Pot Boy – Drypigment.net

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 36 – Ralph I. Terwilliger

Ralph I. Terwilliger was a scene painter who worked for Thomas G. Moses in the late 1880s. Although their working relationship may have been short, the two remained close friends until Terwilliger’s passing in 1917. Terwilliger worked briefly at Sosman & Landis, but set his sights far beyond laborious theatrical work.

I was surprised to encounter Ralph Terwilliger’s name while researching another Sosman & Landis employee, Leroy R. Close (1846-1901); employee #34 in this series. Close worked at Sosman & Landis from 1895 to 1901. Prior to working for the Chicago-based firm, he ran the L. R. Close & Co. in Kansas City, Missouri, from approximately 1883 until 1894. In 1894, Close relocated north and began working as a scenic artist and traveling salesman for the Chicago-based firm. Here is the link to his tale: https://drypigment.net2021/07/03/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-34-l-r-close/

Close’s story intersects with Terwilliger’s story in 1902. After Close’s passing in 1901, Miranda W. Close was appointed administratrix of the Close estate, along with Ralph Irving Terwilliger and Sarah Elizabeth Terwilliger. It was at this time that Terwilliger transitioned from the insurance business to estate management. In the end, Terwilliger really made a name for himself as a Chicago banking and real estate magnate.

A picture of Terwilliger in Moses’ scrapbook is captioned, “R. I. Terwilliger, Founder and First President of the North-West Side Commercial Association.” Nearby, Moses wrote, “Paint boy for Burridge-Moses and Louderback during the years of 1887 and 1888.” In 1910 Moses wrote, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him. He was President of a city bank. He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week. He had prospered. With his wife and two daughters he enjoys a cottage near our camp.” Fox Lake was where Palette & Chisel Club members kept a summer camp.

*A clipping of Ralph I. Terwilliger was added to Thomas G. Moses’ scrapbook.*

The Terwilliger family is an interesting bunch who always seemed to be in the right place at the right time. Ralph Terwilliger was born in New York on October 18, 1865. He was the son of Peter Terwilliger (1836-1926) and Sarah E. Mead (1840-1916). The family moved west after the Civil War, soon settling in Chicago. Over the course of the next few decades the Terwilligers became extremely well-known and well-respected throughout the region. Ralph’s parents were even featured in the 1894 publication, “Industrial Chicago, Vol. III” (Goodspeed Publishing Co., pages 74-75). I am including their entry here as it sets the stage for Ralph’s success in Chicago.

“Peter Terwilliger was born in New York, June 4, 1836, and after reaching man-
hood came to Illinois, locating first at Aurora, where he remained for five years, then coming to Chicago. He early learned the trade of a carpenter. He chose for his wife Miss Sarah Mead, of Orange County, N. Y., in 1865, and they have one son, Ralph, who is now a member of the firm of Terwilliger & Cox, engaged in the fire insurance business. [Notice that Ralph left a career in the theatre with Moses to establish a fire insurance company].
Peter Terwilliger’s parents were James I. and Prudence (Knight) Terwilliger. The former was born in New York State in 1808, and died in Orange County, N. Y., in 1875. The latter was born in Sullivan County, N. Y., in 1817, and is yet living at Huguenot, Orange County, N. Y. Her ancestors, representatives of the English family of Knight, settled in Orange County, at an early day. The family of Terwilliger is of Holland Dutch extraction, and the first settlement of one of its members in this country was quite early in the colonial period of our history. Peter Terwilliger was reared and educated in Orange County, and was graduated from the Fort Edward Academy in 1855. His father was identified with the Delaware & Hudson canal, almost from its inception until nearly the end of his life, latterly a section superintendent. With this great inland improvement Peter Terwilliger was also connected for some years. In September, 1861, he enlisted in the Twentieth New York battery as first sergeant, and, after three years’ service with that organization, helped to organize the One-Hundred-and-Sixty-eighth New York infantry, and was second lieutenant of Company G, in that regiment. He served gallantly until discharged in 1865, and, from first to last, took part in many hotly-contested engagements.
He removed to Illinois in 1867, and from that time until the fall of 1871, was in the grocery trade at Aurora. In the spring of 1872 he came to Chicago, where he has since lived. He is an influential Republican and has been active in politics in Chicago since 1875.”

