3,000, while the loss of the contents will amount to $10,000.  The building and contents were uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27 Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the building at the time. Stabile was in the cellar under the studio when he heard a noise which sounded like the drop of a heavy weight.  He ran up to the second floor, and as he opened the door leading to the stairway a cloud of smoke burst into his face.  He called for help and a policeman sent in an alarm.  Battalion Chief O’Hare, who was in charge of the fire engine companies to arrive, feared that the fire would spread to the adjoining building, which are all of frame construction, and to the Consumers Brewery across the street, and he sent in a second alarm.  Six engines and two truck companies were soon on the scene, but the fire was beyond control and their efforts were devoted to saving surrounding property. The roof fell an hour after the fire was discovered.  Ten foremen were in the building when the roof tottered and were warned by the call of Deputy Chief O’Hara.  All escaped before the roof collapsed. The flammable nature of the contents and the high wind are given as causes for the building’s rapid destruction. The building was originally used as a scenic studio by E. J. Britton, retired actor and scenic artist, who painted under the name of Harley Merry.  After his death last September, the building passed into the hands of his daughter Mrs. George Kennington.  It has recently been rented as a studio to E. Van Ackerman and J. Katser.”

In the fire, Ackerman and Katzer lost scenery for an upcoming production of “The Real Girl.” The article reported, “The [studio] contents included the completed scenery for the production of ‘The Real Girl,” a musical comedy which is to be produced on Broadway within a few weeks, and also the partly finished canvas for the farcical comedy, “Class,” which also has a Broadway booking…The loss of these two sets is estimated between $6,000 and $7,000.”  It was possible that this heavy loss without the safety net of insurance ended the Ackerman and Katser [Kapher/Kopher] partnership.

By 1913, Earle was working with his brother again, a likely result from financial devastation. They partnered to deliver scenery for “The Privateer” at the Star Theatre. Then Earle branched out again on his own, designing “Mlle. Modiste,” at the Globe Theatre. There was also a 1913 that advertisement that announced, “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.”  This suggests a split, or the temporary departure of his brother. Yet his advertisement listed an address at 1576-1578-1580 Bushwick Avenue; his brother’s studio.

Earle Van Buren Ackerman’s scenic studio. Advertisement in Gus Hill theatrical Directory.

The 1913 advertisement also noted that the Earle’s studio was established in 1890. This date is extremely doubtful based on the ages of the brothers in 1890; they would have been 15 and 13 years old. In fact, in 1890, Earle V.B. Ackerman was working as an office boy for Kiser & Sparks while boarding at 242 Whitehall in Atlanta, Georgia. Keep in mind that attaching an earlier establishment date was not uncommon for scenic studios. Sosman & Landis and Volland Studio also added a few years to their establishment dates over the years, boosting the levels of their experience and longevity.

By 1914, “Ackerman Bros. Scenic Studio” is advertised in “Gus Hill’s Theatrical Directory.” The new firm is at the same location on Bushwick Avenue in Brooklyn.  The advertisement offers, “Scenery Painted and Constructed, Productions, and Motion Picture Theatre Settings.” Their partnership did not last long, and soon Earle was on his own again, partnering with other scenic artists to compete projects. On Oct. 19, 1916, “The Vermont Tribune” reported, “Two scenic artists from Brooklyn, N. Y., E. Van Buren Ackerman and Henry Schmidt, are boarding at W. D. Livingston’s.” (19 Oct. 1916, page 8). About this time, both Ackerman brother’s encountered marital problems, each separating from their wives. Earle never remarried.

Earle Van Buren Ackerman and Philip Dodd Ackerman established Ackerman Bros. Scenic Studio by 1914. From Gus Hill’s Theatrical Directory.

Earle’s WWI draft registration card listed his physical appearance as similar to his older brother’s, fair hair, blue eyes, medium height and medium build. At the time, his occupation was noted as theatrical scenery and his employer H. Robert Law, at 502 W. 38th in New York. Little is known of Ackerman’s life or career or personal life in the post-WWI years. Very seldom did his name appear in print; this was a marked departure from his older brother’s very public persona.

