Scenic Artists – Page 10

Travels of A Scenic Artist and Scholar: Harry C. Sprague (1861-1933) and the Tabor Opera House

*Harry C. Sprague in the Tabor Opera House listing of “Harry C. Miner’s Dramatic Directory” for the 1884-1885 season.*

H. C. Sprague was the second stage manager for the Tabor Opera House. He lived in Leadville, Colorado for approximately five years, from 1879 to 1884. Only Sprague’s home address changed over the course of this time, although he was absent from the City Directory in 1879 and 1882. In 1880, Sprague was first listed in the directory, working as a bill poster and lodging at 312 W. 6^th.

Although there were many men named Harry C. Sprague living in the United States during the late-nineteenth century, I think that I tracked down the right one.

Harold “Harry” C. Sprague was born on Feb. 2, 1861 in Ohio, the son of Charles Sprague and Jane Sommers, both born in 1835. Charles worked as a carpenter his entire life, a trade that was passed down to his sons. Charles and Jane married in 1855 and celebrated the birth of seven children: John E. (1858-1947), Harry C. (b. 1861), Emma J. (b. 1866), Florence (b. 1867), and Cornelia (b. 1869), Ida (1874-1913) and Belle C. (b.?). Their first child, John, was born in Toronto, with the remained children born in Ohio. The 1860 US Federal Census listed Charles, Jane and their infant son living in Youngstown, Ohio, with Charles still working as a carpenter. By 1870, the US Federal Census recorded that the Sprague Family was living in Youngstown, Ohio, due west of Akron, Ohio.

The “Leadville Daily Herald” included many articles that mentioned Harry Sprague during his time in town, providing a little insight into his life and career there. Ironically, it was Colorado newspapers that provided the greatest insight into this elusive personality.

In 1881, Harry C. Sprague was listed in the city directory as a “stageman” at the Tabor Opera House, likely a misprint for “stage man,” a directory abbreviation for stage manager. That year, Allen T. Wells Jr. was listed as the general manager of the Opera House. Sprague would have been in charge of the backstage area.

On August 23, 1882, a newspaper article initially brought Sprague into the public during the Tabor Opera House’s stage renovation. The article reported, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague, who has had extensive experience in the east, and was in Leadville before, in the early days. All these improvements will take until about the first of September to execute. As soon as the house is in perfect order, say about the fourth of September, J. Rial’s Uncle Tom’s Cabin troupe will commence an engagement of three nights” (“Leadville Daily Herald,” August 23, 1882).

Sprague was an instant success, and by Sept. 6, 1882, the “Leadville Daily Herald” reported, “Mention must also be made of the clock-work precision in the shifting of scenes, and upon inquiry as to the cause of the surprise, it was learned that Mr. Harry C. Sprague had returned” (Leadville Daily Herald, Sept 6, 1882).

Even 1883, Sprague was still credited with his stage settings used by the Goodwin Company during their visit that fall. On November 1, 1883 “Stage Manager Sprague, of the Tabor opera house, deserves favorable mention for his stage settings during the Goodwin season. All three of his pieces performed were carefully and handsomely mounted” (Leadville Daily Herald, Nov. 1, 1883, page 1). The scenery was credited specifically to Sprague, suggesting that he built and painted the pieces. It is important to remember that stage managers were also expected to paint scenes in smaller venues with minimal staff. If a scenic artist was not available to paint a scene for an upcoming production, that responsibility may fall to a backstage manager, such a Sprague. Sprague would continue a painting career after his stay in Leadville.

By 1884, Sprague was living at 202 W. 6^th and in 1885 at 121 E. 7^th. He seemed to have stay in an area home to other theatre professionals at this time. In 1884, Sprague is again listed as stage manager of the Tabor Opera House, but now residing at 202 W. 6^th.

Sprague was also mentioned again in regard to the 1884 appearance of the Frank Mayo company at the Tabor Opera House. Their play was “Davy Crockett” and newspapers noted, “The cast is excellent, and with the stage settings even upon the comparatively limited quarters of our opera house, it makes one of the strongest combinations and one of the most attractive plays ever seen in Leadville…Great credit is due Mr. Harry Sprague, the stage manager for the admirable manner in which the stage was set last evening, which compared favorably with any theatre in the east” (Leadville Daily Herald, Feb. 1, 1884).

One of the more interesting events with a specific mention of Sprague was Leadville’s Jewish Festival in 1884. Three hundred people participated in the event that year. An article published in the “Leadville Daily Herald” announced, “The Purim Bal Masque a Brilliant Social Success Last Evening.” The article continued to describe the event with special mention of Sprague: “The most brilliant social event of the season and one that has kept society on the qui vive for a month past culminated last evening. City Hall was a blaze of light and in this connection a thousand thanks should be tendered to Harry C. Sprague the Stage manager of the opera house for the excellence of the calcium lights which cast a most pleasant light on the parti colored costumes” (Leadville Daily Herald, 12 March 1884).

The next month, the Tabor Opera House featured Mr. and Mrs. Knight in “Baron Rudolph.” On April 5, 1884, the “Leadville Daily Herald” reported, “The stage setting was admirable and reflects much credit to Mr. Harry C. Sprague, whose work was made easier from the fact that Messrs. Monheimer Bros. kindly donated the rugs, draperies, etc. which were so much admired.”(Leadville Daily Herald, April 5, 1884). As with many shows, stage managers were responsible for acquiring the items identified on each show’s prop lists, send to each venue ahead of every touring production.

By summer 1884, Sprague was again credited for his contribution to an upcoming production of “’Patience.’ On June 22, the “Leadville Daily Herald” reported, “One of the attractive events of the coming seek will be the opera of ‘Patience,’ to be given at the Tabor Opera House tomorrow evening. Everything is now is readiness for the most perfect amateur entertainment ever given in Leadville. The costumes have been imported expressly for the occasion, and are marvels of the costumers art. The solo parts and choruses have been drilling for weeks, while Mr. Cragg, and his efficient stage manager Mr. Sprague, have exhausted their ingenuity and good taste in the matter of stage setting. The indications point to a crowded house and a grand success is assured, both from a musical and social standpoint.”

