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Tales from a Scenic Artist and Scholar. Part 1057 – Charles T. Kindt, 1920

In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island. Had to get a permit. I enjoyed myself immensely. Saw all the old places, also had a visit with Charlie Kindt.” This was the year before Kindt retired at the age of 58. Charlie was the son of German immigrant and well-known panorama painter Louis Kindt (1832-1923). For more information about the artistic career of Louis Kindt, visit http://www.wisconsinart.org/archives/artist/louis-kindt/profile-1809.aspx

The 1920 US Federal Census lists Charles T. Kindt as a 57 yrs. old theatre manager, living at 120 17^th St, in Davenport, Iowa. Kindt was living with his wife, Helena. Daughters, Helena (age 28) and Julia (age 30) were also living with them, as well as their grandsons Stoddard and Kindt Fields. At the time, Kindt was manager for the Burtis Opera House. In 1921, the famous opera house would be gutted by fire. The 1600-seat venue was originally constructed by J. J. Burtis in 1867. Kindt began managing the theater in 1890. Of the tragedy, “The Daily Times” reported, “Mr. Kindt lives in the Perry apartments next to the opera house and was one of the first to be notified of the fire. He and Mrs. Kindt and their daughter Julia, dressed and were among the first on the scene. Mr. Kindt remained on the scene for three hours watching the fames and talking to friends, who extended their sympathy. He took his loss philosophically, no losing any of his joviality, which characterizes him. ‘Yes, there have been some great people who have played on the old Burtis stage,’ he reminisced. ‘Many before my time and many since I took over the management. There’s not any salvage in the building. I guess it’s a totals loss. But what’s the use of hollering about it? It’s not going to do any good.’ …Scores of autographed photographs, presents from friends in the theatrical world, were destroyed or badly damaged. Mr. Kindt is unable to say what his future plans will be. He has been negotiating for some time a new theater and it may be the fire will hasten such plans” (26 April 1921, page 2).

The Burtis Opera House was destroyed by fire in 1921. Thomas G. Moses visited Charles Kindt in 1920 and 1922. Article from “The Daily Times,” 26 April 1921, pages 1- 2.

The Burtis Opera House after the fire, from “The Daily Times,” 26 April 1921, pages 1- 2.

In 1922, Moses wrote, “I met my old friend Chas. Kindt in Davenport. He is manager for the Thos. Cusock Company, on the site of the old Burtis Opera House.”

Charles Kindt also started out as a scenic artist like his father, but soon transitioned to theatre management by the age of 25, in 1888. Kindt married Helen “Nellie” Stoddard in Chicago on March 22, 1882. By 1888, Kindt was acting as assistant manager for the Turner Opera House in Davenport, Iowa (The Morning Democrat, 17 July 1888, page 4). He was working with manager Charles Becker. By 1889, Kindt became manager of Davenport’s Grand Opera House. In 1890 he was manager of the Burtis Opera House.

Charles T. Kindt listed as manager of the Burtis Opera House. From the “Daily Leader,” Davenport, Iowa, Sept.13, 1893, page 4.

A year later, Chamberlin, Kindt & Co, was formed, and the firm began managing the Burtis Opera House (Quad City Times, 10 Dec. 1906, page 10). The firm continued to expand, controlling over 25 theatres on the Illinois-Iowa circuit. Their theatres were located in Marshalltown, Rock Island, Ft. Madison, Burlington, Oskaloosa, Davenport, Galesburg, Monmouth, Muscatine, Rockford, Grinnell, Keokuk, Kewanee, Creston, Sedalia, Quincy, Peoria, Boone, Joliet, Elgin, Waterloo. Chamberlain passed away by the end of the 1906, a severe blow to Kindt and the company. That same month J. R. Lane, C.T. Kindt and Isaac Deutsch purchased the Burtis property, consisting of the Burtis Opera House and Kimball House for $55,000 (The Dispatch, Moline, Illinois, 13 Dec 1906, page 4).

In 1906, F. W. Chamberlin & Charles T. Kindt purchased and remodeled the Burtis theater. Sosman & Landis delivered new scenery to the renovated stage. If Kindt did not know Moses from the Chicago scenic art scene, he would have met him at the Burtis. Of the Burtis Opera Houses 1906 renovation “The Daily Times” reported, “The theater will be completely remodeled from stage to foyer” (Davenport, Iowa, 16 March 1906, page 6). Manager Kindt, was quoted as stating, “The Burtis will be completely remodeled. In fact, when it is improved, it will be practically a new theatre. Everything that is in it will be removed, and it will be fitted up in modern shape throughout” (The Daily Times, 24 March 1906, page 12).

