Panorama – Drypigment.net

Travels of a Scenic Artist and Scholar: Harry Dressel Scenery Collection at the Theatre Museum of Repertoire Americana.

The oldest scenery collection at the Theatre Museum of Repertoire Americana was painted by Harry Dressel in 1875.

Two shutter covers painted by Harry Dressel in 1875 for Steyer’s Opera House, Decorah, Iowa. They are now part of the Harry Dressel Collection at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SL shutter cover, painted by Harry Dressel in 1875.

Painted detail from SR shutter cover, painted by Harry Dressel in 1875.

I examined two cottage shutter covers during my visit last month. They were once part of a stock scenery collection at Steyer’s Opera House in Decorah, Iowa. The scenery was donated through the efforts of Dr. George D. Glenn and Richard Poole, authors of “The Opera Houses of Iowa.” Theatre Museum records indicate that some of the Steyer’s Opera House scenery was placed on display in 2001. When I visited the museum in 2017, the cottage shutters were still on display.

SL shutter cover on display at the Theatre Museum in 2017.

In 1989, Glenn even made a 12 ½ minute documentary about the extant scenery, lighting, and stage machinery, entitled “Steyer’s Opera House.” Here is the YouTube link to the 1989 video: https://youtu.be/r_2l6pGmp3A?si=31RV5ShRr2lSka_w

In 1989 the third-floor opera house was an 1875 time-capsule of stage technology. At the time, it was possibly the oldest extant stage boasting an original 1875 scenery and stage machinery installation in North America.

Image from George Glenn’s 1989 movie that shows the state of Steyer’s Opera House when he first visited the stage.

As is the case with many historic stages, new building owners, investors, and other stakeholders fail to understand the significance of what they have, especially stage artifacts. Fortunately, some of the scenes were transported to the Theatre Museum.

I know of only one older scenic piece in North America – a front curtain painted by Russell Smith for the Thalian Hall in Wilmington, North Carolina (1858).

1858 Front curtain by Russell Smith on display in the Thalian Hall lobby in Wilmington, North Carolina in 2019.

Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.

Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.

To my knowledge, the Steyer’s Opera House contained the oldest collection of stage scenery, machinery, lighting equipment, “as delivered” until the 21^st century. It still signifies some of the the oldest examples of signed American scenic art.

Signature on the front of Steyer’s Opera House SR Cottage shutter.

The second oldest examples are 1888 wing-and-shutter scenery signed by Frank Cox for the Tabor Opera House in Leadville, Colorado. Amazingly, Dressel signed the front of the shutters. Cox signed the back.

Frank Cox signature. Tree profile at the Tabor Opera House, Leadville, Colorado.

The Theatre Museum’s Dressel collection signifies the oldest extant example of stock scenery delivered to an American opera house. In addition to age, the creator of Steyer’s Opera House scenery was internationally recognized as an extremely skilled scenic artist. Dressel’s scenic art made news from Toronto to New Orleans in the nineteenth century.

Here is the tale of Henry “Harry” Dressel.

Henry Dressel was the fifth child born to F. Ludwig “Louis” Dressel (1817-) and Sophie Schmidt (1820-1899) in Hanover, Germany. In 1858, the Dressel family boarded a ship in Bremen and sailed for America. On Oct. 22, 1858, they arrived in Philadelphia aboard the Brig Amazone. The ship’s manifest listing Ludwig Dressel (40 yrs. cooper), Sophie (38 yrs.), Marie (15 yrs.), Christian (13 yrs.), George (9 yrs.), William (7 ½ yrs.), Henry (6 yrs.), Louise (5 yrs.), and Adolph (3 mths.).

Ship’s manifest with the Dressel family’s arrival in Philadelphia. Oct. 22, 1858.

The family soon settled in Chicago where Louis Dressel listed his established trade as cooper in the City Directory. Although the family initially lived in a boarding house on Kinzie, they soon secured permanent lodging at 227 N. Franklin. Dressel transitioned from cooper to a rectifier for Theodore Kraefft. Kraefft who not only sold wines and liquors (77 S. Water St.) but also operated a distillery (329 N. Wells St.). Dressel remained with the firm for some time; accepting whatever job came his way, continuing with the firm as it transitioned from Kraefft & Co. to Kraefft, Roelle & Co.

In 1870, the Dressel family were still living at their home on N. Franklin. However, Louis and William were now operating a retail grocery store, Dressel & Son. Meanwhile, Harry Dressel was listed as a fresco painter, boarding at 298 N. Franklin.

While examining the 1870 Census report another name caught me eye – Fest. Living next door to 18 yrs. old Harry was the 19 yrs. old painter Oscar Fest. Fest was only a few months older than Dressel, having been born on Aug. 10, 1852, in Breslau, Germany. Fest and his parents had emigrated in 1853, five years before the Dressels.

In 1870, Fest was also living with his parents on N. Franklin. Both Harry Dressel and Oscar Fest started as decorative painters and later each became incredibly well-known scenic artists; Dressel in New Orleans and Fest in San Francisco. Both of their fathers had worked as coopers. It would have been quite unusual if the two families were not close. It would be uncommon for either Fest or Dressel to have apprenticed as painters after the age of 16. This means that their entrance into the painting profession occurred about 1867. Fest is even listed in the 1867 Chicago Directory a painter.

Both young men may have begun their artistic careers with Robert W. Hanington. Hanington was a wire shade and decorative artist who lived just up the street at 296 N. Franklin. Again, the first listing for Dressel as a fresco painter lists his residence as 298 N. Franklin.

North Franklin street was destroyed by the great fire of 1871. The Dressel family immediately rebuilt their home and continued to live in the area. After all, both their home and grocery business had been in North Franklin when flames swept through in 1871.

Just before the great Chicago Fire of 1871, Dressel began working as a scenic artist for the Globe Theater. Although he was listed in the 1872 Chicago Directory as a fresco painter, he was also listed as scenic artist for Chicago’s Globe Theatre that year.

His link to the Globe was advertised during the tour of Alderson’s Panorama that summer. Newspaper advertisements for the Chicago Fire Panorama listed four contributing artists for the 3,700 sq. ft. painting: one designer and three Chicago-based scenic artists:

Henry Cross of the Academy of Design

J. Howard Rogers, scenic artist of McVicker’s Theatre

Henry C. Tryon, scenic artist of Wood’s Museum

Henry Dressel, scenic artist of the Globe Theatre

I believe that Dressel first worked as an assistant to Rogers and Tryon at the Globe Theater when it opened in 1870. The Globe Theatre was initially referred to as the West Side Theatre, with Allen being the first proprietor and lessee of the place (The Chicago Evening Mail 31 Oct. 1870, p. 4). The great fire did not destroy the Globe Theatre, although it came close; crossing the river just a few blocks south. Despite many scenic artist’s losing their homes and employment, those at the Globe were fortunate. It is very likely that the Chicago Fire panorama was painted by Rogers, Tryon, and Dressel at the Globe Theatre.

Map showing the Globe Theatre in relation to the river and burned district.

On Nov. 21, 1870, the Chicago Tribune advertised the opening of “Allen’s Globe Theatre, Des Plaines Street, West side, between Washington and Madison Streets” (p. 4). The announcement credited the Globe’s new scenery and drop curtain to Messrs. James Howard Rogers, John M. Kauffman, and Henry C. Tryon. Kaufmann relocated to Cincinnati by 1874, where he continued working as a scenic artist at local theaters for the remainder of the 19^th century.

Portrait of Henry C. Tryon in 1886.

Of this grouping, Roger’s was the premiere artist of the group, with his scenic art solely mentioned in many articles. For example. On Nov. 22, 1870, the Chicago Tribune described, “The decorations of the auditorium are simple, but in great good taste, and the scenic artist, Mr. James Howard Rogers, has put forth his entire artistic skill in getting up the scenes, all of which are of real excellence. In the drop curtain Mr. Rogers has boldly departed from the eternal Lake of Como with its dreadfully Italian sky, etc.; and has drawn his inspiration from home. The picture represents the progress of civilization. It is a beautiful Western scene, composed of lake and mountains, a railroad train – the emblem of advancing civilization – crossing a bridge, and away to the westward, the Indian, with his bow and arrows, receding before it, and following his own setting sun. At the front of the curtain appears the inscription, “Westward the course of empire takes its flight” (p. 4). This article made it seem that Rogers painted everything by himself. Rogers was living in the city, however, as he was listed in the 1870 Chicago Directory: “Howard Rogers, scene painter, r. 34 Price pl.” The listing forgot to include the “J” in front of Howard Rogers.

Rogers maintained a close connection with the Globe, as his wife worked there in 1871. On Feb. 17, 1871, The Chicago Evening Mail announced, “Sick – Mrs. J. Howard Rogers, of Allen’s Globe Theatre, has for the last few days been extremely ill. Until yesterday, it was feared that she would not recover. She is better today” (p. 4).

It is important to remember that scenic art assistants were seldom credited in these theatrical endeavors. When both Tryon and Kauffman were credited, it was as legitimate contributors, not as assistants. Other articles solely credit Rogers as he boasted the biggest reputation at the time. Pot boys or scenic art assistants were never mentioned in metropolitan news.

D. R. Allen’s management of the Globe Theatre was short-lived, ending early in 1871. There were a series of mechanics’ liens against the Globe property, with Col. J. H. Wood listed as proprietor in 1872. On January 25, 1872, the Chicago Tribune even referred to the venue was called Wood’s Globe Theatre, after Colonel Wood’s Museum Company at the Globe (p. 4).

Rogers, Tryon, and Dressel painted Alderson’s Great Panorama of the Chicago fire early in 1872 so it could tour that summer. They worked from primary sketches by Academy of Design instructor, Henry C. Cross.

Chicago before the fire. Link to image: https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:1871_Chicago_view_before_the_Great_Conflagration.jpg

Photographs by George N. Barnard after the conflagration. https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:Attributed_to_George_N._Barnard_-_Untitled_(Chicago_after_the_Chicago_Fire)_-_Google_Art_Project.jpg

Their work immediately toured the country, accompanied with musical performances and descriptive recitations. By late July the panorama was exhibited at Piatt’s Music Hall in San Francisco. Several advertisements for the panorama were placed in Figaro. This newsletter referred to itself as “the organ of amusement….circulates in….All the Theatres and is Circulated Every Day in the Year Generally Throughout the City and on the Boats and Cars.” Figaro stated that its newsletter was “published every Day in the Year by J. P. Bogardus at 22 Merchant and 535 Washington Streets, Below Montgomery, San Francisco.”

Advertisement for Alderson’s Panorama in Figaro, 1871.

Another advertisement for Alderson’s Panorama in Figaro, 1871.

Although the digital scan of newsletter is quite poor, Figaro is a wealth of information about theatrical activities in San Francisco during the second half of 1872. Here is a link to those who may be interested: https://archive.org/stream/figarojulydec18700unse/figarojulydec18700unse_djvu.txt

The same advertisement was placed in Figaro announcements for several days. The article consistently reported,

“Panorama of the Great Chicago Fire.

Alderson’s Panorama of the Great Chicago Fire has arrived and will be exhibited in Piatt’s Hall on Friday evening next. This painting covers over thirty-seven hundred feet of canvas was executed from actuals views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry C. Tryon, scenic artist of Wood’s Museum; Henry Dreissel [sic.], scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House. The mechanical appointments are by the celebrated John Faust of Dearborn Theater and Opera House, all famous artists in their line. The panorama represents Chicago before the fire, the city in flames, and afterwards the ruins. Other sections present views of the old cemetery, with its scenes of suffering representations of the public buildings, printing offices, and water works of prominent places. Succeeding these, are views of the ruins of the churches, the exhibition closing with the ruins of the Masonic Temple by moonlight. A lady of Chicago will deliver a descriptive lecture, interspersed with appropriate ballads, anecdotes, and incidents. This approaches the anniversary of this dreadful event which took place October 8^th and 9^th, recalls the horrifying scenes to memory, and these will be found faithfully depicted in the great panorama. The process of admission have been fixed at the low rates of 50 cents and 25 cents, and on Sunday afternoon a matinee will be given at half prices.” (Daily Figaro, San Francisco, 31 July 1872, page 1). Some of the advertisements included a listing of various scenes:

“Chicago before the Fire; The Conflagration; Thousands of Houses in Flames; The Scenes of the Old Cemetery; The Ruins; Views of Principal Streets; Public Buildings, Printing Offices, etc.; Ruins of the Churches; Something About Mrs. O’Leary’s Cow; Music, Songs, Stories, Recitations; and Descriptive Lecture and Dramatic Ballad by a Lady of Chicago

Chicago” (Figaro 31 July 1872, p. 1).

One of many articles in Figaro describing the panorama in 1871.

Alderson’s panorama was one of many panorama’s depicting the tragedy that toured in the country at the time. Frank D. Skiff formed, Skiff & Co., to create another panorama of the Chicago Fire. The work was credited as “the work of scenic artist Frank D. Skiff, the well-known scenic artist” (Chicago Tribune 17 Dec 1871, p. 7).

Dressel’s early scenic art career mimics that of many during the early 1870s. Aspiring artists secured work as decorative painters. This employment brought them into director contact with other decorative artists who worked as scenic artists at theaters. In most cases, scenic artists were paid a higher salary, but the work was more sporadic.

Portrait of P. M. Almini

One example of an artist who bridged the decorative and scenic art worlds was Louis Malmsha. Malmsha not only worked for the decorative firm of Jevne & Almini (later known as P. M. Almini & Co.), but also worked at McVicker’s Theatre. Malmsha is the common thread between several scenic artists working in Chicago during the 1870s. For example, both Rogers and Tryon worked with Malmsha at McVicker’s in 1871. This is the year after Rogers and Tryon painted scenery for the Allen’s Globe Theater.

