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Tales from a Scenic Artist and Scholar. Part 1062 – Thomas G. Moses’ Half-Brother, Walter Farrington Moses, 1920

In 1920 Thomas G. Moses wrote, “Walter Moses went to Colorado Springs in June to sketch and invited the Madam and I to call on him, which we will do…We left for the West August 19^th. As I have written the trip up very fully in my travelogues, I will not repeat it here. Arrived home on September 28^th, having been gone forty days, it was certainly some trip.”

Thomas G. Moses’ half-brother, Walter F. Moses.

Walter Farrington Moses (1874-1947) was his half-brother, and a well-known American Landscape painter.

The Wikipedia entry for Walter notes the following: “After studying at the School of the Art Institute of Chicago, he founded the Art Craft Club of Chicago in 1916 and was art director of Vogue Studios. He was an instructor at the Fashion School of Illustrating in Chicago. He was the author-illustrator of Artistic Anatomy and managing director of the California Art Club in 1922. A prolific plein air painter, his works are infused with light and air and captured the unspoiled beauty of Southern California of the 1920s and 1930s. He settled in Los Angeles in 1922 and founded the Art Guild Academy in 1930 where he taught for many years. He lived in Eagle Rock, California until his death on October 25, 1947. Moses signed his paintings using various variations of his name, including Walter Farrington Moses, Walter Farrington, W. Farrington, Farrington, Moses, Farrington Moses, W.F. Moses and Walton. Here is a link to some of his work previously sold at auction: https://www.invaluable.com/artist/moses-walter-farrington-kosq2fakok/sold-at-auction-prices/

Walter was the second of two sons born to Lucius Moses from his second marriage to Adeline G. Moses (sometimes spelled Adaline). She was eighteen years younger than Lucius, born on April 17, 1874. Walter primarily grew up in Chicago after his parents left the small town of Sterling. In Chicago, Lucius ran a grocery store. At the time Walter lived with his father, mother, brother Kirke, and much older half-sister, who was an actress.

On June 7, 1899, Walter married Florence S. Babcock in Kankakee, Illinois. The couple raised two children, Horace J. and Edith S. The 1910 census listed Walter as a commercial artist, living in Kankakee. His mother was living with them too at the age of 75.

There is so much information about Walter out there; really too much to fit in a single post. On Oct. 15, 1916 Moses placed an ad in the “Chicago Tribune.” The want ad noted, “ARTIST _ A firm in Toronto, Canada, operating a complete publishing plants, desires the services of a high grade designer – one who is capable of earning $75 a week; must have had experience in preparation of dummies for catalogues, folders, etc. For further particulars see MR. WALTER F. MOSES, Commercial Art School, 116 S. Michigan-av.” (Chicago Tribune 15 Oct 1916, page 64).

Walter’s WWI Draft Registration card listed his occupation as “Art Prop. School,” and his employer’s name as “Commercial Art School” at 116 S. Michigan Ave in Chicago. In 1918, his physical description noted that Walter was short, of medium build, with brown eyes and gray hair. Walter was 44 years old at the time. His residence was at 317 N. Humphrey St. in Oak Park, nine blocks away from his older brother.

By 1919, Walter Moses placed an ad in the “Chicago Tribune:”

ARTIST.

Figure man, capable of doing commercial illustrating: $5,000 per year guaranteed, with opportunity of making $6,000 or $7,000; out of town position, Apply to Walter F. Moses. Commercial Art School. 116 S. Michigan” (Chicago Tribune, 23 Jan. 1919, page 20).

An example of the many Walter F. Moses paintings listed online from past sales

The 1920 census still listed Walter living in Oak Park and working as a landscape artist. He and his older brother lived in the same area, and both were well-known for their painted landscapes.

At the beginning of 1921, Thomas G. Moses wrote, “Walter Moses called and we talked over our plans for the coming summer at Colorado Springs and Manito, where we expect to clean up a fortune on small pictures besides getting some sketches around Pike’s Peak.”

Later in 1921, Thomas G. Moses wrote, “December 13^th the Madam and I were on our way to Kansas City where we put in a day, then on our way to Los Angeles where we arrived early Saturday morning. Spent the day with Walter Moses and family.”

After working in Tacoma in 1922, Thomas G. Moses wrote, “On completion of our work, we went to Oakland for a day’s visit with Walter and family, the we proceeded on our way to Los Angeles.”

In 1924, Moses wrote, “I went over to see Walter and family. September 1^st we went out on a sketching trip and I certainly enjoyed it very much.. Had a delightful Christmas day at Walters.”