Kindt passed away in 1947. His obituary reported, “Charles T. Kindt, 86, a veteran Davenport theater operator and a partner in the old Chamberlin-Kindt Theater corporation, which operated theaters in Moline and other cities, died at 3:40 yesterday in Mercy hospital, He had been ill for some time. Mr. Kindt was the first exalted ruler of the Davenport Elks’ lodge…Mr. Kindt was best known as the owner and operator of the old Burtis theater. He had not been in active business since 1921. Mr. Kindt, who lived at 1104 River drive, Bettendorf, was active in Bettendorf civic affairs many years. At one time he was president of the Bettendorf Chamber of Commerce. He was born in Sandusky, O., on March 28, 1861, and was reared in Chicago. Mr. Kindt became acquainted with the theater business through his father Louis Kindt, and became a scenery painter in Chicago. He came to Davenport in 1888 on a contract to paint scenery for the Grand Opera house there. Later he became manager of that opera house and in a few years became manager of a second opera house in Davenport. He formed the Chamberlin-Kindt partnership, which operated a chain of 51 theaters in the middlewest. An organizer of the Elks’ lodge home in Davenport, Mr. Kindt was the only surviving charter member. He married Helen Stoddard in Chicago March 22, 1890. She died in 1937. Surviving are a son, C. Roy Kindt of Davenport; two daughters, including Mrs. John A. Martinelli of Davenport; a brother; three sisters, including Mrs. Julia Donald, of Davenport; 11 grandchildren and seven great-grandchildren” (The Dispatch, 11 July 19487, page 20).

From “The Dispatch,” Moline, Illinois, 11 July 1947, page 20.

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 395 – William Telbin and Henry Telbin

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 created a photographic exhibition of the same tour. Here is an article about the Telbins’ project that was published in Art Journal (May 1863, Vol. 2, No. 5, page 101).

Description of the Panorama of the Tour of the Prince of Wales, 1863. This was recently listed for sale and I was fortunate enough to get a screen shot of the cover.

“Minor Topics of the Month. Panorama of the Prince of Wales’s Tour.”

“The Easter novelty at the Haymarket Theatre is the production of a series of panoramic views, illustrative of the tour made in the East by the Prince of Wales. To ensure the utmost accuracy, Mr. Buckstone sent his scene-painters—Mr. Telbin and his son—the same journey, and the result has been a series of pictures of singular fidelity and beauty. The series begins at Cairo and ends at Constantinople, including the sacred Island of Philae on the Nile, Jerusalem, the Jordan, the Dead Sea, Nazareth, Mount Hormon, Damascus, Beyrout, and other interesting localities. It is an especial merit in these pictures that they are quite free of all conventionalism, and the artist has boldly delineated the atmospheric and topographical peculiarities of the Holy Land.

The glaring sunlight, the arid desert, the deep green foliage, the gorgeously tinted sunsets, the brilliant moonlights, the sky studded with lamp-like stars, is all reproduced in these clever pictures. We may especially note the grand and comprehensive view of Cairo as an admirable day-scene, and that of the Dead Sea as an equally good picture of evening in the East. The deep shadows and blood-red lights from the setting sun, the fleecy clouds of rosy hue in a sky of gold, could only be painted by an Eastern traveller, and certainly not appreciated by any one who knows no other than an English autumn evening.

The beauty of Mr. Telbin’s work will appeal to all, but his true critics must be few—the few who have travelled where he has travelled. In truth, to the large mass of theatre-goers the whole series may have little attraction; indeed the interest of many of these views depends on associations, which render them more fitted for a lecture-room, in which we some day hope to see them, with more views added, and a sensible description in place of the dramatic trash that now introduces them so unfitly. It is due, however, to the public to say, that they fully appreciated what they entirely understood; and the wonderful reality of the water in the scene on the river Jordon was rapturously applauded; it was almost impossible to divest the mind of the idea that the eye rested on glass.