At this time, if a young artist showed promise, he was immediately brought into the theatrical fold. The demand for scenic art was greater than the supply of scenic artists.

Portrait of Thomas G. Moses in 1886.

Thomas G. Moses is another example of a young man who worked as Malmsha’s assistant in 1873, both at Almini’s and McVicker’s in 1873. Both Moses and Tryon ended up as Sosman & Landis Scenic Studio employees by the early 1880s.

When considering Dressel’s entry into the scenic art profession, his initial training was in Chicago before the Great Fire. The 1871 tragedy meant that many scenic artists left the city, as they were left without work. Many, such as Malmsha relocated to other metropolitan areas. There was a waiting period before new stages were constructed for popular entertainment. Others produced painted spectacles that toured, such as the Chicago Fire panoramas. Rogers, Tryon, and Dressel had worked together in the past, and therefore teamed up to paint Cross’ design.

Dressel was touring with the Tannehill Company at the beginning of 1872. He was listed as part of the company, as well at the scenic artist.

I need to provide some context for Mr. and Mrs. F. A. Tannehill concerning the time when Dressel joined their troupe. In 1872, they sporadically performed on stages along the eastern seaboard. Their young daughter, Birdie, even joined them on some occasions. On June 13, 1872, The Valley Virginian of Staunton, Virginia, reported:

“AMUSEMENTS. Mr. and Mrs. F. A. Tannehill, assisted by their infant daughter, “Birdie,” only five years old, will give one of their chaste, beautiful and intellectual PARLOR ENTERTAINMENTS, at the Town Hall, on Tuesday evening, June 18^th. They are well and favourably known and remembered by our citizens, as the leading members of the ‘Old Reliable Company’ when here last Winter. Those who desire to witness a legitimate performance, will be more compensated by attending (p. 3).

Birdie passed away in the spring of 1873.

On March 11, 1873, the “Deaths” section of the Staunton Spectator announced, “At 125, Simcoe Street, Toronto, Canada, on Monday, March 3^rd, little Birdie, daughter of Mr. and Mrs. F. A. Tannehill, aged 5 years and 6 months.

Farewell parents, lay me gently

In my little narrow bed.

Think of God who gave and took me;

Now I slumber with the dead,

F. S. M.” (p. 3).

Birdie died from Typhoid Fever in Toronto.

Less than a year later, tragedy struck again in Toronto. This is how I connected scenic artist Harry Dressel with the Tannehill company.

An announcement in The Hamilton Spectator on Feb. 8, 1874, announced:

“FIRE! FIRE! FIRE!

In consequence of the Royal Lyceum, Toronto, burning down, the Company will play a short season at St. James Hall, commencing Monday, Feb 9. The Troupe consisted of the following first-class Artists:

F. A. Tannehill, Manager, Chas. Webster, Wm. Fuller, Wm. Ford, Dick Fowler, Nellie Tannehill, Nellie Stanwood, Mrs. Bradshaw, H. B. Bell, Burton Adams, J. R. Masters, Dick Featherstone, Harry Booth, Harry Dressel, Virginia Buchanan.

Harry Dressel was also listed as scenic artist, with W. Fordham as stage conductor.

The following pieces will be put on stage with new scenery, properties and machinery:

Ticket of Leave Man

Streets of New York

Dora

Colleen Bawn

Pat’s Trouble

Under the Gaslight”

On January 31, 1874, The Hamilton Spectator reported, “The Theater was insured in different offices to the extent of about $12,000, and was owned by Mr. French, by whom it had lately been leased to Mr. Tannehill. This is the third time the building has been attacked by fire, and it has at last succumbed to its assailant. The origin of the fire has not been ascertained, but it is supposed that it commenced in the carpenter’s shop, which being stored with paint, wood, shavings and other flammable material, caused it to spread with such unaccountable rapidity” (p. 2).

I remain unsure as to when Dressel joined the Tannehill company, or how long he toured with the group. I have yet to locate any other articles mentioning Dressel’s scenic prior to the summer of 1875. That year, Harry became the scenic artist for the Varieties Theater in New Orleans, Louisiana. There is no doubt that his association with the Tannehills would have improved his chances in the region. Mr. Tannehill had made quite a name for himself in southern theaters after the Civil War, especially Memphis. Initially, Dressel was hired to both paint and retouch scenery.

On Oct. 31, 1875, The New Orleans Democrat reported, “Amusements. The Varieties Theater. – The amusement season at this favorite theater will be inaugurated to-morrow evening by the first appearance in this city of Grau and Chizzola’s admirable French Opera Bouffe Company in the late operatic novelty of Gorofle-Gizolla. The opera itself is spoken of a Lecocq’s greatest triumph, and the critics of the New York press have been lavish in their praises of its merit. During the summer the theater has been carefully renovated, and Mr. Harry Dressel, and eminent scenic artist, has been busily engaged for some time past in retouching old scenes and painting many entirely new ones, all of which are characterized by beauty of design and delicacy of touch, and color.” (p. 8).

After his initial work at the Varieties Theatre, Dressel headed north and painted stock scenery for Steyer’s Opera House in Decorah, Iowa. On Dec. 9, 1875, the Chicago Weekly Post and Mail published, “Special Correspondence of THE POST and Mail. Decorah, Iowa, Dec. 3” (p. 3). The article continued:

“Prominent among the improvements is the enlargement of the Steyer Opera House, with a general overhauling, such as reseating with chairs, enlarged gallery, costly and fine scenery (painted by Harry Dressel, formerly of your city), and with a capacity of about 1,100 persons. Rudolph’s Music Hall has also undergone a similar change. About ninety buildings have been erected, among them some fine business blocks and residences, at a cost of over $150,000. Amusements are thick, A panorama ‘busted’ here a few weeks ago, and the operators went back to their legitimate business, and Jo Steyer, of the Opera House, has a ‘show’ on his hands. Plunkett’s troupe played crowded houses for a week recently, presenting ‘Two Orphans.’ Decorah promises to be lively in the way of amusements this winter.”

“Two Orphans” was a popular production in 1875. It was also featured at the Varieties Theatre in New Orleans that year, with Dressel painting the scenes. On Dec. 2, 1875, the New Orleans Bulletin reported, “Mr. Harry Dressel, the able scenic artist of the theater, has been for a long-time preparing scenes especially for this play” (p. 8). On Dec. 4, 1875, The New Orleans Bulletin further elaborated on the production and Dressel’s scenic contribution:

Elegant Scenery.

“The Two Orphans” at the Varieties.

No matter what the intrinsic beauty of strength of a drama may be, it is in the power of the scenic artist of the theater to greatly make or mar the play as a popular production. No drama is so good that it can be entirely independent of scenic accessories, and upon the artist who creates the scene it devolves to fitly picture the playwright’s ideal of situation and locality. We were led to these reflections by the sight was of the elaborate and artistic scenery which seen Thursday evening at The Varieties Theater in the play of “Two Orphans.” We have rarely witnessed more exquisite productions of the artist’s pencil. The snow scene, in which the very excellent portion of the drama is produced, was one of the most charming and life-like it has even been our good fortune to see; the floor of the stage seemed covered with beautiful snow and had not lain upon it long enough to lose its soft appearance, and had just been there sufficient time to gain a silver shimmer, which made it exquisitely delicate and charmingly picturesque. The beautiful garden and the palace of Belair was almost like a fairy picture in its beauty, and yet not to fanciful to be real. The entire front of the magnificent palace beautifully illuminated; a large and elegant terrace, lighted by handsome chandeliers, and opening upon a lovely garden, presented and elegant scene rarely if ever equaled here on the stage. The picture of the noble’s mansion and the beggar’s hovel were alike truthful and appropriate. Aside from the intrinsic merit of the play, and it is full of admirable points, the scenery should be seen by every lover of the artistic and beautiful in our city; it affords a rare treat and should be seen by all. Harry Dressel, the artist of the theater, deserves the highest praise for his great success” (p. 1).

His scenic work for “Two Orphans” was still being heralded at the beginning of 1876. On Jan. 16, The New Orleans Bulletin reported, “Mr. Dressel, the scenic artist of the theater, wields a pencil in a way that commands the earnest applause of all judges of true artistic ability, and the scenes in the play, when first presented at this theater, evoked the warmest praise for their real intrinsic merit” (p. 1).

Dressel quickly made a name for himself in New Orleans, repeatedly appearing in local headlines. I am amazed at the amount of press Dressel received for his work, as there was ample work in New Orleans that year; enough to keep several scenic artists employed at multiple theaters, including Anthony Bagnette, Thomas Burke, Angelo Wiser, and William T. Porter.

Fortunately for Dressel, he immediately secured the scenic art position at the Varieties Theater. By December 1875, the venue was leased and managed by Mrs. Henrietta Chanfrau and C. W. Tayleure for a short season. Earlier that fall, Mrs. Chanfrau made news when she attended a performance at the Varieties Theatre with her husband. On Nov. 11, 1875, the New Orleans Republican reported, “Mr. Frank S. Chanfrau, the comedian, and his wife, Mrs. Henrietta Chanfrau, occupied a box at the Varieties Theatre last night. In a professional way, these artists differ as much as do ‘Kit Redding’ and ‘Christie Johnstone’ on the stage, and they seldom meet, and never set together during the theatrical season. In the summer they are ‘at home’ in their comfortable Long Branch residence, playing domestic life in a congenial manner, and appearing an honorable example to the members of the profession” (p. 4).

On Dec. 12, 1875, The New Orleans Bulletin announced Dressel’s scenic work for Chanfrau in “Parted, or the Trust Company Failure,” at The Varieties Theater. The article reported, “Mr. Dressel, the scenic artist of the theater, has been engaged for some time in preparing the scenery for this play, and judging from the admirable exhibition of his skill we have witnessed this season, we predict a rare treat for visitors of the theater” (p. 5).

Dressel continued to make news during at the Varieties Theatre for the rest of the season. On Jan. 4, 1876, the New Orleans Bulletin reviewed Geo. Fawcett Rowe in Halliday’s dramatization of Dickens’s ‘David Copperfield,’ which he named ‘Little Eml’y’.’ The article reported, “Mr. Dressel, the scenic artist, has added new laurels to his list by the elegant and effective scenery used in the play. The boat-house, the church scene, which is, by the way, and exact representation of the Canterbury Cathedral in England, and the storm scene were all perfect gems of the painter’s skill and reflect the utmost credit upon the artist whose pencil formed them” (p. 1).

Of “Watts Phillip’s military and romantic drama ‘Col. Willoughby; or, Not Guilty,’ The New Orleans Bulletin announced, “The plot of the play is in itself very interesting and exciting, and with the truly magnificent setting given it last night, makes one of the most splendid stage attractions we have seen in this city for many a long day. The ship scene in the second act, and the third and fourth acts, were new artistic triumphs for Harry Dressel, scenic artist of the theatre” (25 Jan 1876, p. 5).

Dressel was also heralded for his work on other New Orleans projects that month. On January 9, 1876, The New Orleans Bulletin announced, “The equestrian statue of Jackson which adored the gallery of the Pickwick Club yesterday was executed by Mr. Harry Dressel, the talented scenic artist of the Varieties Theatre, and was completed in an almost incredibly short space of time”) p. 1).

On Jan. 27, 1876, The Times-Picayune described the Washington Artillery Grand Ball at St. Patrick’s Hall: “But the most conspicuous object in the hall, and one upon which the gaze dwelt the longest, was a large sized painting that extended across the wall above the stage. The cartoon was done by Dressel, the scenic artist of the Varieties Theatre, represented a scene in the Shenandoah Valley. In the far distance appeared the huge masses of the Blue Ridge, with its irregular profiled outlined against the sky and white masses of snow merging into the azure coloring of the mountain tops. The silvery course of the Rappahannock might be traced across the broad expanse of rolling green sward, until the glitter of the stream was lost on the obscurity of the forest that stretched along the foot of the mountain range. In the foreground appeared two small field pieces, and close by on the ground a pile of cannon balls, a drum, and a group of muskets. The general effect of then painting was excellent and attracted much attention” (p. 1).

Of Dressel’s painting for John T. Raymond, The New Orleans Bulletin reported, “Mr. Harry Dressel, the talented scenic artist of this theater, has, won additional honors for himself during Mr. Raymond’s engagement – the realistic effect of his steamboat explosion, and his beautiful landscape painting has evoked the warmest praise” (Feb. 6, 1876, p. 8).

Less than two weeks later The New Orleans Bulletin commended Dressel’s work on “Christie Johnstone” at the Varieties Theater: “The scenic effects are very fine, especially the lifeboat rescue, which is a perfect marvel in its way, and is another triumph for Mr. Harry Dressel.” (Feb. 18, 1876, p. 8).

On March 8, 1876, The New Orleans Bulletin heralded Dressel for scenery in Chanfrau’s production of “Kit” – “Mr. Harry Dressel has done all he possibly could to render the play attractive and has really produced some scenic effects worthy of applause always tendered by the audience. The steamboat and the cabin are beautifully painted” (p. 5).