Unrelated to any theatre events, Sprague was listed with a group of individuals helped feed a stray dog in 1884. That summer Sprague contributed 25 cents to help feed “Bum,” a local mutt described as “the sad-eyed decrepit looking canine, who seems to belong to nobody in particular, but lavishes his licks impartially upon all the members of the gambling fraternity in town” (Leadville Daily Herald, June 3, 1884).

The last mention that I have located of Sprague’s time in Leadville was connected with a children’s operetta at the Tabor Opera House. On October 30, 1884 the “Leadville Daily Herald” reported, “Mr. Moody, assisted by Mr. Sprague, the regular stage manager of the house, had charge of the stage. Under their able supervision everything worked as smoothly as clockwork.” After this, Sprague fades from print in Leadville.

By 1885, Willie Moon was listed as the asst. stage manager at the Opera House, living at 121 E. 7^th, but Sprague was no longer in the city directory in 1885. It is likely that Moon was already working as an assistant in 1884. Sprague leaves Colorado at this point, and here is what I have tracked down about his return to the east.

Sprague left Leadville for Chicago, where he was married the following year. On Jan. 27, 1886 he married Sarah L. Lacy. At this time, Sprague transitioned to primarily working as a scenic artist, being listed as a “painter” in directories for the remainder of his life. This becomes more complex as there were multiple individuals with the last name of Sprague working in the theatre industry at this time, both as painters and carpenters. By 1889, the Harry and Sarah Sprague moved to Indianapolis, Indiana, where Harry continued to work as a painter. Harry C. Sprague was listed as a painter in the 1889 Indianapolis directory, living at 175 Riverside avenue. Sadly, in 1891, his wife Sarah passed away and was buried in Crown Hill cemetery. Nothing is known of the circumstances surrounding her death, but considering that she was young and the couple newly married, it is possible that she died in childbirth. At some point after the death of his wife, Harry returned to Illinois.

It remains unclear as to why Harry returned to Chicago, whether it was to mourn the loss of his wife or care for his aging parents. Regardless, Harry was living with his parents in 1900, He was 40 yrs. old. and still working as a painter. He was the only adult child of the couple living home; they were now listed as retired, each 65 yrs. old. By 1910, Harry’s mother had passed away. Both Harry and his father moved in with his sister Ida and her family, the Kirbys. The 1910 US Federal Census provides a little insight into this extended family living in Chicago. Ida’s husband Phillip was a manager at a metal works factory. Harry’s occupation was listed as a salesman, but with no specific industry. Harry was also listed as widower. Harry’s sister Ida passed away a few years later. In 1913, her obituary stated, “KIRBY – Ida E. Kirby, nee Sprague, 7736 S. May St., beloved wife of Phillip A Kirby, mother of Charles J. and Jennie C., daughter of Charles A. Sprague, sister of H. C. Sprague, John E., Florence G., and Belle C. Youngstown [O.], Elora [Ont.] and New Jersey papers copy. Funeral Wednesday, Dec. 31. Burial at Greenwood cemetery” (Chicago Tribune, 30 Dec. 1913, page 15).

I have yet to discover when Harry’s father passed, or he left Chicago. Sprague appears to have disappeared from print for the next two decades, but eventually ended up in painting in the Philadelphia area. His older brother also lived in the area. Harry C. Sprague passed away on March 9, 1933 at the age of 72 yrs. His obituary, reported, “Harry C. Sprague, aged 73, of Philadelphia, a retired painter, died in that city yesterday. He is survived by two sisters, Mrs. Florence Hults of Vineland and Mrs. Milton McGargle of Madison and a brother, John Sprague, of Philadelphia. Mrs. Charles Stickert of Vineland is a niece of the deceased. Funeral service will be held Saturday afternoon at 2 o’clock with burial in Siloam Cemetery” (“The Daily Journal” Vineland, NJ, 10 March 1933, page 3).

At the time of his passing, Harry’s burial expenses were paid by Mrs. Harry A. Brown of 1250 South 45^th Street and Mr. Wilcox of 1427 Catharine Street, both in Philadelphia. It seemed odd to me that it was not a family member who took responsibility for the body.

I have just started to look at possibilities of who Mrs. Henry A. Brown or Mr. Wilcox might have been. Interestingly, Harry A. Brown was a Chicago artist, working in the city the same year that Sprague returned and met his future wife – 1885.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1116 – Scenic Artists, Henry C. Tryon (1847-1892) and William C. Morris (1844-1889)

William C. Morris first popped onto my radar after my trip to the Tabor Opera House in Leadville, Colorado, last spring. While documenting the historic scenery collection, I encountered a tree profile painted by Frank Cox in 1888. Cox painted his initials on the set piece, as if they were carved into the trunk. In addition to his initials (“TFC” for Tignal Frank Cox), he painted the initials “WM” and “JC” below. Although it was a long shot, I decided to see who was working as a scenic artist in the west at the time, with the initials W. M. My search resulted in five possibilities, with William Morris as one of the options. Regardless of whether the painted initials “W.M.” were for William Morris or not, Morris entered into the Henry C. Tryon storyline by 1882. Both painted for the Salt Lake Theatre. Let me provide a bit of context first.

On September 14, 1882, the “Salt Lake Herald” reported, “Mr. Henry C. Tryon, a well-known scenic artist, is en route for San Francisco, on pleasure. Mr. Tryon is the scenic artist of the Tabor Grand Opera House in Denver” (page 5). Regardless if the intent were pleasure or work prospects, a few month later the San Francisco Opera Tryon a position as their scenic artist. He published this offer in January 1883, using it to pressure the Salt Lake Theatre into also offering him a position; a smart move that worked.

In the spring of 1883, Tryon again headed west to the coast, this time bringing a friend and fellow scenic artist, William Clyde Morris. At the time, Morris was a thirty-nine yrs. old Salt Lake City mormon. On March 12, 1883, the “Deseret News” announced, “Back from the Coast.-To-day Mr. Henry C. Tryon and Mr. W. C. Morris, returned from their trip to California. They took in all the sights anywhere near San Francisco and had a very enjoyable time. They received marked courtesy everywhere and had freedom of all the theatres at all hours.” (Deseret News, 12 March 1883, page 3).