By 1929, the “Los Angeles Times” reported that Walter Moses was teaching “short cuts in business” for artists (27 Jan. 1929, page 64). The article announced, “Guild Academy Offers Students Practical Aid in Learning Profession. An Unusually interesting offer to students who wish to make commercia art their profession is offered by the Art Guild Academy. Under this offer young artists are given the privilege of testing their drawing ability without charge for the tuition. The test includes life and illustrative drawing and creative subjects in art fundamentals. After the test the students are frankly advised as to just what their possibilities for us success are in commercial art. This development in commercial art which is offered by the academy has been built and is personally directed under Walter F. Moses. The Art Guild Academia is aware that this is a commercial and industrial era and its entire curriculum is composed of subjects for which there is demand. It’s training leads directly to the most desirable branches of commercial art. The training of the academy appeals only to the student who wishes to enter the field professionally. The course offers a thorough study of the practical application of art in the commercial world. The aim of the school is to fit students for commercial artists without serving student apprenticeship. A feature of this course is that the lessons are all illustrated and printed for the convenience of students who wish to do additional work at home.”

In 1930, the Academy was still going strong. The “Los Angeles Times” reported, “Training of young men and women for good positions in the practical commercial art profession is the aim of the Art Guild Academy, 2405 West Sixth Street, according Walter F. Moses, founder and principal of the institution” (26 Jan. 1930, page 55). One of Moses’ more successful students was Herb Schmidt (Hi-Desert Star, Yucca Valley, California, 7 Jun 1978, page 20). He certainly made his mark in the fine art world.

Walter passed away on Oct. 25, 1947, thirteen years after his older brother Tom.

The “Los Angeles Times” published his obituary on Oct. 28, 1947:

Walter F. Moses

Funeral Rites for Walter Farrington Moses, 72, landscape artist, of 5215 Rockland Ave., will be conducted at 10:30 a.m. today in the Wee Kirk o’ the Heather Forest Lawn Memorial-Park. Mr. Moses died Saturday at Queen of Angels Hospital. He has been a resident of Los Angeles since 1927, coming here from Chicago where he founded the Commercial Art School. The artist established the Art Guild Academy here. The artist leaves his widow, a son Horace, daughter, Mrs. Edith M. Wills, and a brother.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 991 – Mabel A. Buell, Scenic Artist, 1918

In 1923, the “Olean Evening Herald” reported, “Mabel A. Buell, the only woman scenic artist in New York, claims that scene painting is ideal work for the woman artist, combining aesthetic progress with a large salary as few other artistic professions do” (6 June 1923, page 9).

Mabel Buell pictured in the “Buffalo Courier,” 31 Dec 1919.

From the “Tucson Citizen,” 4 Jan 1920, page 10.

Today I explore the life of Mabel Buell (1896-1982) as she became a popular subject in 1918 newspapers. As I am covering that year in the life and times of Thomas G. Moses, this seems like an appropriate moment to add a little historical context about female scenic artists. On March 10, 1918, the “Buffalo Times” reported that Mabel Buell was “a noted scenic artist with the Bonstelle Company and has a host of friends in New York” (page 30). The “Buffalo Courier” added that she was “one of the few women scenic artists with the Bonstelle Company at the Star Theatre” (Feb. 17, 1918, page 7). However, Buell’s scenic art career began well before 1918. By 1916, both Buell, and her mother Nina C. Buell were listed as scenic artists in the Sioux City Directory, each working at the Princess Theatre and rooming at the Jackson Hotel. Mabel’s father, Horace H. Buell, was also a well-known scenic artist, but working and living elsewhere at the time. I will explore the entire Buell family in a few days. However, Horace H. Buell passed away in 1919, three year after his son, Horace Jr., who was also a scenic artist.

Mabel Buell pictured in the “Buffalo Courier,” 17 Feb, 1918, page 7

Mabel Buell pictured in the “Buffalo Times,” 10 March 1918, page 20.

The story of Mabel’s rise to fame was told to many newspapers over the years. She shaped her introduction to scenic art and training to fit with societal expectations. In 1922 the “Washington Post” reported, “Mabel Buell, still in her early twenties, petite and blond, is the last person one would associate with a big paint brush and scenery, yet this diminutive young woman is the only feminine possessor of a union card in the Scene Painters’ union, and is in fact, the only woman in the United States who is a real scenic artist. Miss Buell’s father was Horace Buell, one of the most famous scenic artists of his time, and as a small child Mabel learned from him the fundamentals of her art, for real art it is. When still a girl in her teens she assisted him when he was engaged in stock, and upon his death she undertook, on her own, to carry on the Buell name in theatrical history. A year ago she was a scenic artist in stock in Detroit with the Jessie Bonstelle stock company and last summer she was with Henry Hull in Dayton. She built and painted scenery for ‘The Squaw Man.’ But she considered her production of ‘Main Street’ one of he best works, for she admits it is not as easy to get all of Main Street, as it was pictured so vividly in the book, on the stage. Any day you may care to you will find her high on the bridge on the stage in the Manhattan opera house where she has her studio, brush in hand, working industriously on some set. Miss Buell is one of the few independent scenic artists who possess their own studios, and the nicest thing about her is that she is delightfully naïve and cannot understand why there is anything unusual for a woman to be in her profession. Her production of ‘Main Street’ has been highly praised for retaining the correct atmosphere of the book” (March 12, 1922, page 3, in “Much on the Job”).

