I decided to use distemper paint for three shows this year: L’amant anonyme (Haymarket Opera Co., June 2022), L’incoronazione di Poppea (Haymarket Opera Co., Sept. 2022), and Pirates of Penzance (Gilbert and Sullivan Very Light Opera Co., Nov. 2022).
In my experience, no other paint medium feels quite so pure, nor reflects light quite so beautifully. Whether distemper compositions are lit by incandescent light or LED, the colors literally glow on stage; there are no “dead” spots. The colors are vibrant with a perfectly flat finish, a necessary characteristic for scenic illusion under stage light. Below are three painted details from my aforementioned productions, all painted with pigment paste and diluted hide glue.
Painted detail from L’incoronazione di Poppea. Painted detail from L’amant anonyme. Painted detail from Pirates of Penzance.
DISTEMPER PAINTING
The distemper paint system was the preferred method of scenic artists for centuries in both Europe and North America. It remains an extremely efficient process today, with little waste at the end of a production. Dry pigment left on a painter’s palette can simply be scraped off and reused for future projects.
Unlike contemporary premixed paint, there is no added filler nor extender that dilutes the colors. Contemporary paints also have a relatively short shelf life. Such is not the case with distemper paint for the stage. In dry form, both pigment and hide glue granules can last for decades, if not a century or more. The longevity of these materials is remarkable. Distemper paint consists of only two ingredients: pigment (color) and binder (glue).
In Dry Form: pigment and hide glue.Pigment in paste form. The paste is placed directly on a scenic artist’s palette and mixed with hide glue.
Dry pigment is pure color. It can be transformed into a variety of artistic mediums, including pastels, watercolors, gouache, acrylics, and oil paints. Dry pigment is created from a variety of sources, including plant, mineral, insect, or chemical processes. Dry pigment remains readily available in many fine art stores, often sold by the ounce. Here is a link to an ARTnews article about contemporary dry pigment manufacturers: https://www.artnews.com/art-news/product-recommendations/best-pigment-powders-1202688380/
You will have to cut and paste the link, as I cannot share it here.
In historic scenic art studios, pounds of colors arrived in both block and wet pulp form. Keep in mind that some colors cannot transform into paste with water alone and require a solvent. It is best to keep these colors wet, hence their arrival at a studio in pulp form. For most colors, however, large blocks of compressed pigment were ground into a very fine powder and then transformed into a wet paste just prior to use.
Dry pigment in block, powder, and paste form.
This pigment paste was placed directly on the scenic artist’s palette and mixed with diluted hide glue, also termed size water.
Jesse Cox’s scenic art table. His palette and scenic art tools are part of the permanent exhibit at the Theatre Museum of Repertoire Americana in Mount Pleasant, Iowa.
If binder (size water) was not added to the pigment paste, the color would not adhere to the fabric. Without the necessary binder, the pigment simply dusts off of the scenery, leaving behind faded areas of stained fabric.
A variety of binders can be mixed with the pigment paste, however, scenic artists prefer animal hide glue due to its flat finish. Any reflective sheen on painted scenery reflects stage lights and diminishes the overall scenic illusion on the stage.
Dry hide glue granules.
Hide glue is the gelatinous substance obtained from rendering animal hides, and sometimes bones and/or hooves. Think of the old threat about sending a horse to the glue factory. Whether horse, bovine, or rabbit, animal hides are boiled to create a gelatinous product that is dried and used by a variety of artisans as a binder, including furniture restorers.
Once the hide glue is dried, it is sold as a block, coarse granules, or fine powder. There are many different types of hide glues, with clarity and strength varying from animal to animal and batch to batch. This factor, as well as its proper preparation prior to mixing with pigment paste, directly contributes to the overall longevity of any distemper painting.
In dry form hide glue has an extended shelf life and is easily stored for long periods of time. Both dry pigment and dry hide glue could be easily stored and shipped to various locations and stored without the threat of spoiling. This made it an extremely successful paint system for generations of American scenic artists as they journeyed from one venue to the next.
Dry hide glue must be returned to a liquid state prior to mixing with pigment paste during the scene painting process. There are various ways to prepare hide glue and much depends on personal preference. Over the years, electric glue pots replaced double boilers on wood stoves or modern hot plates. The key to making glue is using indirect heat and never bringing it to a boil.
Hide glue as it cooks.
Reconstituted hide glue is further diluted with water throughout the painting process. The concentrated glue (in syrup form) is combined with an equal amount of water to make “strong size.” Strong size was often used to prepare the fabric of painting, sealing the surface to minimize paint spread. Again the ratio of glue to water depends on the quality of the product.
Strong size is best stored in a glass container.
In many cases, historic scenery was not primed with any color prior to laying out the composition. This is how I approach much of my distemper work; I seldom prime a backdrop with whiting or any color when using distemper paint. When one only uses strong size it allows each drop the possibility to function as a translucency. It also means that the scenery will roll, fold, and travel better.
Front view of painted detail for L’amant anonyme.Back view of same painted detail for L’amant anonyme.
In the distemper painting process, strong size is diluted with water to make working size, or “size water.” Size water is used throughout the scene painting process and continually mixed with pigment paste.
Strong size is diluted to make the size water pictured above.
Unlike contemporary scenic paint, there is no successive paint layer build-up with each paint application. Distemper paint allows each wash or glaze to completely penetrate the previous paint layer, reducing the overall thickness of the painted composition while keeping the color vibrant.
A view of distemper paint as it permeates the underlying layers; it will dry light. This painted detail of ivory draperies is from my Pirates of Penzance drop curtain.Same cream draperies once dry.
Furthermore, less distemper paint is needed to saturate the fabric as the colors are so vibrant, further contributing to the end result of very thin and very flexible painted fabric. The end result is similar to a dye drop.
HISTORIC AMBIANCE AND TRANSLUCENCIES
This was the approach that I used when painting the scenery for all three shows. Haymarket Lighting Designer, Brian Schneider, partially backlit the painted scenes for both L’amant anonyme and L’incoronazione di Poppea. Harkening back to an era of candlelit stages when lanterns were hidden behind the wings, sections of painted wings were inadvertently backlit. Our goal for Poppea was to recreate this historic ambiance with current theatrical lighting systems.
The mixing of distemper paint on a large scenic art palette adds variety throughout the painting process, extending reflective quality of each hue. I always add a complementary color throughout my scenic art process. For example, orange is always added to blue and red is always added to green. The addition of complementary colors adds a depth to the color palette otherwise unachievable under stage lights. Colors that a not identifiable under front light, blossom when backlit. Schneider’s lighting design reinforced this effect. Pictured below is the partially backlit with for L’amant anonyme.
Partially backlit wing (left) and backdrop with front light (right). Notice the color shift between the two. Backlighting reveals base colors that otherwise remain unseen when solely lit from the front.
My scenic design for Haymarket Opera Company’s L’incoronazione di Poppea utilized a classical garden setting to suggest numerous interior and exterior locales for the first and second acts. Painted fabric panels were added to the third act for palatial scenes and Poppea’s coronation. These panels were painted so that they could also be backlight and indirectly illuminate portions of the scene.
The addition of painted fabric panels for Act III for L’incoronazione di Poppea. Backlit painted draperies.Backlit painted drapery attached to painted wing.
The minimal color palette for L’incoronazione di Poppea was inspired by historical writings, artistic treatises, and extant scenery at Česky Krumlov Castle Theatre, Czech Republic, and Drottningholms Slottsteater, Sweden.
Painted detail from extant scenery at Painted detail from extant scenery atPainted detail from extant scenery at Česky Krumlov Castle Theatre in the Czech Republic.
The design utilized a limited number of colors that included yellow ochre, brown ochre, red ochre, vermillion, ultramarine blue, malachite, and van dyke brown.
Dry pigment and hide glue used for L’incoronazione di Poppea.
I purposefully omitted any black paint from my color palette as it diminishes the overall reflective quality of color under stage lights. Therefore, the darkest color incorporated into the distemper palette was a deep, dark brown (pictured above).
Over the centuries, the color palettes of scenic artists shifted to included new or popular colors. Regardless of an artist’s individual palette, the painting process remained the same. Generations of artists were united as the carefully prepared and applied distemper paint to stage settings.
Scenic artists on a paint bridge using distemper paint. Published in Harper’s Weekly Magazine, Nov. 30, 1878.
Johnson wrote, “Opera has always been a spectacle, enveloping the audience in sight and sound. On the American early-opera scene, the audible aspects—the voices, the instruments, even effects like a thunder clap—are commonly governed by some sort of historically informed approach. Choreography and costumes, too, are often developed based on historical research. But one essential element is often left out of the equation: set design. That is beginning to change, thanks to the groundbreaking work of Wendy Waszut-Barrett.” I don’t necessarily consider my work groundbreaking, but I am trying to use the most effective paint for the scenic illusion.
FLOOR PAINTING AND FRAME PAINTING IN SCENIC ART
The backdrop and wings for L’incoronazione di Poppea were painted in the Continental Method, where the canvas is tacked to the floor. Paint brushes were attached to bamboo poles, allowing the artist to stand throughout the entire painting process; the idea is to NOT crawl around on the floor. This was a departure, as I used a vertical frame to paint scenery for both L’amant anonyme and Pirates of Penzance.
The scenic artist’s view when painting a backdrop on the floor.A view from my ladder when painting the second set of wings for L’incoronazione di Poppea at my studio.
Both frame painting and floor painting were adopted by early American scenic artists. The Continental method of scene painting was not popularized in the United States until the late-1920s. Prior to this time, the majority of American scenic artists utilized vertical paint frames. This is not meant to say that American scenic artists never painted backdrops on the floor. However, using vertical fames was more economically viable in many situations for both scenic artists and scenic studios, especially in a studio setting. Keep in mind that floor space was often at a premium, reserved for many tasks that needed to occur after the painting process was completed, such as netting cut openings or rolling scenery for shipping.
In early American Theatre, the demand for painted scenery was often greater than the supply of artists to paint stage settings. It was not until the mid-nineteenth century that a series of scenic studios appeared across the United States, mass-producing painted settings for touring productions and venues throughout North America. The mass-production of painted illusion at scenic studios in North America peaked between 1900 and 1910.
A photograph of frame painting at the Sosman & Landis Studio in Chicago, Illinois, ca. 1910.The scenic artist’s view when painting a backdrop on a vertical frame.
As the demand for scenic illusion waned after WWI, scenic studios shifted from painted illusion to three-dimensional settings, increasing their use of fabric draperies with painted ornament. In many ways the scenic art trade shifted from an art to a craft. There was less of a demand for scenic artists to paint pictorial realism for the stage. At the same time there was an increased demand for decorative paintings and stencil work on draperies, as well as three-dimensional scenery.
Scenery by ACME Scenic Studios, Chicago, Illinois, ca. 1928.
Throughout the duration of the twentieth century, frame painting became less popular for many live theatre productions. The exception was film backings where the demand for scenic illusion thrived. Much had to do with the extreme detail; painted details that were only achieved when holding a brush at arm’s length.
The Continental method is now the preferred method for most contemporary scenic artists producing scenery for the stage. In fact, many have never experienced the ease of painting on a vertical frame. It is truly unfortunate, as frame painting accommodates a scenic artist’s aging body, as your artwork remains at a comfortable height.
Drops and wings tacked to a motorized paint at for Pirates of Penzance.Moving a motorized paint frame is easily done with the push of a button! This photograph was taken when running painted draperies on the frame at Hamline University, St. Paul, Minnesota.
Frame painting can also speed up the entire process.
Below is a link to my time-lapse YouTube video that I posted Nov. 4, 2022. It shows me painting scenery for Gilbert & Sullivan Very Light Opera Company’s “Pirates of Penzance” on a motorized frame. Over the course of three days, I painted one roll drop, one backdrop, one border, two shutters, and four wings.
Three-day time-lapse video, painting distemper scenery for “Pirates of Penzance”, Aug. 23-25, 2022.
Joseph Landis (1844-1936) worked as an electrical engineer at Sosman & Landis before he became associated with the American Reflector and Lighting Co. in 1893. At the time of his passing in 1936, his obituary mentioned his work for the “Sosman & Landis Lighting Engineers Company.”
Joseph Landis (1844-1936). Image posted at www.ancestry.com
Joseph Landis was born on March 8, 1844, in Fairfield, Iowa. He was the fifth of twelve children born to Henry H. and Catharine Landis. The Landis family never settled in one place for long, and the birth of each child marked the Landis family’s travels between Ohio, Indiana, Illinois and Iowa. The twelve Landis children included: Mary (1833, Indiana), John A. (1835, Ohio), David J. (1839, Ohio), Jacob H. (1841, Ohio), Joseph (1844, Iowa), Infant daughter (born/died 1846), Julia Ann (born/died 1847), Perry (1848, Indiana), James Henry (1851, Indiana), Edgar (1852, Indiana), Franklin (1856, Iowa), Charles (1858, Iowa).
By the time he was twelve years old, Joseph was living on a farm in Steady Run, Keokuk County, Iowa. The boys sold produce and manned a local fruit stand. For geographical context, Steady Run was due north of Fairfield, Iowa. When the Civil War began, Jacob was seventeen years old; old enough to enlist and fight. Davis, Jacob and Joseph Landis all registered for military duty in Steady Run on the same day. I have yet to locate any information that verifies if Joseph Landis actually fought in the Civil War, but four of his brothers enlisted. David Landis died in 1863 from injuries sustained during battle.
In the years immediately following the Civil War, Joseph’s older brother, Jacob “Jake” Landis, entered the watch and jewelry business. He established a store in Fairfield, Iowa, and placed advertisements in the “Fairfield Ledger:”
“Jacob Landis, Dealer in and repairer of Watchers, Clocks, Jewelry, & c. North-East Corner Park, Fairfield, Iowa. A strict attention to business, and a desire to please all. He will pay particular attention to the manufacture of Gold and Silver Rings. Oct. 25, ’66-1y44.”
This was a turning point for the Landis family as they gradually transitioned from farmers to merchants. Over the next two decades four of Landis sons entered this jewelry profession. Even at the time of their father’s passing in 1893, Henry H. Landis was listed as a silversmith.
In 1870, Joseph Landis’s occupation was listed as a jeweler in the US Federal Census. At the time, he was 26 yrs. old and living in Liberty, Union, Indiana. Boarding at the United States Hotel, he met and soon married a local Liberty girl named Prudence Mae Hughes. She was the daughter of Francis N. Hughes and Mary Prudence Adams. Joseph and Prudence were married on Oct. 19, 1871, and remained in the area for several years. In 1875, they celebrated the birth Kathryn E. Landis.
By 1880, Henry H. Landis was also working as a jeweler in Rushville, Indiana, founding H. H. Landis & Son. That same year, Joseph was working as a jeweler in Liberty, Indiana, and Jacob Landis was working as a jeweler in Paskenta, California. Edgar would also move to California and work in a variety of trades, including mining.
Meanwhile, Perry Landis embarked on another journey and entered the theatre industry. By 1879 he and Joseph Sosman opened Sosman & Landis Scene Painting Studio at 279 South Clark St. in Chicago. That year, Frank Landis worked for the firm as a traveling salesman. By 1880, Sosman & Landis began to expand their staff as scenic art orders substantially increased. Some of their clients that year included the Turner Hall in Menasha, Wisconsin; the Philharmonic Hall in Winona, Minnesota; and H. D. McCullough’s Hall in Steven’s Point, Wisconsin. Between June 1881 and July 1882, Sosman & Landis delivered scenery to seventy-four stages throughout Illinois, Michigan, Texas, Tennessee, Georgia, Mississippi, Ohio, Wisconsin, Iowa, Kansas, Indiana, Wisconsin, West Virginia, North Carolina, Alabama, Wyoming, Dakota Territory and Montana Territory.