Dressel worked in New Orleans until the end of the season, then followed the Chanfrau Company to New York for the summer. On April 30, 1876, the New Orleans Republican announced, “Mr. Harry Dressel, scenic artist of the Varieties Theatre, leaves immediately for Chicago, and will be employed at the Eagle Theatre, New York, for the summer season” (p. 4). He left the city on May 4, heading up the river to Evansville, Indiana. On. May 9, 1876, The Evansville Journal announced, The Charles Morgan arrived at 1 am with a big trip of freight and a crowd of people” that included “Harry Dressel and A. Riet, scenic artists” (p. 7). I was fascinated to read, “The Morgan was five days and eight hours out from New Orleans, including all delays.” In Evansville, the ship “discharged 65 barrels molasses, 35 barrels sweet potatoes, 15 barrels rice, 10 of pineapples, 4 cases bananas, 10 sacks coffee, and other freight.” From Evansville, Dressel headed west to Chicago. He was heading home to visit family before starting a position in New York.

On May 7, 1876, The Brooklyn Sunday Sun announced, “Mr. Clifton W. Tayleure, manager of the Varieties Theatre, New Orleans, has entered into a contract with Mr. Josh Hart, of the Eagle Theatre, for occupancy by the Chanfrau Company of the latter place of amusement after June 5…This company will probably occupy the Eagle Theatre until the fall season opens when Hart again assumes the management with a strong comedy troupe” (p. 5). Located at Broadway and 33^rd Street, Josh Hart was the sole proprietor. While examining a few activities at the Eagle Theatre in 1876, I was surprised to discover sheet music for “Emancipation Day,” dedicated to Mr. Josh Hart. The cover noted, “sung with immense success at the Eagle Theatre, New York.”

Braham, David, “Emancipation day: song and chorus ” (1876). Representations of Blackness in Music of the United States (1830-1920). Brown Digital Repository. Brown University Library. Here is the link: https://repository.library.brown.edu/studio/item/bdr:17080/

Before Dressel joined the Chanfrau company in New York, he visited family in Chicago. It was early May in 1876. I wonder what brought Dressel home. It may have been his father’s declining health, as of May 1876, Louis Dressel made out his will.

When Dressel returned to New Orleans that fall, he resumed a position as scenic artist at The Varieties Theatre. On Nov. 11, 1876, Dressel was credited with the scenery for “Our Boys” under the management of Charles Pope.

Although Dressel was listed as scenic artist for the Varieties Theatre in the 1876 and 1877, New Orleans Directory, he also continued to complete a variety of projects that included fresco work. On Aug. 5, 1877, The Times-Picayune reported, “The ceiling of the office has been very prettily frescoed by Dressel, the scenic artist of the Varieties, and there are panels adorned with appropriate figures typifying industry and commerce. The steamboat Natchez has also a place among the figures on the ceiling. The walls are frescoed in scroll and figure work” (p. 1).

In 1877, Dressel was naturalized as a US Citizen.

The most interesting article that I discovered described Dressel’s work as a lighting artist. During the late 19^th century, many scenic artists performed on stage. They would rapidly sketch characters or paint scenes as a variety act. At the Academy of Music in New Orleans, Dressel rapidly painted a tropical landscape for the benefit for Mr. William Morris, machinist of the theatre. On June 1, 1878, The Times-Picayune reported, “Harry Dressel, the scenic artist, who painted in sight of the audience, in less than eight minutes, a complete tropical landscape, commenting on a plain white canvas, six by eight feet. The subject was suggested by the audience, and the composition was the study of the moment. Time was called and the artist run a horizon line, spread on a warm sky, placed a mountain range, run a stretch of water, drew date and palm trees with spreading leaves, dropped a few bright flowers for perspective effect, and left a very pleasing picture for the admiration of an audience that was enthusiastic over such an exhibition of artistic skill and rapid execution” (p. 8). I have written about other lighting artists in the past and find their popular performances intriguing.

Despite accepting a variety of projects, in 1878, Dressel was still associated with the Chanfrau Company, even mentioned in their newspaper advertisements. On April 4, 1878, the Chattanooga Daily Times included an ad for the production of “KIT, The Arkansas Traveler.”

The article reported, “Their great work was witnessed by upwards of 400,000 personsat Booth’s Theater, New York, and has realized Mr. Chanfrau over $65,000… ENTIRELY NEWSCENERY by Harry Dressel, the famous Scenic Artist of New Orleans, especially painted for this production.”

Dressel delivered scenery for KIT in 1878.

On October 6, 1878, the Chicago Daily Tribune published an advertisement for “Dominick Murray, in his exciting and very successful drama, entitled ESCAPED FROM SING SING; or, Criminal Life in New York” at Hamlin’s Theatre, 87 Clark-st., opposite Court House” (p. 1). The ad announced, “The Drama will be produced with entirely new Scenery by MINARD LEWIS, Esq., and HARRY DRESSEL, Esq.”

This brings Dressel back to the home of his family in 1878.

By 1880, Dressel partnered with John Charles Evans in St. Louis to form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882. Evans partnership with Dressel ended by 1883. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again. Evans became another employee as the Chicago-based firm of Sosman & Landis employee. Here is the link to Evans’ biography https://drypigment.net/2023/04/08/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-103-j-c-evans/

J. C. Evans was a scenic artist who went on to work for Sosman & Landis in Chicago.

On May 10, 1883, The Times-Democrat published an article entitle “OUR SUMMER OPERA – Arrival Yesterday of Miss Alice Oates and Her Company for Spanish Fort” (p. 3). Their arrival was “over the Louisville and Nashville road” with a 25-person opera company. Originally coming from NY. “Mr. Harry S. Dressel, so well known here as a scenic artist and in connection with our theatres, has made the architectural designs and will superintend the decorations, scenery, etc. His past successes insure excellent work.”

On May 14, 1883, The Times-Democrat of New Orleans, reported about the Spanish Fort: “The gangs of workmen were engaged all day on the theatre over the water, just in front of the reck grotto, and the work will be continued night and day until completed. Already the joist for the floor have been laid, and as the rest of the frame-work has already been prepared to be put together, by the 20^th the building will be completed, in time for the opening by the Alice Oate’s Opera Troupe. Piles are being driven for the foundation of that portion of the building to be occupied by the stage, which work will be finished by Tuesday. Harry Dressel is not losing a moment, and yesterday was hard at it, up on a scaffold, working on the new drop curtain. It will. Represent a scene in the days of Louis Quatorze. In the centre is a colonnade and portico of a palace, not unlike the Trianon, and before it a number of court ladies and gallants are engaged in the then favorite game of battledore and shuttlecock. The poses are graceful and the picture animated. Rich foliage gives a pleasant contrast to the white marble columns and adds a softness to the scene. Mr. Dressel is sparing no pains on this artistic study (p. 3).

Harry Dressel made news across the country. On Nov. 30, 1889, the Telegraphic News section of the Indianapolis Journal reported, “Harry Dressel, the well-known scenic artist, was dangerously stabbed at New Orleans, yesterday, by Ferdinand Amant” (p. 1). Dressel was now 38 yrs. old and wanted money for a project he completed.

On Dec. 3, 1889, the Cincinnati Commercial Gazette reported, “Harry Dressel, the well-known scenic artist of the New Orleans French Opera-house, was severely stabbed one day last week by a lawyer named Armant in a saloon adjoining the theater. The trouble grew out of an unpaid bill for work done by Dressel during the time of the Cotton Palace” (p. 8).

On Dec. 4, 1889, The Louisiana Review described the altercation about the unpaid bill:

“A difficulty occurred between Harry Dressel, scenic artist of the French Opera House, and Fernaud Armant, last Friday afternoon, in a barroom on Toulouse Street, over an unpaid bill for painting a stage curtain of the Cotton Place. Blows were exchanged and Dressel was cut on the face and neck by Armant. The wounds are not considered dangerous. Armant surrendered to Captain Journee, but was released under a $1000 bond” (p. 5).

Dressel briefly left Louisiana and headed to Texas. He picked up a variety of projects, including the design and decorations of floats for German Day. On Oct. 7, 1891, the Galveston Daily News announced, “By 6 am Mr. Harry Dressel, the artist in charge of the decorated floats was busy with a corps of hearty fellow, getting the heavy floats out of the warehouse sheds into the street” (p. 8).

By 1900 Dressel returned to New Orleans.

On Aug 24, 1900, The Canton Times of Canton, Miss. Reported, “The Manning-Yale Co., the biggest and most complete vaudeville aggregation touring the South will open at the Opera House Wednesday, September 12^th…the company is composed of twenty vaudevillers who have made reputations and sustained them. A uniformed concert band and complete orchestra is included. Special scenery painted by the renowned scenic artist Dressel, is used. No expense has been spared to make this production one of the grandest in every detail and disappointment has yet to be evidenced by any audience” (p. 4).

On May 30, 1905, The Times-Democrat published Dressel’s obituary:

“Harry H. Dressel, a well-known scenic artist, dies at his home, 4318 Canal Street, yesterday afternoon, after an illness of several weeks. His death was a shock to his many friends and acquaintances in this city, for he had been actively engaged in his work up to a short time before his death. Mr. Dressel was born in Hanover, Germany, fifty-three years ago, in which place he received his early education in college as well as in art. He came to this country when a young man and engaged in scene painting. Thirty-one years ago, he came to New Orleans and had lived here since that time. Mr. Dressel became connected with the French Opera House, and for a time worked exclusively. For that playhouse, turning out many hundreds of pieces of work. His studio was in the building, and within those walls he acquired fame. Mr. Dressel did work for the Grand Opera House and also for the St. Charles Theatre. Mr. Dressel started Lake View Park and fixed up a studio at West End. He did much work on the park, and at the same time worked on Carnival ball settings. His work for the Atlanteans was always complimented. The work for the Atlanteans of this year was the last he did. Mr. Dressel was at one time a member of the Southern Yacht Club. He was a vice president of the Ozone Spring Water Company and was a Knight of America belonging to Crescent Lodge No. 110. Mr. Dressel is survived by his wife. The interment will take place to-morrow at the Greenwood Cemetery” (p. 10).

His will was published in The Times-Democrat on 2 Jun 1905, noting, “the will admitted to probate makes a number of bequests: $500 to Harry Groh; $200 to William O. Conne; $100 to Mrs. William Groh; $25 to Lizzie Brown – the remaining property given to Miss Annie L. Hall with $200 for the purpose of keeping the grave of the deceased. David Lemly appointed executor” (p. 10).

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. The Grant Panorama Company and Scene Painters Show in 1885

The spring of 1885 to the spring of 1886 was a significant period in the development of Sosman & Landis. They not only constructed a new studio building, but also diversified their business interests, establishing a panorama company. For the next decade Sosman and Landis tried their hand a variety of businesses, including lighting equipment, theatrical management, stock companies, and pottery.

Location

The studio building that Sosman & Landis leased in 1879 was located at 277 and 279 South Clark Street. They rented space alongside many other tenants in a large building at the northeast corner of Clark and Van Buren streets. They were situated one block east of the Rock Island Depot and two blocks north of the Dearborn Station, as well as being near two public transit lines.

There were a variety of nearby entertainment venues, employing dozens of scenic artists. Theaters located just a few blocks to the north of the studio included Haverly’s Theatre, McVicker’s, Hooley’s, the Chicago Opera House, the Grand Opera House, and the Olympic Theater. A few blocks to the south was the People’s Theatre and Park Theatre. Three panorama buildings were also nearby. Two were a few blocks southeast of the Sosman & Landis studio: the Battle of Gettysburg in the National building and the Siege of Paris in the American Panorama Building. The third panorama was a few blocks northeast of the studio. The Battle of Shiloh was featured in the newly-constructed World Panorama building on Michigan Ave.

To the north of Sosman & Landis’ Clark Street Studio.

To the south of Sosman & Landis’ Clark Street Studio.

The Popularity of Panoramas

I am going to briefly touch on these three panoramas that were delivered between 1883 and 1885, as they were likely the instigator for Sosman and Landis to establish the Grant Panorama company. The most popular subject matter in the United States quickly became Civil War subject matter. From a timing perspective, we are twenty-two years away tragic events of 9/11 in 2001. 1885 was twenty-two years away from the height of the Civil War. Both were still in the forefront of public memory for many Americans.

In 1879, a group of Chicago investors commissioned Paul Philippoteaux to create a Battle of Gettysburg panorama. This is the same year that Sosman & Landis moved to their studio on Clark Street. City residents were familiar with Philippoteaux’s work, as “Paris by Moonlight” had been exhibited in Chicago in 1875 (Chicago Tribune 21 Oct 1883, page 4). It took four years from conception to the opening of the Battle of Gettysburg panorama. In the fall of 1883, advertisements credited the work to Philippoteaux, Joseph Bertrand, and Lucien Sargent. The panorama’s popularity soon prompted another Philippoteaux panorama. On June 20, 1884, the Siege of Paris opened across the street from his Battle of Gettysburg (Inter Ocean 20 June 1884, page 8).

The two panorama buildings that once house the Battle of Gettysburg and Siege of Paris. Link to 1890 image posted to Chicagology: https://chicagology.com/?s=cyclorama

Another photograph showing the location of the two panorama buildings when facing south. Link to 1912 image posted to Chicagology: https://chicagology.com/?

A third panorama opened in Chicago the summer of 1885. Credited to French artist Théophile Poilpot (1848-1915), the Battle of Shiloh panorama’s progress continued to make newspaper headlines. On April 30 of that year the Chicago Tribune announced “Though not yet 35 years of age, [Poilpot] has visited some part over every country on the civilized globe, and his travels crossed the equator eight times. He arrived in this country last fall and went direct to ‘Hornet’s Nest,’ the scene of Shiloh, where he devoted several months to the study of the battlefield” (page 8).

Battle of Shiloh Advertisement in the Chicago Tribune on July 31, 1885.