A few years earlier, on Dec. 31, 1919, “The Newark Advocate” featured Buell and mentioned some of her early history (Newark, Ohio, page 9). The article reported, “To be a scenic artist at twenty-one with five years’ experience to one’s credit at an early age is something unusual for anyone, but when the person is a slight little blond girl one simply has to investigate. This is what the investigator finds out about Miss Mable Buell and the unusual career in which she is steadily climbing to fame and fortune. She lives in New York City and has been creating scenery for stock companies and vaudeville teams since she was a slip of a girl, sixteen. She thinks perhaps she inherited her ‘work,’ for her father, Horace Harvev Buell, was well known for his scenic and portrait painting in New York and elsewhere in the country. When in London doing scenery for a theatre there Mr. Buell sent his little daughter to an art school to study. Mabel was but a tiny kiddie then with short skirts and long pig-tails but she studied in the same class with, grown-up professional artists.”

There is an interesting parallel between Mabel and an earlier female scenic artist, Grace A. Wishaar (1876-1956) who also made a splash in the scenic art world during the 1890s. Mabel was born the same year that newspapers began mentioning Grace Wishaar. I explored the life of Wishaar almost three years ago (see past posts 284 to 290), the petite brunette who eventually married world-class chess champion Alexander Alekhine. Wishaar was also born and started out on the West Coast, but began painting in New York at the turn of the twentieth century. The “Buffalo Morning Express” interviewed Wishaar on April 4, 1901 and published an article about her (page 3). Under the heading, “She is a Scenic Artist,” the article reported that Wishaar had recently arrived from Seattle and was working as the scenic artist Frank D. Dodge. After describing her artistic journey, Wishaar was quoted as saying, “They told me at half the theaters in town that a woman couldn’t do it. Any way, I have proved one woman can.” Almost two decades later, Buell had made a similar journey, but she had a head start in a scenic art family. In 1923 when questioned about women in the scenic art field, Buell responded, “For there is, as always will be, a great prejudice against women in this field” (“American Magazine” page 68)

Grace Wishaar pictured in the “Albuquerque Citizen,” 1905.

Regardless of either woman’s accomplishments, each was erroneously credited as the only female scenic artist in the country at the time, which was simply not the case, but that title it made headlines. My research confirms that there were many more female scenic artists at the time. The only difference is that they evaded the printed record and were subsequently not included in history books.

By 1918, Mabel was pictured in the “Dayton Herald” on July 11, (page 7). Under her portrait was the caption, “Miss Mabel Buell. This scenic artist of the Brownnell Stork Players at the Lyric, is responsible for a beautiful piece of tapestry which she painted for ‘The Thirteenth Chair,’ this week’s attraction. Miss Brownell will donate this very artistic piece of work to the Red Cross Society next Monday.”

There were also personal interest stories about Buell. The “Dayton Daily News” noted, “Miss Mary Buell, the scenic artist, has a little collie dog, Sheamus, a most loving pet whom she has shaved so closely this summer that he actually thinks that he is a poodle, and wants to climb into your lap” (Dayton, Ohio, 14 July 1918, page 44).

Mabel Buell pictured in the “Dayton Herald,” 11 July 1918, page 7.

Her Broadway credits for scenic design include “Fifty-Fifty, Ltd.” (Comedy Theatre, Oct. 27, 1919-Nov. 29, 1919), “Plain Jane” (New Amsterdam Theatre, May 12, 1924-Oct. 4, 1924), “Blackberries of 1932” (Liberty Theatre, April 4-23, 1932), “Blackbirds of 1933” (Apollo Theatre, Dec. 2-Dec. 1933), “Summer Wives” (Mansfield Theatre, April 13-18, 1936), “Sea Legs” (Mansfield Theatre, May 18-May 29, 1937), “Straw Hat” (Nora Bayes Theatre, Dec. 30, 1927-Jan. 1938), and “Lew Leslie’s Blackbirds of 1939” (Hudson Theatre, Feb. 11-18, 1939).

Mabel Buell was the scenic designer for “Blackbirds.”