Growing up, Ralph watched his father transition from a grocer to salesman in the 1870s. It was during this time that he became associated with William McGregor & Co. The first mention of Ralph in the city directory is in 1887. That year he was employed as a clerk, but still living with his parents. The family home was located at 348 Hermitage Avenue in Chicago. His father Peter worked as a secretary at W. McGregor & Co.; a firm located on 55 S. Clinton Street. Something happened between 1887 and 1888 that detoured Ralph from following in his father’s footsteps. A spark, maybe even a rebellious one, was lit and Ralph entered the scenic art profession. He moved out of his parents’ home and started a new career. This was such an exciting time in Chicago for scenic artists as work was plentiful and wages fare; a drastic departure from clerking to be sure.

By 1888, Ralph was listed in the Chicago directory as a scenic artist, now boarding at 290 W. Madison. This coincides with Moses’ mention of Ralph working for him at the studio. Moses had left Sosman & Landis to form another scenic studio with Walter W. Burridge and well-known art dealer J. D. Louderback. It had all the promise of success, but infighting between Burridge and Louderback split the firm. By the beginning of 1888, Burridge left Moses, Burridge & Louderback, reducing the name to just Moses & Louderback. Regardless of the name change, the firm’s offices remained at 214 Lake in Chicago. Burridge returned to his former position at the Grand Opera House, leaving Moses to handle an extraordinary amount of work. The firm soon closed, and Moses returned to his old position at Sosman & Landis, likely taking Terwilliger with him for a short time. Terwilliger’s career as a scenic artist was very short-lived and by 1889, he returned home and became a bookkeeper for his father at W. McGregor & Co.

By the early 1890s Terwilliger opened a fire insurance company, Terwilliger & Cox. On August 9, 1892, Ralph married Louisa Salomon (1868-1945) and the couple celebrated the birth of two children: Louise E. (1894-1990) and Irene Beatrice (1895-1981).

In 1900 the Terwilligers were living at 232 W. Division St., with Ralph still working as an insurance agent. However, he soon added a new role as administrator of estates, hence his involvement with the L. R. Close probate case in 1902. Terwilliger’s next step was banking. On May 3, 1903, the “Chicago Tribune” announced the opening of a New State Bank. The auditor of public accounts issued a permit to organize the Mechanics Trust and Savings Bank at Chicago. The organizers were Ralph I. Terwilliger, Iver L. Quales, James Davis, Max Klee, William J. New and William A. Wiebolt, with a capital of $200,000. Their new establishment was located on Milwaukee Ave near Paulina Street. Terwilliger’s career began to soar at this point.

On March 18, 1908, the “Chicago Tribune” mentioned Terwilliger’s involvement with the West Side Association, reporting, “20,000 Join Tax Cut Move. Landlords all over city will aid west side association. May Mean Fight in Court. Property Owners Threaten to Organize for Political Campaign. West Side Landlord’s Protective Association was joined yesterday by the Chicago Landlord’s Protective Association, an organization embracing more than 20,000 members in all parts of the city with headquarters at 232 West Division Street [232 West Division was Terwilliger’s home address]. West Side Association, which was incorporated on Monday and is made up of more than 100 Bohemian property owners in the “Pilsen” district is determined, if necessary, to carry the fight for reduced taxes into the County court. “We are glad to join any movement that will help reduce the present high taxes,” said Ralph I. Terwilliger, secretary of the Chicago Landlords’ Protective association” (page 9)

Terwilliger continued to expand his interests, and in 1911 organized the Home Bank and Trust Company with a capital of $300,000. Located at 1225 N. Ashland Ave, it was just north of Division Street.

Neither his personal life nor health paralleled his business success. His wife passed away in 1916, with Terwilliger following the next year. He was only 52 years old at the time. Terwilliger passed away at the Biltmore Hospital in Asheville, North Carolina on August 22, 1917. Pernicious anaemia was listed as the cause of death. This condition means that body cannot absorb enough vitamin B-12 and make enough red blood cells. The condition is often classed as an autoimmune disease and symptoms may include fatigue, shortness of breath, rapid heart rate, jaundice or pallor, tingling and numbness of hands and feet, unsteadiness, bleeding gums, impaired sense of smell, and confusion. Severe or long-lasting pernicious anemia can damage the heart, brain and other organs in the body, causing problems such as nerve damage, neurological problems and digestive tract issues.

Terwilliger’s obituary in the “Chicago Examiner” reported, “Ralph I. Terwilliger, founder of the Home Bank & Trust company, Milwaukee and Ashland avenues, first president of the Northwest Side Commercial association, widely known in Chicago real estate circles, died yesterday at Biltmore, N. C., according to word received in Chicago. The Terwilliger residence is at 3104 Logan boulevard. The body will arrive tonight (Vol. 15, no. 210, page 15).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1079 – Mrs. John Alden Carpenter and the Fashion Show, 1921

In 1921, Thomas G. Moses wrote that early in January they closed a contract with Mrs. John Alden Carpenter for a fashion show.