To my surprise, I recently discovered photographs of the Battle of Shiloh Panorama Guide at rare bookseller’s website. Here is the link: https://www.jamesarsenault.com/pages/books/4947/l-b-crooker-mapmaker-f-j-mcintosh/manual-of-the-panorama-of-the-battle-of-shiloh-michigan-avenue-between-madison-and-monroe-streets?soldItem=true

On August 1, 1885, The Inter Ocean reported “The Battle of Shiloh panorama adds another splendid battle piece to Chicago’s attractions. The painting and direction of the work have been accomplished by T. Poilpot of Paris, who., thanks to the enterprise and liberality of local capital, has been given every advantage for the projection and perfection of the titanic pictures. Mr. Poilpot is an artist who has a large experience in similar works on a large scale, having painted in Paris ‘The Taking of the Bastille;’ ‘The Charge of Reischoffen’ (franco-Russian war), and ‘Busenval’ (episodes of the siege of Paris). In London he painted the ‘Charge of Baklava;’ and in Russia, ‘The Crossing of the Danube.’ ‘The Battle of Shiloh’ is his first distinctive American work, and he is now engaged upon ‘The Battle of Manassas,’ and will shortly commence the famous marine fight of Monitor and Merrimac.” The article continues, heralding Poilpot’s skill and painted details in “The Battle of Shiloh.”

What Chicago investors realized between the summer of 1884 and 1885 was that there was much more of a demand for tickets to the Battle of Gettysburg than the Siege of Paris. Chicago residents were more interested in Civil War battles, than foreign wars. I am going to pause here and remind readers that many of the well-known scenic artists working in Chicago at this time had fought in the Union Army during the Civil War. This included both Sosman and Landis, as well as several of their staff members.

Panoramas remained a risky investment. However, when they succeeded, investors reaped large profits. There were a surprisingly number of panorama companies that appeared during the 1880s. By 1883, panorama companies began to pop up all over the region. On Nov. 15, 1884, the Wisconsin State Journal reported, “New Organization – The Northwestern Panorama company, of Milwaukee, filed articles of association with the secretary of state to-day, the capital stick being $25,000. The object is to give panoramas and other entertainments” (page 4). Located on Cedar Street, the firm was operated by scenic artists Louis Kindt and Thomas Gardner.

Louis Kindt’s Panorama Company

On November 17, 1884, the “Milwaukee Letter” section of Minnesota’s The Saint Paul Globe, announced, “Paul Bechtner, Otto Osthoff and Louis Kindt have incorporated the Northwestern Panorama company and will soon erect in this city a building of the same style and size as that occupied by the ‘Battle of Gettysburg,’ at Chicago. The panorama to be exhibited will be the battle of Vicksburg, with two contending armies and the gunboats on the Mississippi river. Mr. Kindt is a scenic artist and has taken sketches at the scene of the battle. He is the artist who painted the picture of the battle of Lookout Mountain, now on exhibition in the exposition building” (page 2).

Kindt had made a name for himself as a scenic artist in Wisconsin, Illinois, and Ohio, beginning in the mid-1860s. He was listed as a painter of theatrical scenery in Milwaukee, Cincinnati, and Chicago Directories. In Chicago, Kindt was employed as a scenic artist at the same time as Henry Burcky, Joseph Hart, Thomas McGann, Louis Malmsha, Ernest Pappineaux, Harry Ribbet, and J. Howard Rogers were associated with various theaters there.

In 1884, Kindt had organized a panorama company in Milwaukee, while continuing work as a scenic artist throughout the region. The size of a panorama was certainly not daunting to scenic artists. In fact, in 1890 Sosman & Landis delivered a cyclorama to the Broadway Theatre in Denver, Colorado. Of the project. Moses wrote, “I painted my first cyclorama sky backing, forty feet high and 395 feet long. There were three different skies. The cyclorama was operated from the fly gallery. We had no borders, all exterior settings were painted on set pieces which carried out the same arrangement that was used in the auditorium of Chicago

Kindt’s Siege of Vicksburg panorama was approximately this same size. Scenic studios were designed to accommodate huge panoramic pieces. Unlike a rotunda building with permanently positioned canvas, necessitating that the artists move from one scene to another. Scenic studios moved the fabric, and not the artists. It was common for a larger spool of fabric to gradually unroll. Each section was tacked to the frame and painted. This section was then released and spooled on the opposite side of the frame – like a moving panorama. This is because the scenic artists for the theatre used distemper paint and not oil paint. Like constructing a moving panorama, distemper paint allows the fabric remained lightweight and pliable. This also means that a distemper panorama can easily be shipped from one location to another. When panoramas were produced with oil paints, moving them becomes a logistical nightmare due to the weight.

It is no wonder that Sosman & Landis constructed a studio in 1885 that could accommodate their own version of a Grant’s Trip Around the World panorama. The footprint of their new two-story building was 44’-0”x 150’-0”. This space could have easily accommodated the production of a panorama when shifted along the paint fame from one fabric spool to the next.

Back to Kindt’s Vicksburg panorama…

On Dec. 10, 1884, The Oshkosh Northwestern announced, “Louis Kindt, the scenic artist, formerly a resident of this city, is one of the projectors of the Northwestern Panorama Co., recently organized at Milwaukee with a paid capital of $25,000. Mr. Kindt and several other artists are now engaged on a panorama representing the siege of Vicksburg, which ended by the surrender of the city, July 4, 1863. It is 400 feet long and 36 feet high. When completed it will be placed in a new building to be erected for that purpose. Mr. Kindt has charge of the scenic work for the Opera House and Turner Hall of this city and his reputation is a guarantee of success in his undertaking. He spent some time at Vicksburg recently and no doubt will produce a life-like representation of the scene” (page 3). I was especially interested that Kindt worked for the Oshkosh Opera House. This was the same venue that both Moses & Graham and Sosman & Landis bid on stock scenery for in 1883. Awarded to Moses & Graham, it was at this point that Moses, Lemuel L. Graham and John H. Young returned to the Sosman & Landis studio.

Interestingly, a second Northwestern Panorama Company opened the next year. On Oct. 11, 1885, The Saint Paul Globe announced, “Articles were yesterday files with the register of deeds incorporating the Northwestern Panorama company, with a capital stock of $200,000, and a liability of $5,000. The incorporators and directors are John Watson, Robert C. Kalkoff, George H. Eastman, George G. Jacoby and T. J. Buxtow as incorporators” (page 3).

The appearance of tis second firm may have been the incentive for Kindt to change the name of his panorama company from the Northwestern Panorama Company to the United States Panorama Company. On Sept. 12, 1885, The Oshkosh Northwestern reported, “The United States Panorama Co. is breaking ground to-day on Algoma St. to exhibit the Battle of Gettysburg, painted by the well-known Mr. Louis Kindt, at one time a citizen of Oshkosh, who has also painted the battles of Vicksburg and Lookout Mountain” (page 3). Earlier, the Wisconsin State Journal had reported, “The most attractive thing at the fair this year will be the Battle of Gettysburg, brought here under great expense. This picture represents a battle of July 2^nd, 1863, and is about 75 feet in length and 39 feet in height; was painted by the most skillful artists in the country under the supervision of well-known Louis Kindt, the painter of Vicksburg and Lookout Mountain. The management will save no expense in making the foreground and surroundings of the picture as natural as possible. No one should fail to see it, because without having been seen it cannot be conceived” (page 4). It is interesting to read how much smaller this panorama is from his previous one that measured 400 feet long.

Kindt’s panorama company was established shortly after German-born Chicago businessman, William Werner opened the American Panorama Company; both were in Milwaukee. During the spring of 1885, Werner staffed his panorama studio with well-known European artists. The size of Werner’s staff rivaled that at Sosman & Landis during this time.

A photograph of Werner’s staff at the American Panorama Company studio building, 1887. Panorama artists: (from the left, standing) Franz Bilberstein, Richard Lorenz, Johannes Schulz, and Bernhard Schneider; (from the left, sitting) Wilhelm Bernhard Schroeder, Franz Rohrbeck, Friedrich Wilhelm Heine, Karl Frosch Thaddeus Zukotynski, George Peter, Amy Boos, August Lohr, and Herman Michalowski. Here is the link to the Wisconsin Historical Society image: https://www.wisconsinhistory.org/Records/Image/IM26069

Unlike Kindt, or Sosman & Landis, Werner solely focused on the production of panoramas. Between 1885 and 1889, the American Panorama Company produced eight panorama paintings at the Milwaukee Studio. His is a link to a short paper about Werner and his firm for more information: http://www.germanamericanpioneers.org/documents/WhathappenedtothePanoramaPainters.pdf

When considering the production of panoramic works at this time, it is not hard to recognize that most artists were Europeans, those recently brought to the United States for this work. These were not individuals interested in permanently moving and becoming naturalized citizens. Such was the case in many other trades at this time.

Immigrant Labor

I also need to mention the 1885 Alien Contract Law, also known as the Foran Act. The first section stated, “It shall be unlawful for any person, company, partnership, or corporation, in any manner whatsoever, to prepay the transportation, or in any way assist or encourage the importation or migration of any alien or aliens, any foreigner or foreigners, into the United States, its Territories, or the District of Columbia, under contract or agreement, parol or special, express or implied, made previous to the importation or migration of such alien or aliens, foreigner or foreigners, to perform labor or service of any kind in the United States, its Territories, or the District of Columbia.” Here is a link to the full act: https://immigrationhistory.org/item/foran-act-of-1885-aka-alien-contract-labor-law/

This basically described what Werner and other companies were doing, except there was a loophole for the entertainment industry. The legislation specified unskilled labor. Exceptions were made for skilled labor, such as artists or performers. Many theatre practitioners were not thrilled about an influx of competition, even when they are also foreign-born. In fact, in 1888, English scenic artist and actor, Harley Merry, joined Edwin Booth and Lawrence Barrett in the Actor’s Order of Friendship to lobby against the wholesale importation of foreign actors and touring companies.

Image of H. Merry in 1886.

Merry was later instrumental in establishing the American Society of Scene Painters. In 1892 the organization was established in Albany, New York, with the executive staff consisting of Richard Marston (Palmer’s Theatre), Henry E. Hoyt (Metropolitan Opera House), Homer F. Emens (Fourteenth Street Theatre), Sydney Chidley (Union Square Theatre), Harley Merry (Brooklyn Studio) Brooklyn and Ernest Albert (Albert, Grover & Burridge, Chicago). Keep these names in mind, as you read the rest of this post about 1885. Keep these names in mind as you read the remainder of this post.

Back to 1885. This year, there are three panoramas on display painted by foreign artists. Werner has brough over an entire team of foreign artists to staff his panorama company in Milwaukee. Kindt is producing his third panorama. Two panoramas depicting General Grant’s Trip Around the World are planned in Chicago.

General Grant’s Trip Around the World

On June 11, 1885, the Chicago Tribune reported, “A license was granted at Springfield yesterday to incorporate a panorama company made up of Chicago men whose object will. Be to exhibit a series of gigantic views illustrative of scenes of Gen. Grants trip around the world. The incorporators are Frank C. Bromley, the artist, John H. Atkinson, and John V. A. Weaver. Mr. Bromley, who was seen yesterday, said that the project was already advanced to a certainty for the near future, although many essential details are still unarranged. In a general way the scheme is sufficiently outlined above. Mr. Bromley will contribute some of the views form sketches of his own made during the extensive travel over the scenes covered by Gen. Grant. The rest will be gathered from various sources. It is not yet determined whether the canvases will be housed in a permanent building or arranged for transportation to different cities” (page 8). For context, Bromley frequently exhibited artwork at with other Sosman & Landis employees at Louderback & Co. Galleries, only a few blocks away. In fact, Thomas G. Moses collected works by Bromley for his own home. In 1885, Bromley lived at 78 Monroe, just three blocks north of the Sosman & Landis studio on Clark Street.

About the same time that Bromley began his Grant Panorama project, Sosman and Landis also began to plan for their own version. This was the same summer that Poilpot’s Battle of Shiloh panorama opened in Chicago.

Sosman and Landis’ Grant Panorama Company

At the beginning of 1886, Sosman & Landis moved into their newly-constructed studio on Clinton Street. The first project was a panorama. Sosman & Landis employee, Thomas G. Moses wrote, “Mr. Strong and I started on a very interesting panorama of Grant’s trip around the world. We were alone in the big studio for some time before the whole force came over. We enjoyed painting the panorama as it was continuous. There was some careful blending to be done.” On March 31, 1886, The Inter Ocean announced the following their new company in the “Embarking Upon Business Section” (page 6). The announcement stated, “The Grant Panorama Company, at Chicago, to exhibit a moving panorama of scenes in the life of the history of General U. S. Grant; capital stock, $50,000; incorporators, Charles S. Gillespie, Perry Landis and Joseph Sosman.” Although the firm’s first studio on South Clark Street was in an ideal location, there was simply not enough space for their ever-increasing workload, or something on the scale of a panorama project. They needed a building specifically designed for the manufacture of painted scenes.

The General Grant Memorial Park

It is understandable that two firms came up with the same idea when one considers the popularity of panoramas in Chicago and the City’s plan for the General Grant Memorial Park. In 1885 donations were collected for the park. Donors to the cause were individually listed in local newspapers. Companies were also named if several employees donated to the cause. Such was the case with Sosman & Landis in August 1885.