By the late 1920s Earle is working as a designer. In 1927 Earle designed the setting for “Tia Juana,” a melodrama at the Schubert Playhouse.  On November 5, 1927, the “Morning News” reported, “The Company is capable, the scenery elaborate, and there are no dull moments” (Wilmington, DE, page 13).  Ackerman’s design was built by the Vail Scenic Construction Company. Then he disappears again until the mid-1930s. By 1939, Earle only made headlines after a car collision. The “Courier-News” reported, “Car driven by Isador Gelbard, 43, of Davidson Ave., Franklin Township, was in collision with a car driven by Earle Van B. Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in front of the Brooks Theater Saturday afternoon. No one was hurt and no complaints have been made. Mrs. Isador Gelbard was in the car with her husband” (Bridgewater, CT, page 4).

In 1940, Earle was living in Franklin, New Jersey; lodging with another scenic artist and one-time studio owner, George W. Korb. Ackerman listed that he had been at the same residence since 1935, with his marital status still listed as divorced. The Korbs, however, became Ackerman’s new family and he would live with them for years.

In the end Earle outlived them all, his wife, son, brother ad both Korbs. Earle Ackerman passed away on April 29, 1970, in Phillipsburg, New Jersey. Ackerman shares a grave stone with George W. (1889-1957) and Theresa E. (1893-1947) Korb.

Grave stone that Earle Van Buren Ackerman shares with George Washington Korb and Theresa Korb in Phillipsburg, New Jersey.

To be continued…

Travels of a Scenic Artist and Scholar: George J. Kaufman and the Heritage Hall Museum & Archives, Freeman, South Dakota, 2017

Copyright © 2020 by Wendy Waszut-Barrett

Technical theatre history can pop up anywhere – even in a South Dakota Quonset building. In 2017 I stopped by the Heritage Hall Museum & Archives in Freeman, South Dakota. I was accompanying a colleague to see an advertisement curtain that needed some attention. While on site our Heritage Hall host mentioned a much older curtain stored in a nearby shed. Nothing could have prepared me for a series of Quonset huts, stuck in the middle of a field that hot fall day. After a brief struggle to find the correct key to open the massive doors, we wound our way past a series of antique cars and farming implements; this was off site storage for the Heritage Hall. At the far end of the Quonset was a tattered backdrop hanging from a warped batten. The influx of fresh air into the structure caused the old drop to rub against the corrugated metal. After all of these years, an old drop curtain had survived in this primitive building with a dirt floor and community of critters.

The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.
The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.

The opened doors at the far end provided just enough light for me to see the painted composition and a signature – Kaufman.

George J. Kaufman’s signature near the bottom of the drop curtain.
Painted detail from drop curtain by George J. Kaufman
Painted detail from drop curtain by George J. Kaufman
Painted detail from drop curtain by George J. Kaufman
Painted detail from drop curtain by George J. Kaufman
Painted detail from drop curtain by George J. Kaufman
Painted detail from drop curtain by George J. Kaufman

Heritage Hall Museum & Archive holds several fine art paintings by George J. Kaufman, as well as an advertisement curtain stored on site.

Detail of a painting by George J. Kaufman at the Heritage Hall Museum & Archive in Freeman, South Dakota.

George Joseph Kaufman was a well-known artist in not only Freeman, South Dakota, but also neighboring towns. Kaufman was known for his fine art, murals, theatre scenery and excessive drinking. In regard to local Freeman projects, Kaufman was credited with scenery delivered to the Freeman Opera House (later the Freeman City Hall) and all of the scenery for the Freeman college auditorium. He also produced local murals for the Bethel Mennonite Church and the Salem Mennonite Church, as well as painting the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls, South Dakota. In fact Kaufman painted a variety of scenes in numerous South Dakota Towns, starting in the second decade of the twentieth century.

Unfortunately, Kaufman’s hometown primarily recalls his struggle with alcoholism. Notes by S. Roy Kaufman, based on conversations with extended family members, paint this artist as the town drunk. Online biographies for the artist report, “It was said that he sometimes wasn’t paid for a commission until he had finished it for fear that he would begin drinking and fail to finish the work.” Maybe it was the death of his first wife in childbirth, his failed career as a scenic artist in Hollywood, or the Great Depression that pushed him to find escape in a bottle. It doesn’t really matter in the end, especially as so much of the tale remains based on hearsay. Only a drop curtain, an advertisement curtain, one newspaper clipping, and a smattering of fine art pieces remain to show the artistic potential that this young South Dakota scenic artist had in the early twentieth century.

This drop curtain by Kaufman was likely completed prior to his move to California; before his dreams diminished and the Great Depression settled in to stay.

Detail of drop curtain by George J. Kaufman.