The night entertainment in a Turkish kiosk on the banks of the river, near Damascus, was also a great popular success; here the combined effects of lamplight and moonlight were most happily given. It was a veritable Arabian night’s entertainment, and for the moment the spectator was fairly carried away by the illusion of the scene. The intended grand climax—the marriage scene at Windsor—was flat after all this; it was “of the stage—stagey,” and had not the truth and freshness of the Eastern series.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 282 – The Milwaukee Panorama Company and Amy Boos

The Milwaukee Panorama Company was founded by August Löhr, Imre Boos and Paul Zabel on November 27, 1888. The Milwaukee Panorama Company produced a cyclorama at the Wells Street Studio (the old American Panorama Co. space) – “Christ’s Triumphal Entry into Jerusalem” that opened on June 1, 1889. By March 22, 1890, the Chicago Tribune reported that the panorama was “sold to a syndicate of Mexican capitalists for $35,000, and will be exhibited in the City of Mexico” (page 10). There is much more to that story, but my main focus is the founders. Let’s look at those three men:

August Löhr (1843-1919) had previously been involved in the American Panorama Company and started a studio with F. W. Heine. Löhr & Heine used many of the artists who had previously been employed by the American Panorama Company. The Milwaukee Panorama Company was just one more business venture for Löhr. Born as the son of a soap maker in Hallein, near Salzburg Austria, Löhr studied in Munich and became a landscape painter, specializing in alpine scenes.

Between 1879 and 1881, he worked for Ludwig Braun painting panoramas, including the Battle of Sedan. By 1884, Löhr was supervising the installation of a German panorama at the World’s Fair in New Orleans (the Cotton Exposition). He then signed a contract with Wehner and moved to Milwaukee.

Little is known of Paul Zabel other than that he was a singer and impresario who organized operatic performances. One of his performance venues was Schlitz Park. By 1900 he is briefly mentioned as being nominated the secretary for the Deutscher Club (Inter Ocean, 4 April 1900, page 4). This musical connection would have brought him into contact with the Boos family.

Imre Boos (1851-1915) was a journalist for German and English newspapers in Milwaukee. He also entered into the real estate business and was an investor. He also was an inventor and patented a transposing keyboard for pianos on May 13, 1890.

1890 patent for Keyboard by Imre Boos, husband of panorama artist Amy Tesch Boos.

In addition to the Milwaukee Panorama Company, he was also involved with the Vanderbilt Mining Company. On Dec. 19, 1882, the articles of incorporation for the Consolidated Vanderbilt Mining Company were filed and two of the incorporators were Imre Boos and John H. Tesch (Chicago Inter Ocean, Dec. 20, 1892, page 7). The object of the company was general mining in New Mexico Territory and elsewhere.

Imre was the husband of Milwaukee panorama painter Amy Tesch Boos (May 6, 1851- July 4, 1935) who had worked for Lohr and Heine creating the panorama “Jerusalem on the Day of Crucifixion.” A daughter of German immigrant parents, here maiden name was Tesch. A photograph in the Wisconsin Historical Society (#26070) shows Amy Boos in the midst of the panorama painters, relaxing in the studio during a break while painting the Jerusalem panorama.

Panorama painters taking a break during “Jerusalem on the Day of Crucifixion.” Amy Tesch Boos is seated behind the table on the right (look for white apron over her chest).

Detail of Amy Boos seated at table while panorama painters are taking a break during “Jerusalem on the Day of Crucifixion.”

It was her black dress and pinned apron that immediately caught my eye. It not only verifies that she is a female, but also matches her garb in another studio photograph where she is sketching at an easel.

Amy Boos seated at easel on left side of picture. Image from the Wisconsin Visual Arts Achievements Awards page. Here is the link: http://wvaaa.com/inductee/panorama-painters-late-19th-century-38

The beer bottle and glass of wine on the table in front of her also made me realize the relaxed atmosphere and sense of camaraderie during their paint breaks. Better paint breaks than any of my paint crews have ever experienced, to say the least.

Another detail of Amy Boos seated at table while panorama painters are taking a break during “Jerusalem on the Day of Crucifixion.”

There were a myriad of other small details in the photographs that I also found fascinating: the time clock on the one wooden support, the scale drawings, and figure studies, the pegs for the jackets on a distant wall, and various examples of stuffed animals for reference during painting. It set the tone for their space and the running of the panorama paint studio. In my mind, only the paint-spattered clothes for the artists were missing. Realistically, their paint jackets or cover-ups were probably hanging from the pegs, discarded at break before sitting down.

Boos is one in a line of many female artists, all are extremely difficult to research. Part of it is that women artists lost a portion of their history along with their maiden name when they married. If the female had any type of a career or recognizable name, changing last names was similar to suddenly going incognito. It was one of the reasons that I decided to hyphenate in 1993, loosing the distinctive last name of Waszut was incomprehensible to me, but I wasn’t brave enough to buck family tradition and solely keep my maiden name. In the end, I created a one-of-a-kind last name that made me easy to find in a Google search. Think of it as a form of brand marketing.