The immediate success of Sosman & Landis drew in other Landis brothers by the mid-1880s. Charles worked for the firm as a foreman in 1885, although it remains unclear in what department, whether it was scenery, lighting or stage hardware. Although I have yet to locate exactly when Joseph moved to Chicago, but he was a resident by 1891. On Aug. 23, 1891, the “Indianapolis Journal” reported, “Joseph Landis and family of Chicago are visiting in Liberty.”
Two years later, Joseph transitioned from working at Sosman & Landis to managing the American Reflector and Lighting Company of Chicago. The American Reflector and Lighting Co. was incorporated on April 5, 1893. The company’s objective was to “manufacture, purchase, sell and deal in all kinds of fixtures, machinery and appliances to be used for the purpose of lighting, heating and cooking and other purposes.” The timing could not have been better for the firm, as the Columbian Exposition opened on May 1, 1893. The fair ran until October 31 of that year.
The starting capital stock for the American Reflector and Lighting Co. was $100,000, with the amount of each share being $1,000. A meeting of the stock subscribers was held on April 4, 1893. Minutes from the meeting showed the following distribution of shares to subscribers: Perry Landis subscribed for 200 shares of stock.
Joseph S. Sosman subscribed for 250 shares of stock.
Joseph Landis subscribed for 300 shares of stock.
Charles Landis subscribed for 200 shares of stock.
William A. Toles subscribed for 50 shares of stock.
Directors of the American Reflector and Lighting Co. were listed as Perry Landis, Joseph Sosman & Charles Landis. The four officers for the firm elected by the Board of Directors (President, Vice-president, Secretary and Treasurer), rotated between Perry Landis, Joseph Sosman, Charles Landis and Joseph Landis until 1904. These four were frequently listed as the co-founders of the corporation. The first address for factory for the American Reflector & Lighting Company was 215-217-219 South Clinton Street, with offices and salesroom at 80 Jackson Street. Keep in mind that Sosman & Landis’ main studio and offices were located at 236-238 South Clinton Street, just up the block. In 1894, “The Chicago Blue Book” lists the homes of Joseph Sosman, Perry Landis, Frank Landis and Henry Landis on West Congress Street. Perry was at 446, Sosman was at 570, and Frank was at 580. By this time, Mr. and Mrs. Henry Landis were also living in Chicago on West Congress St (at Frank’s home). Frank had expanded his business interests to real estate.
In 1894, the Sosman & Landis studio catalogue carried a full page of advertisements for the American Reflector & Lighting Co. The advertisement asked, “How are You Going to Light Your Audience Room and Stage? The question of Proper Lighting is a most important one.” Profits continued to dramatically increase at the American Reflector and Lighting Co. throughout the 1890s. Money poured into the firm, with stockholders greatly benefitting from increased profits.
Between 1898 and 1901, Joseph Landis was listed in the Oak Park Directory as working at the American Reflector and Lighting Co, located at 273 Franklin in Chicago. At this time, the Landis family lived at 244 Home St. in Cicero. Cicero was only three miles southwest of Oak Park. Many Sosman & Landis employees settled in the western suburbs of Oak Park, Cicero, Austin and Berwyn in the late-nineteenth century and early-twentieth-century. It was a short train ride from downtown Chicago. In 1900, the Landis household included his wife Prudence, 15-yrs.-old daughter Kathryn E. and a servant named Ida Neilson. The 1900 US Federal Census listed Joseph Landis as a “manager” in the “lighting factory” industry.
Joseph Landis did quite well for himself during the first decade of the twentieth century. He was able to purchase a summer home and travel in his leisure time. His travels made Oak Park news, and on Aug. 20, 1904, the “Oak Park Reported,” announced “Mr. and Mrs. Joseph Landis and Mrs. John Sargent are spending a few weeks at Winona Lake, Ind.” There was a summer home in Winona Lake.
Joseph and Frank Landis eventually purchased homes on the same street in Oak Park – 215 and 221 South Oak Park. Their homes were only two blocks away from the home of Thomas G. Moses at 233 S. Euclid Ave: a short four-minute walk. The three remained extremely close over the years, especially after Moses was elected President of Sosman & Landis. On August 28, 1915, the “Oak Park Leaves” reported, “President of “Scenery” Company. Thomas G. Moses has become president of the firm Sosman & Landis of Chicago, for many years one of the leading houses in the country engaged in the making and painting of scenery and the making of ‘properties’ for theatrical productions. Mr. Landis dies several years ago, and Mr. Sosman died early this month. Mr. Moses has been identified with the form for thirty-five years, and is recognized as one of the leading artists in this line in the country. The business has grown from the employment of a single artist, when Mr. Moses first took up the work, until now it requires thirty-five artists and fifteen stage mechanics. Mr. Moses first became a stockholder and vice president of the company ten years ago and now succeeds to the active control. Mr. Moses is a well-known citizen of Oak Park and has made his home at 233 South Euclid for twenty-two years” (page 40).
Life was going extremely well for the Landis families. It appeared as if all of the hard work over the years was paying off. Their daughter Katie grew up and married to Raymond Fritz Harris (1872-1942) on September 7, 1912. A granddaughter, Viola Landis Harris, was born the next year on Dec. 10, 1913. Raymond Harris worked as an accountant in the painting industry in 1917, and the small Harris family lived at the Landis home (221 S. Oak Park). On Dec. 22, 1917, the “Oak Park Leaves” announced, “Mrs. Joseph Landis, Mrs. Raymond Harris and daughter Viola of 221 South Oak Park avenue left Tuesday for Miami, Fla., to spend the winter, Mr. Landis and Mr. Harris are to follow later.” (page 4).
Gravestone of Katie Landis Harris, daughter of Joseph and Prudence Landis.
Tragedy struck the Landis family only two years, and lasted until 1923. On 2 Jan 1919, Kathryn Landis Harris passed away. She was only 44 years old at the time, and the mother of a young child. Her body was brought back to Liberty, Indiana, where she was buried at West Point Cemetery. Her daughter and husband continued to live at Joseph Landis’ house as the extended family grieved the loss of Katie. In 1919 the Landis household included not only Joseph, Prudence, 5-yrs.-old granddaughter Viola, and son-in-law, Raymond Fritz Harris, but also several others. The 1919 Oak Park Directory listed the following individuals residing at 221 South Oak Park avenue: J. Landis, R. F. Harris, L. E. Burr, F. Creek, and J. H. Pallister.
Joseph and Prudence continued to raise their young granddaughter until she graduated from high school and was married. At some point, however, Viola’s father moved out of the home. There is little information about the remainder of Raymond Harris’ personal or business activities over the next few decades, but he remained in the field of accounting. Meanwhile, Joseph, Prudence and Viola continued on with either Katie or RaymondThe three continued to vacation at Winona Lake, Indiana, and managed as best they could without Katie. On Aug. 21, 1920 (page 71), the “Oak Park Leaves” announced, “Mr. and Mrs. Joseph Landis and Miss Viola of 221 South Oak Park avenue have returned from a month’s outing at Winona Lake, Ind.”
By 1921, brothers Joseph, Frank and Charles Landis were all listed in the Oak Park Telephone Directory: Charles W. Landis 463 N. Evergreen Ave. Elmhurst; Franklin Landis 215 S. Oak Park Ave., Oak Park; and Jos Landis 221 S Oak Pk Ave, Oak Park. They were only 10 miles apart. The following year in 1922, Charles Landis relocated to N. Ashland Ave. in LaGrange, still only 8 miles away from his brothers. The close family togetherness was not meant to last. In 1923, both Charles and Frank passed away.
Frank’s obituary remembered his younger brother’s passing the month before:
““Franklin Landis. Funeral services for the late Franklin Landis were conducted last Saturday afternoon at 3 o’clock at his residence, 215 South Oak Park avenue, Rev. R. E. Vale officiating. Burial was at Rushville, Ind. Mr. Landis suffered a stroke of paralyses in March, 1918, while he partially recovered and sought relief in warm climates, he never fully regained his health. About two weeks ago he was subjected to a complication which his weak heart was unable to withstand. His condition was aggravated by grief over the death of his youngest brother a month previous. Mr. Landis was born in Fairfield, Iowa, in 1856 and came to Chicago in 1888, He was a land broker, his judgement being taken as authoritative and sound. As recently as last April he made a trip to inspect some large holdings and it was on that trip that he suffered a complete breakdown. Mr. and Mrs. Landis moved to Oak Park in 1903. Mr. Landis was fond of nature and especially flowers. Besides Mrs. Landis, one brother, Joseph Landis, 221 south Pak Park avenue, survives.”
1923 was also the year that Sosman & Landis closed its doors. Assets were liquidated, the space leased to a new studio, and the firm’s name sold to Thomas G. Moses and Fred R. Megan. Regardless of the economic turmoil, Joseph Landis continued to work as an electrical engineer, raising his granddaughter in Oak Park. Life simply went on for those who survived the trying times. The Landis family only occasionally made news in the 1920s. In 1924, the “Oak Park Leaves” announced a few family vacations to Winona Lake, but little else. I have yet to locate any more information pertaining to Landis’ business endeavors in the 1920s. After all, in 1920 Joseph Landis was already 76 yrs. old. He would remain in Oak Park for another twelve years, waiting for his granddaughter to reach adulthood. Until the age of 88 yrs. old, he, Prudence and Viola lived in Oak Park. In 1932, however, they all returned to Liberty, Indiana. Viola’s own father remained in Illinois and continued to work as a bookkeeper until his own passing in 1942.
When Joseph Landis returned to Liberty, he was welcomed home by both friends and family. Although it had been more than four decades since he worked as a jeweler there, live fell back into a comfortable rhythm. One of the reasons for their return to family in Liberty was Prudence’s failing health. Fortunately, they were able to enjoy two more years together. Prudence passed away on July 5, 1932.
On July 6, 1934, “The Richmond Item” reported, “Mrs. P. H. Landis, Liberty Resident, Dies at Age of 84.” The article continued, “Liberty, Ind., July 5 – Following a week’s illness Mrs. Prudence Hughes Landis, 84 years old, wife of Joseph Landis, died Thursday afternoon at her residence on East South street. Mrs. Landis was one of the best known residents of the community, She had been in failing health for several years. After they had operated a jewelry store in Liberty for a number of years Mr. and Mrs. Landis disposed of the business and removed to Chicago several years ago but after a time they returned to Liberty for permanent residence. Mrs. Landis, who was a member of the local Presbyterian Church, is survived by her husband and a granddaughter, Miss Viola Harris, at home. Funeral services will be held at 10 A.M. Saturday at the residence, Dr. Walter H. Reynolds, pastor of the Presbyterian Church officiating. Burial will be in West Point Cemetery” (page 9). Other obituary announcements reported, “She is survived by her husband; granddaughter, Miss Viola Harris; and two nephews, Herbert Hughes of Connersville, and Harold S. Hughes. Mrs. Landis was a sister of the late C.E Hughes. Mr. Landis operated a jewelry store in Liberty for several years. He and Mrs. Landis moved to Chicago years ago, returning to Liberty two years ago for permanent residence. Mrs. Landis had been in failing health for the past few years. She was a lifelong member of the Presbyterian church and was an active worker in the church until her health failed her.”
Joseph Landis passed away two years later. At the time of his passing his death certificate still listed him as an electrical engineer. On March 17, 1936, “The Richmond Item” of Richmond, Indiana, announced, “Aged Liberty Businessman Dies At Home. Joseph Landis, 92 Years Old, Former Jeweler in Liberty, Chicago Well Known” (page 1). The article went onto report:
“LIBERTY, Ind., Mar. 16.- Joseph Landis, 92 years old on Mar. 8, died at his home on South Street, Monday. He had been confined to his bed only about three weeks. Mr. Landis was one of the early citizens of Liberty, having been engaged for several years in the jeweler’s business here. Later he and his family moved to Chicago where he engaged in the business for some years, later connecting himself with the Sosman & Landis Lighting Engineers Company.
Mr. and Mrs. Landis, with their only granddaughter, Miss Viola Harris, returned to Liberty about five years ago, he having retired from business some ten years before that time. Mrs. Landis’s death occurred after their return to Liberty. He was a member of the Presbyterian Church. In addition to the granddaughter, at home, he is survived by a number of cousins, including Mrs. Belle Stevens of Liberty., Mrs. Prudence Wallace and other cousins of Brookville, and Harold Hughes, a nephew, of Liberty. Funeral Services will take place at the residence, Wednesday forenoon at 10:30 o’clock with Dr. Walter H. Reynolds. Pastor of the Liberty Presbyterian Church, officiating. Burial will be in West Point Cemetery.”
Gravestone of Joseph Landis.
Viola Landis Harris was 22 yrs. old at the time of her grandfather’s death. That summer, she married Earl Forest Kitchel (1910-1988). Newspapers announced their wedding on August 1, 1936. Viola and Earl began their married life on a farm, just south of Richmond, Indiana. Her portrait was published with their wedding announcement “The Richmond Item” on Sept. 6, 1936 (page 7).
Viola Landis Harris Kitchel, granddaughter of Joseph and Prudence Landis.
Charles Landis worked at Sosman & Landis from approximately 1883 to 1893. He was Perry Landis’ youngest brother.
Charles Landis gravestone in Rushville, Indiana. George Gregg was Charles’ father-in-law.
For context, Joseph Sosman partnered with Perry Landis in approximately 1875. By 1879 the two leased a studio in Chicago. Sosman & Landis increased their staff, hiring a variety of professionals, friends and family members. In 1879, Perry’s 23-yrs.-old brother Frank Landis, representing the firm as a traveling salesman. Here is the link to Frank Landis, Sosman & Landis employee No. 1 – Frank Landis: https://drypigment.net2021/03/28/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-1-frank-landis-salesman/ Frank’s time with the company was short-lived, and he soon returned to Rushville, Indiana, to work for their father in the jewelry business. Frank would again return to Chicago in 1888, this time establishing himself as a land broker.
Charles Landis, became associated with Sosman & Landis by the mid-1880s. He worked in a variety of capacities for the firm, including foreman, clerk and manager. Three Landis brothers were linked to the business investments of Sosman & Landis: Charles, Frank and Joseph.
Charles was the youngest of twelve children born to Henry H. Landis (1809-1893) and Catherine Johnston Landis (1817-1902). You can trace the Landis family’s travels from 1833 to 1958 by the birth of each child:
Mary (1833-1860, born in Indiana)
John A. (1835-1915, born in Xenia, Ohio)
David J. (1839-1863, born in Ohio)
Jacob H. (1841-1911, born in Ohio)
Joseph (1844-1936, born in Fairfield, Iowa)
Infant daughter (1846-1846, no information beyond the dates)
Julia Ann (1847-1847, no information beyond the dates)
Perry (1848-1905, born in Indiana)
James Henry (1851-1860, born in Indiana)
Edgar (1852-1914, born in Indiana)
Franklin (1856-1923, born in Fairfield, Iowa)
Charles (1858-1923, born in Fairfield, Iowa).
In1856, the Landis family was living in Fairfield, Iowa, where both Frank and Charles were born. For geographical context, Fairfield is located half-way between Mount Pleasant and Ottumwa, Iowa.