After painting scenery for the Tabor Grand Opera House and Tivoli Theatre in Denver, Tryon working in Utah alongside many locals, such as William Clyde Morris and Alfred Lambourne. William Clyde Morris’ father, William V. Morris, was primarily a decorative artist, but also painted scenery for the Salt Lake Theatre until the time of his passing in 1878. His death was possibly why the Salt Lake Theatre sought out Tryon, another experienced scenic artist from the region. In 1882, Henry C. Tryon and his little brother Spencer were working at the Tabor Grand Opera House in Denver. Both the Tabor Grand Opera House and the Salt Lake Theatre were located on the same circuit for many touring productions, the venues also shared artists.

From the fall of 1882 until the fall of 1883, Morris worked alongside the Tryon brothers at the Salt Lake Theatre. Morris and Spencer Tryon were credited with a railroad scene for the production of “Forbidden Fruit.” On January 30, 1883, the “Salt Lake Herald” reported that the scene “was displayed last night for the first time in “Forbidden Fruit.” The article announced that their scene, “called forth a well-deserved round of applause,” elaborating, “It was excellently painted, being full of character, and although (from the nature of the subject without any pretense to color, was beautiful owning to its truth and solidity.” The article’s author congratulated each artist, noting, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tryon, the artist of the Salt Lake Theatre, He is very talented and although scarcely more than a boy in years, has produced some very fine work here and at the Tabor Grand Opera House, Denver. We congratulate Mr. Morris upon the opportunities for the display of his recognized ability, which the scenery at the Salt Lake Theatre has given him, and which will give him in the future, as he has been engaged to assist the artist upon all work done.” This presents Morris as the assistant to the Tryon Brothers.

*William Morris, from the Utah Department of Heritage and Arts digital photograph collection. Here is the link:*
*https://collections.lib.utah.edu/details?id=432462&q=%22william+morris%22&facet_setname_s=dha_%2A*

Morris’ father was a well-known decorative artist the Salt Lake area. William V. Morris (1821-1878), William Clyde Morris (1844-1889), and William Charles Morris (1871-1853) all worked as painters, specializing in the decorative artists. It is difficult to juggle all of the details surrounding the Morris family due to multiple marriages and dozens of off spring. I’ll try to stay on task, so here goes…

William Clyde Morris (1844-1889) was the son of William Vaughan Morris (1821-1878) and Sarah Isabelle Gwilt (1826-1851). Morris was born on July 15, 1844 in Liverpool, England, the only child born to the couple. His mother died in Liverpool when Morris was only six years old. Father and son migrated to America sometime after that and joined a Mormon wagon train by 1855. They are recorded as participating in Mormon Pioneer Overland Travel’s Company 11. Their wagon train departed at the end of July in 1855 and arrived at the beginning of November of that same year. 61 individuals and approximately 34-38 wagons departed the outfitting post at Mormon Grove in Kansas (near Atchison), bound for the Salt Lake Valley. Mormon Grove was really a temporary village, a rallying point where members from the Church of Latter-Day Saints gathered prior to emigrating west. In 1855, nearly 2,000 Latter-Day Saints with 337 wagons left Mormon Grove for Salt Lake. Here’s the link to “The Mormon Trail: A Photographic Exhibit,” as it is a fascinating story- https://historytogo.utah.gov/mormon-trail-exhibit/

On the trail, William married his second wife, Hanna Hinchliffe Midgley (1928-1892); their marriage date is recorded as September 5, 1855. The couple celebrated the birth of two sons, Thomas Conway Morris in 1858 and Brigham Morris in 1862, half-brothers to William Clyde Morris. Only Thomas survived to adulthood. William V. Morris also married Nancy Cook (1833-1909) and the couple celebrated the birth of Hanna Barbara (1866-1931) and Eli Elias (1873-1940). There is no record of divorce and Hannah did not pass away until 1928. So, it appears that William V. was married to both Hannah and Nancy at the same time, fathering nine children between the two. Also, in 1861 Morris was naturalized, becoming a citizen of the United States of America (“Deseret News,” 11 Sept. 1861, page 5).

William Clyde Morris on seems to have married only once. On June 21, 1868, he married Diantha Empey (1848-1928). The couple celebrated the birth of five daughters and two sons: Mary Ann (1871-1927), Diantha Isabelle (1873-1940), William Charles (1874-1940) and Price LeRoy (1877-1958), Cora Conway (1881-1893), Minevia Morgan (1883-1904), and Klea Vaugh (1888-1972). His son, William Charles Morris, also became an artist. This muddies the waters, as they both went by William C. Morris.

*William V. Morris and William C. Morris placed many ads for Morris & Son. Here is one from the “Deseret News,” 18 Jan 1870, page 1.*

In 1870, William V. and Willian Clyde ran the painting firm of Morris & Son in Salt Lake City. Posted notices in the “Deseret News” advertised, “Painting in all its branches by Morris & Son. We beg to offer our services to the public at large in our line of business on a reasonable term as any other form. Plain House painting; glazing and paper hanging; carriages, signs, both plain and fancy; ornamental decorations and gilding; graining and marbling of all kinds; and theatrical decorations and sceneries” (18 Jan 1870, page 1). Their shop was in the Alley on Main Street, rear of E. Martin’s Photograph Gallery. In 1873, William Clyde designed the new diploma for the Agricultural and Manufacturing Society of Utah (Deseret News, 26 Nov. 1873, page 9).

*Detail from William C. Morris’ diploma design.*

Morris & Son were also mentioned in 1874, when they directed the decorations for the Sunday School Jamboree, a big event in Salt Lake. Little is mentioned in regard to the firm after that, and by 1878, William V. passed away.

*After William V. Morris’ death in 1878, his son Willian Clyde Morris continued as a decorator. Here is an advertisement from the “Deseret News,” 29 Sept 1888, page 3.*

William Clyde continued work as a decorator. In January 1888, he became part of the art committee with George M. Ottinger, Henry Squires and Mrs. Reading for a benefit art drawing for Harry Brown of Logan. By the way, Ottinger also worked as a scenic artist for the Salt Lake Theatre.