On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund:

Sosman & Landis $10.00

Thomas G. Moses $2.00

Henry J. Buhler $2.00

David A. Strong $1.00

George W. Dayton $1.00

J. C. Evans $1.00

Karl Boettger $1.00

Frank E. Gates $1.00

John Moore $1.00

Edward Loitz $1.00

C. W. Carey $1.00

C. M. Crouse $1.00

Frank Lewis $1.00

William Martin $0.50

Frank Ford $0.50

B. P. Lee $0.50

Julius Fehrman $0.50

Fred Miller $0.50

Hugo Schoessling $0.50

Mrs. J. S. Curran $0.50

Ed Donnigan $0.25

Kirke W. Moses $0.25

I have written biography’s for this entire list of individuals. Just use the keyword search function. The firm’s donation was also noticed by Sosman’s hometown newspaper. On Aug. 6, 1885, “The Macomb Journal” reported, “We see by the Chicago papers that Sosman & Landis, scenic artists, and their workmen, made up a subscription of $19 to the Chicago Grant monument fund” (page 4).

I am going to provide some financial context for the General Grant Memorial Park donations in 1885. The average prices for food that year: meat was 12 cents a pound; eggs were 17 cents per dozen; bread was 5 cents per loaf; sugar was 8 cents per pound; potatoes were 45 cents per bushel, and soft coal was $2.95 per ton. $1.00 in 1885 has the equivalent purchasing power of approximately $31.00 today. However, considering average annual earnings at the time, $1.00 was not insignificant. In fact, the average annual wage in the United States for 1885 was $589.00. For more information about wages in the US from 1880-1889 visit: https://libraryguides.missouri.edu/pricesandwages/1880-1889

With all of this in mind, Thomas G. Moses earnings at Sosman & Landis were $3,050 in 1884 and $2,975.00 in 1885, well above the average.

The Sosman & Landis employee donations provide a wonderful snapshot of who was working in the main studio at the time. In addition to the 21 Sosman & Landis employees listed above, there were at least 15 other individuals working for the firm that year who did not donation at this time. Also, other than Mrs. J. S. Curran, I have yet to identify any individuals who were working in the sewing rooms and office. She could not have been the only seamstress when considering the amount of scenery that was being produced in 1885.

All told, there were at least 36 employees at Sosman & Landis in 1885, not including the two founders of the firm.

Other 1885 Sosman & Landis staff members included Charles Landis, James M. Wood, Charles Ritter, David Strong, Henry C. Tryon, Edward Loitz, Edward Morange, Hardy Maratta, John H. Young, Henry C. Barrow, Charles S. King, Charles E. Boyer, C. D. Baker, Frank Ford, and Frank Gates. It is very likely that these individuals were on the road at the time that donations were collected. Gates had joined the force that summer, leaving his position at Pope’s Theatre in St. Louis, Missouri. On July 12, 1885, The St. Louis Globe-Democrat reported, “Mr. Frank Gates, who has been the scenic artist for Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself to Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). On Aug. 15, 1885, the St. Louis Post-Dispatch announced, “Frank Gates is with Sosman & Landis, of Chicago” (page 12). Later Gates partnered with fellow 1885 Sosman & Landis scenic artist, Edward Morange. Gates & Morange settled in New York, becoming an extremely well-known Broadway Design Team.

A Gates & Morange advertisement in 1902.

This was a very significant time in American Theatre History, as scenic artists and stage carpenters from all over the country began working for the same firm. In many ways, Chicago became a melting pot of stage craft. This gathering of talent and meeting of minds resulted in a variety of events that highlighted members of the scenic art community. A new exhibit was being planned to showcase the talents of American scenic artists in Chicago.

The Scene Painter’s Show

In 1885 the American Scenic Artist Exhibition was conceived, planned, and exhibited. Newspaper announcements specified that all artworks for the exhibit “must be painted in distemper color – scene painting fashion” (Detroit Free Press Sept. 7, 1885, page 5).

The announcement of the exhibit was published on the same page that featured Poilpot’s new panorama. On August 1, 1885, The Inter Ocean reported he Inter Ocean reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among those artists present were Ernest Albert, John Mazzanovich, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. Burcky, Charles Ritter and others” (page 4). Parker’s Galleries, soon to be known as Louderback & Co. Galleries, was located on Wabash Ave., less than two blocks south from Poilpot’s panorama. In fact, it was halfway in between the panorama building and the Sosman & Landis’ Clark Street studio.

A series of articles advertising the upcoming exhibit were published in newspapers across the United States. For example, on Aug. 23, 1885, The San Francisco Examiner reported, “A very good move has been set on foot in the interest of art in Chicago by a number of gentlemen who propose to arrange for an exhibition of works in distemper, the contributors to be exclusively scenic artists. The exhibition will be held at Louderback & Co.’s galleries, No. 215 Wabash avenue, Chicago, commencing September 22d, and continuing for two weeks. The pictures are to be all original, but there is no restriction to subject, and they must all be sent in not later than September 15^th. The managing committee includes the names of David Strong, John Mazzanovich, Ernest Albert, Walter Burridge, Thomas Moses, Henry Tryon, George Dayton, Charles Ritter, John Young, and William Petford. The art of scene painting has in these days reached a very high plane, and probably its results gratify even a greater number of people than those who visit art galleries. Such an exhibition as that indicated in the above announcement will assuredly contain many very interesting examples, as in addition to the painters whose names appear as members of the committee, there will probably be contributions from the brushes of Marston, Clare, Voegtlin, Goatcher, Hoyt, Witham, Halley, Duflocq, Roberts, Merry, and many others – Chicago News Letter “(page 7).

On Sept. 7, 1885, the Detroit Free Press reported, “Robert Hopkin is at work on two water colors, which he will send to the scenic artists’ art exhibition at Chicago. All contributions to this exhibit must be in by the 15^th inst., and all must be painted in distemper color – scene painting fashion. The show promises to be one which will create a considerable excitement in art circles, as the best artists in America will contribute” (page 5).

On Sept. 26, 1885, The Inter Ocean published an article about the opening of the exhibition entitled, “American Scenic Artists. Exhibition in Chicago” (page 16). The article continued:

“During the coming week at the Louderback Galleries, No. 215 Wabash avenue, will be held a novel exhibition in a collection of aquarelle painted by American scenic artists. The galleries could not be better for the purpose, being the best lighted in the city, and when the public leave the walls covered with gems of scenic art they will think more of the scenic artists and their woks than they did before – not as they supposed, coarse whitewashers and daubers in general. In holding the exhibition in Chicago, it not only reflects credit on the artists, but will give the art patrons a chance to secure some bits worthy of galleries of a Corcoran or a Vanderbilt. Among the artists can be found the following: Matt Morgan, of Cincinnati; John Rettig, of Cincinnati; Farney, of Cincinnati; R. Hopkin, of Detroit; W. P. Davis and Graham, of Kansas City; Harly Merry of Flatbush, L. I.; Henry Hoyt, New York; Phillip Goatcher, Wallack’s Theatre, New York; William Voegtlin, New York; Getz, Boston; LaMoss, Boston. The local scenic artists have formed themselves a committee, and it is the intention if successful with this exhibition, the inaugural, to hold it annually.”

John Moran also wrote an article about the exhibit that was published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Here is his article in its entirety:

“The Scene Painters’ Show. Chicago, October 12th, 1885.

The first Exhibition of Water Colors by American Scenic Artists has been open free to the public for some weeks past, in this city, and the eighty-four examples hung on the walls of Messrs. Louderback & Co.’s galleries include some praiseworthy and valuable works. Such a collection proves that the broad pictorial treatment requisite for adequate stage effect does not incapacitate a man for the finer and more delicate manipulation essential to good aquarelles, and shows, moreover, a healthy progressive spirit among scenic artists. The name of Matt Morgan has long been gratefully familiar to us, and he is represented by diverse and facile contributions. “Alone in the Forest Shade” (1), shows lumbermen with their load descending a wild ravine flanked on either side by towering pines. The feeling of solitude and gloom is forcibly conveyed, and the tree forms and foliage broadly yet carefully handled. “The Lost Comrade” (27), and “Waiting for Death” (14), are strong and weird aspects of prairies life, the former representing a horseman, lasso in hand, who has come upon the skeletons of a horse and rider among the pampas grass, and the latter a bull calf standing over the moribund body of a cow, striving with futile bellow to keep advancing wolves at bay. A nude figure, “The New Slave” (71), standing expectantly against a rich low-toned drapery, is exquisite in drawing and color and charmingly beautiful in suggestion. Mr. Walter Burridge runs the gamut of landscape figure and decoration and is good in all! His “Spring” (9), “Autumn Leaves” (39), and “Old Mill” (49), are deftly washed-in landscapes, true to nature and aerial in quality, while “My Assistant” (16), a study of behind the scenes life, and a “Ninety Minute Sketch” (83), of his friend Mr. Ernest Albert, show character and a nice sense of texture. Mr. Ernest Albert’s “Winter Twilight” (12), is full of sentiment of the season and excellent in composition, and his “October Morning” (31), “moonrise” (40), “Sunset” (79), and “Autumn” (80), are severally individual as transcripts and prove his mastery over the vehicle he uses. “A Decorative Flower Piece” (84), by the same artist, groups of roses, pansies and forget-me-nots in a most artistic and harmonious manner. “Nobody’s Claim, Col.” (65) and “Near Racine, Wis.” (76) By Mr. Thomas G. Moses, are among his best examples and are freely treated and with fidelity to locale character and sky effects. Mr. Albert Operti gives us some reminiscences of his Lapland tour in 1884, which are realistic and worthy, and Mr. J. Hendricks Young, “A Busy Day on Chicago River” (38), which together with the local bits by Mr. Moses, Mr. C. E. Petford and Mr. Burridge, is of historical value as it is skillfully painted. “Rats, you Terrier” (59), by the same hand, is a “snappy” and bright treatment of a dog’s head and fully catches the spirit of the English. Mr. Henry C. Tryon’s “Source of the Au Sable” (34), powerfully conveys a sense of somberness and grandeur, and though ample in detail loses nothing of the vastness and breadth, which such a landscape motion calls for. Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, Chas. Ritter, H. Buhler and John Howell Wilson, whose “Country Road” (76” is especially fresh, verdurous and bright. It is to be hoped that this is only the forerunner of many like exhibitions and it marks a decided growth in the national art spirit.”

I have identified thirty scenic artists who participated in 1885 exhibition, piecing together their names from various articles. Here is the list, with their location in 1885. In some cases, I was able to indicate a primary employer, partner, or place of work.

Ernest Albert, Chicago, Chicago Opera House

C. Boettger, Chicago, Sosman & Landis

H. E. Burcky, Chicago, Olympic Theatre

H. Buhler, Chicago, Sosman & Landis

Walter Burridge, Chicago, Grand Opera House

William P. Davis, Kansas City, Graham & Davis

George W. Dayton, Sr., Chicago, Sosman & Landis

George W. Dayton, Jr., Chicago, Sosman & Landis

H. F. Farny, Cincinnati, Pike’s Opera House

Charles S. Getz, Boston, Boston Theatre

Phillip Goatcher, New York City, Wallack’s Theatre

Lemuel L. Graham, Kansas City, Graham & Davis

Robert Hopkin, Detroit, William H. Power shows

Henry E. Hoyt, New York, Park, Casino and Star Theatres

Edward La Moss, Boston, Boston Museum (as assistant to T. B. Glessing)

Louis Malmsha Chicago, McVicker’s (passed in 1882)

J. Mazzanovich, Chicago, McVicker’s Theatre (with Rogers)

Harley Merry, Flatbush, L. I. Casino Theatre NY

Matt Morgan, Cincinnati

Thomas G. Moses, Chicago, Sosman & Landis

Albert Operti, New York City

C. E. Petford, Chicago, Columbia Theatre

John Rettig, Cincinnati

Charles Ritter, Chicago, Sosman & Landis and Hooley’s

J. Howard Rogers, Chicago, McVicker’s (with Mazzanovich)

David Strong, Chicago, Sosman & Landis and Haverly’s

Henry C. Tryon, Chicago, Sosman & Landis and Columbia Theatre (with Petford)

William Voegtlin, New York

John Howell Wilson, Indianapolis, Grand Opera House

John H. Young, Chicago, Sosman & Landis

Nine of those listed above were working at Sosman & Landis in 1885. Two were former employees, who had just left the firm to establish their own studio in Kansas City (Graham & Davis).

More than one-third of the participants in the first American Scenic Artists Exhibit worked for Sosman & Landis between 1884 and 1885.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 32 – Charles H. Ritter

Charles H. Ritter worked at Sosman & Landis sporadically throughout the 1880s and 1890s. Like most of the artists on staff, he was also affiliated with other theaters and even ran his own business during this time. He was part of the Sosman & Landis labor pool that produced a massive amount of scenery during this time. Although a definitive start date remains unknown, he was working for the firm in 1885 and moved into the new studio in 1886.

On Feb. 28, 1886, Ritter’s portrait was included with those of David A. Strong, John H. Young, Walter W. Burridge, Thomas G. Moses, and Henry C. Tryon in the “Inter Ocean” Newspaper. All were featured in an article entitled “Up in the Clouds” (page 9). The article included “Brief Sketches of Chicagoans Prominent in Difficult and Exacting Art.” All of the scenic artists featured in the article were associated with the Sosman & Landis studio at the time.

*Portrait of Charles Ritter that accompanied the article.*

Under Ritter’s portrait was the caption:

“Chas. H. Ritter who is a present engaged at Hooley’s stand’s deservedly high in the profession, and has painted scenes at that house for the past five years. He was born in New York and studied with Richard Marston at the Union Square Theater for a period of eight years during the management of Shook and Palmer. He is the inventor of a foreground for the cylindrical panoramas, which adds much to the illusion by rendering the line between the foreground of properties as now used and the painted distance without possible detection.”