The 1930 census listed Mabel as an artist working, also painting in the interior industry. Her husband was Herbert H J Schulze (b. Oct. 30, 1891), also an artist, and listed as working in the picture industry. Schulze’s WWI draft registration noted that he was working for Gates & Morange in New York in 1917. At the time he filled out the draft registration, Schulze listed that for the past five years he had been under the care of a doctor for heart disease. The couple were married on Feb. 6, 1923 and celebrated the birth of their daughter Joy the next year. He passed away on July 23, 1940. At the time he was still working as a scenic artist for the theater, but lodging at another residence.

On May 6, 1937, “The Brooklyn Daily Eagle” reported “Rear Admiral Yates Stirling Jr., who retired a year ago as commandant of the Brooklyn Navy Yard, has interrupted his writings on naval matters to become a stage designer. Today he was busily at work in the studio of Miss Mabel A. Buell at 1828 Amsterdam Ave., Manhattan, with whom he has formed a partnership. In the set at which the two are now at work Admiral Stirling’s sea experience is standing him in good stead, for it is set for ‘Sea Legs,’ a musical comedy which opens with Dorothy Stone and depicts the exterior of a stream-lined cabin on the deck of a private yacht. ‘Flesh has been wiped out,’ said the Admiral, discussing the plight of the theatre today.’ All the training of talent is in the night clubs or in the stage shows of a few theaters, the movies have eaten up the seed corn. The harvest better be planted and Hollywood and the films should start up theaters to train talent for the coming dearth’” (page 26). In 1939, Buell provided the illustrations for Yates Stirling’s “Sea Duty: Memoirs of a Fighting Admiral” (New York: G. P. Putnam’s Sons, 1939). They had a very close relationship.

Inscription from Yates Stirling to Mabel Buell’s daughter. Image posted on a military forum.

In 1941, Mabel visited her cousin, Mrs. P. M. Baldwin, in Las Cruces, New Mexico. Of her visit, the “Las Cruces Sun-News” reported that Buell was an artist of New York City and collaborator with Admiral Yates Sterling, writer and speaker. The article elaborated, “Miss Buell is a portrait painter and does the frontispieces for Admiral Sterling’s books. Also those pen and ink drawings that head each chapter. She also does scenic painting and often works on stage sets for the largest theatres in New York” (16 Feb. 1941, page 3).

By 1947 and 1948, Mabel was living in west Palm Beach Florida, continuing her work as an artist until her passing. More on Buell tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 928 – Restricted Districts and New York Studios, 1916

1927 advertisement for New York Studios.

In 1916, Thomas G. Moses wrote, “Our business relations with the New York Studios are a bit strained, and we have notified them that hereafter there would be no restricted district for us, and we did not care what they did. Pennsylvania and New York used to be our very best states, and we were going after them again.” To fully understand Moses’ sentiment, we need to look at Moses relationship with the founder of New York Studios, David H. Hunt. First of all, Moses never cared for Hunt.

After establishing the unsuccessful theatrical management firm of Sosman, Landis & Hunt in 1894, Hunt convinced Sosman to invest in another scenic studio in 1910, New York Studios. The new company was promoted as the eastern affiliate of Sosman & Landis, well… kind of. Since the 1880s, Sosman & Landis maintained regional offices across the country, but these were mutually beneficial relationships. For example, in 1887 Sosman & Landis established a branch in Kansas City, Missouri, under the direction of Lemuel L. Graham; it was known as the Kansas City Scenic Co., but Lem also did business under his own name too. In the late 1880s Sosman & Landis also established a regional office in New York City. Multiple locations were the key to success. Just like we hear “shop local,” that sentiment held true in the late-nineteenth and early twentieth century for theatrical projects. Visiting a studio in a nearby town was far better than hiring the unknown firm from a distant studio.

The real issue was that Hunt’s business plans, first and foremost, benefitted Hunt and not his investors or affiliates. In other words, New York Studios gained a massive support network such as Sosman & Landis staff, connections, materials and studio space. I have yet to figure out if there was really any added benefit for Sosman & Landis, but for whatever reason, Sosman had a soft spot for Hunt and went along with many of his schemes. When Sosman passed away in 1915 and Moses was elected president of Sosman & Landis, Hunt no longer had an advocate at the Chicago studio and the gravy train abruptly halted. So, when Moses wrote, “Pennsylvania and New York used to be our very best states, and we were going after them again,” he really threw down the gauntlet at Hunt and a feud began, . The two studios would now wrestle over territories. Moses previously played by an old set of rules, based on respect and gentlemen’s agreements; he was unprepared for the next generation of studio owners as the playing field changed. Hunt was ruled by a different set of motivators – his own self-interest. In all appearances, Hunt was a slick talker and salesman. So, here is the background between Moses and Hunt…

Moses first met Hunt in 1893, and the two soon paired off on quite a few projects by 1894. In 1897, however, Moses and Hunt began to disagree. That year Moses recorded an event that concerned Edith Chapman’s production of “Charity Ball.” This is the beginning of a truly unhappy relationship. Here is what Moses wrote:

Mr. Hunt found fault with my neutral coloring and said one day, “Why don’t you make some positive color decoration like pink or green?”