From the “Chicago Tribune,” 31 Jan 1921 page 5.

From the “Chicago Tribune,” 14 Jan 1921 page 15.

Moses had previously worked with Mrs. John Alden Carpenter on a Boardwalk show at the Chicago Coliseum in 1919. His scrap book included newspaper clippings pertaining to the event. On showed Moses at work with Mrs. Carpenter nearby. Of the 1919 event, Moses wrote, “Early in February we put the fashion show on, and it was quite a success.” I have written about this project in the past. On Nov. 24, 1919, the “Chicago Tribune” announced, “New Ocean Ready to Roll at Boardwalk.” The article continued, “Mrs. John Alden Carpenter’s painted ocean is finished it the last wave and all ready to roll up under Atlantic City Boardwalk at the Coliseum on dec. 6, when the bazaar for the benefit of the Passavant Memorial Hospital building fund is opened. The ocean and all other decorations have been designed by Mrs. Carpenter, who evolved the idea, bringing the board walk to Chicago, and are being executed by Thomas G. Moses” (24, 1919, page 7).

Of Mrs. Carpenter’s fashion show, the “Chicago Tribune” reported, “Mrs. John Alden Carpenter has decided to capitalize her skill in interior decorating but not for herself. She has elected to contribute her artistic ability as a gift for needy children. In future she will charge for services, but the money will go to the Illinois Children’s Home Aid Society. Mrs. Carpenter’s first’ professional’ job will be the decorations for the Fashion Show, to be held in First Regiment Armory Feb. 9 to 19, by the Chicago Garment Manufacturers’ association, the wholesale milliners’ association, the Chicago Furrier’s association. The check for her services will be sent directly to the children’s society. The transplanting of the Atlantic City board walk to Chicago’s Coliseum last winter was the work of Mrs. Carpenter, who also did the decoration for the Pageant of the East, for the Ten Allies ball in Madison Square Gardens in New York, and for Russian section of a pageant given for the Red Cross of Long Island. Everything in women’s wear for spring and summer, from hats to shoes, will be exhibited in little French shops along a street that will be an exact replica of a street in Paris” (14 Jan. 1921, page 15).

On “Designer of gowns and millinery, carpenters and painters, 150 beautiful models, and manufacturer and whole salers are rushing preparation for the Fashion Show and Merchants’ Fair to be held in the First Regiment armory, Feb. 9 and 19, inclusive. Mrs. John Alden Carpenter, who designed ‘Le Boul Miche,’ the boulevard of French shops to be erected in the armory, daily goes to 417 South Clinton, where the shops are being built and painted, and personally directs the work. The beautiful models selected for the nightly promenade to display Milady’s wear, are being fitted to the coats, suits and gowns and other apparel they will wear. It will require quick work to get the boulevard of shops erected in the armory, as the automobile show will not get out of the armory until Feb. 7, and then fashion show opens two days later. The show is under the auspices of the Chicago Garment Manufacturers’ association” (31 Jan. 1921, page 5).

Mrs. Carpenter has stuck in the back of my mind since 2017 when I came across the image of Mrs. Carpenter and Moses. It was not a new image, or a new name to me. When I compiled two indexes for Moses’ scrapbook and diary as an undergraduate, there was an entry for Mrs. Carpenter. When I expanded this index to 127 pages in 2006 (I was on maternity leave), I came across her name and picture again.

Mrs. John Alden Carpenter pictured next to Thomas G. Moses. A clipping from Moses’ scrapbook, source unknown.

What I found so remarkable about the undocumented newspaper clipping in Moses’ scrapbook is the inclusion of the paint table. There are a few things to notice about Moses’ paint table in the picture. There is an abundance of “pots” – containers for the dry pigment paste when painting a drop. This also ties into the name “pot boys,” mentioned by Sosman & Landis employee John Hanny. Pot boys was another name for paint boys. Hanny explained that pot boys were given this name because they filled the pots of paint with pigment. These are not individually mixed colors for the composition, but pots for pure colors; they function like dollops of paint on an artist’s palette – a really big artist’s palette. This may be the only image of a paint palette used by Moses during his career from 1873-1934.

Paint table used by Jesse Cox, currently on display at the Theatre Museum in Mt. Pleasant, Iowa.