By fall 1888, Morris was primarily producing signage for the Utah Exposition building, constructed by the Deseret Agricultural and Manufacturing Society on the Tenth Ward Square in Salt Lake City. On September 29, 1888, Morris placed the following advertisement:

“W. C. Morris, the Decorator is still in the front! Notice! Notice! W. C. Morris, having secured the privilege of introducing Pictorial Signs to advertise the Prominent Business Firms of this city in the Utah Exposition Building, is now running his force to the fullest extent, and as the line is limited, parties interested will please bring in their orders immediately. Size of panels 8 x 14 ft. Painted and Lettered in the Highest Style of Art. For further particulars see W. C. Morris.” (page 3). Many events surrounded the opening of the building, including an art exhibition. On Oct 5, 1888, the “Salt Lake Herald” reported that W. C. Morris’ entry in the art department for the Utah Exposition. He was awarded best ornamental painting, silver medal, and best display pastel work, vegetables. Morris continued to focus on decorative work for the remainder of his career.

William Clyde Morris and William V. Morris were remembered in an article published in the “Ogden Standard-Examiner” on Feb. 3, 1924 (page 5). The article reported, “In 1861, George M. Ottinger arrived in Salt Lake City and permanently established himself in his profession. At this time the people of Utah had somewhat emerged from the straightened circumstances of earlier days and buildings were being erected with some pretentions toward ornamentation. The Salt Lake Theatre was shortly completed and Ottinger, the painter, and William V. Morris, the decorator, found employment in painting the scenery and decorations. It was later carried to completion by William Morris’ son, William C. Morris on whose shoulders the mantle of his fathers’ talents seems to have fallen.” This article also indicates why Tryon was hired at the Salt Lake Theatre in 1883 when it was renovated. Tryon brought the theatrical experience necessary for the successful completion of the project, as he specialized in stage art.

To be continued…

Travels of A Scenic Artist and Scholar: James Edgar Lamphere and the Tabor Opera House in Leadville, Colorado

When the Tabor Opera House opened in 1879, the “Leadville Weekly Herald” included an article about the new structure entitled, “The Opera House. Description of Leadville’s New Place of Amusement” (November 15, 1879, page 3 ). In addition to an extensive description of the building and stage area, the article reported, “Mr. Lamphere, one of the finest scenic artists in the west, has charge of the scenes, their preparation and management, and he promises to produce as fine an effect as can be had in any of the largest theatres of the east, even including New York and Philadelphia, in both of which places he has at times been engaged. Mr. Barber is the stage carpenter and has always been considered first class in his line, and second to none in New York city, from which he has recently arrived…The drop curtain is a masterpiece from the brush of Mr. Lamphere, and represents a glorious mountain scene, at the base of which is a fine old castle, with a stream running at the foot; alongside of the water is a rugged road, which ends in the winding of canyon.” Two years later the building and stage were renovated. The scenery and stage machinery delivered by Lamphere and Barber was less than ideal.

*The Tabor Opera House, c. 1879-1882. From the Denver Public Library digital archives.*

*Note the ceiling fabric above the proscenium arch. This indicates that this picture was likely taken after the original plaster was removed and replaced with canvas duck tacked to the ceiling in 1882.*

Some recounts suggest that Lamphere was a well-known artist; very successful and from the east. Well, east is relative and can mean Denver or Omaha, as both are still geographically east. Lamphere moved from Omaha to Denver by 1872 and was still working as a decorative artist in 1879. He later marketed himself as a scenic artist, but was primarily a fresco painter when the Tabor Opera House was built.

James “Edgar” Lamphere was the son of Orrin Lamphere and Malinda Post. Born in 1839, J. E. Lamphere was the second of five sons born to the couple. His brothers were Milan “Milton” (b. 1840) George (b. 1842), William (b. 1864) and Alonzo Horace (b. 1848).The young boys moved with their parents from New York to Tompkins, Illinois, during the mid 1840s. Tragedy struck, and their mother passed away shortly thereafter, in 1850. Their father immediately remarried a woman called Harriet, and the couple celebrated the birth of a daughter in 1851. Harriet was almost twenty years his junior, and the couple added three daughters to the expanding family: Melissa (b. 1851), Alma (B. 1853) and Ida May (b. 1857). One by one, the sons from the first family moved out of the household, including James who soon married and began painting.

Although I have yet to discover a definitive marriage date, by 1860, James was married and had a daughter. By 1868, James was working as a house and sign painter, listed in the Omaha directory. He had his own establishment, working with his younger brother Alonzo Horatio Lamphere. The two were listed in the Omaha directory, each living at 515 12^th. The 1870 U. S. Federal Census still listed J. E. Lamphere as a painter in Omaha. His wife Delia was 28 years old, with his children Clara and George, ten yrs. old and two years old respectively. The family also had a live-in servant. His younger brother, listed as “A. H. Lamphere” was still working in Omaha, but now living with another painter at a boarding house – A. N. Dobbins. Both James and Alonzo remained in Omaha until 1872, when they headed west to Denver. It remains unclear if Lamphere left his family, or if they chose to stay. However, he did remarry by 1879.

As far as Alonzo, he occasionally worked as a scenic artist as he continued west, eventually settling in California by 1880. Interestingly, their brother George also became a house painter in Chicago.

In 1872 J. E. Lamphere was working in Colorado as an artist. He remained in the west for at least a decade before fading from historical records. The Digital Collections at the Denver Public library have three mentions of J. E. Lamphere, as recorded in the Western History Subject Index. The index only lists the name, profession, date and newspaper. So, there is no way of knowing the context, and Lamphere may have simply been listed in the business cards section of the paper. In 1872, 1879 and 1881, Lamphere was mentioned in the “Rocky Mountain News.” In 1872, he was listed as an artist (March 27, page 1, column 4). In 1879, he was noted as a fresco painter ( Feb 25, 1879, page 4, column 5). Finally, in 1881, Lamphere was listed as a scenic artist (Sept. 4, page 8, column 3).