Vintage postcard from Fairfield, Iowa.Contemporary postcard from Fairfield, Iowa.
In 1875, when Charles had just turned 17 yrs. old, Perry met Joseph S. Sosman. Sosman was painting scenery for Semon’s Opera House in Fairfield. At the time, he was assisted by another gentleman by the name of Blain. Previously he had partnered with another scenic artist named T. B. Harrison. In Fairfield, Sosman and Blain not only painted theatre scenery, but also advertising boards for local businesses. After all of their Fairfield projects were completed, Sosman and Blain headed to Washington, Iowa, where they painted scenery for Everson’s Hall. In Washington they advertised their painting services for sign work, fine signs, and window curtains (“Washington County Gazette,” Nov. 24, 1875).
While Sosman was working with Blain, his permanent residence was listed Macomb, Illinois. Macomb is located approximately 100 miles southwest of Fairfield; so, not a quick hop, skip, and jump away. Between the fall of 1875 and the spring of 1876, Sosman and Landis began working together. At the time, they were both listed as scenic artist.
By the spring of 1876, the travels of Sosman and Landis were announced in the “Fairfield Ledger.” On May 11, 1876 and announcement in the newspaper’s “Local Miscellany” section reported, “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3). The same announcement was made the following month, on June 11, 1876. They were fast friends and loyal companions. Even in death they share the same family grave plot.
As with many small businesses, Sosman & Landis relied heavily upon the support of family. In turn, their financial success was shared with family, friends and their respective hometowns. Charles Landis worked with his brother Perry and Joe Sosman until the end of their lives in 1904 and 1915 respectively.
Here is what I have located about the life and career of Charles Landis…
On July 12, 1858, Charles Landis was born in Fairfield, Iowa. By the time Charles was 2 yrs. old, the Landis family moved to Steady Run, Iowa. Steady Run is in Keokuk County, approximately twenty miles northwest of Fairfield (as the crow flies). The 1860 census listed the Landis household as including eight children: David (21), Jacob (19), Joseph (16), Perry (12), James H. (8) , Edgar (6), Franklin (3) and Charles (2). Keep in mind that the four brothers who would continue to work together over the years were Joseph, Perry, Franklin and Charles.
By 1870, the Landis family relocated to Indiana. The 1870 Census listed the Landis household as including Henry (63), Catharine (52), Jacob (28), Perry (21), Edward (17), Francis (14, Iowa), Charles (11), and Hetta Morrison (13). The family was living on a farm near Connersville, Indiana. It was about this time that Henry H. Landis began operating a jewelry store in Rushville. This was not an unusual move as Henry’s son, Jacob “Jake” Landis, had been involved in a similar endeavor while living in Fairfield. In 1867, Jake Landis advertised as a “Dealer in & repair of watches, clocks, jewelry, &c. in Fairfield, Iowa (“Fairfield Ledger,” 20 June 1867, page 2). In Rushville, Henry Landis established the firm of H. H. Landis & Son, another jewelry and watch establishment. Joseph continued this trade, eventually leaving Rushville to continue this line of work in other cities, ending up in California by 1880. Over the years, both Henry and Joseph employed several family members. Yet they would both end up in Chicago by the 1890s when a new opportunity presented itself to the Landis family.
When Perry set his sights on Chicago, three of his brothers soon followed. When Sosman & Landis opened their studio in Chicago, Frank hit the road as a traveling salesman for the firm. That being said, he did not last for long, and soon returned to his father’s line of work for a while. He would eventually return to Chicago and invest in real estate.
Business listing for Sosman & Landis in Chicago Directory, 1880.
Going back to the beginning of Sosman & Landis, however, it is easy to see that the opened in the right place at the right time. In 1880, the firm of Sosman & Landis was the only scenic artists listed in the Chicago City Directory. They created a unique category for themselves, which meant their services were set apart from all of the other Chicago artists. What a brilliant marketing move, especially as “Artists (Scenic)” was the first to be listed in the artists category.
On August 15, 1883, the Connersville Examiner of Connersville, Indiana reported, “Charley Landis, of Rushville, was in the city one day last week mingling with his many friends. He has retired from the jewelry business at Rushville and will travel in the interest of the Landis & Sosman Senic and Art Studio of Chicago. He goes to Texas this week” (page 3).
In 1884, the Chicago Directory listed Charles Landis as a “foreman” at 279 Clark Street, living at 104 Centre Avenue with his brother Perry. From 1885-1886, Charles continued in the same capacity with the firm, but was not boarding at the Farewell House. 279 Clark was the address for Sosman & Landis.
Charles and Perry Landis’ listings in the 1885 Chicago Directory.
In 1885, Farwell House made newspapers for its new fire escape. On March 19, 1884, the “Inter Ocean” included an article about C. Baker’s fire escape (page 9). This was Chauncy D. Baker, another Sosman & Landis employee. The article reported, “A sensible fire escape was exhibited from the Farewell Block yesterday which is in many ways meritorious, and must soon come into use by owners of large public buildings where many persons are employed, and in hotels and colleges throughout the country. The invention is the result of Chicago ingenuity, and is secured to Mr. C. Baker by letters patent…The cost is but $200, and one escape is sufficient for one building, unless it is unusually large…The escape may be seen in operation any day at the Farewell Block, on Adams street, and any time, and information had of H. Burgheim, at No. 279 South Clark street.”
In 1885, Sosman & Landis prepared to build a new shop, with the “Inter Ocean” announcing, “A permit was issued to Messrs. Sosman & Landis, the theatrical scenic artists, to build a two-story scenic studio, 44×150, at Nos. 236 and 238 South Clinton street, to cost $12,000” (page 8). They would spend another $38,000 to fully equip the building. By 1889, company catalogues stated, “We have, at a cost of $50,000, built and equipped the largest and most complete painting studio in the world. Our main paint room, 50×150 feet, with 40 feet height of ceiling, fully equipped with every modern appliance, is the wonder of all managers who visit it. Below this are our carpenter shops, sewing and canvas rooms, occupying 50×150 feet, with 20 ft. ceiling.”
Sosman & Landis main studio on South Clinton St.
Charles Landis remained with the firm after they moved from 279 S. Clark Street to 236-238 South Clinton in 1886. The 1888 Chicago Directory listed Charles Landis as a manager at the firm, still working at 236 S. Clinton. The 1889 Chicago Directory listed Charles Landis as a clerk, again working at 236 S. Clinton. As the company expanded, Charles was shifted from one position to another as needed. While saving up his pennies, Charles frequently returned to Rushville where he began and courting a young lady. On June 10, 1890, Charles married Ella Gregg (1860-1897) in Rushville, Indiana. Ella also went by her middle name, May. She was the daughter of George W. Gregg and Sarah J. Mitchell. She was one of several children born to the couple. The Gregg children included Nancy A. (b. 1844), Lucian Bailey Gregg (b. 1849), George T. (b. 1853), Amanda (b. 1857), Ella M. (b. 1860), Charles (1866), and Ruby (b. 1868). The 1880 US Federal Census listed the Gregg household as including her 12-yrs.-old sister Ruby. The family resided on a farm near Rushville. On June 11, 1891, the “Rushville Republican” reported, “Mr. Charles Landis and Miss May Gregg were married Wednesday, forenoon, at the residence of Mrs. Nannie Helm [Nancy A. Gregg], on Elizabeth street, by Elder J. H. MacNeill, in the presence of a number of intimate friends. After the marriage they left for Chicago, on the 10:17 train, where they will make their future home. Mr. Landis was formerly one of our best citizens, but is now a successful businessman of Chicago. The bride is one of Rushville’s best young ladies and Mr. Landis is to be congratulated in securing her for a life’s partner.”
The couple began their life together in Chicago, with Charles continuing to work at Sosman & Landis until 1893, when the Landis brothers embarked on a new adventure. Now keep in mind that by the 1880s, Sosman and Landis did much more than manufacture painted stage settings. Sosman and Landis catalogues featured a variety of stage hardware and lighting equipment for the stage. In regard to lighting equipment, the firm offered a range of oil and gas fixtures.
Products they carried in 1889 included:
Improved Gas Cock, with adjustable by-pass.
Complete Gas Stands
Bunch Lights.
Border Lights.
Footlight pipes and burners.
Products continued to be added each year, and by the 1890s Sosman & Landis lighting equipment also included electrical products.
Their 1894 catalogue featured:
Improved Border Lights for Gas and Electric.
Footlights and Ground Row Lights, for Gas.
Foot and Border Lights, for Oil.
As the demand for lighting instruments increased, Sosman and Landis took the next step to establish a lighting company. The timing of their decision coincided with the opening of the Chicago World’s Fair in 1893.
It is important to remember that electric lighting was a feature, with many of the buildings outlined in lights to form the White City.
Midway One of the features at the exposition was an electric scenic theater. On June 29, 1893, “The Inter Ocean” advertised:
“ELECTRIC SCENIC THEATER,
Midway Plaisance.
A DAY IN THE ALPS.
From early dawn to sunrise, brilliant daylight, thunder storm, twilight. Alpine glowing, rise of the moon, to night with sparkling stars. Wonderful lighting effects unknown in other lands. The most intellectual spectacle on the Midway Plaisance. Admission 25c. Performances every half hour” (page 5).
Advertisement for the Electric Scenic Theater. 1893.
After the fair closed, Sosman & Landis leased the Masonic Temple Rooftop Garden. The installed two electric scenic theaters and opened a theatrical management firm, known as Sosman, Landis & Hunt. For the 1893 exposition, Sosman & Landis had completed dozens of projects that ranged from Midway attractions to industrial exhibits on the fairgrounds. They also designed and manufactured many painted settings for public spectacles, parades, and other productions marketed to world fair visitors. All the while, they continued to manufacture stock scenery settings for theaters across the country, including stages in Bozeman, Montana; Pocatello, Idaho; Fox Lake, Wisconsin; Scranton, Pennsylvania; Norfolk, Virginia; and Meriden, Connecticut, to name a few.
Sosman & Landis not only specialized in paintings scenery, but also stage machinery and lighting systems. The American Reflector and Lighting Co. was incorporated on April 5, 1893. Established by Perry Landis, William A. Toles. And Robert L. Tatham, the company’s objective was to “manufacture, purchase, sell and deal in all kinds of fixtures, machinery and appliances to be used for the purpose of lighting, heating and cooking and other purposes.” The timing could not have been better for the firm, as the Columbian Exposition opened on May 1, 1893. The fair ran until October 31 of that year.
The starting capital stock for the American Reflector and Lighting Co. was $100,000, with the amount of each share being $1,000. A meeting of the stock subscribers was held on April 4, 1893. Minutes from the meeting showed the following distribution of shares to subscribers: Perry Landis subscribed for 200 shares of stock.
Joseph S. Sosman subscribed for 250 shares of stock.
Joseph Landis subscribed for 300 shares of stock.
Charles Landis subscribed for 200 shares of stock.
William A. Toles subscribed for 50 shares of stock.
Directors of the American Reflector and Lighting Co. were listed as Perry Landis, Joseph Sosman & Charles Landis. The four officers for the firm elected by the Board of Directors (President, Vice-president, Secretary and Treasurer), rotated between Perry Landis, Joseph Sosman, Charles Landis and Joseph Landis until 1904. These four were frequently listed as the co-founders of the corporation.
Charles Landis’ signature as Secretary of the American Reflector and Lighting Co.
By summer 1893, Charles Landis not only served as Secretary and Treasurer for the American Reflector & Lighting Company, but also as General Manager for the firm. The first address for factory for the American Reflector & Lighting Company was 215-217-219 South Clinton Street, with offices and salesroom at 80 Jackson Street. Keep in mind that Sosman & Landis’ main studio and offices were located at 236-238 South Clinton Street, just up the block. Very convenient for all involved.
They not only worked together, but lived near one another. In 1894, “The Chicago Blue Book” lists the homes of Joseph Sosman, Perry Landis, Frank Landis and Henry Landis on West Congress Street. Perry was at 446, Sosman was at 570, and Frank was at 580. By this time, Mr. and Mrs. Henry Landis were also living in Chicago on West Congress St (at Frank’s home). Charles Landis was not listed in any Chicago Directory at this time. I have yet to locate where he was living while working in Chicago. He may have been living with one of his brothers on West Congress St.
1894 Chicago Blue Book with Sosman and Landis addresses.
By Feb. 5, 1894, the firm signed a lease to rent the second floor of the Knapp Electrical Works at 271-273 S. Franklin St. for $2000 per annum. This was the address that would remain the firm’s main offices until 1919 when fire swept through the building.
In 1894, the Sosman & Landis studio catalogue carried a full page of advertisements for the American Reflector & Lighting Co.
American Reflector and Lighting Co. advertisement in 1894 Sosman & Landis catalog.
The advertisement asked, “How are You Going to Light Your Audience Room and Stage? The question of Proper Lighting is a most important one.” The manufacturing company offered, “a full line of improved Lighting Fixtures for Electricity, Gas or Oil, specially adapted for the lighting of Theatres, Halls, Assembly Rooms and Churches.” The advertisement continued:
“Their Line Comprises:
Inverted Double Cone Corrugates Silvered and Opal Glass Reflectors.
Peerless Sun Burners, which area especially adapted for lighting and ventilating large auditoriums.
Improved Border Lights for Gas.
Improved Border Lights for Combination Gas and Electricity.
Improved Electric Border Lights.
Gas Stands or Tables fitted with polished Brass By-Pass Cocks.
Gas Bunch Lights with Reflectors and Wire Guards.
Improved Electric Bench Lights.
Combination Gas and Electric Border Lights, with Reflectors and Wire Guards.
Patent Eclipse Foot and Border Lights for Oil, that turn up and down same as Gas.
[image]
On March 17, 1894, the “Victoria Advocate” in Victoria, Texas, listed both Sosman & Landis and The American Reflector and Lighting Co. in the same article about Hauschild’s Opera House. The article reported, “The scenery is from Sosman & Landis’ great scene painting studio of Chicago and must be seen to be fully appreciated, As scenic artists that firm stands in the front ranks, and their work for the new opera house will be accepted as an evidence that the high reputation of the house is deserved.
The lights, including a handsome large chandelier for the center, were supplied by the American Reflector and Lighting Company, or Chicago, and are in keeping with the general high characteristic of the furnishings throughout the entire building.”
No one would ever have guessed the intimate link between Sosman & Landis and the American Reflector and Lighting Co.
Profits continued to dramatically increase at the American Reflector and Lighting Co. throughout the 1890s. Money poured into the firm, with stockholders greatly benefitting from increased profits. Although Charles Landis continued to succeed in business, his personal life fell apart in 1897. His wife, Ella May Gregg Landis, passed away on April 16 of that year. On April 20, 1897, the “Rushville Republican” reported, “Mrs. May Landis, wife of Charles Landis, of Chicago, died at Phoenix, Arizona, last Friday afternoon, of Bright’s disease. Mrs. Landis is well-remembered in this city as Miss May Gregg, being a daughter of the late George T. Gregg, She was married in this city to Mr. Landis, on June 10, 1891, who survives her. the remains will arrive in this city tomorrow morning, and will be taken to the home of her sister, Mrs. Nannie Helm on Third Street. The burial will be at East Hill Cemetery. Her many friends in this city are sorry to hear of her death and sympathize deeply with the family in their bereavement” (page 3).
Charles continued to live in Chicago, and by 1898 was listed in the City Directory as Secretary for the American Reflector & Lighting Co. at 271 Franklin, living at 2075 W Adams. That same year, his older brother Joseph Landis was listed as manager of the firm, living in Oak Park. Many Sosman & Landis employees, including Thomas G. Moses, also lived in Oak Park at the time. The town was a short hop, skip and jump from downtown Chicago, easily accessible by public transit.