Kaufman was born on Sept. 28, 1889, in Childstown, Turner County, South Dakota. The son of Joseph Kaufmann (1850-1926) and Francis Graber (1852-1917). The 1900 US Census lists that young George was one of five children living at home; the kids were Peter (b. 1872), Mary (b. 1875), Henry (b. 1883), Lena (b. 1888) and George (b. 1889). Census reports provide one perspective, a small glimpse into Kaufman’s private life and painting career. In 1910, George was still living at home and attending school. As he was 20 years old at the time, this suggests some continued learning or trade. He first entered his father’s trade as a jeweler.

Kaufman’s 1918 WWI Draft registration card describes his appearance as brown hair, brown eyes, medium build and medium height. At the time, he was listed as married and a member of the Mennonite Church. He was listed as a self-employed “Jeweler and Opthalmic.” The 1920 census noted that George was back at home, this time a widower by age 31. Local histories suggest that his first wife died in childbirth. Unfortunately, there are quite a few George Kaufmans who were widowed between 1911 and 1919, too many to positively identify any particular one.

Kaufman soon remarried a local Freeman girl – Martha Lea Edelman (30 Nov. 1899-Sept. 1965). The couple celebrated the birth of their first son, Owen in 1922. At the time, Kaufman was working as a jeweler, but must have been doing quite a bit of painting on the side. In 1925 he left the jewelry business to pursue his passion of painting in California.

On Oct. 30, 1925, the “Argus-Leader” announced, “Freeman Artist Plans to Go to California” (Sioux Falls, SD, page 4). The article continued, “George J. Kaufman, who has become a well-known artist in many parts of the state has decided to go with his family to Hollywood to devote his entire time to the study of his favorite work. Mr. Kaufman has sold his entire stock of jewelry and also disposed of all his household goods. He is now planning to leave in a few days for California. Mr. Kaufman deserves much credit for the work done in the Freeman college auditorium. He painted the entire stage scenery and the school and community is justly proud of the appearance of the stage. Mr. Kaufman also painted the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls. He has also done work in many other towns of the state.”

The couple celebrated the birth of two more children after Owen; Betty Jean was born in 1926 and Virginia M. was born in 1928. Only Betty Jean was born in California, suggesting that the family had returned to Freeman by 1928 for the birth of Virginia Mae, or “Penny” as she later became known. By 1930, the US Census recorded that the small family was now living in Grandview, South Dakota. Kaufman was listed as a “painter” working in the painting industry.

I find it interesting that there are no records of Kaufman being called a scenic artist. This suggests a lack of adequate training that possibly led to his downfall in Hollywood. Based on his fine art and stage art, it is not of the same caliber as many other scenic artists at the time. Kaufman purportedly worked for a short time in Hollywood, painting sets before returning home to South Dakota. I have yet to confirm his work elsewhere.

George J. Kaufman passed away at the farm where he was born on 15 May 1958. He was only 68 years old. Kaufman is buried in Freeman Cemetery, a mile west of town.

Tales from a Scenic Artist and Scholar. Part 1054 – California and Oscar L. Fest, 1920

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “The Madam and I have concluded to go to California this summer, so we started to make our plans, going in August.” 

“We left for the West August 19th.  As I have written the trip up very fully in my travelogues, I will not repeat it here.  Arrived home on September 28th, having been gone forty days, it was certainly some trip.” This was Moses’ “summer vacation” before really settling in at the Sosman & Landis main studio. Although Moses’ desired to move west, his strong ties to Chicago kept him tethered in the Midwest. Later in life, Moses would spend an increasing amount of time in California, joining the Pasadena Scottish Rite and frequently landing scenery contracts along the Pacific Coast.

Moses was one of many scenic artists across the country who migrated west as employment opportunities continued to skyrocket; they followed the work.  The scenic art business was rapidly changing as the demand for painted scenery continued to decline in many areas. However, California continued to offer new opportunities that ranged from parade floats and circus shows to legitimate theater and film sets. In addition to an abundance of work, the temperate climate was ideal. Many Chicago scenic artists moved to the west coast, after apprenticing in Chicago. One California contemporary of Moses was O. L. Fest. Only four years older than Moses, he began working as a scenic artist in Chicago and then moved to San Francisco by the late 1870s. Fest became a mainstay at the Tivoli Theater, a venue where Moses’ mentioned stopping to visit friends.