In 1879, the Denver Directory lists James E. Lamphere as a fresco painter and grainer, not a scenic artist or connected to any theatre, instead working for C. A. Trea. Charles A. Treat ran a wallpaper and sign works company located at 306 15th St. in Denver (Western Magazine, Vol. 4, 1880, page 5). Treat had been a fixture in Denver’s decorative artist scene for some time, placing advertisements as early as 1872 in the ”Denver Daily Times” (9 Aug. 1872). By the time Lamphere was working for Treat in 1879, Lamphere was living at the West Lindell Hotel. By 1880, Lamphere had moved to Leadville, living with his second wife.

On January 1, 1881, the “Leadville Daily Herald” included James E. Lamphere and Mary S. Faxson (nee Ainsworth) as one of the couples married in Leadville during 1880 (page 5). Mrs. M. S. Faxon was listed in the 1880 Leadville City Directory as living at 314 W 8^th. The couple’s marriage did not last long, as a notice of their divorce was published in the “Leadville Weekly Democrat” on Feb. 1, 1881: “Mary S. Lamphere vs Lamphere; judgement and decree of divorce for plaintiff at her costs.” Mary remained in Leadville, and remarried on June 5, 1881. Her next husband was Thomas J. Lanchan; they were also married in Leadville. I have yet to uncover any mention of Lamphere after that date.

In past writings, I proposed that James E. Lamphere solely functioned as the interior decorator for the Tabor Opera House; someone else painted the scenic art. My rationale was that there were plenty of well-known scenic artists working at theaters in Leadville by 1879; why hire a fresco painter from Denver who did not specialize in scenery? Furthermore, I suggested that as Tabor was ordering the best of everything, why skimp on the painted scenery. Well, I think that I found my reason: a lack of understanding pertaining to theatre production and the architectural construction of the Tabor Opera House auditorium and stage may have been the reason.

Significant funds were spent on the direct patron experience, such as the façade of the building, the entrance and theatre seats. The stage mechanism as a whole, or the necessary accommodations for productions would have taken a back seat to the opera boxes, fancy opera chairs and auditorium lighting on the main level. The balcony, scenic appointments, other areas vacated less by Tabor or affluent patrons may have been considered trivial. A lack of attention to detail in other areas beyond those that Tabor would have had direct contact may have taken a backseat, even the basic engineering of the building.

On November 15, 1879, the “Leadville Weekly Herald” described the new Tabor Opera House in detail, reporting “One of the greatest attractions on Harrison avenue is the newly erected Tabor Opera House next door to the Clarendon hotel. It is a three-story brick structure trimmed with Portland cement, and has a frontage on the avenue of sixty feet and extends back one hundred and twenty feet.” The article then described each area of the structure in detail, noting that 450 individuals could be comfortably accommodated on the first floor,

Less than a month later, a much larger venue opened in Leadville – the Grand Central Opera House. It was one particular article about this opera house that made me reevaluate my previous notions about the the Tabor.

The Grand Central Theatre opened on Dec. 12, 1879, located on the same spot as the previous the Theatre Comique and boasting 1,500 seats. The large size and shady location were a problem from the beginning, but the stage accommodations were much more complete than the small stage and ten settings at the Tabor. The proscenium opening measured 26’ w x 27’h and there were fifty-five sets of scenes. Tabor’s second theatre, the Tabor Grand, would also boast fifty settings in 1881.

An 1880 article in “The Leadville Daily Herald” made an interesting comment about the Tabor Opera House in relation to the Grand Central Theatre. On Dec. 9, 1880, the article reported “As the Tabor Opera House has no company, all stars and combinations are obliged to contract with the Grand Central, and [Billy] Nuttall is using his utmost endeavors to secure the best talent which is available. Having a stage possessing accommodation far superior to any other, and with a company which embraces all the dramatic talent in the state, together with the liberality of expenditure for which he has always been noted, even from his earliest connection with the camp, there is no reason why this theatre should not become a recognized resort for the most respectable people.” This really places the Tabor Opera House in perspective, especially when considering the scenic appointments for each stage.

Furthermore, money was spent on the exterior façade and not the structural integrity of the Tabor Opera House. Keep in mind that the Tabor Opera House was built in 102 days, with groundbreaking occurring Aug. 1, 1879. Of the Tabor Opera House’s construction article placed in the “Leadville Weekly Herald” reported Messrs. Roberts took the contract for erecting the building for $30,000. Some three weeks ago Mr. J. T. Roberts sold out his interest in the business, and Mr. L. E. Roberts continued, and has finished the building to the satisfaction of the gentlemen interested (15 Nov. 1879). It appears that corners were cut and details overlooked in the process. Furthermore, without a theatre company or extensive scenery collection, possibilities for booking productions were limited. Recognizing the deficiencies, the Tabor Opera House underwent a massive renovation to fix several problems by August 1882. The building was less than two years old at the time and there were significant areas of concern.

The improvements were described in detail under the heading “Improving the Tabor” (Leadville Daily Herald, August 23, 1882, page 4). On August 22, 1882, work commenced on the auditorium ceiling. The article reported, “All plastering and ceiling of the hall will be removed, and then eighty-six jack-screws will be put in and the building roof raised three inches. New iron plates and screws will be put into the roof, and instead of plastering there will be put the best quality of ducking canvas on the ceiling, which will be thoroughly calcimined. New and substantial columns of support will be placed throughout the building. The interior arrangements of the hall will be left at present as they are, with the exception of the gallery, which will be materially improved. Its ventilation, which has heretofore not been what it ought to be will be made as perfect as possible, and the seats arranged in such a manner that they will no longer be a source of trouble and annoyance. The guttering of the whole building throughout will be put in new, and much larger than heretofore, and the sewage of the lower floor will be materially improved.” Big changes for big problems.