Charles remarried in 1899. After more than two years of grieving, he married Ruby Gregg (1868-1937) on Sept. 7, 1899. Ruby was Ella “May” Gregg’s younger sister. I have yet to locate any marriage records for the two, but the couple was listed in the 1900US Federal Census. The census report listed Charles’ employment industry as “gas fixture.” Although living in Chicago, the couple continually returned to Rushville, visiting extended family. On April 23, 1901, the “Rushville Republican” reported, “Charles Landis and wife, of Chicago, are visiting Mrs. Nannie Helm and daughter, Miss Bertha.”
By August 3, 1903, the American Reflector & Lighting Co. Board of Directors noted that the continued illness of Perry Landis and his consequent inability to act as a director of the company. At Sosman & Landis, Thomas G. Moses returned to the firm at the firm’s vice-president. At the American Reflector and Lighting Co., Perry’s ill health necessitated that his older brother, Joseph Landis, take Perry’s place as Director for the remainder of his term. Records from the same meeting also listed that Joseph Landis was also nominated for the office of president of the company. By now, the offices of the American Reflector and Lighting company were temporarily listed as 52 Jackson in Chicago.
Tragedy struck the American Reflector and Lighting company in 1906 when fire destroyed one of the firm’s buildings at 199-201 Van Buren. On July 4, fire destroyed a four-story structure that was occupied by the American Reflector & Lighting Co.; A. Meisser & Son, hats and caps; and the Ozark Garment Co. This was not the firm’s main headquarters, however, and business was able to continue. Regardless, Perry’s passing caused an upset in both firms, and non a personal front with Sosman. Despite a booming business, Sosman began to gradually withdraw from the daily running of the business. It was as if his heart was no longer in the chase.
By 1908, the American Reflector & Lighting Company decreased its stock value from $100,000 to $10,000. Charles remained with the firm, and the 1910 US Federal Census listed Charles Landis as the manager and treasurer of the Electric Reflector and Light Co. He was living with his wife Ruby at North Ashland Ave, in Lyons, Cook County, Illinois. Interestingly, he was the next door neighbor of a manager for the Otis Elevator Co., Job Fish.
After the passing of Sosman in 1915, two meetings were held in December. The first was a special meeting of the American Reflector and Lighting Co. Directors, held at 517 W. Jackson Boulevard. Joseph Landis, acting as Secretary, recorded that Charles Landis was nominated President, Perry Lester Landis [Perry’s son] was nominated vice-president, and Mrs. Joseph H. Sosman was nominated secretary and treasurer. The second meeting was held for the stockholders. Present were Mrs. Joseph S. Sosman, Mrs. Nora Landis, Perry Lester Landis [Perry’s son] and Joseph Landis. The following was recorded: “On motion, duly seconded, the Secretary states that owning to the fact that the former Secretary Charles Landis had disposed of his stock in the company in order to keep up equal payments to the various stockholders a special dividend of $2,000 to be divided among the stockholders as per stock held would be made.”
By Nov. 14, 1916, the following officers were elected to the American Reflector & Lighting Co. Board of Directors: Mr. Joseph Landis (president and treasurer), Mr. Charles Landis (vice-president), and Mr. Perry L. Landis (secretary).
On Tuesday, Dec. 12, 1916, a special meeting of the stockholders was held in the firm’s offices at 517 W. Jackson Boulevard. Present were Joseph Landis (50 shares), A. J. Lawson (25 shares), representing three-fourths of the capital stock. The Director of the American Reflector & Lighting Co. were now A. J. Lawson (president), P. L. Landis (vice-president), and Joseph Landis (secretary and treasurer). On July 16, 1917, a special meeting of the Board of Directors recorded, “Meeting was called to order by A. J. Lawson who advised that as the stock in the corporation formerly held by Mrs. Nora Landis and Perry Lester Landis had been disposed of, it would be advisable to make a record at to the present distribution of the entire stock in the corporation, and on investigation for the records the following were found to hold the entire stock in the corporation consisting of 100 shares:
Joseph Landis (57 ½ shares)
A. J. Lawson (40 shares)
Charles Landis 2 ½ shares”
Then a motion was made to elect Charles Landis to the office of Vice-President, formerly held by Perry L. Landis [Perry’s son]. A. J. Lawson was the president and Joseph Landis secretary and treasurer.
By May 13, 1919, the business offices for the American Reflector & Lighting Co. were cited as 100 S. Jefferson St. in Chicago. This was after the destruction of company offices at their former place of business at 517 W. Jackson Blvd.
So, how did I get the minutes from these meetings? Last year, I received a package from A. J. Lawson’s grandson, Paul Martin. Martin stumbled across my blog and commented. Martin is also researching his grandfather’s involvement with the firm. Arthur J. Lawson (1883-1940) eventually owned the American Reflector and Lighting Co. The family continued to manage the firm until 1988 when all operations ceased. We are still trying to track down how Lawson, a young and relatively unknown individual became a major stockholder in American Reflector and Lighting Co. and sole owner over the course of a few years. I suspect that he started out on staff at either American Reflector and Lighting Co., Sosman & Landis, or a competitor. However, I have yet to directly link Lawson with Sosman & Landis prior to his involvement with the American Reflector and Lighting Co. in 1916. It may have been that he was simply in the right place at the right time too.
And yet…Lawson intimately understood lighting systems for the stage. During the summer of 1918, A. J. Lawson applied for two Border Light patents. His inventions related to improvements in border lights “especially adapted for use along the border of a stage in a theater or as footlights therefor, the object of the invention being to provide a simple and efficient construction of this character adapted to readily supply different colored lights for the stage.” The two patents were granted on Nov. 12 and Nov. 30, 1918, respectively.
Illustrations that accompanied Lawson’s two patents for border lights. See links below for full patents.
What is also fascinating (to me) is current interest in the history of this company. At the Made-in-Chicago Museum, Andrew Clayman is writing about the firm. One of their acquisitions was produced by the American Reflector and Lighting Co. Here is the link: https://www.madeinchicagomuseum.com/single-post/american-reflector-lighting-co/ So far, the website only says, “Research is underway on this one and a full write-up will be coming soon.” I look forward to seeing what he writes about!
To briefly recap stock shares for the American Reflector and Lighting Co. in 1915 before getting back to the life and career of Charles Landis…At the time of Sosman’s passing in 1915, the Joseph S. Sosman estate listed 25 shares American Reflector and Lighting Co. shares, valued at $2500. An additional note nearby states that this was a doubtful face value. Presumably, these 25 shares were purchased by Arthur J. Lawson when the estate was liquidated, likely for less than the estimated $2500. Between 1915 and 1917, Lawson increased these 25 shares to 40 shares. Meanwhile, Charles’ Landis stock holdings with the American Reflector and Lighting Co. were reduced from 200 shares in 1893 to 2 ½ shares in 1917. By 1921, both the Sosman family and Landis family extracted themselves from the American Reflector and Lighting Co. Remember that between 1923 and 1924 Sosman & Landis was also liquidated.
Between 1910 and 1920, I have uncovered very little information about the personal or business dealings of Charles Landis. He remained with the American Reflector and Lighting Co. until at least 1920, working alongside his brother Joseph Landis and Arthur Lawson.
Charles battled cancer, likely prompting a withdrawal from the firm by 1921. Like his older brother Perry, death did not come swiftly nor was it unexpected. Perry had died at the relatively young age of 56 yrs. old in 1904. Charles passed away on Nov. 23 1923, at his home, 27 North Ashland Ave. La Grange Ill. I don’t know when Charles moved from Lyons to LaGrange, but the two cities are only 2.6 miles apart from one another.
On Nov. 24, 1923, the “Rushville Republican” reported:
“Charles Landis Succumbs. Former Rushville Business Man to be Buried Here Sunday” (page 1). His death announcement reported, “Charles Landis, age about 65 years, formerly a Rushville business man, died at his home in LaGrange, Illinois, and the body will arrived here Sunday afternoon at 3:26 o’clock over the C.I.&W. railroad and be taken directly to East Hill for short funeral services in the chapel, in charge of the Rev. Gibson Wilson. The funeral will not be private. Mr. Landis had been ill for many months with cancer of the stomach and his death was not unexpected. He was in the jewelry business here with his father at one time, but left Rushville a number of years ago. The deceased is survived by the widow who was a sister of the late Nannie Helm [Nancy A. Landis]. He was an uncle by marriage of George Helm and Miss Bertha Helm of this city and uncle of Mrs. Jannetta Carr.” Charles was actually 63 yrs. old when he died.
Charles’ brother, Frank, died a month later that same year. Frank was 67 yrs. old. On Dec. 27, 1923, “The Daily Republican” of Rushville reported:
“Franklin Landis Succumbs. Former Rushville Jewelry Dealer Expires in Oak Park, Chicago” (page 1).
The announcement continued, “Franklin Landis, of Oak Park, Chicago, uncle of Mrs. Jeanette Carr and Mrs. Frank S. Reynolds, of this city, died at six o’clock this morning following a short illness. He was a former resident of this city, having been engaged in the jewelry business with his father, Henry H. Landis, at the place where the Abercrombie Jewelry store is now located.
The deceased was a brother of Charles Landis, who died Nov. 23, at his home in LaGrange, Ill. He is also survived by his wife, who was formerly Miss Mathilda Winship. No definite word has been received here of the funeral arrangements, but it is believed that the body will be brought here for burial.” Other articles about Frank elaborated that he suffered a stroke of paralyses in March 1918, then sought warmer climates, hoping to recover.
Only their older brother, Joseph Landis, lived a long life, not passing away until 1936 at the age of 92 yrs. old.
John H. Young started at Sosman & Landis in 1883. He was part of a deal brokered between Thomas G. Moses and Lemuel H. Graham with Joseph S. Sosman and Perry Landis. In 1882 and 1883, Moses, Graham and Young were working together on several projects across the Midwest under the name Graham & Moses. In Eau Claire, Wisconsin, the two competed against Sosman & Landis for the same contract and won. As Moses returned home to Chicago on the same train as Landis, Sosman was waiting for them and proposed a deal. He convinced both Moses and Graham to close their studio and return to work at the Sosman & Landis studio.
John Hendricks Young pictured in 1886
By 1883, Moses had known Young for seven years and was extremely familiar with his artistic skills, especially that as a figure painter. The two first met in Grand Rapids, Michigan when Young was only 18 years old. Moses hired Young as an assistant on a church mural job. From early on, newspaper reviews describe Young as exceptional and incomparable; he had the gift and a magnetic personality. In his memoirs Moses fondly remembered Young’s flower garden as “a hodgepodge mixture of growing things.” As a joke, Young had bought a lot of seeds that had been accidentally mixed. In many ways, this was how Young lived his entire life; he planted unknown seeds and then waited for a surprise.
John Hendricks Young was born on June 10, 1858 in Grand Rapids, Michigan. He was the son of Samuel W. Young and Lena H. Young. Both emigrated from Holland and raised their family in Michigan. Samuel was listed as a saloonkeeper in the 1870 census and a pork packer in the 1880 census. There were no theater or art connections there to nurture any of the Young children.
John was the third of five children born to the couple. His siblings were: William S. (b. 1822), Mary (b. 1854), John H. (b. 1858), Louis C. (b. 1865), Lillian M. (b. 1867).
In 1876 Moses was working with a Frenchman named Wardus on a church mural job in Grand Rapids, Michigan. They placed two advertisements in the papers: one for a figure painter and the other for an assistant. Young worked as an assistant to the figure painter, Tom Brown, recently hired from New York. Of his crew, Moses wrote, “We three, the same age, roomed and chummed together and we had a fine time. And, as I remember, we did some pretty good work.” Their employer, Wardus, soon advertised the artistic trio as the “three young Roman artists.” Of the designation, Moses recalled, “We didn’t look it – we were all quartered at a cheap hotel and we met a great many young people.” Unfortunately, Wardus skipped town upon the completion of the project with all of the earnings, leaving the three young artists penniless. Left to their own devices, Moses immediately secured scenery work at an opera house, with Young and Brown hustling for sign work. Soon, Brown returned to New York, with Moses and Young heading to Detroit in hopes of meeting Wardus to collect their salaries. Realizing that Wardus had again left town, Moses returned to Chicago then Young returned to Grand Rapids. By 1877, however, John H. Young was listed as an artistic in the Grand Rapids City Directory, living at 99 Lyon Street.
Moses mentioned Young again in 1882 when he and Graham were working in Michigan. Moses wrote, “While in Grand Rapids, John Young joined us. He was then working a candy concern, but was delighted to join us.” Young was listed as working in the candy manufacturing business in the 1880 Federal Census, residing as a lodger on 90th Street.
Moses, Graham and Young went from Grand Rapids to Elgin, Illinois, and then on to Racine, Wisconsin. They trio split forces as their workload continued to increase. Moses stayed to complete a project in Wisconsin while Graham and Young journeyed on to Hannibal, Missouri. After Missouri, Graham and Young painted scenery for the Opera House in Decatur, Illinois. Like Moses and many other scenic artists, Young picked up additional income teaching art classes as a sideline. On July 27, 1883, the “Decatur Daily Republican” reported, “Mr. John H. Young, the watercolor artist of Chicago, has arrived in the city and will form a class on Thursday afternoon of this week for the purpose of giving instruction in making sketched from nature. Mr. Young may be found either at the opera house, where he is engaged in painting the new scenery, or at Drake’s Hotel. The artist will give lessons on Tuesday and Thursday afternoons of each week during his stay of four weeks in Decatur, Illinois (page 3). On July 28, 1883, the “Herald-Dispatch” of Decatur, Illinois described the scenic work by Graham and Young for the new opera house. The article reported, “L. L. Graham the scenic artist who has been engaged in this work for three weeks. He has been assisted by John H. Young of Chicago” (page 3). The pair also delivered scenery for Boyd’s Opera House in Omaha, Nebraska and the New Gillis Opera House in Kansas City, Missouri. Moses, Graham and Young all began working at the Sosman & Landis studio when Graham & Moses closed out their contracts that fall.
While working at Sosman & Landis, Moses and Young planned several sketching trips to gather source material and hone their artistic skills. Their first western sketching trip for was Colorado in 1884. They were accompanied by fellow scenic artists Hardesty Maratta and Ed Morange. None of the artists had ever seen the Rocky Mountains before, so their headed west toward Denver, Pike’s Peak and Breckenridge. Moses recounted a humourous tale about Young, writing, “About six o’clock the boys were all hungry. As our car was a buffet affair, I ordered tea and toast. The porter had a fine linen tablecloth, and when he brought in the tea and toast there were three very disgusted boys. Young said nothing but left the car and was gone about ten minutes, and then returned with a can of corn and a large link of Summer Sausage. It was fully two feet long. He flourished it over his head and said, loud enough for the whole car to hear, ‘Live and let live, that’s our motto.’ Of course, the passengers were amused, but the porter and cook was not. He rushed out for some paper, which he spread over his damask tablecloth to save it from the sausage grease. He warmed up our corn, so we finally got a meal. Our bag of canned goods was in the baggage car, so there was no chance of our suffering from hunger so long as Young stood in with the baggage man.”
Moses’ memoirs describe Young as a long-legged mischievous artist always ready for adventure and full of humor. Moses and Young continued to spend any time off from the studio sketching. Moses wrote, “I spent Sundays during the autumn months with Young at F. C. Bromely’s studio, painting in oil. We both made some progress.”