I had the first act of “Held by the Enemy” on the frame – a southern interior.

I said, “Alright, I will make this a pink wall and cream colored woodwork.”

“Fine,” said he. I did so. I did not consult Miss Chapman as usual. The scene was set. I was in front as usual during the performance. Miss Chapman entered. I saw her look up the scene and almost fall back. She had on a shell pink, deep flounced and a very full hoop skirt.

I nearly fainted. I was sick. I rushed back at the close of the act and found her in tears. As soon as she saw me, she said, “Oh, why did you do it – didn’t you know I was going the limit on my dress?” She had forgotten that I did not consult her as I usually did. I pointed to Mr. Hunt. “There is the one I tried to please.” Hunt then realized he was wrong, and I had been right all season. I painted out the wall color the next morning, for it simply killed Miss Chapman’s dress, as there was so much of it.”

That same season Moses continued, “The different newspapers gave our work splendid notice every week. For one paper on which Mr. Montgomery Phister was the critic, and his son was the artist, I made a heading for each week’s article on the play at the Pyke – drawing in ink the principal scenes. Hunt never knew that I did it – he flattered himself the paper was doing it. Phister had been a scenic artist in his young days and was in full sympathy with the artist.

One day he said to Hunt for a joke – “I think Moses uses too much raw umber.”

Hunt repeated this to me as his own idea. I was sure someone that knew color had been at Hunt, so I said, “Raw Umber! What kind of color is that? I don’t use it at all.”

He was stumped and didn’t know what to say. He went back to Phister, who in turn told me. We had a hearty laugh over it.”

I bet they did, and then the battles increased in intensity. The war began in earnest during one of Sosman’s absences from the studio in 1910, likely prompting the establishment of New York Studios.

That year, Moses wrote, “Mr. Sosman went to Europe on January 30^th for an extended trip…He had a good bookkeeper, and I depended on him a great deal. I did some hustling while he was away. Mr. Hunt was secretary and treasurer, and expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time… I heard some reports as to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me…Hunt remained away from the studio for some time, before going back home.” This is when Hunt establishes New York Studios, partially funded by Sosman. I have to wonder if Sosman only invested in Hunt to separate the two, attempting to keep peace. Of the company, Moses wrote, “Hunt had started a New York studio in New York City, and he expected us to do a great deal of work, as he had Sosman invest a small amount.” But there were other contingencies, including the restricted districts that in 1916 Moses chose to ignore. So when one reads Moses 1916 entry, “Our business relations with the New York Studios are a bit strained, and we have notified them that hereafter there would be no restricted district for us, and we did not care what they did,” it takes on a whole new meaning.

In the end, Moses may have picked the wrong man to do battle with that year.

To be continued…

Tales from a Scenic Artist and Scholar. Part 729 – Drop Curtains in Philadelphia, 1894 – Matt Morgan and the Walnut Street Theatre

Part 729: Drop Curtains in Philadelphia, 1894 – Matt Morgan and the Walnut Street Theatre

“Well-known Drop Curtain in Philadelphia Theatres” was an article published in “The Philadelphia Inquirer on Dec. 18, 1894 (page 45). Over the next two weeks, I will post the article in its entirety and then return to the Moses typed manuscript and the year 1909. Here is the third part about scenic artist Matt Morgan’s drop curtain at the Walnut Street Theatre.

“The drop curtain at the Walnut Street Theatre is strikingly different from any other in town. It is skillfully painted to represent silk, and appears to be made of sixty-four squares of white silk deftly sewn together, on which, in a large oval in the center of the curtains is painted a charming picture, representing Shakespeare reading his play, “The Merry Wives of Windsor,” before Queen Elizabeth. It is known as the Shakespeare curtain, and was painted by that versatile artist, ‘Matt’ Morgan, in 1877. Matt Morgan, now deceased, was a prominent figure in the art world. Though born in Ireland, he was educated in London, and worked on a number of illustrated papers. He was also a figure artist of marked ability, but was unsuccessful in his business ventures. The curtain was first unrolled September 10, 1877, and shows none of the effects of the seventeen years of constant use. Through the oval occupies less than a third of the square surface of the curtain, it contains more than a score of personnages. The aged queen, habited in a robe of yellow silk with pointed bodice of coquelicot satin, puffed sleeved trimmed with velvet and an enormous white lace collar and lace cuffs, is seated upon a throne surrounded by courtiers, pages and attendants, while she listen with rapt attention to the reading of the play.”