This renovation extended to fixing other problems associated with the Tabor Opera House in the stage area. The “Leadville Daily Herald” reported, “Of the stage there will be a change for the better in regard to scenery, scene shifting and drop curtains. Those ridiculous hitches in scene shifting that have heretofore occurred on one or two occasions will no longer take place. An experienced stage man has been secured in the person of Mr. H. C. Sprague, who has had extensive experience in the east, and was in Leadville before, in the early days. All these improvements will take until about the first of September to execute. As soon as the house is in perfect order, say about the fourth of September, J. Rial’s Uncle Tom’s Cabin troupe will commence an engagement of three nights” (August 23, 1882).

Havens & Beman were contracted for the improvements, and the firm appointed J. T. Roberts as their superintendent. Remember that this is the half of the Roberts construction team that walked away mid-construction progress, leaving the project to L. E. Roberts.

By September 1, the “Leadville Daily Herald” described, “The ceiling has been elevated six inches in the center, thus giving it a slight arch. The plaster has all been removed there from and canvas will be substituted, both of which improvements will greatly improve the acoustic properties of the theatre. The roof has been raised three feet in the centre and materially strengthened with Howe trusses, while heavy timber braces and supports have been introduced in the stage which will make the house so secure that there can be no possibility of its ever taking a tumble unless it drops through the ground. The canvas ceiling is now being put in place and will be taken down and a few seats that remain on the stage will be put intact. Three new ventilators have been inserted in the ceiling and will aide very materially in keeping a large supply of air in the house at all times. While the work has been pushed in every particular and Mr. Roberts is to be thanked for the punctuality and correctness which he has displayed in the repairs. Had not Messrs. Havens & Beman known his ability and trustworthiness they would have never left such a responsible piece of work to his solo charge.”

The completed opera house improvements attracted a new class of production. The Abbott English Company performed “Chimes of Normandy” and “King for a Day” that fall. The September 26, the “Amusements” section announced. “For the first time in the history of the carbonate camp, there was presented at the Tabor opera house last evening, a perfect representation of grand opera, not only in so far as the mis en scene was concerned, but also in regard to the caliber of the artists appearing on the stage (Leadville Daily Herald, page 1). But Tabor’s troubled did not end with the repairs and eventually extended to the Tabor Grand Opera House in Denver. This was before long before Tabor fell on hard times financially.

On September 28, 1882, the “Fairplay Flume” reported, “Governor Tabor, while inspecting the improvements in the Tabor opera house, accidentally stepped through a trap on the stage, falling a distance of several feet. Happily, he was uninjured beyond a few slight bruises” (page 2). This is yet another indication of Tabor’s ignorance concerning the stage. It is understandable, as Tabor had no understanding of theatre beyond that of an audience member; he would not think to look down for open traps.

Structural issues carried over to his Denver venue. On February 24, 1883, newspapers reported “A rumor comes from Denver, Col., that the Tabor [Grand] Opera House is falling in. The bricks made in Denver are so porous that a nail can be readily driven into them. Hence, they are not suitable for buildings of the Tabor Opera House magnitude” (Lima Democrat, Lima, Ohio, 24 Feb 1883, page 5). To be continued…

Tales from a Scenic Artist and Scholar. Part 1110 – Henry C. Tryon’s Little Brother, Spencer Tryon (1863-1912)

On January 30, 1883, “The Salt Lake Herald” reported, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tyron, the artist of the Salt Lake Theatre. He is very talented, and although scarcely more than a boy in years, he has produced some very fine work here and at the Tabor Grand Opera” (page 8). At the time, Spencer was twenty years old.

*The Salt Lake Theatre in Salt Lake City, Utah*

*The Tabor Grand Opera House in Denver, Colorado*

Like his older brother, Spencer changed his last name from Hoornbeck to Tryon when he began working as a scenic artist. To learn more about Henry B. Hoornbeck’s name change to Henry C. Tryon, visit: https://drypigment.net2020/10/16/tales-from-a-scenic-artist-and-scholar-part-1092-henry-b-hoornbeck-and-henry-c-tryon-1847-1892/ Their brother William Hoornbeck also adopted the last name of Tryon while living with Henry C. in 1878.

In 1870, Spencer was living with his mother, Ann M. Hoornbeck, and two brothers (Henry and Dell) at 384 Lake Street. This was the last year that Henry Hoornbeck (later Henry C. Tryon) was listed in directories under his birth name. Mrs. Hoornbeck and her children had moved to Chicago after the death of her husband in 1864. Like Henry, Spencer was educated in Chicago public schools.

The earliest mention of Spencer working as a scenic artist is in 1882. At the time, he was listed as his older brother’s assistant and painting scenery for a hall in Springville, Utah. On Dec. 13, 1882, the “Deseret News” reported, “Not only is the intention to have this model theatrical hall up to the times in point of architectural construction, by the scenery is to be of the very best description. With this object in view Mr. D. C. Johnson, who takes a leading part in the management has secured the services of Mr. H. C. Tryon and Mr. Alfred Lambourne. The latter accompanied by Mr. Spencer Tryon – Mr. H. C. Tryon’s assistant – left for Springville to-day, to begin the work, and Mr. Tryon will follow in a few days. The institution will have thirteen scenes complete, with sidewings, etc., and an appropriate drop curtain. The fact that Messrs. Tryon and Lambourne will do the painting is a guaranty [sic.] that the scenes will be of the most excellent description” (page 15). The venue was described as “a genuine opera house in a theatrical hall. The extent of the stage from the footlights to the back is twenty-five feet, besides dressing and other rooms in the rear. The height of the stage from the floor to the rigging apparatus is twenty-two feet.”

The three artists were also credited with painting railroad scene a month later. Of the setting, the “Salt Lake Herald” reported, “A. Railroad Scene in ‘Forbidden Fruit.’ A feature in the performance, on Monday night, which was not scene in the original production, will be the grand office scene, just painted by Mr. H. C. Tryon, Mr. W. C. Morris and Mr. Spencer Tryon, and now shown for the first time, represent the waiting room for the Pennsylvania Central Railroad. A number of gentlemen who saw the artists at work on the scene consider it one of the finest efforts the painters have yet made. It will be seen in act II, of “Forbidden Fruit” (Salt Lake Herald, 26 Jan. 1883, page 8). A later article stated, “The railroad scene painted by Mr. W. C. Morris, of Salt Lake City, and Mr. Spencer Tryon – and displayed last night for the first time in “Forbidden Fruit” – called forth a well-deserved round of applause. It was excellently painted, being full of character, and although (from the nature of the subject) without any pretense of color, was beauty owing to its truth and solidity.” The “Deseret News: reported, “The office of the P.C.R.R.. a new interior scene, painted by the Tryon Brothers and W. C. Morris, Esq., will be exhibited for the first time” (26 Jan 1883, page 3).