In 1884, Moses wrote, “Henry C. Tryon came to the studio to work. He enthused Young and I more than anyone ever had. He was a pupil of Thos. Moran and James and William Hart and was very clever, but awfully eccentric.” Moses and Tryon headed to West Virginia during the fall of 1885. Young joined the pair in Schell. All three roomed in the back of the post office and general store. Moses wrote, “John Young joined us here and entered into the spirit of the outing. The evening of Young’s arrival we were all in the store. Young was stretched out on the counter, with his head resting in the scoop of the scales, and Tryon, with his immense meerschaum, was hitting it up like an engine.” The three spent their days traipsing across the countryside to find ideal sketching locations. Amidst artistic observations and animated political debates, the three worked on their craft. They descended to valley floors and crossed many creeks and rivers. Moses recalled, “Young, with his long legs could jump across from rock to rock.”
In 1886, Moses, Tryon and Young were three of six scenic artists featured in Chicago’s “Inter Ocean” newspaper. David A. Strong, Walter W. Burridge, and Charles H. Ritter were the other three scenic artists. At one time or another, all six artists worked for Sosman & Landis in the 1880s. The “Inter Ocean” article published on February 28, 1886, gave a brief bio for each artist. Of Young, the article noted, “J. Hendricks Young was born in Grand Rapids, Mich. in 1858, and early became an artist in fresco painting, dealing almost exclusively in Scriptural figure subjects. His experience as a scenic artist has been continuous since 1880. The leading merits and characteristics of Mr. Young’s art treatment are originality of conception and boldness, vigor, and expression of action in execution. He is now engaged in some of the best panorama work.”
Young was still living in Chicago and listed in the City Directory in both 1887 and 1888. At the time he was working at 12 S. Morgan and boarding at the Farwell House. By the end of 1888, however, Young had moved to New York and by 1889 was listed in the New Rochelle Directory as an New York artist working at 541 W. 21st In the 1891-92 City Directory Young was listed as a scenic artist at 1445 B’way and living in Pelhamville, NY.
By 1891, Young’s studio was listed at the Broadway Theatre in New York. His artistic process is described in numerus article over the years. An article in the “Pittsburgh Dispatch” described his use of a pounce during the drawing process. He described, “I first lay off this charcoal sketch on paper. The charcoal rubs off. I stick small holes through the paper following the lines and, placing this sheet upon the canvas, take the ounce-bag of charcoal dust and slap it in the paper over the hole. When the sheet is removed we have an outline upon the canvas. This is followed with an indelible pencil, the lines of which will come out stringer when wet with paint. The painter can then go ahead. This is done where exact work is desirable, as it often is in architectural pieces”
In New York, Young designed over 70 shows for Broadway, including “Babes in Toyland” (1903), “Forty-five minutes from Broadway” (1906), “Little Nemo” (1908), “Higgledy-Piggledy” (1905), “Ziegfield Follies” (1907,1908, and 1913) “Broadway to Paris” (1912), “Robinson Crusoe, Jr.” (1907, 1908, 1916), and “Sinbad” (1919).
Already in 1894, Young was noted as “the ingenious and artistic scene painter” for “On the Bowery” by R. N. Stephens. Young was applauded for painting a beautiful rendition of the Brooklyn Bridge. In 1895 Young designed and painted “Pawn Ticket 210” by David Belasco of the Broadway Theatre in New York. A stellar review was published in the “Detroit Free Press” on April 9 (page 5). In 1896, Young was credited with scenery for “Fortuna, or the Princess Tough,” commenting, “The scenery, it is said, is the richest and most elaborate ever seen at the Fountain and was painted by John H. Young, of the Fifth Avenue Theatre, New York” (The Commercial Gazette, Cincinnati, OH, 6 Feb 1896, page 15). By the fall of 1896, Young was associated with the Broadway Theatre in New York, with this association being cited in newspapers across the country (Los Angeles Herald, 20 Sept. 1896, page 11).
The next year Young designed and painted the “picturesque scenery” for Davis & Keogh’s production of “The Sidewalks of New York.” Newspaper reviews noted that it depicted “familiar localities, reproduced from photographs of the actual buildings and views by the hand of artist” (Detroit Free Press December 6, 1896, page 19). The article goes onto describe his contribution, “In the second act the New York Herald building is shown in accurate detail when enormous presses are at work, and the editorial staff is in active operation. The third act is laid in Brooklyn. This scene represents an old distillery and a shot tower by the East river.” Later newspaper reviews commented on Young’s “originality of conception and boldness, vigor, and expression of action in execution.” Young became well known for his artistic vision, picturesque painting and precision. His trademark was an attention to detail, one supported by an illustrative library kept at his studio. He also excelled in figure painting, the first quality that caused Moses to hire him in 1876.
On Dec. 17, 1899, Young was quoted in the “San Francisco Chronicle,” stating, “Figure painting is a branch of art in itself. It requires a long and tedious course of study and practice, including knowledge of anatomy that would qualify a man for a position as a staff surgeon in the Army, and the average scene painter, who has to handle all branches of painting can’t afford the time necessary to learn all this. Then too, it is practically impossible to paint figures than, in view of the varying positions taken by actors, will always be in proportion to the real personages on the stage. It’s bad enough when you paint an ancient oak, supposed to be big in proportion to its years, to have some ham of an actor lean up against it and make it look like a sapling; but worse with figures it would be infinitely worse” (page 12).
Young met up with Moses again in 1900 when as they both designed and painted scenes for “Quo Vadis.” While in New York, Moses and Young continued their sketching trips, now adding Harry A. Vincent to their group. In 1901, Moses wrote, “Every Sunday this summer I went sketching near home, and it was very picturesque. John Young and Harry Vincent joined me quite often, as we all lived near the spot.”
Moses moved to New York, operating Moses & Hamilton until 1904 when he returned to the Sosman & Landis studio. By 1902, Young’s studio was located at the Grand Opera House in New York City. On September 3, 1902, the “Buffalo Express” published a lengthy article about Young. The article reported, “Mr. Young has been twelve years getting together a working outfit of 10,000 photographs and 800 books, which he values at $60,000. As recently as 1898 he sent $50 to each American consul in an out-of-the-way place and requested the purchase of photographs – photographs of palaces and of fisher huts, of glorious gardens and of desert beaches, of statuary and carving and paintings. Among his volumes are David Robert’s Door Designs, Boucher’s Cupids and many others now out of print, and generally forgotten…He almost always keeps armor, antique weapons, costumes and the like. From his vast store the painter extracted pictures from which to copy a rice field for the Chinese booth of the Woman’s Exhibitions, bazaar buildings at Cairo for the Egyptian booth, a café on the Ringstrasse at Vienna for the Austria booth, and so on, ad infinitum…The large number of models in Mr. Young’s studio is due to the fact that he keeps his miniatures as carefully as an accountant filed away papers. Not only is there a chance that he might be obliged to bring them into requisition again of fire destroys his work, or a duplicate of that work is desired, but they form an invaluable record. ‘These playthings,’ he declares, ‘are the plot of the story we tell, and according as the plot is accurate and elaborate so is the story atmospheric and pleasing. My principal study since I took up this art has been the development of ideas which crystalize into models – a feature of scene painting of which the public is wholly ignorant.” The article also noted, “The biggest contract Mr. Young has had since he became a scene painter is that with the Professional Woman’s League for the Woman’s Exhibition, and he has been pushing his entire staff nearly two months on the models to be submitted to Manager William A. Brady.”
In 1903, Young was living in Mount Vernon, listed as a N.Y. scenic artist living at 2nd ave. near 2nd, N.P. That year, Moses was also listed in the Mount Vernon Directory, living at 170 Elm Ave.
Early in 1904 he purchased the two-story frame house with a “shed on rear” at No. 536 West 29th Street. On February 12 architect Arthur G. C. Fletcher filed plans for a “brick and concrete studio building” to cost $8,000. Completed within the year, double doors on the street level allowed the large scenic artworks to be transported from studio to stage. The building design included a great expanse of glass in the large arched fourth floor loft window, providing an abundance of northern light, perfect for painting scenery. In his 29th street studio, Young created hundreds of maquettes. Young repeatedly explained that these small-scale designs were “a feature of scene painting of which the public is wholly ignorant.” Young’s studio building was later used Eugene B. Dunkel Studios, another scenic firm. Neither Young now Dunkel would have ever guessed that in 2019, the 29th street studio building would be listed for 18.5 million dollars (https://www.luxuo.com/properties/properties-featured/the-1904-john-h-young-building-is-now-on-sale-for-18-5-million.html).
In 1905, Moses and Young completed their last project together. They worked on old mill scenery at Luna Park for Frederick Thompson; Young did all the properties and papier-mâché work. Young isn’t mentioned again until 1922 in Moses’ reminiscing. That year, Moses wrote, “John H. Young was another assistant that made good in scenic painting, but never stuck to the picture end of it, as he started to make money in New York and that settled his picture ambitions, (if he ever had them very strong). As I look backward over the names of the successful ones, I wonder what I would have done had I been gifted with the same amount of talent.”
One of the best articles about Young is part of the John R. Rothgeb Papers at the Harry Ransom Center, University of Texas, Austin. It is a tattered photocopy, without any date or source, tucked between two unrelated files. The article is entitled, “How Scene Painting is Done in a Big Studio.” The subtitle that followed was, “John H Young Goes About His Work in Systematic Fashion and Gives Public an Idea of How His Difficult Work is Performed.” Here it is in its entirety.
“No scenic artist in this country enjoys a higher reputation than John H. Young of the Broadway Theatre. Hardly a play of any moment which has been produced in the metropolis has been written without evidence of his careful and skillful touch, and for the road attractions they bristle with the touches of his brush.
But Mr. Young’s position in his special line has not been reached without long and conscientious work dating back nearly a score of years. Born in the early 60s, Mr. Young soon gave signs of his artistic bent by turning his back upon the allurements of Michigan farming, and he was barely out of his teens before he was turning out pictures, which, though the evinced talent, were lacking in that technique which can only come from study and practice. About this time Mr. Young had the good fortune to come in contact with Thomas Moses, the veteran scenic artist of the West, and the latter was quick to see signs of talent in his young protégé.”
For several years Mr. Young worked in concert with his instructor and the scenes that he painted caused so wide comment, that in time he came to New York, where he could find a better field for his abilities. New York managers were quick to appreciate his efforts and thus came about that the subject of this sketch was installed as chief artist at the Broadway, which position he has held for more than seven years.
The average manager, when he has selected a play, has but seldom anything more than the vaguest idea of what he wants in the way of scenery to enhance it. It is just here that Mr. Young steps in and rescues the befuddled manager from the slough of theatrical despondence. He gets the main incidents of the author’s story and suggests the possibilities of scenic illustration. Oftentimes the manager who is to produce the play has ideas of the most impractical nature and Mr. Young shows him a hasty sketch of the utter folly of attempting to reproduce them. Provided Mr. Young and the manager come to an agreement, the decided-upon scenes are first done in watercolors, and these, when finished are subjected to another inspection by both artist and manager. Changes are suggested here and there, and sometimes even, the whole work is gone over, when it is found advisable. When the preliminary sketch is satisfactory, the next step is to transform into a miniature set scene, which duplicates down to the most trifling detail, the contemplates larger on for the actual performance. For this performance Mr. Young has in his studio, a small stage fitted with all the appurtenances which belong to the most complex of the regular stages; there are trap doors, wings, fly-galleries, a drop curtain, electric light, and a maze of small cords and fixtures for managing the whole.
If it be a mill scene, for instance, that is being arranged, the duplicate in miniature must have the revolving wheel, the running water, the sluice-box, and nothing whatever must be lacking. Very often when all is completed and in place on this trial stage, something of an impractical nature may be discovered and remedied, before the expense of the larger model is incurred. Theoretically many wonderful stage scenes may be all right, but the little trial stage prevents all failures and fiascos so far as the mere scenery is concerned. Of course, after this point is reached – the test on the trial stage – nothing remains but the putting of the scenes into the proper shape for the public. Time is the principal factor in this, and the more scenes and the more full of mechanical contrivance they are the longer it takes, Mr. Young has been most fortunate in overcoming the difficulties which put the mere spectacular plays beyond the abilities of many scenic artists. In “Under the Poplar Star,” for nicety of construction and naturalness of action, Mr. Young’s iceberg scene has seldom been equaled, and in all of his work there is the same evidence of thorough art, combined with a broad grasp of mechanical detail.
To the layman, scenic painting is somewhat of a mystery, and if he gives any thought to it at all it is doubtful if he realizes the high order of artistic ability which one must possess in order to faithfully deploy upon mammoth stage canvases the scenes which reflect the spirit of the play. Not only has one got to be an artist to begin with, but he must be a perfect jack-at-all trades in order to transfer his preliminary small sketch to a back drop measuring sometimes more than 100×40 feet; in the main, the small pattern picture is ruled off into squares, each of which is consecutively numbered. Similar squares, but on a much larger scale are then drawn upon the great canvas and the sketch is then “blocked in” square for square and number by number. As long as four months is needed on some of the more pretentious scenes, though about six weeks is the average for an ordinary scene. To enumerate the plays for which Mr. Young has painted scenes is no easy task, but among them may be mentioned, “The Highwayman,” “On the Bowery,” “Power of the Press,” “In Old Kentucky,” “Cumberland ’61,” “The Player,” “Pousee Café,” “Woman in Black,” “Under the City Lamps,” “Le Voyage de Susette,” “The Diamond Breaker,” “Monongahela,” “Trip to the Moon,” “Naval Cadet,” “Roaring Dick,” “La Falotte,” “Fallen Among Thieves,” “Polar Star,” “For the Crown,” “Lion Tamer,” “Across the Potomac,” “Power of Gold,” “Wang,” “Hamlet,” “Sidewalks of New York,” In addition, Mr. Young has painted many of the best drop curtains in the country, and as a water color artist he stands in the foremost rank. Nearly every exhibition of note is contributed to by him, and his work command a high price among discriminating purchasers.”
Young lived the remainder of his life in New York, eventually retiring from scenic art, but never giving up painting. Youngs’ obituary was brief, and simply stated: “JOHN H. YOUNG – In North Pelham, N.Y., 86; retired New York scenic artist; designed stage sets for shows managed by Florenz Ziegfied, David Belasco, Earl Carroll, George White and the Harrises.” (News Journal, Wilmington, Delaware, 5 Jan 1944. Page 13).
In 1924 Thomas G. Moses wrote, “Some small work has filled in very nicely. We secured the contract for my old hometown theatre.” Moses was referring to the Illini Theatre in Sterling, Illinois. The 1,200-seat venue was a combination house, built by George Greenough and W. A. Weeks. Moses & Megan delivered both fabric draperies and painted curtains, each now considered necessary for venues featuring both live entertainment and film. This project was secured and completed while Moses and Fred R. Megan were waiting to purchase the Sosman & Landis name.
From the “Sterling Daily Gazette,” 10 March 1924.
On March 19, 1924, The “Sterling Daily Gazette” described the stage of the new theater. The article reported, “The stage, 28 feet deep and 52 feet wide, an arch opening which is 30 feet wide. The stage is equipped with appropriate drops to harmonize with the color and decorative scheme of the theater. The asbestos curtain is plain but for the letter “L.” Back of that are beautiful tobacco brown velour drapes which operate on tracks so that they may be gathered back in drape effect. Furnishing an outline setting for the silver picture screen is a lavender and gold drape of sateen. An advertising olio curtain, a wood scene and the usual interior and exterior boarders are included in the stage drops. All of the curtains were designed and furnished by Tom Moses of the firm Moses and Megan. Mr. Moses is a former Sterling resident and has many friends among the older citizens.”