An illustration of Matt Morgan’s curtain included with the article.

The Walnut Street Theatre, located at the corner of Ninth & Walnut Street in Philadelphia, opened its door on February 2, 1809. Initially the structure featured a ring for equestrian acts, built by the Circus of Pepin and Breschard. Over the course of two centuries, the building underwent many renovations. It was enlarged between 1811 and 1816, transitioning into a legitimate theatre that included a real stage. Remodeled between 1827 and 1828, the Walnut Street Theatre installed gas lights in 1837 and air conditioning in 1855; an American first for both. By 1863, Edwin Booth and John Sleeper Clarke purchased the venue. Throughout the duration of the 19^th century, the theatre underwent a series of renovations, including a series of scenery purchases, as was common at the time. Morgan’s drop curtain was installed in 1877.

Matt Morgan was celebrated scenic artist and caricaturist. An Irishman trained in London, he was a favorite pupil of Stanfield. By 1866, he was working as a scenic artist, an assistant to Thomas Grieve at the Covent Garden Theater in London (The Era, 23 Dec. 1866, page 8). In 1870, Morgan immigrated to America and soon made a name for himself at Frank Leslie’s Illustrated paper, becoming a rival of Thomas Nast, the German-born caricaturist and editorial cartoonist (Reading Times, 12 Oct, 1876, page 4). Before immigrating to America, Morgan initially worked as a cartoonist for “Tomahawk,” a weekly comic paper during the 1860s. Once settled in America, Morgan worked in a variety of locations across the country. In 1875, a Chicago article abut the revival of scene painting in the city described Morgan as “so far above the ordinary level of scene-painters” (Chicago Tribune, 14 Feb 1875, page 10). Later Morgan was at the head of the art department of the Stowbridge Lithographing Company in Cincinnati.

In 1886, Morgan organized a scenic art company in Cinnicinnati, Ohio. The company was to “present a series of accurate and historic pictures of the decisive battles of the late war between the states. These great pictures, now approaching completion for the northern victories, are to be exhibited throughout the country under the directions of competent lecturers; well known officers of both armies (The Pulaski Citizen, Pulaski, Tennessee, 12 Aug. 1886, page 2). According to newspapers, Morgan died of pleurisy, brought on by the work in the new Madison Square Garden (Logansport Reporter, 3 June 1890, page 3).

In 1905, the “Pittsburgh Daily Post” described one of Morgan as a “forgotten artist” when his work was exhibited at the 1905 Scene Painters’ Show. Held at the Grafton Galleries by the Scenic Artists association, the exhibit featured Theater Artists of Great Britain, including cartoons by Matt Morgan. The article reported, “One of his cartoons represented Ireland as a young girl bound to the stake, clasping to her bosom a harp. The masked executioner, setting fire to the fagots piled around her, is Disraeli, and behind him stand John Bright and Gladstone” (14 May 1905, page 26).

While searching for information about Matt Morgan, I discovered a story that gives a little insight into his personality. It appeared in “The Theatre Magazine,” Vol. 7., page 41:

“The late Matt Morgan, the scene painter and artist, had a great love for a practical joke as Theodore Hook. He was fond of donning an old suit of clothes and singing ballads, or selling chestnuts in the streets. Once he hired himself out as a drover, and was entrusted with the care of some sheep, but after taking them down the busiest part of Camden Town, suddenly left them, went home and changed his dress, and re-appeared to enjoy the predicament of an unfortunate policeman who had had to turn drover for the nonce. Another time one of his friends, attracted by a crows of people, found Matt, who, like Zacchæus, was little in stature, struggling with a man about 6 ft. 2 in., who was supposed to be an escaped lunatic, but who in reality was Matt’s cousin. By valorous exertions Matt succeeded in overpowering the big man, and with the aid of a rope contributed by the bystanders, who took it all au strieux, bound him securely, and led him away.”

What a character.

To be continued…

Tales from a Scenic Artist and Scholar. Part 525 – Thomas G. Moses and “By-Paths in the Mountains”

Part 525: Thomas G. Moses and “By-Paths in the Mountains”

Yesterday, I examined the artistic career of Charles Graham. During 1879, Graham went on a sketching trip to gather information for Rebecca Harding Davis’ article series “By-paths in the Mountains.” Her three papers were published Harper’s Magazine during 1880; they described a fictional trip in the mountains of Virginia and North Carolina.