One month before the article appeared in the “Inter Ocean,” the new Sosman & Landis studio opened on South Clinton Street. Costing over $50,000, the new building remained the permanent home for firm until 1923. Moses and Strong were the first employees to work in the space during 1886; their project, a panorama. Of this new studio, Moses wrote, “Our new studio on Clinton Street was now ready for us and Mr. Strong and I started on a very interesting panorama of Grant’s trip around the world. We were alone in the big studio for some time before the whole force came over. We enjoyed painting the panorama as it was continuous. There was some careful blending to be done.” Ritter was part of that force and had recently patented a structure for panoramas and dioramas.

Many of the scenic artists at Sosman & Landis were familiar with the painting and mechanics for both moving and stationary panoramas. Ritter applied for a patent for “Dioramic or Panoramic Structure” on September 19, 1885. His patent was filed on March 16, 1886. Here is the link, https://patents.google.com/patent/US337869A/en?q=panorama&before=priority:18870101&after=priority:18860101

This was a little difficult to track down as the recognition software erroneously translates his last name as Bitter, not Ritter.

The mid-1880s were an exciting time for scenic artists in Chicago. The first exhibition of watercolor paintings by American Scenic Artists were the feature for “The Scene Painters’ Show during the fall of 1885. During the spring of that year their exhibit was planned. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4).

Well-known scenic artists from all over the country descended on the Windy City and stayed. Sosman & Landis was able to hire the best and advertised this fact in their catalogues. By 1894, the firm advertised, “Our artists are selected with reference to their special abilities. Some excel in designing and painting drop curtains, others in landscapes, and others in interior scenes; so we divide out work that each is given what he can do best.” They streamlined the process by working toward the strengths of each employee. Ritter was especially well known for his exterior painting abilities.

Ritter was born in New York in approximately 1845. He was first listed as an artist in New York by 1867, residing at 128 Eldridge.

He first studied with Richard Marston at Shook & Palmer’s Union-Square Theater in 1871. Subsequent listing from 1875 to 1880 in the New York Directory continued to included Ritter at 69 Fourth Av. and then 202 B 16^th. He remained at the Union Square Theare for eight years before moving west to Chicago where he became associated with Hooley’s Theatre, the Grand Opera House and Sosman & Landis. By 1888, Ritter was prominently listed in the Chicago Directory as Hooley’s scenic artist, boarding at the Southern Hotel. His affiliation with Sosman & Landis was still mentioned when Ritter painted scenery in Indianapolis a decade later. The firm placed Ritter at the Grand in Indianapolis at the same time they placed Fred McGruder at the Pike Theatre in Cincinnati, Ohio. This was after the establishment of Sosman, Landis and Hunt, a theatrical management firm. They staffed their new theaters with some of their best scenic artists to paint scenery and other shows for the season. This was brilliant, as it also provided regional offices to efficiently produce scenery.

On November 2, 1898, the “Indianapolis Journal” reported,

“The man who had a prominent hand in the beautiful stage settings seen at the Grand during the past three weeks and who has, up to this time, been unknown here, C. H. Ritter. Mr. Ritter came from the studio of Sosman & Landis, at Chicago, six weeks ago, and will remain all winter at the Grand, getting up scenery for each production. While, of course, he has been furnished every week with an outline of just what is needed for the coming week’s play, the artistic portion of the painting is altogether his own. He has given ideas here and there, but, in the main, the beautiful scenery, which affords so much pleasure each week to the eye, can be credited to his brush. Mr. Ritter is said to be one of the best scenic artists in the country. For nine years he was the artist at the Union Square Theatre, New York, and for seven years was engaged in a similar capacity at Hooley’s Theatre, Chicago. He painted all of the stock scenery of the Grand Opera House, Chicago, and his more notable achievements for stars and road companies include all of the settings for Richard Mansfield’s production of “The First Violin,” Modjeska’s plays, Roland Reed’s plays, “The Devil’s Island” and the last act of “The Moth and the Flame,” which was seen at English’s last week. Sosman & Landis regard Mr. Ritter as one of the most capable scenic artists ever in their studio, and they selected him for the Indianapolis work with a view to giving this city the best possible results in the scenic line. Mr. Ritter, with the help of one assistant, gets up all the scenery for the stock company’s production” (page 5).

As with McGruder in Cincinnati, the artistic process was described in detail for an upcoming production. It was a brilliant marketing move. On March 29, 1899, the “Indianapolis News” reported:

“GRAND’S SCENE PAINTER.

A Visit to His Workshop in the Theater.

A Network of Ropes and Much Apparent Rubbish Turn Out to be Parts of an Ordinary System of Scenic Arrangement.

The beautiful scenery used at the Grand Opera House, which has become so much a feature of every play, Is the work of Charles H. Ritter, head of the scene-painting department of the stock company. To reach Mr. Ritter’s workshop, a long, narrow, rickety flight of stairs must be mounted. The place looks like a neglected attic, with rubbish scattered about In apparent confusion. A network of heavy ropes confuses the senses. The piles of “rubbish” are soon seen, however, to be articles useful in decorating a stage or portions of scenes, while the network of ropes become an orderly, systematic arrangement of “stays” and “guys” by which pieces of scenery are raised or lowered. Immediately behind this mass of cordage Is a platform, about five feet wide, supported by large cables at either end. On this narrow, swinging base, the men who paint the scenery that pleases comfortably-seated audiences nightly, are obliged to stand while they work. On each side of this platform Is a “paint-frame.” which Is also suspended by guide-ropes. One of these paint-frames is twenty feet high and forty feet long, while the other is twenty-six feet in bight and forty feet In length. These frames are the supporting background for canvas, while it Is being transformed, by the artist’s strokes. Into interior and exterior scenes of greater or less beauty, as the exigencies of the play demand. Bold relief and strong coloring being required for scenic effects, there is considerable difference between the Implements employed by a scene painter and those found in the studio of a landscape or portrait artist. Mr. Ritter and his two assistants, when seen at work, were laying on colors with brushes that resembled those used by house painters. When work on a scene Is first begun, the effect is as though the coloring were being literally daubed on the canvas, but in a short time a realistic picture takes form. The first step In painting a scene of any description is to “lay on” the background. After this is done, the details of the scene are blocked out, to be filled In later.

*Illustration that accompanied the article.*

Works by a “Plot.”

Mr. Ritter receives a “plot” each week of how the completed scene should appear, from Stage Manager Bellows, telling whether the scene is to be an Interior or an exterior, and, If an Interior effect, the locations of the various walls, doors, etc. In the “plot” reproduced, which is the scene shown in act 2 of “The Charity Ball,” a drop curtain at the rear of the stage Is called for, in which, through the windows of the room represented on the stage, the audience can see a street or park In winter— a street, housetops being shown. Having received this “plot,” Mr. Ritter then devises some form of “Interior” or “exterior.” If he Is to paint a room, he must get up appropriate designs to represent wallpaper and celling decorations. Understanding that he is to paint a winter scene for the background. he is left to choose what kind of scene it shall be. For interior settings he finds the sample-books issued by wallpaper manufacturers, for use by their traveling salesmen, very helpful in choosing designs for mural decorations. He also picks up Ideas from his dally observations. For example, he frequently sees an arch over the front of a private house that suggests to him a valuable Idea for a similar piece ml decorative work to be used on the stage.

Liquid paint is not used by scene painters. The coloring employed by them comes In the form of powder, contained In large paper sacks. When used this powder is mixed with “sizing” or glue, which performs the function of holding the color firmly to the canvas, and thus a quickly mixed liquid paint Is obtained.

Mr. Ritter’s Career.

Charles H. Ritter has been in the scene painting business all of his working life. He obtained his first Instruction at Shook & Palmer’s Union-Square Theater In 1871 from Richard Marston, one of the greatest scenic artists of that period. After remaining at the Union Square for nine years. Mr. Ritter went to Hooley, of Chicago. He remained there seven years, when the rapid development of traveling companies made unnecessary the employment of a local scenic artist. Mr. Ritter then opened a studio in the Grand Opera House at Chicago. While thus engaged, he did work for prominent people in the theatrical world, and assisted In the production of many plays. Rice and Dixey engaged him to paint the scenery for their “Adonis.” Robson and Crane had him furnish the settings for “The Two Dromio’s.” Mr. Ritter cherishes a commendatory letter which he received from Stuart Robson, In regard to the scenes painted for this play. Richard Mansfield drew on Mr. Ritter for some of the scenery in “The First Violin.” Perhaps the most recent notable work Mr. Ritter has executed previous to his engagement with the Grand stock company, was the scenery employed by James H. Wallhick In producing “Devil’s Island,” which was seen at English’s Opera House recently” (page 11).

By 1910, Ritter was living in New York. The 1910 Census still listed Ritter as an artist in the painting industry, now 65 yrs. old. The report clearly lists him as divorced (“D”), and living with fellow artist James Wilson on West 24^th Street. James Howell Wilson had also worked in Chicago and participated in the planning of the 1885 Scene Painters show. Their participation was mention by John Moran in his article about the Scene Painter’s Show for “Art Union, a Monthly Magazine of Art” in 1885 (Vol. 2, No. 4,p. 85): “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Masha, C. Better, Chas. Ritter, H. Buhler and John Howell Wilson, whose “Country Road ‘76” is especially fresh, verdurous and bright. It is to be hoped that this is only the forerunner of many like exhibitions and it marks a decided growth in the national art spirit.”

I have yet to find any specifics concerning Ritter’s birth, marriage or death. There were many men named Charles H. Ritter who lived at this time; the majority remained farmers their entire lives.

*Clipping of Charles H. Ritter pasted in the scrapbook of Thomas G. Moses.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1094 – Scenic Artist Henry C. Tryon, 1870-1875

The 1870 US Federal Census lists Anna Maria (Hammer) Hoornbeck as living in Chicago her sons Dell and Spencer in Chicago. At the time of the census, Henry B. Hornbeck, alias Henry C. Tryon, was likely traveling as an itinerant scenic artist. In 1870, Tryon was associated with Aitkin’s Museum in Chicago, but was also working in Michigan, and delivered new scenery for a theatre in Manistee, Michigan. There, he was listed as “late scenic artist of Aitkin’s Museum, Chicago, Ill.” (New York Clipper, 11 June 1870). The “New York Clipper” article reported, “Messrs. Ferris and Hensberger have fitted up a nice little theatre, which was formally opened on the 26^th., the bill of the play being “The Charcoal Burner” and “Thumping Legacy,” with C. W. Collins and Fanny Dempster in the principle characters, the latter being credited by a correspondent with being a gay and vivacious artist. “Octoroon” was played all last week. Besides the above, the company includes Mrs. J. R. Creed, J. W. Whitley, Harry Cotton, A. A. Armstrong and others, not forgetting Henry C. Tryon late scenic artist of Aitkin’s Museum, Chicago, Ill.”

By the fall of 1870 Tryon was listed as a scenic artist at D. R. Allen’s Globe Theater in Chicago. He was working with James. H. Rogers and John M. Kaufman. Of the Globe’s opening, the “New York Clipper” announced “Allen’s Globe Theatre, a new edifice, situated on what is termed the “west side” in Chicago, Ill., on Desplaines street, between Washington and Madison, is announced to be opened for the regular season this evening, Nov. 21^st… James Howard Rogers, John M. Kaufman and Henry C. Tryon, scenic artists” (26 November 1870).

As most other artists at this time, he established a permanent residence, or theatre, for correspondence and then traveled to outfit new venues with scenery. There was a significant amount of construction as railways expanded ever westward. Tryon found a substantial amount of work in Kansas, including Frazer’s Hall in Lawrence.

The Great Chicago Fire occurred from October 8 to 10, 1871, killing approximately 300 people, and destroying approximately 3.3 square miles of the city. 100,000 residents were left homeless. Miraculously, Allen’s Globe Theatre survived the destruction, so Tryon remained associated with the venue.

As the Windy City recovered, a group of scenic artists painted a large panorama of the horrific event – Alderson’s Great Panorama of the Chicago Fire. The piece immediately toured the country, accompanied with musical performances and descriptive recitations. While in San Francisco, California, an advertisement for Platt’s Music Hall described “3,700 feet of canvas from actual views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry O. Tryon, scenic artist of Wood’s Museum; Henry Dressel, scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House” (Figaro, 31 July 1872, page 1). Scenes described in the advertisement included: Chicago before the Fire; The Conflagration; Thousands of Houses in Flames; The scenes of the Old Cemetery; The Ruins; Views of Principal Streets; Public Buildings, Printing Offices, etc.; Ruins of Churches; Something About Mrs. O’Leary’s Cow; Music, Songs, Stories, Recitations; and Descriptive Lecture and Dramatic Ballad.

Chicago Fire Panorama advertisement from “Figaro,” 31 July 1872, page 1.

Tryon also worked as an assistant to Mr. R. H. Halley’s assistant, painting scenery for the Wyndam’s Comedy Co. in 1872 (Chicago Tribune, 5 May 1872, page 7). Tryon could not have picked a better individual to study with at this time; Halley had an excellent reputation and connections. On April 5, 1872, the “Chicago Tribune” reported, “R. H. Halley, the eminent English scenic artist, whose brush added so much to the attractive features of Crosby’s Opera House and the Dearborn Theatre, has just reached New York from Europe, and will soon visit Chicago. He will paint scenery for Myer’s Opera House, building on Monroe street, directly in the rear of McVicker’s Theatre” (page 5). By the fall, Halley was also credited for painting the new Aiken’s Theatre drop curtain and scenery, completing the project with C. Louis Malmsha. A “Chicago Tribune” article noted that both artists were “schooled under the artistic Telbin, of London, and others, and reflect lustre on their names as men of merit and talent” (Chicago Tribune, 18 September 1872, page 4). Tryon later worked with Malmsha at Wood’s Theatres (Chicago and Cincinnati) and McVicker’s Theatre (Chicago), eventually writing a passionate tribute to Malmsha upon his passing (October 19, 1882).