For female artists from the past you have to divide their histories into two section – “before marriage” and “after marriage.” However it is ore complicated than simply using a new last name. For example, Amy Tesch would not necessarily become Amy Boos, she might solely become Mrs. Imre Boos, losing both her first and last name in one fail swoop. At that point Amy Tesch would disappear from all written records and solely become an extension of her husband’s name, only distinguished by an additional “s” (Mr. Imre Boos and Mrs. Imre Boos).

There is also the public perception of women that shifts throughout the centuries and defines what is socially acceptable for women to accomplish at any one point in time. They might be working in a scenic studio or panoramic studio, but any public record of their presence might not benefit either the employee or employer. It might not help with marketing to explain that there are women on staff working on large-scale art works. It could make the public’s perception of the company shift to dismay or anger. Throw in the preconceived notions of what women could and could not accomplish at various points in history and a female artist might really become a liability.

The rare mention of women working in a fine art studio or a scene painting studio are few and far between during the nineteenth and early twentieth centuries for the above reasons. The mention of four known female panorama artists in the Wisconsin Historical Society database shocked me. Panoramas were the “rocket science projects” of the time and not entered into lightly or without skill. The idea of women being involved in these projects is a validation that they were trained and experienced; this was not a one-time job for them.

I try to place myself in their shoes and recognize “hiding in plain sight.” It may have been an early version of “don’t ask, don’t tell” which just makes me sad. However, there were without doubt, daughters, sisters and wives who painted alongside family members, especially if it was a family business. As with many family businesses, women and men worked side by side. A great example is farming. So, why would it be any different for artistic or theatrical families? Honestly, I am looking for the woman with no familial connections to either theater or the art world as that would be a turning point in history – especially if she was publically acknowledged for her work. It had happened by the 1920s, but was there someone earlier? Yes.

Tomorrow we look at the nineteenth-century gal who was noted as the “first woman scenic artist.” “Really?” I thought, “I doubt it.” What was the incentive to market this particular female as a scenic artist? Was she a novelty at that particular time? She certainly wasn’t the first.

To be continued…

Tales from a Scenic Artist and Scholar. Part 279 – A Snapshot of the Milwaukee Panorama Artists

At the same time the American Panorama Company was opening their studio in Milwaukee, Sosman & Landis were building another scenic studio in Chicago on Clinton Street. Early in 1886, the Sosman & Landis artists moved into the space. There, Thomas G. Moses and David A. Strong would complete their first project – a panorama of General Grant’s Trip Around the World (see installment # 215). Strong was much older and considered part of the Dusseldorf School of painting (see installments #127-128). This would be Sosman & Landis’ main studio for four decades. In 1886, Thomas G. Moses, Edward Loitz, Henry C. Tryon, John H. Young, Hardesty Maratta, Ed Morange and were all part of the paint staff. Charles S. King was the Soman & Landis stage machinist while C. D. Baker was their electrical engineer. Wehner’s panorama staff included at least twenty people in 1885, with the majority being new immigrants.

I want to stop and take a quick glance at the talent employed by William Wehner for his American Panorama Company as well as some other Milwaukee Panorama artists from that same time. Milwaukee panorama painters were quite a diverse community. Although not all were foreign, many hailed from distant lands and few would return to their homeland after the projects ended.

1887 image (26069) from the Wisconsin Historical Society, here is the link to the photograph: https://www.wisconsinhistory.org/Records/Image/IM26069 Group portrait of German painters relaxing in the studio of the American Panorama Company, during a break from painting the Jerusalem cyclorama depicting the crucifixion of Christ. Artists with their specialties include from the left, standing at the table, Franz Bilberstein (landscapes), Richard Lorenz (animals), Johannes Schulz (figures), and Bernhard Schneider (landscapes), and sitting from the left end of the table, Bernhard (Wilhelm?) Schroeder (Schroeter) with pipe (landscapes), Franz Rohrbeck (figures, especially Confederate), Friedrich Wilhelm Heine (wearing a hat) (Supervisor and master of composition), Karl Frosch (Frosh), Thaddeus Zukotynski (Zuchatinsky) (figures), George Peter (animals), Amy Boos, August Lohr (in profile) (Supervisor and designer of landscape settings), and Herman Michalowski (figures).

Immigrants still bring various skills and assets to our country that help it continue to grow and evolve. That was as true in the nineteenth century as it is now. The Milwaukee panorama artists contributed their talents as our country expanded from coast to coast. Foreign artists became part of the fabric that shaped American art and entertainment.