Rebecca Harding Davis, author of “By-Paths in the Mountains” for Harper’s Magazine in 1880

In 1927, Thomas G. Moses submitted several tales about stories past sketching trips under the heading “Tom Moses’ Trips.” One series described Moses’ sketching trip to West Virginia during 1885. His trip followed the same path as Graham’s. Moses first met Graham I 1874 when they were both working at Hooley’s theater in Chicago; Moses was gilding the opera boxes while Graham painted the drop curtain.

Article “By-Paths in the Mountains” in Harper’s Magazine with list of illustrations, 1880.

The “Green-Mountain Freeman” reported “The experience of Charles Graham, one of Harper Brothers’ artists, who has just returned from a sketching tour in the south strongly illustrates the lawless antagonism which every northerner may expect to encounter who attempts to live there. Mr. Graham started out in August to make sketches for the illustration of a series of articles by Miss Rebecca Harding Davis, which are to appear in Harper’s Magazine, and returned to New York a few days ago. As a northerner he was looked upon with extreme suspicion, and his movements were so closely watched as to impede seriously the progress of his work. It was even pretended that he was mistaken for a revenue officer, and he was once shot at by moonshiners”(Montpelier, Vermont, 29 Oct. 1879, page 2).

Illustration by Charles Graham for “Bi-paths in the Mountains” by Rebecca Harding Davis. Harper’s Magazine Vol. 61, N. 362, pages 167-185.

“The Macon Republican” reported that ‘By-Paths in the Mountains’ was “beautifully illustrated by seventeen drawings by Charles Graham and Miss Jessie Curtis” (Macon, Missouri, 8 July 1880, page 1). Curtis’ contributions were mainly depictions of local residents, whereas Graham illustrated the landscape. “By-Paths in the Mountains” explored the landscape and history of West Virginia through the eyes of its fictional adventurers. Scenes included the falls of Blackwater and Dobbins House. Her fictional travelers traversed in the same country that Thomas G. Moses, John H. Young and Henry C. Tryon would explore on a sketching trip five years later in 1885. Moses’ tales of this West Virginia journey was published in the Palette & Chisel newsletter during 1828. Moses’ article borrowed from Davis’ publication.

Here is one example in Davis’ 1880 article: “The wilderness upon whose edge our travellers had just entered, runs back for hundreds of miles, and is as yet literally unexplored by civilized people. There is a house name Koesson’s somewhere on it, where a German by that name, with four other families, settled fifty years ago. They never appear in the settlement, live upon game and a few pigs, dress in skins, and according to Jerry, have all property in common. “They took nyther law nor decency nor God in thar with them,” said the shrewed hunter, “an I reckon they haven’t found any to speak of since.” An energetic explorer of this range of mountains, from Pittsburg succeeded in the summer of 1878 in taking a boat and launching it to then Blackwater. It was the first that had ever insulted that untamed little savage of a stream. He proposes to venture in it this summer up into the heart of Ca-na’an, and to unearth this barbarous tribe.”

Here is the same information presented in Moses’ article years later: “The wilderness runs back from the river hundreds of miles and is, as yet, literally unexplored by civilized people, according to the word of our landlord Davis. There is a house named Koesson’s somewhere in the wilderness, where a German of the name, together with four other families, settled fifty years ago. They never appeared in the settlement, lived upon game and a few pigs, dressed in skins and had all property in common. “They took nyther law, decency nor God in that wilderness,” said the landlord, and I reckon they haven’t found any to speak of since. An energetic explorer of this range of mountains, from Pittsburg, succeeded, in the summer of 1878, in taking a boat and launching it in Blackwater. It was the first one that had ever insulted that untamed little savage of a stream. He proposes to finish his work by venturing into the heart of Canaan, as the natives call the wilderness, and unearth this barbarous tribe.”

There are more other similarities between Rebecca Davis’ 1880 article and the article written by Thomas G. Moses. It may have been Moses’ writing about Graham in “Stage Scenery” that prompted him to discover the old article.

To be continued…

Tales from a Scenic Artist and Scholar. Part 524 – Charles S. Graham

Part 524: Charles S. Graham

Thomas G. Moses first encountered the scenic art of Charles S. Graham (1852-1911) and J. Francis Murphy (1853-1921) while working for the P. J. Almini decorating firm in 1874 Moses wrote, “In June I was sent to Hooleys Theatre to work. On the scenery [were] employed J. Francis Murphy and Chas. Graham. I was put in charge of the proscenium boxes, mostly gilding. I could see the work being done on the paint frame. I was more convinced that scenery was what I wanted to do; more opportunity to do landscapes.”