On January 27, 1883, the “Deseret News” reported that the new office scene for “Forbidden Fruit” was by Mr. W. C. Morris and Mr. Spencer Tryon” (page 3).

By the spring of 1883, the Tryon brothers were back working at the Salt Lake Theatre. Interestingly, Spencer was erroneously listed as his older brother’s manager on the project. On May 31, 1883, “The Salt Lake Herald” reported, “Henry C. Tryon and his manager, Spencer Tryon, are still industriously engaged. At present, Mr. Tryon is working on one or two special scenes for Lawrence Barratt [sic.], when he appears at the Theatre in ‘Francisca.’ The borders and wood scenes are all finished, and there is any amount of new scenes which have never yet been in use, and which, if occasion came, would show how well stocked the Theatre is even now, when the work is far from finished” (page 10). Spencer would soon be left alone in Salt lake City, without his older brother’s countenance.

On September 17, 1883 the “Deseret News” published a farewell letter to Henry C. Tryon: “Good Bye – Mr. Henry Tryon, the skillful scenic artist, leaves for the East to-morrow. Beside his remarkable talent he is the fortunate possessor of a genial disposition and a mind remarkably free from that species of petty jealously by which otherwise capable men too often dim the lustre of their capacities. He has made numerous friends here whose best wishes he carries with him. Good bye” (page 3).

I have to wonder what was worse for Spencer; living in his famous brother’s shadow or painting at the same venue renowned for your brother’s artwork. Regardless, Spencer remained in Salt Lake City area for at least another year after his brother’s departure in 1883. For a while, he worked at the Salt Lake Theatre, but soon began working at the venue’s competitor – the Walker Opera House.

*The Walker Opera House in Salt Lake City*

In 1884 Spencer was working, and sleeping, at the Walker Opera House. The Walker Opera House was located on the south side of 200 South Street between Main and West Temple streets. Unfortunately, the venue caught fire one night as Spencer slept inside. On October 16, 1884, “The Salt Lake Herald” headlined “A Narrow Escape. The Opera House Barely Saved from Destruction” (page 8).

*Sanborn Fire Insurance Map from 1884 for the Walker Opera House*

The article continued:

“On Wednesday morning at about 4 o’clock, Nightwatchman Henry Heath in passing the Walker Opera House noticed that the glass windows of Evans & Spencer’s gun store wore a peculiar color. On looking closer he perceived the appearance was caused by the store being full of smoke, Hastily running down stairs to the saloon owned by Mr. A. G. Bechtol, he saw that its interior was also black with smoke, With all possible dispatch he hurried to the rear of the building and awoke Dave McElroy and Spencer Tryon, who were sleeping in the Opera House, rigging the hose from under the stage and in the parquette circle, and going to the rear door of the saloon himself, and upon bursting open the door he was almost stifled by the smoke, but throwing himself upon his face, with a hose in each hand, he turned a stream of water upon the ice chest and billiard table, from whence the flames were issuing. With the assistance of Messrs. McElroy and Tryon the fire was gotten under control before the fire brigade was summoned. The firemen made good time to the scene, but were not needed.” Interestingly, the 1884 Sanborn Fire Insurance Map provides a basic floor plan for the building. The two-store front were occupied by an ammunition shop and a confectionary. Records indicate that the scenery on stage was non-combustible; this means treatment with a product considered to be a flame retardant. Layout (https://utahtheaters.info/Theater/Facts/250/Walker-Opera-House).

*Spencer Tryon’s narrow escape from the Walker Opera House made headlines in 1884*

After Spencer’s near miss at the Walker Opera House, he seems to fade away from published history. Spencer remained out of the spotlight for the remainder of his life, unlike his older brother who continued to receive recognition at theatres across the country. I have yet to uncovered any mention of either Spencer Tryon or Spencer Hornbeck between 1885 and 1890. By 1891, however, he was back in Chicago and listed in the city directory, having resumed his birth name of “Spencer Hoornbeck.” Interestingly, 1891 is the same year that the Walker Opera House burned down.

The 1891, the Chicago City Directory listed, “Hoornbeck, Spencer, painter, h. 621 N. Stephenson (P).” Within the next year, both his mother and his brother Henry would pass. At the time of Ann M. Hoornbeck’s passing, she was 68 years old and living with a son in Pullman, Illinois. Her internment was at Sandusky, Ohio, next to her husband. Sandusky was also the birthplace of their children.

By 1900, Spencer was again working under the name Tryon. The 1900 US Federal Census listed Spencer Tryon as boarding at 128 Throop Street in Chicago, working as a paper hanger and painter. Ten years later, he was still working in the same capacity and living alone, lodging a boarding house on Wabash in Chicago. Spencer passed away in 1912 at the age of 49 yrs. old. His older brother Henry had been only 45 yrs. old when he died the decade before. At the time of Spencer’s death, he was listed as a painter, boarding at 19 E. 18^th Street in Chicago. The next day, Spencer was buried at Mt. Greenwood cemetery.

Just like his mother Ann and older brother Henry, Spencer exited this world without fanfare or any published remembrances. I have to wonder if he had any loved ones to mourn his passing.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1106 – The Passing of Henry C. Tryon and William M. Voegtlin in 1892

Henry C. Tryon passed away in relative obscurity on July 27, 1892. Newspapers announcements simple stated: “Scenic-Artist Henry C. Tryon died at Lawrence, Mass.” (Pittsfield Sun, 4 Aug. 1892, page 6).