To be continued…

Tales from a Scenic Artist and Scholar. Part 756 – Ralph Terwilliger, 1910

In 1910, Thomas G. Moses wrote, “Fox Lake appealed to me all summer. I went up as much as possible and made good use of my time. How I wished in vain for time and money to spend all summer sketching. I know I could do something worthwhile.” The Palette & Chisel Club kept an artists retreat at Fox Lake. Numerous Sosman & Landis artists travelled to the camp during their time off each summer, including Moses.

Palette and Chisel clubhouse at Fox Lake, donated by Thomas G. Moses

Moses continued, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him. He was President of a city bank. He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week. He had prospered. With his wife and two daughters he enjoys a cottage near our camp.”

R. J. Terwilliger, from the “Liberal News,” 27 April 1911, page 11

Moses pasted a picture of R. J. Terwilliger in his scrapbook years later. It noted that Terwillger was the founder and first president of the North-West Side Commercial Association. On the clipping, Moses wrote, “Paint boy for Burridge, Moses and Louderbeck during the years of 1887 and 1888.”

Clipping pasted in The scrapbook fo Thoms G. Moses.

Burridge, Moses & Louderback only laster from 1887 to 1888. The company’s offices were located at 22 Chamber of Commerce in Chicago, Illinois, on the corner of Clark and Division Streets. Burridge, Moses & Louderback used the paint frames at the Columbia Theatre. Located at the corner of Dearborn and Projects completed by Burridge, Moses & Louderback included “Gypsy Baron” for the Conried and Hermann Opera Company, 2 panoramas for Joe Murphy’s “Donah,” and 2 complete productions of “Kerry Gow.” The firm painted the scenery for the Duff Co.’s production of “Dorothea” at the Standard Theatre in New York, as well as Steele MacKaye’s “A Noble Rogue” at the Chicago Grand Opera. During these two busy years, Burridge, Moses & Louderback stocked six theatres with all of the necessary scenery, including the Grand Opera House in Columbus, Ohio, and Foster’s Opera House in Des Moines, Iowa.

Burridge, Mosess & Louderback letter, from the Waszut-Barrett collection.

Moses and Burridge were two successful and well-known artists when they partnered in 1887. Advertisements listed Louderback as the firm’s business manager. He was and established and well-respected owner of an auction house and fine art galleries. In November of 1888, Burridge pulled out of the studio because he and Louderback couldn’t agree on the running of the business. Louderback came from a “managing art” background while Burridge came from a “creating art” background.

Burridge, Moses, and Louderback’s paint boy Terwilliger eventually left the theatre profession, finding success in the banking industry after moving to Kansas. The year after Moses reunited with Terwilliger in Fox Lake, the “Liberal News” pictured R. J. Terwilliger as president of T-W Land and Mortgage Co. (April 27, 1911, the (page 11). The article noted the firm was “one of the oldest and one of the most active real estate concerns of the city of Liberal.” T-W Land and Mortgage Co., was described as “the first and last [business] encountered from the Rock Island depot on South Kansas Avenue.” Terwilliger was President, while C. M. Cole was Vice-President and M. F. Eidson, Secretary and Treasurer; Eidson was his son-in-law. The article continued, “The firm is the oldest and largest concern of its kind in Liberal. They do a general real estate business in farm, ranch and city property, and handle real estate loans of all kinds. Every member is a substantial business man of the town and all are well and favorably known to its citizens as men who are reliable in every way.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 556 – Julian Greer Returns to the Studio in 1906

Part 556: Julian Greer’s Return to the Studio in 1906

In 1906, Thomas G. Moses wrote, “Julian Greer, one of the old paint boys, now an actor, author and manager, visited us for the first time in many years.”

Julian Greer was born in London, England during 1870 and passed away in 1928 at the age of 58. He was a well-known actor, artist and war correspondent. Greer’s life appears to have been shadowed by a series of scandals. His first marriage was to the leading lady of Dillon’s Company, Ida F. Solee in 1891. At the time, Greer was associated with the Frohman company (Los Angeles Ties, 23 June 1891, page 3). In 1896, newspapers reported on his relationship Mrs. William Frederick Holcomb. Wife of an aged physician, she was served papers in a suit for absolute divorce, naming the co-respondent “Julian Greer, an artist” (Washington Republican, Washington, Kansas, 24 June 1896, page 7).