In 1920, the “San Francisco Examiner” announced Fest’s passing:

“Scenic artist at Tivoli Dies. Oscar L. Fest Widely known among theatrical people passes away at 67” (6 March 1920, page 4). The article continued, “Oscar L. fest, for more than twenty years the chief scenic artist at the old Tivoli Opera House, died yesterday at his home, 1616 Turk st., after a lingering illness. Fest arrived in this country from Germany when 9 months old. His work as a scenic artist was a feature of the Tivoli operas, and his yearly transformation scenes at Christmas were much admired by early-day theatre-goers.

“He was a life member of Cleveland Lodge, No 211, F. & A. A., and of Golden Gate Camp No. 64, Woodmen of the World. A widow [Minnie] and two daughters, Helen A. and Mattie Lois Fest, survive. Funeral services will be held this afternoon from the undertaking parlors of Theodore Dierke & Co., 901 Divisadero st., Interment will be private.”

“The San Francisco Chronicle” added, “Fest is well remembered by those who attended the performances at the old Tivoli Opera house a generation ago and up to the time of the 1906 fire, where he was a scenic artist, and his Christmas season transformations were considered wonderful” (7 March 1920, page 12.)

Image of the Tivoli from the Online California Archives. Here is the link:
https://oac.cdlib.org/ark:/13030/c8z0364m/?docId=c8z0364m&brand=oac4&layout=printable

Oscar Louis Fest was born 10 August 1852 in Breslau, Germany. His parents, John and Helena “Ellen” Fest, emigrated to the United States, sailing aboard the Mathilde, from Bremen, in 1853. In Syracuse, Fest’s father became a naturalized citizen on 29 Sept. 1858. The family was still residing in Syracuse, according to the 1860 US census. By 1870, the Fests were living in Chicago. At the age of 18, Oscar L. Fest was listed as a painter in the 1870 US Federal Census. His father was employed as a cooper. On May 6, 1874, Fest married Minnie Burkhart in Cook County, Illinois.

By 1877, Fest was listed in the San Francisco Directory as a scenic artist, residing at 548 ½ Tehama. At the time, he was listed with the Grand Opera House.

The Grand Opera House in San Francisco. Image from the Online California Archives. Here is the link: https://oac.cdlib.org/ark:/13030/c89884z9/?docId=c89884z9&brand=oac4&layout=printable

By 1879, the directory listed Fest was working for the Adelphi Theatre. The earliest mention of Fest at the Tivoli was in 1883. That year, “The San Francisco Examiner” reported, “The new drop-curtain, ‘The Spanish Mail” painted by Oscar L. fest, will be used during the run of the piece, which judging from the manner of its first presentation and the applause that welcomed each successive scene, will be a long period” (27 Feb 1883, page 3). In 1889 Moses recorded visiting fellow scenic artists at the Tivoli Theatre, including Bill Porter. In 1891 the San Francisco Directory still listed Fest at the Tivoli.

Fest’s 1896 passport application noted that the artist was 56 years old with a height of 5’-9.” His physical description listed brown eyes, iron gray hair, a square and high forehead, straight nose and “ordinary” mouth and chin.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1046 – The Strand Theatre, Binghamton, New York, 1920

Copyright © 2020 by Wendy Waszut-Barrett

In 1920, Thomas G. Moses wrote, “Binghamton, New York, work came in during February and proved to be a good contract.”  He was referring to the Strand Theatre on Chenago street in Binghamton, New York. When the theater opened that spring, the “Press and Sun-Bulletin” reported, “In the decorations some of some of the best artists in the country have been employed…The asbestos curtain is decorated to harmonize with the rest of the house. The drop curtain, of blue, is hand-painted to correspond in tone with the draperies. The scenery is all of the newest and latest design” (6 March 1920, page 12). A picture of the asbestos curtain was pictured alongside the article about the new theater.

Asbestos curtain at the Strand Theater by Thomas G. Moses, 1920.
The Strand Theater in Binghamton, New York, 1920.

Local headlines announced, “Theater Built in Record Time Despite Delays. Contractor Badgley Erects Strand in About Seven Months of Actual Work. Best Materials Are Used. Binghamton’s New Playhouse Is Absolutely Fireproof, Declares Builder” (“Press and Sun-Bulletin,” 6 March 1920, page 13). The article continued, “Work on the Strand Theater, Binghamton’s new playhouse, which will be opened on Monday, was begun on May 20, 1919, under the direction of A. E. Badgley, who has since had full charge of its construction.