From the “Sterling Daly Gazette,” 10 March 1924.
After a brief nod to the scenic elements, the article described the new “beautiful lighting effects” at the Illini Theatre. The article continued, “The lighting effects comprise a tribute to the highest genius of electrical science. It is doubtful if Fairyland with its pale, delicate hues – the pinks and purples, the reds and yawning yellows, balmy blues and gentle greens of the most resplendent imaginative array – could be more adequately illuminated to reveal its hidden charm. An ingenious system of lighting operated by a new type of remote-controlled switchboard and cleverly adjusted dimmers, whose levers may be operated with piano touch, is the source of the subtle brilliance in the reflector boxes under the organ screen on both sides of the proscenium arch and throughout the auditorium. The seven primal colors of the rainbow may be blended and diffused by this artful scheme to suit the whims of the picture upon the screen, with unerring faithfulness to plot suggestion. There can be pink dawns, golden noons and purple twilights, bleak breaks-o’-day, cheerless noontimes and drab sunfalls, sombre nights shot with silvery moonlight; yellow hazes simmering in the summer in the summer sun; mountain blues and grey flecked with snowy whites, the vital greens of meadow and hillside, the pinks of rose and the red glows of pulsating life whichever the theme of the picture suggests.”
From the “Sterling Daily Gazette,” 12 June 1924, page 2.From the “Sterling Daily Gazette,” 24 May 1924, page 2.From the “Sterling Daily Gazette,” 10 June 1924, page 2.
My past few posts have explored the lives and careers of Charles L. Hoyland and William H. Lemle. Hoyland and Lemle were involved with the Allardt Advertising Co., Hoyland-Lemle Advertising Co., Lemle-Barrett Co., Charles L. Hoyland Co., William Lemle, Inc., and Lemle Studios in the 1920s. While completing preliminary research for each artist and their respective studios, I came across an interesting article about an illuminated curtain, one that the Hoyland-Lemle Advertising Co. delivered to the Majestic Theatre in Cedar Rapids, Iowa. It is worth mentioning before I return to the life and career of scenic artist Thomas G. Moses (1856-1934)
On May 18, 1923, the Cedar Rapid’s “Gazette” reported, “An illuminated curtain presenting a street scene has been added to the equipment of the Majestic theater. It is one of the latest developments in theatrical accessories and adds much to the effectiveness of the stage scenery. The curtain was installed today by H. L. Winckler of the Hoyland-Lemle company of Chicago, one of the largest curtain advertising companies in the country. The curtain is built so that the manipulation of lights it presents either a night scene or a day scene. An artistic coloring effects effect results when soft lights are turned on back of the curtains so that it appears as a panoramic view of the city at night. Many local business firms have reserved space on the curtain which provides an excellent background for their advertisements. The curtain will be shown for the first time Sunday when the Dixon Players open an engagement here.”
This is a translucent street scene with advertising spaces placed in the composition. The advertisements were incorporated into the architecture of buildings, street signs, walls, marquees, windows, etc. This also means that the ads were visible during the production, an appealing prospect for any merchant. In a way, it’s similar to a brand name product appearing in a television show or movie. Traditionally, advertising curtains were lowered at specific times during a production, coming in between scenes or acts. Ad spaces traditionally created a border around a central composition. They were also incorporated into the ornament of the surround. Over time, the number of ad spaces multiplied, greatly encroaching upon the central picture and reducing its dominance in the overall composition.
The “Gazette” article’s use of “illuminated” indicates translucent sections on the ad drop with backlighting. In other words, street lamps, windows, or stars in night sky would glow for the nighttime depiction. The street scene was a success.On June 2, 1923, the Gazette reported, “Last night was the first time the boys had seen the new illuminated curtain at the Majestic and when it was shown, they burst into a round of applause” (page 15).
I am attaching a few examples of similar deigns from the Twin City Scenic Co. collection at the University of Minnesota’s Performing Arts Archives. Each design could have incorporated translucent sections into the design, thus appearing illuminated.
I return to the life and times of Thomas G. Moses after a four-week break.
In 1922 Thomas G. Moses wrote, “… got a train for Davenport, Iowa. Some fine daylight ride. Met Lester Landis and we set our model up for the Scottish Rite Bodies. No chance to close for some time.” Work had started on the building during the spring of 1921 and was completed in the fall of 1923. The old Masonic temple that housed the Davenport Scottish Rite was located on the corner of Third and Main Streets, built in 1886.
Davenport Masonic Temple, home of the Davenport Scottish Rite until 1923.A picture of the old Masonic Temple in the “Daily Times,” Nov. 19, 1923.
Moses was representing Sosman & Landis Studio, whereas Toomey & Volland delivered the first Scottish Rite scenery to Davenport. In fact, a Toomey & Volland advertisement in “New Age Magazine,” listed the Davenport as one of sixteen Scottish Rites theaters using Toomey & Volland scenery by 1912.
By the spring of 1922, the foundation for the new Masonic Temple was completed, just in time for the Scottish Rite Reunion. There were nearly one-hundred candidates in the Cornerstone-Stone Class, named in recognition of the progress on the new temple. Six months later, the four-day fall reunion with the Zerubbabel Class was also very large. On Jan. 1, 1923, the membership strength of Zarephath consistory was 2,383. The building was dedicated during the fall reunion of 1923.
Moses wrote, “Made several trips to Davenport in hopes of getting the big contract of about $16,000.00, but we were too high.” It was a massive endeavor with scenery for two stages.
The main auditorium was located on the second floor. With a seating capacity of 2,700, it featured a pipe organ and motion picture booth. The main theater was not only intended for public entertainment but also Masonic ceremonial for the Ancient and Accepted Scottish Rite, Ancient Arabic Order of the Nobles of the Mystic Shrine and the Mystic Order of the Veiled Prophets of the Enchanted Realm (Grotto). There was also a smaller theater on the main floor, known as the Gothic Room. This secondary stage hosted ceremonials for the York Rite and Order of the Eastern Star.
Main auditorium in the Davenport Masonic Temple, 1923.Doric Lodge room in the Davenport Masonic Temple, 1923.Egyptian Lodge room in the Davenport Masonic Temple, 1923.
The new Masonic Temple was completed by the fall of 1923. When the building opened, the “Daily Times” announced, “Davenport’s new million-dollar Masonic temple is a monument to the faith and perseverance of a group of Davenport Masons who long ago conceived the idea of sheltering all of the local Masonic lodges and clubs in one large building. It has always been the hope of Davenport Masons that this city should eventually have one of the most beautiful temples in the state, representative of the prominent position occupied by Davenport in Iowa Masonry. More than 10 years ago progressive members of the various lodges began to study out plans whereby their ideal might be worked out, and October 1913, the first committees are said to have been named to consider the project and to report upon its possibilities. Strange enough, the earliest committees on the new temple project agreed upon the site at Seventh and Brady streets as one of the most ideal locations in the city for the new temple. Today the Masons are dedicating their new temple…The temple together with its site cost approximately $1,040,000 and this amount has been raised through subscription by the members of all the Masonic bodies of Davenport, in the form of stock in the New Masonic Temple association” (Nov. 19, 1923, page 9).
The Masonic Temple in Davenport, Iowa.
On Nov. 19, 1923, “The Daily Times” included a series of articles about the new building. Of the theater, the newspaper reported, “The new Masonic temple has the finest auditorium in the tri-cities and offers exceptional facilities for public concert work and other forms of entertainment. The auditorium is built in the amphitheater style and is illuminated by the largest indirect lighting fixture in the United States……As an auditorium devoted to music and the art of dancing, the Masonic temple will in a large measure take the place of Davenport’s lost ‘legitimate’ theater.”
From the “Daily Times,” Nov. 19, 1923.
William J. Klinck was manager for the main auditorium. Of the new theater, Klinck reported, “We have gone to a great deal of additional expense to equip the stage for practical show purposes. Of course, there are over a hundred sets of stuff for the Masonic work alone, but aside from this, we will be able to accommodate any stage attraction, no matter how large. We are not planning any theatrical attractions this season, but for next year I am trying to line up Al Jolson, the Passing Show, the Greenwich Village Follies, the Barrymores and many other high-class attractions. We will have nothing whatever to do with mediocre shows and will not even listen to any proposition that does not include the binging here of performers regarded as real stars.”
In 1921 Thomas G. Moses worked at Flagg’s studio in Los Angeles, California. Sosman & Landis rented the paint frames for Moses to finish a large project for an upcoming event.
From Flagg, the “Los Angeles Evening Express,” Feb 19, 1921, page 75.
Sosman & Landis was nearing the end of its existence by 1921. Even though Moses would soon purchase the firm’s name, it would never regain its former glory as a nationwide leader in theatrical manufacturing and supply. Sosman & Landis competitors continued to win projects by underbidding the Chicago firm; one project after another. The studio’s position as one of the largest scenic studios in the United States was rapidly slipping. By 1920 six employees left to start Service Studios, taking with them knowledge regarding the strengths and weaknesses of their former employer. In addition to their departure, many other scenic studios were run by former Sosman & Landis employees. Competitors used their intimate knowledge of Sosman & Landis to their advantage. All the while, Moses kept plugging along, hoping for a resurgence of work and continuing to set his sights on large Masonic contracts. He bet on the wrong horse.
Meanwhile, Moses still had to rely upon an existing network of scenic artists and studios. There is always an interesting balance between maintaining business alliances and being taken advantage of by your competitors. Such was the case between Sosman & Landis and Flagg Studios in 1921.
Edwin H. Flagg pictured in the “Los Angeles Evening Post-Record,” on Mar 12, 1919.
Edwin H. Flagg ran two scenic studios; one in Los Angeles and the other in San Francisco. In 1921 the firm advertised that “90% of all stage equipment on the coast was provided by their studio” (“Los Angeles Post-Record,” 10 August 1921, page 16). They marketed themselves as the largest scenic studio west of Chicago.
The theatre industry is fickle, often forgetting its visionaries or innovators associated with what may be perceived as passing fancies. Unless scenic artists or leading studios were written about in history books, they disappeared; future generations never even learned of their existence. The life and career of great individuals were lost as time passed, erased from all institutional knowledge. Such was the case with Edwin Harvey Flagg (1878-1927).
Flagg was at the top of his career when Moses rented his paint frames in 1921. At the age of forty-three years old, he was a theatre producer, movie producer, designer and artist, running two massive scenic studios in California. Both of Flagg’s studios would be destroyed between 1923 and 1924, an inconceivable loss. His lifetime of work simply went up in smoke within the course of a year and he never regained his footing. Only three years after this devastation, Flagg passed away in Hollywood on September 19, 1927. He was only 49 yrs. old at the time and his contributions were quickly, fading from memory. In short, his legacy was lost.
From the “Los Angeles Evening Express, 1921, Nov 10, page 16.
Flagg’s obituary provides only a glimpse into his life and career. On September 20, 1927, the “Los Angeles Times,” announced,
“Edwin H. Flagg Artist, Expires.
Edwin H. Flagg, scenic artist and president of the Edwin H. Flagg Scenic Company, died Monday afternoon at Hollywood Hospital following an illness of three months. He came here from Denver about eighteen years ago and built an extensive business. He made the scenery for some of the largest and most important theatrical productions and at one time produced scenic work for all the houses of the Pantages circuit of theaters. Flagg leaves his widow and a young son, besides Mrs. Genevieve Chain, a daughter, Mrs. Margaret Olinger and Mrs. Hattie Hyde, both of Denver, sisters, and J C. Flagg, a newspaper publisher of Baltimore, a brother, formerly of Los Angeles.The funeral and will be conducted in Los Angeles and arrangements will be announced later (page 18).
For the past week I have reconstructed the life and career of Flagg, as told in newspaper articles and historical records. In a very short period of time, Flagg created a national identity and studio that eclipsed many other firms across the country, including Sosman & Landis. Unlike some studio founders, Flagg was always looking towards the future and reinventing himself, peddling a popular product to the next generation of clients. He was continually adapting during a time of unprecedented change in the theatre industry. As fabric draperies increasingly replaced painted versions, he expanded his services to secure the best and most unique textiles available; suspending them and lighting them in unique ways. He embraced innovative technology and incorporated it into new stage systems. During WWI, many on his staff worked for the newly developed camouflage trade, thus securing additional work as other projects diminished. Flagg Studios dominated new theatre construction immediately after WWI, always keeping an eye out for other projects on the horizon.
Flagg’s studios did camouflage work during WWI. From the “Los Angeles Times,” Sept 2, 1917.
The story of Flagg becomes symbolic of many scenic artists, those born the generation after Thomas G. Moses. His generation had to adapt to the ever-changing times, in many ways much more so than the generations of scenic artists before him. He was born during a unique period in American theatre. Flagg was not paralyzed by the “before-and-after” mindset, the same that plagued Moses and many of his colleagues. Flagg represented of an ever-evolving artistic mindset, constantly adapting to new demands in popular entertainment and figuring out how to make even more money.
Flagg was born on June 29, 1879 in Point Edward, Ontario, Canada. He emigrated to the United States in 1891 at the age of twelve years old. Beginning his career as a scenic artist, Flagg soon moved into theatre management. By 1897, he was listed a manager in an advertisement for “Bridget O’Brien, Esq.” at the Lyceum Theatre in Salt Lake City (Salt Lake Herald, 5 May 1897, page 4). Not much is known of his early career at this time, but he primarily remained in the Chicago area. Newspaper articles until 1904 would note Flagg as a Chicago artist.
Management – Edwin H. Flagg. From the “Salt Lake Herald,” 5 May 1897, page 4.
Flagg’s early history is difficult to decipher at best. On Jan 11, 1899 Flagg married his first wife, Harriet Myrtle Shriner (1878-1976) in McDonough, Illinois. That same year the couple moved west to Colorado and celebrated the birth of Harriet “Genevieve” Flagg, born in Denver on October 12, 1899. Despite their move to Denver, Flagg was still listed as a Chicago artist until he took up residency in Alexandria, Louisiana in 1903.
The earliest mention that I have located of Flagg as a scenic artist is from the “Pomona Daily Review,” in 1902. An article in the California newspaper reported, “Edwin H. Flagg had just completed his scenery painting at the Pomona Opera house, after a week of artistic work in scene painting and the production of clever advertisements. He left with his wife for Chicago this morning (“Pomona Daily Review,” 6 Sept 1902, page 2). His drop curtain, “The Harbor of Venice,” was described in detail; a Royal Palace towering above a river, with marketplace and gondolas below. While in Pomona, Flagg also painted a drop curtain for the Armory house (“Pomona Daily Review,” 4 Sept 1902, page 1).