Advertisements placed by Tryon in the “New York Clipper” during 1872 announced, “Henry C. Tryon, late scenic artist Woods’ Museum, Chicago is prepared to paint Scenes and drop curtains for theatres, public halls, &c. Address 363 West Indiana street, Chicago” (18, May 1872). Tryon would primarily advertise in the “New York Clipper” throughout the duration of his career.

Advertisement for scenic artist Henry C. Tryon in the “New York Clipper,” 18, May 1872.

Work over the next two years included new scenery for the renovated Academy of Music in Indianapolis, Indiana (Indianapolis News, 28 Jan. 1874, page 4). For the 1874 renovation, the newspaper noted, “In lieu of the advertising drop curtain, that has been sent to the rear of the stage,” Tryon painted “an original conception, representing the voyage of Lallah Rookh to the castle called Shalimar” (The Indianapolis, New, 30 Aug 1875, page 3).

In 1875 Tryon delivered new stock scenery for Grand Opera House, in Cincinnati, Ohio. An article in the “Cincinnati Daily Star” reported that the scenic department for the Grand Opera House was “in the hands of Charles Blackburn and Henry C. Tryon (4 Aug. 1875, page 4).

The second half of the decade would find Tryon establishing a partnership with Lemuel L. Graham. There will be more on that tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 874 – The Grand Canyon Exhibit for the Panama-Pacific International Exposition and Walter W. Burridge.

During the summer of 1913, plans were announced for a Grand Canyon Exhibit at the Panama-Pacific International Exposition in San Francisco for 1915. Walter W. Burridge was hired to create a series of 100-feet long oil reproductions of the Grand Canyon. On June 25 1913, the “San Francisco Call” announced, “SANTA FE AT WORK ON GRAND CANYON EXHIBIT. Reproduction for Fair to Cost $300,000. Illusion Will Be Perfected by Canvases and Modeling.” The article reported, “Plans for the $300,000 reproduction of the Grand Canyon of Arizona, the exposition exhibit of the Santa Fe Railroad, were outlined yesterday by W. F. Sesser in a communication to the exposition company. Walter W. Burridge who will paint the canvasses, is on an extensive tour of the canyon with Mr. Sesser. The work will be made up of canvases and stone modeling. Rocks, trees, cactus and shrubbery have been collected for the model” (page 18).

Other newspapers soon included and an interview with Sesser of the exhibit:

“F. Fraser, manager of the Santa Fe exhibits, and who will have charge of the $300,000 reproduction of the Grand Canyon, of Arizona, at he Panama-Pacific International Exposition, in an interview, gives some interesting information about the construction of the exhibit. ‘In the production of this work,’ said Sesser,’I have had with me at the canyon Walter W. Burridge, one of America’s greatest painters; Charles R. Fisher, J. C. Schwerdt and a full equipment of guides and helpers. Captain John Hance, the hermit of the canyon, has been with us all the time. We have made studies at ten of the principal points of the canyon that will embrace in the exhibit we are to make the most grand and magnificent portions of the canyon. ‘We are gathering rocks, trees, cactus and shrubbery of all kinds from the rim of the canyon, which we will use in constructing the facsimile rim at the Grand Canyon exhibit. We will build a portion of Hermit trail, showing a trail party in motion, actual figures being constructed in correct position to accomplish this effect. In one section we will reproduce a storm in the canyon. We will also, in another section, have the effect of moonlight and sunset, with beautiful El Tovar hotel illuminated at night on the rim. ‘We are forwarding to San Francisco the first consignment of our studies in oil, pastel and water color, with color keps [?], color tones, dimensions, positions and the data necessary for the carrying out of the scheme. ‘I am going into the Indian villages, accompanied by Burridge and the rest of the party, for the purpose of making careful notes and studies of the Puebla life, as this will be an important feature, occupying the second floor of our front construction, In this part of the exhibit will be housed Hopi and Navajo Indian villages. Here the Indians will be engaged in their daily occupations, the same as in their original villages” (Victoria Daily Times, June 30, 1913, page 3).

A scene from the final display at the Panama-Pacific International Exposition in 1915.

Burridge traveled to Albuquerque after painting pictures for two months. He was found dead in his bed at the Alvarado hotel the evening of his arrival. Death was attributed to heart disease, caused by acute indigestion. His widow received the news at the home of H. M. Smith, 438 Maple avenue, Oak Park, where she was a guest at he time. Burridge was only 56 years old and newspapers across the country reported, “His work of the Grand Canyon he had hoped to make the best of his career and fulfill his ambitions as a scenic artist.”

After his passing, the Santa Fe Railroad selected a another scenic artist, and friend of Burridge, to complete the paintings of the southwest – Edgar Payne.

Next summer, the exhibit was well underway. On August 27, 1914, the “Fergus Country Democrat” reported, “A panoramic reproduction of the Grand Canyon is being built at the Panama-pacific International exposition at a cost of over $300,000; over fifty thousand square yards of linen canvas, imported from Scotland, are being used for the set pieces. Visitors in this concession will view the panoramic from observation parlor cars, moved by electricity on an elevated trestle, seemingly along the rim of the canyon. The observer will be enabled to see eight of the most distinctive points of the canyon and the ride will last over half an hour, including, apparently, a journey of more than one hundred miles of the great gorge. Every resource of modern science is employed in the work of this production” (page 11). The “Joliet News” added, “The Grand Canyon concession is built upon so prodigious a scale that visitors will view the canvases from a standard gauge railway coach running on a standard gauge track” (Joliet, Illinois, 11 Feb. 1915, page 5).

Location of the Grand Canyon exhibit in the Zone at the Panama-Pacific International Exposition, 1915.

The Fred Harvey Collection at the University of Arizona includes wonderful photographs documenting the Grand Canyon Exhibit at the Panama-Pacific International Exposition, 1915. Many are posted online.

When the World Fair opened, the Panama-Pacific attraction was located in the “Joy Zone” of the world fair. The “Peoples Easy Guide” described the attraction:

“Grand Canyon of Arizona

With an entrance like a typical railroad station of the Santa Fe in New Mexico, where we can seat ourselves in the tiny electric trains and be conveyed over mountain passes, through deserts and past villages till we reach the replica of the Grand Canyon of Arizona. Here we will descend and visit the Indian Colony, inspect the weaving of the Navajo blankets and the making of pottery and other crafts by the Indians brought here for the purpose.”

Entrance to the Grand Canyon Exhibit at the the Panama-Pacific International Exposition, 1915.

Scene at the Grand Canyon Exhibit at the the Panama-Pacific International Exposition, 1915.

To be continued…

Tales from a Scenic Artist and Scholar. Part 830 – Thomas G. Moses and the Chattanooga Manufacturer’s Association Panorama, 1913

In 1912, Thomas G. Moses and his wife Ella stopped in Chattanooga on their way to Asheville, North Carolina. Moses was headed south on vacation to sketch and check in on some projects. In Chattanooga, he dropped off a panorama for the Chattanooga Manufacturer’s Association.

The painting was for a permanent display at the new Chattanooga Manufacturer’s Association. “The Chattanooga News” described his contribution on Jan. 1, 1913, in the article “Manufacturers Receiving in Their Commodious Home” (page 12). Of Moses’ artwork, the article reported, “The panorama of Chattanooga and the miniature replica of the Cincinnati Southern railway attracted the greatest interest upon the top floor, crowds of amazed spectators standing around these exhibits throughout the morning and afternoon.”

On New Year’s Day, 1913, more than 15,000 people visited the permanent exhibit of the Chattanooga Manufacturer’s Association, far exceeding the expectation of the exhibit committee. From 10:00 a.m. until 10:00 p.m., a steady stream of visitors poured into the building. The new home of the Chattanooga Manufacturers’ association home was a three-story building on Broad Street, where the products of various manufacturing plants of the city were permanently displayed.

Chattanooga had more than 300 manufacturing plants turning out 700 different products of common use by 1913 (“The Chattanooga News,” 12 March 1913, page 5). The annual value of manufactured exceeded $65,000,000. Today’s equivalent of that purchasing power is $1,685,791,414.14.

That fall “The Chattanooga News” included an article about Moses’ visit to Chattanooga, mentioning his panorama work and role in the Palette & Chisel Club (Nov. 5, 1913, page 2). Moses was 57 years old at the time, well-respected as a fine artist, and in his artistic prime. Here is the article in its entirety:

“ARTISTS MAY CAMP HERE NEXT SUMMER.

Thomas F. [sic.] Moses Has Interested Palette and Chisel Club of Chicago in Chattanooga –

The genius of Thomas G. Moses, the artists who painted the panorama of Chattanooga, now at the Chattanooga Manufacturer’s association exhibit building, is at present being officially recognized in Chicago by the Palette and Chisel Club there, one of the most exclusive art clubs in America.

Nov. 2 to 14, the paintings of Mr. Moses are on display at the club apartments. This opportunity is an honor afforded only to the most prominent members. Invitations have been sent out to the most able of America’s painters. In the invitation the Palette and Chisel club says of this artist:

‘There is not one of our members of whom we are more proud. There is probably not another painter in Chicago who has sought out and painted so many of the beauty spots of our own country. From a thousand sketches and paintings sixty have been selected, and are hung in our club to give our members and their friends an opportunity of seeing a representative collection of the works of Thomas G. Moses.

It is customary for sketching parties of the Palette and Chisel Club to make excursions to locations of exceptional beauty over the continent of America. When in Chattanooga to deliver his painting of this city to the Manufacturer’s association Mr. Moses expressed his admiration for the scenic beauty of this section and stated that he hoped to bring a party of artists from Chicago art circles to establish a summer painting camp in this locality.”

To be continued…

Tales from a Scenic Artist and Scholar: Part 782: George L. Schrieber, 1911

While looking for additional information pertaining to Thomas G. Moses’ Kansas exhibit at the 1911 Chicago Land Show, I came across an interesting article about a panorama painted for the Omaha Land show that opened in the Omaha Coliseum on October 16, 1911. It was the artist that caught my eye, a new name for me. As I researched his history and artistic philosophy, it prompted me to include him in the storyline. Arts education for children and its benefits for society are not a new concept, individuals have been fighting for the inclusion of art classes in American public schools for over a century. What my generation once took for granted, daily arts classes, metallurgy, or woodworking, is not necessarily part of out children’s academic experience anymore.

Here is the article published in the “Daily Bee” that initially brought George L. Schreiber to my attention (“Vale depicted in Panorama,” Omaha, Nebraska, 11 October 1911, page 5):

“One of the first big exhibits for the Omaha Land Show which opens in the Coliseum next Monday arrived from Salem, Ore. The displays are representative of eight counties in the Willamette valley.

A novel and interesting feature will be the panoramic painting depicting the characteristics of the fertile land in the valley. The panorama was painted by George L. Schrieber, who is already here to install the big canvas. As a painting it is a work of art and it is bound to attract much attention. Electrical effects to show the variation of the light from the break of day until sundown will make the canvas all the more realistic. W. T. Groves, who will have charge of the soil products display from Willamette valley, has arrived in Omaha and is awaiting the arrival of the exhibit. He will display fruits, grasses, forage and garden products, demonstrating the wide diversity of crops raised in his section of the country. In addition to the exhibit there will be a lecturer here to give illustrated talks on the Willamette valley.”

In additional to this grand painting, the article continued, “The Bolster-Trowbridge Company has announced that it will give away a carload of grape juice to the visitors at the Land Show. The liquor will come from California, where the company has large interests. The wines made in California are regarded highly among connoisseurs and the Trowbridge-Bolster booth at the Land show will no doubt be found every attractive to many visitors.”

Of Schrieber’s work, “The Statesman Journal” reported “a representative of the Kansas City exposition was enthusiastic in his praises of the display and was very anxious to have the same exhibition at Kansas City” (Salem, Oregon, 7 Nov. 1911, page 1). There was a Land Show in Kansas City the following year.

Little is known of Schreiber, beyond a dozen newspaper article that provide a peak into his life in Chicago, and later, Salem, Oregon. Although few, the story is compelling and tells of his passion to teach art. In January 1894, Schreiber taught semi-weekly courses on the history of art at the Chicago Art Institute( Inter ocean, 24, Dec. 1893, page 15), His classes were held at the Newberry Library Center, using Mrs. D. K. Pearson’s collection of Braun photographs. For the Columbian Exposition, Schreiber was selected to do the painted decor for the Children’s Building, illustrating the decorative movement in education (Chicago Tribune, 11, February 1893, page 9). What is fascinating is that Schreiber’s work was directed by a committee of kindergarteners.

In 1896, Schreiber was on the advisory committee of artists, alongside James William Pattison and Caroline D. Wade for the juries of selection and admission to the Chicago Institute of Art (Chicago Tribune, 26 July 1896, page 42). The following year, he exhibited several pieces at the annual exhibition of the Cosmopolitan Club held in conjunction with the chrysanthemum show at Battery D. He showed a large number of works combining the figures of children in landscapes. The “Chicago Tribune” reported that Schreiber also exhibited “a portrait of himself, a figure of a mother caressing her child, and a fantasy of a Japanese girl surrounded by chrysanthemums” (7 Nov. 1897, 43).