Julian Greer’s one-time love interest. From “Red Cloud Chief,” 24 July 1896, page 6

Greer and Mrs. Humphreys ran away to Europe together. However, by that fall, he was advertising in the London “Era” – “Wanted, juvenile Lady, to look Sixteen; Juvenile light comedian, two young Lady dancers, for minuet. Address, with photo and exact age and height, Julian Greer, 264, Vauxhall-bridge-road” (London, England, 10 Oct. 1896, page 25)

Less than a decade later, Greer was back in America and playing in the production, “The Tie That Binds” by Hal Reid. Advertisements promised, “unlike most melo-dramas, does not depend entirely upon its sensational effects, there being a beautiful story of heart interest running throughout the entire four acts. In addition to many other sterling qualities embodied in the play, Mr. Julian Greer has added a number of high class specialties and gotten together and exceptional strong company of players, making the attraction particularly enticing” (The Morning Call, 8, Feb. 1906, page 4).

Greer was also in the touring production of “Man’s Enemy.” The “Omaha Daily Bee” reported, “For three nights, starting Thursday, Mr. Julian Greer will offer ‘Man’s Enemy,” a big melodramatic production to the patrons of the Krug theater. The play deals with the evils of drink, but contains a very pretty heart story running throughout” (Omaha Daily Bee, 18 March 1906, page 27). The show was billed as “a combination of romantic comedy and tragedy.”

He was also planning another project, one that likely bought him to the Sosman & Landis studio looking for a scenic artist. The “Albuquerque Citizen” reported, “New York Productions for Casino -Summer Theatre to open May 15 with company of sixteen people in cast – on Way from New York now.”

Advertisement for Traction Park Casino, a venue run by Julian Greer’s brother. Ad posted in the “Albuquerque Evening Citizen,” July 1, 1905, page 5

Greer was visiting Albuquerque, New Mexico, to visit his brother, Col W. H. Greer, who was president of the Albuquerque Traction Company. Greer was considering the Traction Park Casino as a venue for his show. The newspaper commented that Greer was an actor and painter from New York City Greer (Albuquerque, New Mexico, 7 March 1906, page 5). The remainder of the article is quite interesting.

“Julian Greer is here for the purpose of getting the colonel to accompany him to Omaha, Neb. Where he expected to show his performance of the theatrical company that will open the Traction Park Casino on May 15. The company was organized in New York, of excellent talent, and is now working west, playing at the most important cities en route. The troupe is expected to reach Omaha by the time the colonel and Mr. Julian Greer reach that place by leaving here tonight, which will probably be on Saturday. In speaking of the company and the people who compose it, Mr. Julian Greer said: ‘Nestor Lennon, one of the best known actors of the American stage, and the man who succeeded Nat Goodwin successfully in ‘When We Were Twenty-one;’ Virginia Anderson, only 17, but a woman of charming personality, Maud Adams’ beauty and art, a coming star, is our leading lady. And she is certainly a wonderful young woman. There are many strong characters and specialty people among the sixteen persons, and I am not exaggerating when I say that it is one of the strongest troupes on the road. I am taking the colonel back to Omaha to witness the performance of the company.’”

“‘Oh yes,’ continued Mr. Julian Greer, ‘I expect to return with the company, and we will be here all summer. We hope to reach here in time to open by the middle of May. We carry our own scene painter, a very capable man. Who will furnish scenery for any production we may care to make. Our shows will include the best New York productions, with scenic effects.”

Mr. Julian Greer expressed himself as surprised and pleased with the elegance and adequacy of the Traction Park Casino. He said that it would be a compliment to a city of 100,000.”

However, there must have been a change in plans along the way. By April, his brother had turned the entire management of the Traction company over to W. M. Wortman, a manager of amusement parks in Pueblo, Colorado, and El Paso, Texas (Albuquerque Citizen, 7 April, 1906, page 5). That summer, the Casino was be billed as a combination house, playing a diversity of attractions. The Albuquerque Citizen, commented, “the house will probably open May 15, with a large stock company in a repertoire of modern plays, their run will be but a short time, after which they will give way to some other attraction. This plan will be followed out all summer, thus giving a variety of attractions that will relieve the monotony of a stock company for the entire season.” In the end, Wortman proposed to place El Paso, Albuquerque and Las Vegas on a summer vaudeville circuit (Albuquerque Citizen, 2 May 1906, page 8).