Charles S. Graham (1852-1911) was born in Rock Island, Illinois. He became a topographer for the Northern Pacific Railroad in 1873. It was while working for the railroad that he received his initial artistic training as an artist and draftsman. He soon sought other artistic opportunities, such as scenic art and illustration. Graham was present when the transcontinental railroad was completed in 1883, covering the event for Harper’s Weekly

By 1874, Graham was painting theatrical scenery in both Chicago and New York. He would primarily work as a scenic artist until 1877. It was on one of his early scenic art projects at Hooleys Theatre that Moses encountered him in 1874.

While in New York, Graham continued to work as a scenic artist for a variety of theatrical venues, including the Standard Theatre at Broadway and 33^rd Street. For one production, he provided “new and elaborate scenery” for the premiere production of “Mignon” in New York,” with mechanical effects by W. Gifford (New York Daily Herald, 17 March 1878, page 4). That same year, he also created an large backdrop for the Order of Elks annual ball (The Brooklyn Eagle, 27 Jan. 1878, page 3). The newspaper reported, “The ball will be held this year at the Academy of Music, which is to be very handsomely decorated, the back of the Academy stage to be occupied by an immense canvas representing the ‘Gathering of the Elks,’ now in course of preparation by a young scenic artist, Mr. Charles Graham.”

Graham continued to be employed as a scenic artist; he worked for Gates & Morange, a leading scenic studio of the time. Graham painted alongside other well-known scenic artists who also worked for the firm, such as Thomas Benrimo, William E. Castle, Alexander Grainger, Arne Lundberg, and Orestes Raineiri. Gates and Morange’s scenic studio was one of the premiere scenic studios during the early twentieth century. It was located in Chicago during 1894 after Edward A. Morange met Francis “Frank” Edgar Gates. During the day, the two scenic studio founded studied fine art, while at night the painted settings for stage shows. Although starting their company in Chicago, Gates and Morange soon moved to New York to produce settings for dozens of Broadway shows. Their first Broadway work occurred in 1897 – “Straight from the Heart” by Sutton Vane and Arthur Shirley.

Design library at the studio of Gates & Morange

Graham was also mentioned as a scenic artist that appeared in a “Chicago Sunday Tribune” article, “Paint Mimic Scenes, Men Who Have Found Fame in (entire article in past installment #245):

“Scenic art of high grade is, however, regarded today as only different from other studio art in its breadth – a mere question of scale. As to the quality of finish it may be remarked that when scenery is lacking in detail it is due to lack of knowledge in the painter, lack of time, certainly not in accord with any principle of stage painting. Formerly the theatrical painter was expected to be truly catholic in his accomplishments, and was called to attempt any subject that the playwright might designate. Now this work, as in other lines of art, is falling more to specialists, and with far better results in figure, drapery, landscape, or architectural design. In spite of many drawbacks in the past, scene painting as a school has been an excellent one. Witness many good men who have left it to win distinction in the galleries of Europe and America: De Loutherbourg, Porter, Boulet, Jacquet, Lavignoc, Leitch, Stanfield, Roberts, Allen, Cole, Detaille, Kingsbury, Potast, Rymnosky, Wets, Guetherz, Peigelheim, H. Fillaratta, Homer Emmons, Charles Graham, and J. Francis Murphy. It will be observed that this list has members of the English Royal Academy, some famous Germans and Frenchmen, and, too, America is ably represented.”

In addition to scenic art, Graham became well-known as an illustrator. By 1878, Graham was hired as a staff artist at Harper’s Weekly; he remained there until 1892. During this time, he contributed illustrations for a variety of other publications, including the New York Herald, the Chicago Tribune, the American Lithograph Company, and Collier’s. It was one of Graham’s first illustrations for Harper’s during 1878 that he depicted scenic artists working on a paint bridge high above the stage. Graham’s best-known work was for the publication “Peristyle and Plasaisance.” For this publication, he created a series of watercolors depicting scenes from the 1893 Chicago World’s Fair, the Columbian Exposition. These colorful plates remain as one of the best sources, offering insight into the event. Advertisements stated that Graham’s paintings illustrated “nooks and corners of the Fair as no photograph could do.”

Advertisement for series illustrated by Charles S. Graham for the Columbian Exposition. From the Chicago Tribune, 8 July 1894.

Illustration of the Columbian Exposition by Charles S. Graham.

Near the end of his life, Graham was employed by a lithographer. In 1909, Graham suffered a stroke while working in Davenport, Iowa. He was forced by failing health to give up active work and return to New York as soon as he had recovered sufficiently to permit travel back east (The Rock Island Argus, 12 August 1911, page 5). By 1911, he passed away at the Metropolitan Hospital in Manhattan, after a prolonged illness of a nervous disorder (The Brooklyn Daily Eagle, 10 August 1911, page 3). He was fifty-nine years old at the time. Graham was survived by his daughter Bessie Graham.

To be continued…