The Children’s Building, Columbia Exposition, from the “Chicago Tribune,”11 Feb 1893, page 9

It was his participation in the 1900 national conference for the Mothers’ League in Chicago that caught my eye, however. Schreiber was one of the featured speakers for the event and his topic was “What Shall Art Mean to the Child?” (The Saint Paul Globe, 22 July 1900, page 21). For the remainder of his life, Schreiber was an advocate for art, giving many lectures on the benefits of art, not only on children, but also the life of the community. His passion for arts education brought him to the public schools in Salem, Oregon.

By 1911, Mr. George L. Schreiber was listed as the supervisor of drawing in the Salem public schools (The Capital Journal, Salem Oregon, 22 Sept, 1911, page 5). His assistant was Miss Virginia May Mann and the two were quite a pair, enriching the lives of the area’s children. “The Capital Journal” reported that Salem is “probably the only city in the state which the pupils are not required to buy textbooks in drawing, the teacher himself being the textbook. The school board furnishes the drawing paper, clay, charcoal, and materials for basketry, and the pupils buy their own watercolors at the bookstores. Drawing is one of the most practical and useful studies in the public schools, and one in which the pupils are becoming more interested.” In addition to drawing, the pupils of the grammar grades were taught sewing and woodwork, the former to the girls of the seventh and eight grades, and the latter to the boys of these grades.

In a 1912 article, Professor George L. Schreiber delivered an address to the men of the “Salem Six O’clock Club.” His talk explored the influence of art and the effect it has on the life of the community. The speech is really quite wonderful, especially with Schreiber’s primary point being, “The child or the man who has once opened his eyes to beauty is safe to trust because he thereby becomes a caretaker.” I believe that the sentiment holds true today, especially when you look at the individuals who are attacking the necessity of art in public education or any sort of funding for the arts. In 1912, Schreiber also addressed the beautification of public spaces, public parks and the corresponding result of civic pride in one’s environment; artistic endeavors enrich a community and bring individuals together. Schreiber’s closing remarks in the “Salem Six O’Clock Club” speech stressed, “If we have faith in our community, let us then invest it with our faith and clothe it with beauty, and, in the years to come, when our heirs shall possess it they will say, ‘Our fathers have builded well; they have given us a fair inheritance.”

We live in a time when the arts are a constant target. Will our children and grandchildren feel that we have given them a “fair inheritance.” I hope so.

To be continued…

Travels of a Scenic Artist and Scholar. Sycamore, Illinois, March 2019

I left Louisville at 6:30 AM on Sunday, March 24. After dropping Richard Bryant off at the airport, I headed to Chicago where I was going to meet Gene Meier, a panorama historian. There have been several individuals who I have encountered while searching for online information. Gene has done extensive research on American Panorama companies. On a whim, I decided to see if he wanted to meet on my return trip. We have been talking quite a bit recently after I uncovered a panorama company established by Sosman & Landis. This was in addition to their main scenic studio.

After winding my way to Sycamore, Illinois, I located Gene’s house. It was only twenty minutes away from where I was staying that evening. In many ways, meeting Gene in person was like reuniting with a long lost friend. We have been in contact about various panoramas and scenic artists for the better part of a year. Gene’s great aunt was an artist with quite an interesting background who was connected with the panorama artists. It was wonderful to see her work up close. She left diaries, sketches, paintings and other memorabilia. The care with which Gene has pieced together little bits and pieces about her past is impressive.

Gene’s Tante Tilda, Mathilde Georgine Schley, is most famously pictured in costume with a group in front of a panorama.

Mathilde Georgine Schley pictured in front of panorama. From the Wisconsin Historical Society collection.

The Milwaukee Journal also published an article about her in 1925 (29 Oct. 1925, page 10). She was a Wisconsin painter, and the granddaughter of one of the Kindermann pioneers. The Kindermann emigrants came from Pomerania, Stettin, the districts on the Baltic, Brandenburg and the lands along the Oder. Under the leadership of Rev. G. A. Kindermann, the “Altlutheraners” sought religious freedom. They were the forerunners to the later German emigration that would follow, reaching Wisconsin during 1843. The Milwaukee Journal article notes that “They formed a common treasury into which rich members of the group poured their wealth and out of which passage and even land for the less prosperous ones was paid. The Kindermann emigrants came to Milwaukee. Some of their number became the first settlers in the Chestnut St. district…Those from Stettin and the Oder, between 70 and 100 families settled at Lebanon and Ixonia.” Mathilde’s grandfather settled in Lebanon, Wisconsin.

Gene with two paintings by M. G. Schley,

By the age of 19, Mathilde taught art in Dodge county. She studied art with Loranz and von Ernst in Milwaukee before moving to Kansas where she once again worked as an art instructor.

This was such a wonderful conclusion to my USITT trip, and certainly gave me incentive to return soon.

To be continued…

Tales from a Scenic Artist and Scholar. Part 450 – Thomas G. Moses and “Old Sleuth”

Part 450: Thomas G. Moses and “Old Sleuth”

In 1903 Thomas G. Moses wrote, “We started the New Year with more work than last year.” The “we” was Moses and his partner Will Hamilton, having founded the New York studio of Moses & Hamilton. They used the paint frames at both the American Theatre and the 125^th Street Theatre. In addition to the seasonal work at the two theaters, they also accepted a variety of other projects, such as touring shows that traveled across the country.

Moses recorded that they took the show “Old Sleuth” to Elizabeth, N.J. for its final rehearsals. This was common for most of the shows that Moses worked on during this time. The majority of shows both rehearsed and opened in a smaller venues, where they could tweak any scenic or mechanical issues. After these trial runs, the productions went eiter on tour, or headed to Broadway.

The opening of “Old Sleuth” was rehearsed for three days whole days in Elizabeth, New Jersey. Moses wrote, “Everything worked fine – not a hitch.” However, on opening night the panorama in the tunnel scene fouled and stopped. Moses continued, “the driving rod fell off the locomotive and the Falls of Niagara refused to fall. Which caused a big laugh from the audience, and some profanity from the producers. After the show, I wanted to go back to New York, but the producers insisted on my remaining there. I had nothing to do with the actual working of the mechanical effects, but had to see that they were put in good working order, which I did in two days.” What a nightmare for Moses. It also speaks of the complicated aspect of many scenic elements for melodramas.

James “Hal” Reid, the playwright, actor and director.

“Old Sleuth” was a five-act melodrama written by James Halleck Reid. After rehearsing the show in New Jersey, the show opened on October 27, 1902 at the Star Theatre in New York City, and toured across the country. “Old Sleuth” was both the creation and pseudonym of Harlan Page Halsey (1837-1898), a “dime novel detective” that appeared in the 1860s. The use of “Old Sleuth” was the equivalent to the 20^th century use of “Dick Tracy.” During thr late-nineteenth century, it became quite common place to see multiple references in newspaper articles reporting various crimes being solved “Old Sleuth” equivalents.

A collection of “Old Sleuth Weekly,” recently sold at auction.

In 1874, the story “Old Sleuth, the Detective” was adapted for the stage in Manhattan at the Bowery Theatre. The Lebanon Daily News described the great detective play, reporting, “Old Sleuth is a character so well known to all lovers of sensational fiction further comment is unnecessary. The ‘Old Sleuth’ series of sensational detective stories from the pen of Chas. Garvice have been carefully dramatized into five thrilling acts and ten big scenes abundant with startling climaxes and intensely dramatic situations. Mr. Hal Stephens will portray the title roles and introduce his many lighting changes. He will be ably supported by a carefully selected cast of players, together with special mammoth scenery and marvelous mechanic effects” (Lebanon, PA, 1 Oct. 1902, page 2). A vehicle for lighting innovation and scenic effects, the play was packed with action adventure, including the rescue of the heroine from a burning bridge and another rescue in front of a speeding train.

The Philadelphia Inquirer reviewed the play when it was scheduled for the National Theatre, advertising, “A dramatic production which in its actions mirrors the caprice of temperament, sunshine, cloud, showers, raging storm and scented zephyr and has the atmosphere mingled and tangled over and over with thrilling and intensely powerful situations comes to the National this week. The play is labeled ‘Old Sleuth,’ a name familiar to those living in glittering palaces as well as to those that call a little hut in the desert their homestead, and where is one on the long plain that stretches from the Empire State to the Golden Gate, that has not read or heard of the cleverest of all detectives, ‘Old Sleuth?’ But non ever enjoyed the treat of seeing his doings realistically portrayed on the stage until Hal Stephens, surrounded by a cast of unusual excellence, went on a starring tour to move the many admirers of ‘Old Sleuth’ closer to him. The theme is so cleverly worked that sobs are followed by hearty laughs. The acting is startling, the scenery sensational and the mechanical effects of an order that will excite and thrill” (16 Nov. 1902, page 33).

“Moving Picture World” article on “Hal” Reid. Page posted on Pinterest.

Hal Reid credited as “Father of the Sport Shirt.” First page of article posted on Pinterest.

The playwright “Hal” Reid was born in 1863 in Cedarville, Ohio. Interestingly, I found a few newspaper articles that placed his birth in Minneapolis, Minnesota. Although he remained an actor throughout the duration of his career, he is primarily remembered as a writer of melodramas. Reid was responsible for writing at least thirty melodramas between 1895 and 1908 that opened on Broadway. He later went to Hollywood were he worked as a screenwriter, actor and director. Reid was eventually associated with the Reliance Company, directing all of their productions. “Moving Picture World” reported that he was only director at the time to have filmed the President of the United States and royalty of the British reigning family (page 414). His son Wallace was also an actor, but tragically died of a drug overdose in 1923, only three years after the death of his father.

To be continued…

Tales from a Scenic Artist and Scholar. Part 396 – Francis Bedford, photographer

Part 396: Francis Bedford, photographer

In 1863, William Telbin and his son Henry painted scenes for a panorama about the tour made in the East by the Prince of Wales. At that same time, Francis Bedford (1816-1894) created a photographic exhibition of the same tour. Bedford was a British artist, photographer, lithographer, and publisher.

Bedford was the son of a church architect, Francis Octavius Bedford, following in his father’s footsteps and beginning his career as a draughtsman. He soon became well-known for his ecclesiastical architectural drawings. This skill facilitated additional projects that included “A Chart Illustrating the Architecture of Westminster Abbey (1840) and “A Chart of Anglican Church Architecture Arranged Chronologically with Examples of Different Styles” (1843). Other lithographic commissions included one hundred plates for Owen Jones’ “The Grammar of Ornament” (1856) and “The Treasury of Ornamental Art” (1858).

It was not until the 1850s that Bedford took up photography. He specialized in topographic and architectural views. In 1857 he joined the Photographic Society of London and was elected to the Council of the Photographic Society, later becoming the organization’s president in 1861.

By 1854 Queen Victoria commissioned him to photograph objects in the royal collection at Marlborough House. By the 1861 census, Bedford was listed as an “artist” in Peterborough, later becoming a “photographic artist” in London. He was the first photographer to accompany a royal tour, after successfully completing two royal commissions.

The Prince of Wales and his traveling companions

All parts of the group’s itinerary had already been explored by British travelers, authors, artists and photographers, including Rev. George Wilson Bridges (1846-1852), Maxim du Camp (1849-1851), Francis Frith (1856-1860), as well as the Cramb brothers and James Graham during the 1860s. Many published their photographs by subscription installments. This was similar to what David Roberts had done with his lithographs, resulting in a photographically-illustrated book once the series was complete. Others, such as Frith, issued their photographs as glass-plate stereographs that accompanied descriptive books. Many of Bedford’s photographs became carte-de-visite prints, all bearing the legend “F. Bedford Photographer to H. R. H. The Prince of Wales” over the Prince’s coat of arms. During the 1860s Bedford’s catalogue ran over 9000 images various formats, including multiple view carte-de-visite, copied from montages of large format views.

Francis Bedford, image of Egypt. Southwest view of the Parthenon

Francis Bedford, image of Egypt. The Caryatid Porch of the Erechtheum

Francis Bedford. The Great Propylon of the Temple at Edfou

Francis Bedford. Tombs of the Memlooks at Cairo

Francis Bedford. View through the Great Gateway

Here is an article about Bedford’s project that was published in Illustrated London News (13 Sept 1862, Vol. 41, No. 1164, page 283).

“Echoes of the Week, and the International Exhibition.”

“One of the most admirable and interesting exhibitions now open in London is that of the photographic pictures taken by Mr. Francis Bedford during his tour in the East, on which, by command, he accompanied his Royal Highness the Prince of Wales, and which are now on view at the German Gallery in Old Bond-street. Panoramas, sketches, pictures, and photographs of the Holy Land are no novelties in this country, and are honourably connected with the names of Roberts, Bartlett, Bonomi, and others; but the circumstances under which Mr. Bedford’s tour was undertaken give additional interest to his collection of photographs. We may remark, en passant, that another artist of eminence, although in a widely-different style, is now occupying himself in Oriental fields. Mr. Buckstone, of the Haymarket, has commissioned the famous scene-painter, Mr. William Telbin, to proceed to the East to follow the scarcely-effaced footsteps of the Prince of Wales, for the purpose of making sketches illustrative of his Royal Highness’s tour in Syria and Palestine, which will be reproduced in a panorama for a grand spectacle founded on the Story of “Rasselas, Prince of Abyssinia.” Dr. Johnson will himself officiate as chorus, and, in his immortal snuff-coloured suit and bushy wig, deliver a sonorous commentary on the adventures of Rassolas, who, dramatically speaking, is to be taken in hand by Mr. William Brough.”

To be continued…