Between 1903 and 1904, the “Edwin H. Flagg Company” was credited with delivering scenery and stage machinery to both the Old Concordia Theatre and New Park Casino in Little Rock, Arkansas. In 1903, the “Arkansas Democrat” reported that the Edwin H. Flagg Company was putting the finishing touches on the Old Concordia’s new stage equipment during a renovation (Arkansas Democrat, 12 Jan 1903, page 2). Flagg would return to Little Rock the following year and paint scenery for the New Park Casino (“Weekly Town Talk,” Alexandria, Louisiana, 21 May 1904, page 7). As with many scenic artists at this time, he ricocheted from one project to another across the country, constantly on the road
By the fall of 1903, however, he worked at Louisiana theatre that would forever alter the trajectory of his career. That October, Flagg painted scenery for the Rapides Theatre in Alexandria, Louisiana. He painted an asbestos drop and drop curtain, as well as a street scene, palace interior, kitchen interior, parlor, plain chamber, prison, garden and wood scene; standard fare for a small theatre at the time (Weekly Town Talk, Alexandria, 24 Oct 1903, page 12). Jack Auslet was stage manager for the Rapides Theatre, but by 1905 Flagg was listed as lessee and the manager of the venue; a position that he would retain until 1908 (The Town Talk, Alexandria, Louisiana, 15 March 1905, page 8).
Flagg settled in Alexandria, Louisiana between 1903 and 1904. He initially invested in a publishing company while continuing to paint. Alexandria’s News Daily listed Col. John C. Tipton as the editor and Mr. Edwin H. Flagg as the publisher for the new firm. (Weekly Town Talk, Alexandria, 28 1903, page 4).This is not really a surprise, as his brother, J. C. Flagg, also entered the publishing profession early on. At the time of Edwin’s passing in 1927, his brother was still noted as a newspaper publisher in Baltimore, Maryland. The News Publishing Company, Ltd. Of Alexandria was listed as a company specializing in the printing of newspapers, books and other works (Weekly Town Talk, Alexandria, 1 Dec 1903, page 1). This speaks to Flagg’s continued desire for diversification in work; an aspect of his career that would continue for the remainder of his life. This had also been the key for Sosman & Landis Studio from 1890 to 1900. Both Joseph Sosman and Perry Landis invested in a variety of endeavors, including lighting companies, stage machinery, touring productions. In a sense, Flagg picked up where Sosman & Landis left off, soon setting his sights on California. In hindsight, the future of Sosman & Landis was in California, but the company remained firmly planted in the Midwest. Even Moses recorded the pull, writing, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.”
Flagg, however, did make the plunge. In 1908, Alexandria’s “Town Talk” reported, “Mr. Edwin H. Flagg formerly manager of the Rapides Theatre, now of Los Angeles, Cal., was in the city last night and left this morning for New Orleans. (25 July 1908 page 6). Flagg moved to California and immediately invested in a scenic company, and then did the unthinkable; something that should have resulted in the end of his career.
In the spring of 1909, Flagg became a major shareholder in the newly incorporated Thompson Scenic company. He then immediately established a competing firm. In Thompson’s company was incorporated in April 1909. Shortly after incorporation, Flagg ceased active participation in the business and organized Edwin H. Flagg Scenic company. By Dec. 23, 1909, Thompson was ousted as president of the Thompson company, also establishing another firm – Charles F. Thompson Curtain Company. Both the Edwin H. Flagg Scenic Co. and Charles F. Thompson Curtain Co. were direct competitors with the Thompson Scenic Co., while still holding controlling interest in the firm (Los Angeles Herald, 26 Jan 1910, page 5).
A. J. Charlotte and J. D. Pitts sought an injunction against Edwin H. Flagg and Charles F. Thompson to prevent them from holding a meeting of the board of directors while engaged in completing businesses. However, within a year A. J. Charette was employed at the Edwin H. Flagg studio, representing the firm and even closing a drop curtain contract with the Pastime Theatre in New Mexico (“Albuquerque Journal,” 9 Feb 1911, page 6). In two years, the Edwin H. Flagg scenic company was one of the best-known scenic studios in the country, installing over $100,000 worth of theater scenery a year and employing a workforce of 30 artists.
Worked poured into Flagg’s studio and the company completed a series of contracts, decorating theaters and delivering stage scenery and stage fittings across the country. Projects included San Bernardino’s new playhouse, the Duval Theatre (Jacksonville, Florida), the Daisy Theatre (Montgomery, Alabama), the Pantages Theatre (Winnipeg and Oakland), Modesto Theatre (Modesto, California), Kinema Theatre (Los Angeles), Strand Theatre (Portland), New Billings Theatre (Montana), the Rialto (Phoenix), the Nile Theatre (Phoenix), the New California Theatre, and the New Yost Theatre. He also began working as a producer, establishing the Edwin H. Flagg Musical Company Stock organization at the Hip theatre, investing in a series productions elsewhere too.
Flagg completed projects and life at a rapid pace, even while driving. On October 18, 1913, the “Los Angeles Evening Post-Record” reported, “When Flagg isn’t manufacturing breath-snatching extravaganzas he’s doing some breath-snatching auto driving. As a result, he claims the record of having been pinched 57 times for speeding in 48 states” (page 12). Newspapers also reported that Flagg drove a Buick (Bakersfield Morning Echo, 22 May 1913, page 3). There is nothing quite like living life in the fastlane, until you encounter that first major bump in the road that results in a catastrophic accident.
The period of 1919 to 1921 was a highpoint for Flagg and his studios. He married his second wife, Patricia Manners. Manners was a musical comedy star and pupil of Mme. Aldrich (Los Angeles Times, 29 Dec. 1919, page 20). She was part of Flagg’s production “Did Doris Do It?” starring alongside Eddie O’Brien, Phillis Gordon and the Rader Bros. Manners also starred in Flagg’s “Too Many Wives” and “Maid of Waikiki” during 1919 (Long Beach Press, 7 Aug 1919, page 8). She was advertised as “the girl with an angel voice,” a stunning coloratura soprano. Flagg’s divorce from his first wife remains shrouded in mystery, but their daughter remained in the spotlight.
Patricia Manners. From the “Long Beach Press,” August 7, 1919, page 8.
In 1921 Miss Genevieve Flagg married James Delmore “Dell” Chain (1887-1963). Chain was a performer and one of the principals in the cast of “Sun-List.” (“The Town Talk,” Alexandria, 19 Oct 1921, page 1). Dell’s career continued to flourish in the 1920s, with frequent mention of his famous father-in-law. The same cannot be said for Flagg and his studios, as his life began to implode.
In 1923, Flagg’s Los Angeles studio was destroyed by fire. Two boys lit a small fire that grew, burning down an entire city block (“Sacramento Bee,” 14 July 1923, page 7). Flagg’s second studio went up in flames the next year, when a grass fire got out of control. Ironically, this second fire was intentionally set by city firemen (“Santa Cruz Evening News,” 4 June 1924 page 1). What’s the possibility of two unrelated and accidental fires destroying your life’s work? Three years after the second studio fire Flagg passed away. He was in the midst of rebuilding his enterprise but ran out of time.
Flagg Studio advertisement in 1922. From the “Los Angeles Evening Express,” Feb 27, page 71.
His work for the Rialto Theatre in Phoenix, Arizona, in 1921 deserves mention as it says a lot about Flagg and his business. For the 1921 project, newspapers reported that Flagg was given carte blanche with the venue(Arizona Republic, 2 July 1921, page 18). The article additionally noted that Flagg pulled his best, Ted Lange, from a Marcus Loew project at Seventh and Broadway, to work at the Rialto. The article reported, “Flagg took him off the job and sent him out to Arizona to get the Rialto up in shape so that his old-time pals “Rick” and “Harry” could say, “Boys, this is a Flagg House.” The article continued, “Edwin H. Flagg started life as a scenic artist so long ago…But Ed Flagg has not lagged behind all these years. He has kept abreast of the times, and 1921 sees him as the biggest decorator and stage expert in the west. Flagg even goes to Europe to show them how to equip stages. That’s the kind of man the R. and N. [J. E. Richards and H. L. Nace] firm brought in to add his bit to make a real theater…Edwin Flagg takes a lot of pride in what he has done for the success of the new house and the local firm is loud in their praise of him and his firm” (Arizona Republic, 2 July 1921, page 18).
From the “Arizona Republic, July 2, 1921, page 19.
For the past few days I have been sharing some articles pens by Henry C. Tryon in the 1880s. Simultaneously, I am writing about the life and career of Tryon’s one-time partner, Henry E. Burcky as part of “Travels of a Scenic Artist and Scholar” after identifying Burcky’s scenic art for the Tabor Opera House in Leadville, Colorado.
In 1884 Tryon returned to Chicago, accepting a position at Sosman & Landis scene painting studios. Previously, he had worked as the scenic artist for both the Tabor Grand Opera House in Denver and the Salt Lake City Theatre in Utah.
Clipping of Henry C. Tryon pasted in thescrapbook of Thomas G. Moses.
On Dec. 28, 1884, “Chicago Tribune” published an article submitted by Tryon about the scenic art industry (Chicago, Illinois, 28 Dec 1884, page 14). The headline reads, “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago.” The next two subheadings of the article state, “An Important Accessory of the Theatre Which Managers and Public Alike Disregard. Turning Out So-Called Art Work by Wholesale – Culture in Europe and America.” This is possibly the most insightful article that I have located to date, written by someone who was a Sosman & Landis employee. Tryon not only tales aim at scenic studios, but also examines the root of many problems in the industry.
Although it is quite long, this 1884 article is well worth reading. Here’s Tryon’s article in its entirety:
“Are audiences when viewing a stage picture, distant 100 feet or so from their seats, aware of the immense difficulties under which the artist labored when painting it? Are they aware that he was compelled to stand within three or at most four feet from his canvas and unable to see more than a few square yards at a time? Do they realize the accurate knowledge of drawing, composition, perspective, and color required to enable hi under such circumstances to produce and effect which will be realism to them? The artist must carry in his mind’s eye the completed scene as it will appear from the auditorium, and make no error in the relative proportions and harmonies of the different piece which compose the set and which are placed on his frame one or two at a time to be painted. The theatrical and artistic character of theatres is especially governed by the stage appointments, Beauty of scenery is the most interesting and attractive kind of theatrical decoration.
No richness of auditorium will compensate for its absence.
The qualities required of a first-class scenic artist are of a much higher order than is generally supposed, and many technical difficulties are to be overcome before he can produce any brilliant effect whatsoever. One of the chief difficulties arises from the fact that his colors “dry out” several shades lighter than when they are applied. (Moisten a piece of wall paper in a room and the difference in color will illustrate this difficulty.) The artist is compelled to paint with one color while thinking of another.
Then the effect of a night light is a serious drawback. Everybody must have noticed that some colors are heightened, and others dimmed be being brought under the yellow gaslight. The scene-painter working in the broad glare of day must consider with every mark he makes the effect of this gaslight on his color. A brilliant effect by daylight may under an artificial light be entirely destroyed, and also the reverse is true; but the scene-painter must not depend upon accident in the matter.
DEAD COLORS.
Stage scenery and drop curtains are never painted in oil colors. As the effect of realism is to be attained, all glare must be avoided. The artist is limited to the use of dead color and must get his brilliant effects by skillful harmonies and combination.
Scenery then, being painted with water colors, the danger from fire is much less than s popularly supposed. The canvas is much less combustible than it was before being painted. Scene painted on both sides are almost fireproof.
The scene-painter seldom has leisure to do work at his best, and has neither time nor opportunity to correct his errors. When a picture is painted in an artist’s studio, before being finally finished and exhibited the artist will see where a change here and there will enhance the value of his painting, and he can perfect it. The scene=painter is (of necessity) denied this advantage, and his first chance to even see his completed work properly set and lighted is when he is one of the audience.
The result of seeing his work as he proceeds with the eyes of the audience is that, as he acquires knowledge, experience, and consequent skill, he gradually gets to using larger brushes, so that he is enabled, with the roughest and apparently most reckless “swashes” of the calcimining brush, to produce effects as soft, tender, and full of appropriate meaning as is done on smaller surfaces by many landscape painters.
The popular impression is that because scenes are thus painted with broad, bold, rough marks it is scarcely more than a grade or so advanced beyond mechanical work; but really it is this which makes it indisputably art and not mechanical skill.
In scene painting as in any other art, it is only the novice who takes the life out of his work by petty, contemptible smoothing down with small brushes. “Picture are made to be seen, not smelled,” said Reynolds. In decorative painting mechanical finish is the important requisite, but in scene painting this is no more an excellence than is mechanical finish in any other art.
METHODS.
The “modus operandi” of designing, painting, and arranging a set of scenery for the stage is about as follows: A descriptive “scene plot” is sent to the artist, locating the position of such portions of the scene as will be necessary to or in harmony with the “business” of the play and of the dramatic people. This plot also states the piece and period for which the scene is to be painted. The artist is not aided in his composition by the plot, but he is limited by it, the scenery, of course, being an accessory to the play and the acting. The “scene-plots” being in the artist’s hands he proceeds to study out the entire picture as it will appear when set before the audience, making a rough charcoal drawing as he thinks and composes. When his ideas have been condensed into form, he makes a cardboard model to a scale of such pieces as are required, ending his work with the “set pieces,” which were made while his work was progressing on the large canvases. His assistants having “primed” the canvas with a coating of “size” water and glue, and this being dry, he sketches in his work roughly with charcoal in a large porte crayon fastened to a large bamboo fish-pole. Having satisfactorily located the leading lines of his drawing, he corrects and gives it character with ink-marks, using a small brush. (These ink-marks will show though his color just enough so that he will not lose his drawing.” He is now ready to paint. His colors are in water pails and in paint-pots, besides which he has a palet board – a table on wheels – about eight or nine feet long and three feet wide, painted with white oil-color, and the surface polished like glass. Along one side of this palet are boxes about five inches wide for different crude colors as they come from the store. With the colors already mixed and varied by such as he wishes to get from the palet he lays in the general tone and color of his scene. This dries almost as fast as he applies it – if the weather be not too cold or damp – so that he can soon, by the assertion of culminating lights and shadows, give character to his work (before somewhat chaotic), and also make his effects of color more brilliant and his pictures more spirited.
The different portions which make up the scene having been made and painted, they are the night of the performance set on the stage and the gaslights arranged under the direction of the artist, and this arrangement is carried out thereafter by the stage carpenter under the direction of the stage manager. This is the way it is done in such theatres as the Union Square, Wallack’s, and Daly’s in New York, and the Boston Museum and Boston Theatre.
In Chicago, of the painter’s work be well done, the management is praised and artist’s individually overlooked, just as if the keeper of a picture gallery were given credit for the canvases displayed.
PICTURES.
The means employed by the masters in landscape-painting are similar to those of the best scene-painters, and it is only great artists – picture-painters are here spoken of – whose technique bears a resemblance to scene-painting. The nearer a theatrical scene is like a correct and beautiful picture the more artistic and meritorious is the scene. Much of the knowledge that scene-painters lack could be supplied them by studio artists, and studio artists could obtain from scene-painters knowledge of means to improve their own “technique” that of the best scene-painting being the best possible for their own pictures.
With their ideality in composition and boldness and facility in execution and expression, the scenic artist needs only closer study of the outdoor nature to enable him to fully demonstrate his ability to successfully compete in all respects on his immense surface, with the productions of our best landscape artists on their smaller canvases.
The method used in Continental Europe of this making up a scene with arches,” “drops” and “set pieces” is one important cause of the nobility and beauty of the spectacular scenes which have been imported here from time to time. These effects of grandeur-produced by means the most simple and natural 0 have also been shown at the operatic and dramatic festivals in Cincinnati by American artists.