Interestingly, Traction Park Casino also hosted number of free attractions that summer, including balloon ascensions, parachute jumps, and a circle swing. Wortman was planning on working closely with Mr. Houston, manager of the local baseball team, assuring, “The base ball sport for the summer will not be neglected.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 254 – Thomas G. Moses and Harry A. Vincent

Early in December of 1892 Moses worked on “A Flag of Truce’” for William Haworth. His paint crew included Harry A. Vincent, A. J Rupert, Frank Peyraud, a number of assistants and some paint boys. Moses wrote, “I did a stone quarry set – a very effective scene. Vincent did a big foliage act.” He was speaking of the artist who would later be nationally recognized for his marine paintings – Harry Aiken Vincent.

Painting by Harry A. Vincent posted online, date unknown.

Vincent appears in various articles and manuscripts, including one where Edward Fournier recalls Vincent as one of his old “pot boys.” On a side note, “pot boy” was another name given to the young workers who kept the “color pots” on the palette full.

Harry A. Vincent was born in Chicago on February 14, 1864. He began working for Moses as a scenic artist in Chicago, but moved to New York by 1896, where he would continue as a scenic artist for Moses, as well as Gates and Morange. Moses wrote that Vincent “went East where he made a hit.” In 1901 Moses left the Sosman & Landis studio, also heading east. When he was living and working in New York, he went on sketching trips with John H. Young and Harry Vincent. He wrote that they two artists joined him quite often as they all lived near a picturesque spot. Their favorite places at the time were Seton Falls and Glen Island.

In his later years, Moses would reflect on Vincent and others who had attained fame in the fine art world. These friendships that formed in the scenic studio would continue throughout his life. In 1922 Moses wrote “In 1893 Harry A Vincent applied to me for a position. I tried to convince him that he was foolish to break into a business that had a future only in hard work. He succeeded and has become one of the cleverest landscape painters in America…Many of his pictures are being reproduced and selling well. He is now in Italy on a sketching trip.”

Harry A. Vincent, “Dry Dock,” date unknown.

Although Vincent was primarily self taught, he gained recognition in the fine art world and later taught art classes at a variety of institutions, including the National Academy of Design in New York, the Chicago Art Institute, the Carnegie Institute and the Academy of Fine Arts in Pittsburg.

On the East Coast, he continued to create many fine art pieces. Soon, he was painting and exhibiting throughout the New England area, gaining a strong reputation for his seascapes. He was noted for his heavy use of pigment and colorful compositions. Vincent was one of the artists who made up the Rockport School. Becoming the first president of the Rockport Art Association in 1921, he also served as a charter member of the North Shore Art Association. One of his favorite subjects was the old Lobster House in Rockport. This subject inspired about fifty paintings, one of which (“Rockport Harbor”) hung in the Butler Art Institute in Youngstown, Ohio. Vincent was also a member of the Allied Artists of America and the NY Watercolor Club.

He received a variety of awards from the Salmagundi Club of New York – the Shaw Prize (1907), Isador Prize (1916) Turnbill prize (1918). In 1919, he was elected an associate of the National Academy of Design. He was also an expert in making ship models. Vincent was married twice, the second time to Mildred Dietz in 1916. His final residence was in Rockport until his passing at the age of 67years old in 1931.

Auction lot of twelve books that recently sold for $12,300. This lot contained many sketches and notes by Harry A. Vincent.

Recently, twenty sketchbooks and a portfolio of loose drawings sold for $12,300 at https://www.skinnerinc.com/auctions/2818T/lots/1167 Several of the sketchbooks in the lots were inscribed “H.A. Vincent,” with two inscribed “P. Cornoyer.” The auction lot included pencil and charcoal sketches of various sizes, as well as three books belonging to Vincent – The Whistler Book, Dante’s Inferno by Gustave Dore, and A History of Architecture. One of Vincent’s sketchbooks was a record with thumbnail sketches of various works and notes regarding their sale at galleries. I wonder if there were any scene designs included within his sketchbooks. Regardless, I am grateful for the digital age and the many examples of his sketching techniques posted online.

Some of the sketchbooks depicting the work of Harry A. Vincent. These books were part of an online auction lot.

For more information about the work of Vincent, there is a catalogue that was released in conjunction with the art exhibit “Harry A. Vincent & His Contemporaries in a Retrospective Exhibition in 2006.” The publication is by Judith A. Curtis. Here is the link rtartassn.org/product/harry-vincent-n-contemporaries-judith-curtis-hardcover/ on Harry A. Vincent

Catalogue by Judith A. Curtis that accompanied the 2006 exhibit. Here is the link: rtartassn.org/product/harry-vincent-n-contemporaries-judith-curtis-hardcover/ on Harry A. Vincent

To be continued…