Below is a list of the Milwaukee panorama artists listed at the Museum of Wisconsin Art (MOWA) website. These are names that I have compiled and go beyond the tidy little bundle of “panorama artists” placed in MOWA’s panorama category. In some cases, MOWA gives a brief biography for the artists and in other cases nothing is known beyond a name. Some are not even listed as a panorama painters, yet they were pictured as working in the American Panorama Company in 1880s pictures. It would take some exhaustive research to compile more that this simple list below and I am well into Gene Meier’s territory at this point.

Below, I have included the panorama artists place of birth, place of death. To see the names together with a brief snap shot of their origins highlights the diversity of the group and validates why the United States has often been referred to as the great melting pot. It has always been an asset to our country.

There is a lot to comment on, but what surprised me the most of all was the mention of women, specifically Amy Cross, Amy Boos (Tesch), Mary Grover and Eileen Henrietta Collins. This is a significant dent in the workforce and more than just the lone wife of daughter helping out. They are not the only women scenic artists that I have been noting and tucking away in a separate document. There will be a post in the very near future about females in this predominantly male world. Also, keep in mind as you read the list of panorama artists below that Thomas G. Moses (1856-1934) grew up in Sterling, Illinois and worked from 1873-1934.

There is much more information pertaining to each individual artist, but it is important to see them as a whole and imagine their role in various panorama projects. I have also attached images of art by some of the above mentioned artists. Most were pulled from art auction websites and listed as “sold.” However, it is really quite something to look at their work as a whole and think about all of that talent working in one building. This goes far beyond an artist or two painting a Masonic drop. Each artist brought something unique to the project.

Friedrich Wilhelm Heine (1845-1921) from Leipzig, Germany and died in Milwaukee http://www.wisconsinart.org/archives/artist/friedrich-wilhelm-heine/profile-65.aspx

Otto Dinger (1860-?) Born in Dusseldorf, Germany. Death location is unknown. http://www.wisconsinart.org/archives/artist/otto-dinger/profile-954.aspx

Paul Wilhelmi (1858-1942) Born in Dusseldorf, Germany and died in Detroit, Michigan. http://www.wisconsinart.org/archives/artist/paul-wilhelmi/profile-3528.aspx

Wilhelm Schröter (1849-1904) from Dessau, Germany, and died in Karlsruhe, Germany http://www.wisconsinart.org/archives/artist/wilhelm-schroeter/profile-147.aspx

Louis Kindt (1832-1923) Born in Baden, Germany and died in Chicago, Illinois. http://www.wisconsinart.org/archives/artist/louis-kindt/profile-1809.aspx

Gustav Wendling (1862-1932) Born in Buddenstedt, Germany. Location of death unknown. http://www.wisconsinart.org/archives/artist/gustav-wendling/profile-3483.aspx

Bernhard Schneider (1843-1907) Born in Lüneburg, Germany and died in Cedarburg,Wisconsin. http://www.wisconsinart.org/archives/artist/bernhard-schneider/profile-146.aspx

Karl Hubert Frosch (1846-1931) from Altshausen, Wurttemburg, Germany, and died in Munich, Germany http://www.wisconsinart.org/archives/artist/karl-hubert-frosch/profile-1200.aspx

Otto Wilhelm Joseph von Ernst (1853-1925) from Dusseldorf, Germany, with no death location. http://www.wisconsinart.org/archives/artist/otto-wilhelm-joseph-von-ernst/profile-1076.aspx

Herman Heinrich Albert von Michalowski (1860-1903) from Berlin, Germany and died in Chicago. http://www.wisconsinart.org/archives/artist/herman-heinrich-albert-von-michalowski/profile-2349.aspx

Oil painting by Herman Heinrich Albert von Michalowski

Conrad W. Heyd (1839-1912) from Bavaria, Germany and died in Milwaukee. http://www.wisconsinart.org/archives/artist/conrad-w-heyd/profile-68.aspx

Richard Lorenz (1858-1915) Born in Voigtstedt, Germany and died in Milwaukee, Wisconsin. http://www.wisconsinart.org/archives/artist/richard-lorenz/profile-96.aspx

Albert B. Richter (1845-1898) Born in Germany, but no location of death information. http://www.wisconsinart.org/archives/artist/albert-b-richter/profile-2789.aspx

John C. Fery (1859-1934) from Strasswalchen, Austria, and died in Everett, Washington. http://www.wisconsinart.org/archives/artist/john-c-fery/profile-45.aspx