“Inasmuch as the [work] was interrupted entirely for a month and partially for two weeks more by the contractor’s inability to get deliveries of steel, the theater was actually completed in approximately seven months’ working time. This constitutes a record of which both Mr. Badgley and the members of the company are rather proud.

“The celerity with which the work was done becomes even more surprising when it is realized that a large part of it had to be performed in the face of the most severe weather conditions in many years. Cold wave followed cold wave, but the builders early got the building enclosed and thereafter work proceeded almost as fast as it would have in Summer.

“The long wait occasioned by the none delivery of steel came in September and October and was due to conditions prevalent throughout the country. The contractor obtained his steel rather than more quickly than he had first expected, and the work thereafter went with a rush. But for the unavoidable delay the theater could have been opened by Christmas.

“Mr. Badgley said today that none but the best materials, steel, brick and concrete, were used in the building, and that it is absolutely fireproof.

An unusual feature is that no posts have been used anywhere in the auditorium. The balcony is supported by steel girders weighing18 and 20 tons, leaving a clear space everywhere in the auditorium.

“The seating capacity is given by the management as approximately 1,600.

“The ground dimensions of the theater are 134 by 60 feet and the height from the floor to the dome is 50 feet. The stage opening is 32 feet and the height to the top of the proscenium arch, 26 feet. The stage is ample in size for the most elaborate vaudeville offerings.

“In the construction of the building there was an unusual freedom from delays sometimes caused by error in the plans and the things overlooked. Aside from the delay arising from the difficulty in obtaining steel, everything went with great smoothness.

“Names of Builders. The following men and concerns furnished materials and workmanship for the theater: Contractor in charge of construction, A. E. Badgkey, Stone Opera House building; plumbing, Robert J. Malane, State Street; heating plant, Runyan & Ogden, Commericial Avenue; cement, J. W. Ballard company, Jarvis Street; draperies, Sisson Brothers-Welden company, Court Street.”

I am pausing to comment on the draperies credited to the Sisson Brother-Welden Company. The draperies mentioned were for the rest of the building and not the stage. Sisson Brother-Welden company was a local dry goods and supply store, not a theatrical manufacturing firm.

Sisson Brothers Welden Company was a local store, not a theatrical manufacturing firm capable of producing painted scenes for the stage.

The article continued: “carpets and furniture, Sanitary Bedding and Furniture company, Chenago Street; roofing, Binghamton Slag Roofing company, State Street; signs, Georger F. Ullman company, State Street; hardware, Crocker & Ogden, Court Street; tinning, Sullivan & Brothers, State Street’ plaster work, Maltby & company, Corning; X-Ray Reflector company, 31 West 46th street, New York City; automatic ticket sellers and cash registers. Automatic Ticket Selling and Cash Resgister company, 1737 Broadway, New York City; organ, Kimball Organ Company, Chicago; decorating, Gustave Brandt company, Chicago.”

Interesting that there is no individual note for the scenery and stage machinery, especially as the asbestos curtain my Moses was pictured alongside the article. However, the Strand primarily featured photoplays. The article concluded with, “The photoplays will be supplied by the following companies, Goldwyn Distributing Company, 200 Peral Street, Buffalo; Famous players-Laskey Corporation, 215 Franklin Street, Buffalo; Select Pictures Corporation, Franklin street, Buffalo; United Artists, 29 Seventh Avenue, New York City; First National Exhibitors, Inc., Franklin Street, Buffalo.”

Of particular interest to me was the X-Ray lighting system. On March 6, the “Binghamton Press” reported, “The lighting effect are obtained by means of the latest X-Ray system, used at present in only a few theaters in the United States. All the lights are concealed in ‘coves’ and are controlled by a dimming system so that they cannot only be dimmed or made to blaze brilliantly at will, but also to shed light of any color desired…On the ceiling are panels shaded in light fine delicate colors, and reaching entirely across the theater, above the proscenium arch, is a striking mural painting. This, like the other paintings, is lighted with battery of X-Ray lights in front of the balcony rail, making it stand out prominently. The dome, also beautifully decorated, is lighted with X-Ray lights which many be manipulated to create any color effect desired.” 

X-Ray lights in front of the balcony rail at the Strand Theater in Binghamton, New York, 1920.

For future film features, the article continued, “The projection room is the back of the balcony and entirely out of the way. It is equipped with two of the latest Simplex projecting machines. These will be operated with direct current, which assures steady and flickerless pictures.”

To be continued…