In an artistic sense “flats” which run in grooved across the stage are an abomination. They require an immense width of stage to run in, and narrow the scenery to small dimensions. For instance, in one of the theatre here the “flats” are twenty feet high and twenty-eight feet wide, while the “drops” are thirty feet high and fifty feet wide, so that the full width of the stage and the height of proscenium opening are only shown when the continental method is used. Even in interior sets the apparent height of rooms would not be too great when painted on a large drop if as much stage space as necessary were taken up with the ceiling in perspective, as is done in Europe. We already use their method of elaborate exteriors. The society drama is responsible for the continuance in theatres of “flats,” and the increased height to “rigging loft” or ceiling in modern theatres makes the further use of “flats” unnecessary. It will certainly be eventually abandoned if the influence of scenic artists prevails.
FOREIGN NOTES.
In Europe each scene-painter studies and practices exclusively certain branches in his art and is not required or expected to do any scenic work outside of the field which he has made his special study. One artist there paints landscapes, foliage and exteriors; another architecture, figures and drapery, and so on. In Paris, certain artists are exclusively engaged in designing “models” of scenes which other artists paint. The perfection which these artists reach is wonderful, and this, with the care and deliberate thought which they are allowed to give to a scenic production. Is, of course, followed by grand results. In America each scene-painter is expected to excel in all these specialties.
In New York here, four, or six artists are engaged on the scenery for one play, and each painter has his own scene, for which he has to receive praise or blame.
In Chicago one scene painter is required to paint all the scenery for a play in less than a week, and when he has longer time the amount of work called for is so much greater proportionately that he must force himself to do it with too great speed and with too little thought to do him justice and his ability anything like justice.
The discerning public of Chicago perceive the scenery is not prepared for them with the same care and elaboration that they were accustomed to see exhibited in theatres a few years ago. They feel that something is amiss, but wat it is they can only surmise.
LOCAL DRAWBACKS.
The obstacles to adequate scenic mounting of plays here are numerous, but none of them are insurmountable. The “run” of pieces is brief, managers of combinations are negligent about sending their scene plots in time for proper preparation, and sharing terms will not always justify the local manager in incurring expense, experience having taught him that there is not sufficient additional patronage to repay him. The attention of the public is entirely engrossed by the dramatic features, so that very little attention is directed to the scenery. The management is not criticized by the press for lack of care in this direction, except spasmodically, and consequently the public, who are influenced by the press, take less notice of scenery here than they do in some other cities, notably the East, and in San Francisco, where the scenic artist upon producing genuine art work finds it recognized by the public and his individuality as fully stablished as is that if a favorite actor, The careful and excellent system of stage management of leading Eastern theatres is not exercised here, all attention being given to the auditorium end to the business policy of the house. Theatres here do not have stage managers, and although the artist – theoretically – has absolute control of every feature that has an influence on his scene, practically the stage-carpenters, property-men and managers of combination set things according to their own ideas. The artist is rarely consulted in the matter. His opinions of the fitness and harmony of things from an artistic standpoint are too esthetic for the practical (?) ideas of those who have the handling of productions.
These scenery for the regular theatres is constantly being changed, and much of the work done is only retained during the run of the play for which it was painted, but in the provincial towns, where no artist is regularly employed, the house being once “stocked,” the same scenery is seen over and over again by the audience for six or eight years, until they grow weary of even artistic work long before it is worn out, and scenery which is cheap becomes absolutely disgusting even to those unlearned in art.
Cheap art is valueless, but is in altogether too great demand in the provincial cities in this country. One man is not as good as another in science, literature or art. A picture by Meisonnier will sell for $50,000. Because John Smith or Peter Jones paints a similar subject and use as much or more paints, it is not considered a logical reason why the works of Smith or Jones are equal to those of Meissonnier. This is self-evident, and a little thought would make it self-evident that the same idea applies as well to scene painters.
SCENE FACTORIES.
It is known to those interested in such matters that an opera-house or a public hall is being erected, and at the proper time applications are made for the contract for furnishing the scenery. Competent scenic artists are too modest and reticent in speaking of their abilities, while competing for “outside” work. The greater their abilities and reputations as artists the less are their chances of success, outside of the regular theatres. They erroneously suppose that an engagement in a first-class theatre is sufficient evidence of their capabilities, but this goes for little with nontheatrical people who construct theatres. With them the cheapest man or the shrewdest businessman has the best chance.
Artists rarely possess business talent, but it would seem that a business man engaging one would understand that it is art ability he should employ to do art work.
The agent of a scene-factory makes his bid and his figures are so much lower than those of the capable artist that he usually secures the contract, The competing artists have based their bids in their intentions of producing genuine art work, while the successful bidder has no such idea.
The proprietors of the “factory” known nothing about art and care less. They know nothing about the requirements of a theatre, as they have never had any experience in one. They, however, succeed in obtaining the contract, and the agent having taken the various measurements, goes back to the factory, where the work is all done, to have the stuff rushed out as fast as possible.
Yet these establishments employ some really capable artists, who hate their work and despise themselves for being compelled to do it. The methods are such as effectually to crush out all their art feelings, and they themselves have nicknamed the place in which they work, “the slaughterhouse.” All these methods are ruinous to a noble art.
Scenery should always be painted in the theatre in which it is used. The conditions vary so much in different houses than an intelligent knowledge of them should be ever present in the mind of the artist who is engaged upon the scenery for each. The proprietor should select an artist who is known to be competent by theatre men, one whom they themselves would employ. He should be paid enough money to warrant him cheerfully giving all the time and thought necessary to produce the best work in his power, and after having made his contract he will forget all other interests except his purely artistic ones. This will advance him as an artist. He has a reputation to gain or lose; his pride is stimulated to the advantage of his employer, and the results are sure to be bountiful in satisfaction to both parties, and consequently to the advantage of the community.
These factories are not recognized in any way by Chicago managers, but so successful have they been in driving legitimate scenic artists from the provincial field that their owners openly boast that in a few years they will be supplying all the scenic requirements to our city theatres. How do the play-going public like the prospect?
The solution of the question, “How can scenery be produced as elegantly here as possible with the means available?” sums itself up simply in the employ of more artists, absolute authority of those artists in their own domain, with the burden of responsibility attached, greater expenditure of money by the managers for material to paint on, and careful, critical, and discriminating notice in detail by the public press.
PROGRESS OF CULTURE.
The advance of ideas among scene-painters in this country has kept pace with the general advance in art. What would have been regarded as “high art” a generation ago would hardly be tolerated now. Scene-painting is now studied, thought of, and handled as an art. All good artists have their distinct characteristics, each painting according to his individual nature and feeling.
The advance of steel-engraving in America far beyond that reached in Europe was the result of the demand for it, caused by the multiplicity of the “wildcat” banks and stock enterprises. The absorbing interest of the whole people in pictorial reproductions of incidents of the War was probably the main cause of the advance in wood-engraving, which has also reached its highest production here. Theatrical posters and lithographs are now works of art, as are also the labels upon the wares of merchants. Demands upon art ability have always been fully supplied by the talent of Americans. Business houses, banks, and public buildings are now expensively and tastefully decorated. The general art education has advanced and is still advancing with strides. Auditoriums of theatres are elegantly and artistically decorated. One step remains – the only one. The public will demand, recognize, and appreciate the highest art excellence behind the prosceniums of the theatres. Managers and artists must then do their best, and the result will be increased attraction of the theatres and an influence from them which will elevate the general tone.
Yesterday
I resumed “Tales from a Scenic Artist and Scholar” after a short break. Although
I returned to the year 1921, an 1884 article prompted me to revisit a friend
and colleague of Thomas G. Moses – Henry C. Tryon. This is just one example of the
many rabbit holes I get sucked into while doing research. But I have no
deadline and can enjoy these sidetracks.
Moses
first worked with Tryon at Sosman & Landis in 1884, writing “Henry C. Tryon
came to the studio to work. He enthused
Young and I more than anyone ever had.
He was a pupil of Thos. Moran and James and William Hart and was very
clever, but awfully eccentric.” In 1884, Tryon left two scenic art positions;
one as scenic artist at the Tabor Grand Opera House in Denver, Colorado, and
the other as scenic artist for the Salt Lake Theatre in Utah. He returned to
Chicago, joining the Sosman & Landis staff for a year.
Now
I am in the midst of writing historical analyses, conditions reports,
replacement appraisals and collections care programs for the historic scenery
collections at the Tabor Opera House in Leadville, Colorado. Some of the
scenery is signed and dated, including jungle wings painted by Henry E. Burckey
in 1890. Burckey and Tryon partnered in the early 1880s and then both worked at
the Tabor Grand in Denver. Burckey was
still working at both the Tabor Opera House in Leadville and the Tabor Grand
Opera House in Denver in 1890. You can find more information about Burckey at www.drypigment.net (keyword search “Tabor
Opera House” or “Burckey”).
So,
I am killing two birds with one stone this week, but there are lots of moving parts.
While researching Burckey and Tryon for the Tabor project, I came across a series
of article written by Tryon in the 1880s. He describes the scene painting
profession, and I am compelled to share them as part of the “Tales of a Scenic
Artist and Scholar” storyline.
Visual reference for article: dry forms of pigment and hide glue used by nineteenth-century scenic artists.
Here
is the first one published in the “Chicago Tribune” on December 19, 1880:
SCENE PAINTING.
Some hints to the Public Regarding a Special Department
of the Painters’ Art Not Well Understood.
Chicago, Dec.8.-
Theatrical scenery is painted in “distemper,” dry color
being mixed with a vehicle consisting of glue and water, much the same as is
used with whiting for calcimining rooms. Stage scenery and drop-curtains are
never painted in oil colors. While the color is less brilliant than when mixed
with oils (the artist being compelled to get his brilliancy by skillful
arrangement of dull color), the glare of varnish and oil is avoided which would
destroy the realism of the scene. Scenery, then, being painted in watercolors,
the danger from fire is much less than popularly supposed; in fact, when it
does take fire it burns very slowly for a long time. The canvas is much less
combustible than before being painted. Scenes painted on both sides are almost
fireproof.
The qualities required of a first-class scenic-artist are of
a much higher order than is generally supposed, and the technical difficulties
to be overcome to produce any brilliant effect whatever for the stage
are so numerous that, with a thorough knowledge of drawing, color, and
composition, and the clearest possible idea on the part of the artist of what
he desires to do, he will fail utterly, without great practice, to convey to
the audience the effect that he may have already, in his brain, arranged in the
clearest and most tangible shape. The artist in oil colors can produce any
effect which his mind conceives. The scenic-artist must first overcome many
very difficult obstacles. One of the chief difficulties arises from the fact
that the colors dry out several shades lighter that they are when applied.
(Throw a little water on the floor and the difference in color will illustrate
this difficulty). The artist is compelled to paint with one color while
thinking of another. He must think with every brush mark how the colors will
“dry put.” The difficulty in doing this can be imagined when it is considered
that all exterior scenes are painted from a pallet making a constant change of
thousands of different tints. Then the effect of a night light is a serious
drawback. Whoever has observed the changes in the colors of fabrics from the
light of day to the artificial light of gas must have noticed how some colors
are heightened and others dimmed by being brought under the yellow gaslight.
The scene-painter working in the broad glare of day must
consider with every brush mark the effect of this gaslight on his color. A
brilliant effect by daylight may, under an artificial light, be entirely
destroyed, and also the reverse holds true; but must not be accident with the
scenic-artist.
Do the audience in the theatre ever realize the immense
difficulty of painting a scene while within three or at most four feet from the
canvas, to produce the proper effect at a distance of from fifty to 150 feet, the
artist being compelled to see his work in his mind’s eye this distance, when
his first opportunity to dee his entire work is after it has been
finished and on stage? The result of constant practice in this direction is,
that, as he acquires knowledge, and consequently power and decision, he
gradually choses larger brushes, until the skillful artist is enabled with the
roughest and apparently most hideous “swashes” of the calcimining brush to
produce effect as soft, tender, and full of appropriate meaning as is done by the most labored,
painstaking care on smaller surfaces by many landscape painters. In
scene-painting, as in all other art, it is only the novice who takes the life
out of his work by petty, contemptible smoothing down with small brushes. “Pictures
are made to be seen, not smelled,” said Reynolds. In decorative painting
mechanical finish is the important requisite, but in scene-painting it is no
more an excellence than is mechanical finish in any other art.
The popular impression is that because scenes are thus
painted with broad, bold, rough marks it is scarcely more than a grade or so
advanced beyond mere decorative painting; but think for a moment of the
knowledge of drawing, perspective, composition, and color required to enable
the artist to produce on these large surfaces a scene which to the audience
must be realism, when he can only see at any time a limited portion (say ten
feet square) of his work – on a “drop” say thirty feet by fifty – while working
within three feet of his canvas, and to be seen across a large theatre, The
fact is, that a scenic artist is able to paint a small picture with much
greater ease and readiness that he can with his theatrical work, because he has
the knowledge to paint the small subject without very great obstacles attending
his work on the large canvas.
Another thing to be considered in this connection: The
scenic-artist does not always – in fact, seldom- have the leisure to do work at
his best. He has neither the time nor opportunity to correct his work. When a
picture is finished in an artist’s studio the artist sees where a change here
and there will enhance the value of his work, and can perfect it. The
scene-painter must call his work “a go” and start on the next scene. “We press
your hat while you wait,” is the sentiment. The manager comes to the artist,
and says we want a street – Paris, 1600 – to-night. He must have it then,
though the heavens fall. “Time, tide, and managers wait for no man.” Many times
in the experiences of all scenic-painters are they obliged to work thirty-six
hours at a stretch,, their meals brought to them, and stopping for nothing
else, each of those hours working against time, with no sentiment other than to
get through, get out of the theatre and to the rest that exhausted nature
loudly demands. Still he must be criticized on this very work. The audience
doesn’t know anything about his having worked all day, and all night, and all
day.
The great scenic-artists of the world are great artists, and
so recognized in the world of art. Poor dead Minard Lewis was the very Prince of
scenic artists, and his genius was the wonder and admiration of every artist of
every department of art in New York. Yet the theatre-going public who for
thirty or forty years had admired and applauded his beautiful work did not know
or care to know his name.
The position of scenic-artist in a first-class theatre is
one of great responsibility, which is properly recognized “behind the curtain
line,” but the general public has no interest in the personality of the scenic
artist, supposing in a vague sort of way that the manager paints the
scenes. It is no unusual thing for scenery to be lavishly commended by the
press and public, the manager receiving the press and praise for his
“enterprise, taste and liberality,” while the artist whose brain and hand has
created it all is never mentioned or even thought of. Scene-painters, like all
other artists, have their ambitions, and are grateful for proper and honest
appreciation. Much injustice has been done to them (perhaps through
thoughtlessness) by the public press and this is strongly felt by every
scenic-artist. If the newspaper dramatic critics would take the same interest
in the scene-painters themselves that they do with other individual members of
the theatrical business and that they do with other artists, and would find out
under what adverse circumstances they generally labor, their sense of justice
would cause them to be more discrimination in their reports. If a theatre
during an extended period is uniformly negligent in the matter of scenic
accessories, it would be but simple justice for the public critics to inquire
whether it is due to the incompetency of the scenic-artist or to the economy of
the manager. The truth in this matter can always be easily discovered, and when
blame is laid, as it frequently is, it should not be done in loose and
indiscriminate manner which injures most the artist who is frequently not to
blame. If the dramatic critics would visit and become acquainted with the
scenic-artists they would be welcomed, and would perhaps gain in the interest
of dramatic art and progress some ideas from that unknown and unthought of
portion of the theatre 9the paint gallery) that would be a revelation to them.
The sooner the press and public recognize the scene-painters as artists and
deal with them individually as with other artists – commending or condemn them
on their own merits, – the better it will be for the elevation of scenic art.