August Lohr (1842-1920) Born at Hallein near Salzburg, Austria. Death location is unknown, but Mexico is suggested. http://www.wisconsinart.org/archives/artist/august-lohr/profile-95.aspx

Theodor Breidwiser (1847-1930) Born in Vienna, Austria and died in Vienna, Austria. http://www.wisconsinart.org/archives/artist/theodor-breidwiser/profile-625.aspx

George Peter (1859-1950) from Vienna, Austria, and died in Milwaukee. http://www.wisconsinart.org/archives/artist/george-peter/profile-122.aspx

Pierre Joseph Brouchoud (1815-1892) from Le Chable, Switzerland, and died in Mischicot, Wisconsin. http://www.wisconsinart.org/archives/artist/pierre-joseph-brouchoud/profile-7735.aspx

Franz Biberstein (1850-1913) from Solothurn, Switzerland and died in Milwaukee. http://www.wisconsinart.org/archives/artist/franz-biberstein/profile-18.aspx

Gustave Higgins (1863-1909) from Sweden and no death location. http://www.wisconsinart.org/archives/artist/gustave-higgins/profile-7698.aspx

Harold Hall (1865-1932) from Oslo, Norway and died in Seattle, Washington. http://www.wisconsinart.org/archives/artist/harold-hall/profile-59.aspx

James R. O’Neill (1833-?) from Ireland with no death location. http://www.wisconsinart.org/archives/artist/james-r-oneill/profile-3636.aspx

Franz Edward Rohrbeck (1852-1919) from Saxony, Prussia and died in Milwaukee. http://www.wisconsinart.org/archives/artist/franz-edward-rohrbeck/profile-138.aspx

Thaddeus von Zukotynski (1855-1912) Podolia, Russia (Russian Territory) and died in Chicago. His name was also spelled Tadeusz Zukotynski. http://www.wisconsinart.org/archives/artist/thaddeus-von-zukotynski/profile-3618.aspx

Edward R. Tyrrell (no dates) from Melbourne, Australia and no death information. http://www.wisconsinart.org/archives/artist/edward-r-tyrrell/profile-3308.aspx

Robert Schade (1861-1912) from Tarrytown, New York, and died in Milwaukee. http://www.wisconsinart.org/archives/artist/robert-schade/profile-141.aspx

Theodore Russell Davis (1840-1894) from Boston, Massachusetts and died in Ashbury Park, New Jersey. http://www.wisconsinart.org/archives/artist/theodore-russell-davis/profile-902.aspx

John Franklin Waldo (1835-1920) from Chelsea, Vermont, and died in Los Angeles, California. http://www.wisconsinart.org/archives/artist/john-franklin-waldo/profile-181.aspx

Thomas Gardner (1857-1933) from Plano, Illinois and died in Milwaukee. http://www.wisconsinart.org/archives/artist/thomas-gardner/profile-1226.aspx

Amy Cross (1856-1939) from Milwaukee, Wisconsin, and died in Milwaukee, Wisconsin. http://www.wisconsinart.org/archives/artist/amy-cross/profile-867.aspx,

Frank Enders (1860-1921) from Milwaukee, Wisconsin, and died in Milwaukee, Wisconsin. http://www.wisconsinart.org/archives/artist/frank-enders/profile-41.aspx,

Amy Boos (1851-1935) from Milwaukee, Wisconsin and died in Milwaukee, Wisconsin. http://www.wisconsinart.org/archives/artist/amy-boos/profile-577.aspx

Andrew Alexander Forbes (1862-1921) from Waukesha, Wisconsin and died in Lampoc, California. http://www.wisconsinart.org/archives/artist/andrew-alexander-forbes/profile-5746.aspx

William Feld (no dates, birth or death information). http://www.wisconsinart.org/archives/artist/william-feld/profile-7699.aspx

Feodor von Luerzer (1851-1913) no birth or death information. http://www.wisconsinart.org/archives/artist/feodor-von-luerzer/profile-2186.aspx

Charles Clayton Minor (1856-?). There is no birth or death information about Minor, but he also worked with Thomas G. Moses. http://www.wisconsinart.org/archives/artist/charles-clayton-minor/profile-6091.aspx)

There are other panorama artists mentioned in MOWA, but without any pertinent information, and include, Johannes Schulz, Julius Ernst Peege, Mary Grover, Robert F. Gilder, Mrs. C. H. Eileen Henrietta Collins, Josephus Farmer, and Edward J. Herman.

To be continued…