It is hard not to recall Tryon’s elegant tribute to C. Louis Malmsha upon his passing. Only a decade earlier, Tryon’s tribute to Malmsha appeared in that newspapers across the country. Here is a link to my past post with the article: https://drypigment.net2020/10/13/tales-from-a-scenic-artist-and-scholar-part-1089-louis-malmsha-a-tribute-to-the-great-scenic-artist-by-henry-c-tryon-and-malmsha/

*Memorial erected to C. Louis Malmsha by his wife and artist friends.*

Two months before Tryon’s passing, he was a pallbearer at the funeral of William Voegtlin. Voegtlin passed away at the relatively young age of 57 earlier that summer. The cause was listed as inflammatory rheumatism.

Here is Voegtlin’s funeral notice, as published in “The Boston Daily Globe” on June 1, 1892:

“ACTORS AT HIS BIER

Burial of William Voegtlin, the Scenic Artist, at Forest Hills.

The funeral of William Voegtlin, the scenic artist, took place from the church of the Good Shepherd yesterday afternoon. Rev. Mr. Rollins officiated. Solos were rendered by Miss Maud Williams and the Commonwealth quartet. Internment was at Forst Hills Cemetery. Among those present were: Messrs. N. A. Morkell, James Blake, John Cook, A. L. Southerland, frank B. Richards, Harry M’Glenen, L. J. McCarty, John Prior, frank Pollo, Charles Harris, Benjamin Craig and Philip Seymour. The pallbearers were Messrs. John A. Thompson, Charles Withm, William Gill, Victor Lawson, Henry E. Dixey, William Dixon, Henry C. Tryon and Mr. Brooker.”

I have written about Voegtlin in the past, but here is a brief recap of Tryon’s close friend:

William Voegtlin was born in Basle, Switzerland in 1835, emigrating to the United States at the age of 15 and settling in New Orleans where he first began scenery painting. Voegtlin quickly ascended to the top of his profession and by 1879 he was listed as one of the “very best of living scenic artists.” Voegtlin was also mentioned in the article, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” after his passing. Of Voegtlin, the article noted, “One of the great giants of the scenic world was William Voegtlin, the greatest deceiver of transformation effects that ever walked the paint bridge. He had a style peculiarly his own and seemed to incorporate the stunning effects of all schools…his color was wonderfully vivid, and he was a grand master with foil. In this latter respect he was only rivaled by Thomas Noxon of St. Louis, a remarkable artist in spectacle. Voegtlin often ate and slept on the paint frame for weeks at a time during the rush of a great production” (Dec. 18, 1892). For a period of time, scandal associated with the Voegtlin name too.

In 1857, Voegtlin married his first wife Berth Fleichman in Peru, Illinois. Two of nine children survived to adulthood, each son following their father’s footsteps. As an itinerant artist, Voegtlin frequently traveled for work, assisted by his sons. This left his wife at home alone, and after twenty-six years of marriage she ran away with a close family friend, Carl Voegel, of Voegel & Co. At the time, Voegel was also married and it caused quite a scandal.

The Voegtlins separated, but never officially divorced, which would later become a problem for William in particular when he married again. Voegtlin moved west where he worked as a scenic artist at Bush-street Theater in San Francisco. Ironically, his first wife was also living in California at this time, cohabitating with Voegel in Oakland. Voegtlin, however, married a second wife without divorcing his first, making papers across the country as a bigamist. To make matters worse, both wives blackmailed him, holding the charge of bigamy over his head. When his case went to trial, however, Voegtlin was acquitted of his crimes and returned to work as a scenic artist until his passing in 1892. The cause of death was pneumonia.

At the time of his death, newspaper announced, “News from Boston announces the death of William Voegtlin, one of the best known and experienced scene painters in the country” (Chicago Tribune, 1 June 1892, page 6). Various publications shared little snippets of fame from the past about Voegtlin. A stark contrast from Tryon’s simple death notice, with no funeral announcement. He may have died alone, and there was no one to mourn him.

If there is no one to share your story, you gradually pass from memory.

*A newspaper clipping in Thomas G. Moses’ scrapbook of his friend Henry C. Tryon*

To be continued.

Tales from a Scenic Artist and Scholar. Part 1105 – Henry C. Tryon and “Hattie” from Haverhill, Massachusetts, 1885

On June 18, 1884, the “Salt Lake Herald” reported, “Henry C. Tryon, the scenic artist, wrote from Haverhill, Mass., that he is about to perpetuate matrimony, and he sends a photo of the beautiful lady whom he designates as the victim. In gazing at the picture and thinking of Henry, we wonder how he was able to “work the act” (page 8).

Thomas G. Moses, John H. Young and Henry C. Tryon went on a sketching trip in October 1885. Moses wrote, “At this time, Tryon was very much in love with a schoolteacher in Haverhill, Massachusetts, whose name was Hattie. He promised to write her every day and she had promised to reciprocate. So, we spent the evening writing letters to our dear ones.” I have yet to verify his marriage to Hattie. However, there are a few things to consider.

By 1885, Tryon was 38 years old. Twelve years earlier he married Bridget “Bee” Pierce on Nov. 13, 1873. The marriage took place in Cook County, Illinois on November 13. Henry and “Bee” Tryon celebrated the birth of one only son, Henry Tryon, Jr. on August 18, 1874. Little is known of Bridget, little Henry Jr. or Tryon during this time. I have not tracked down a death certificate for Bridget or even a birth certificate for Henry Jr. At this time, their fates remain unknown, and I have to wonder if Bee died in childbirth, with little Henry soon following.

It is difficult to track down nineteenth-century women for so many reasons: their names change, they die in childbirth without death certificates, husbands leave, women leave their husbands, and people do disappear. Additionally, many historical records include information provided by husbands, so pet names can replace legal names and other information is changed. It can get cloudy. especially when there are multiple marriages.

Unfortunately, Moses mentions “Hattie” without providing any last name. “Hattie” was also the nickname for Harriet or Henrietta, throwing in a few more variables to my search. After quite some time, I have yet to track any information about a second marriage. However, while looking for more information about Hattie, I began to focus on her hometown of Haverhill. Interestingly, Tryon worked and died in a neighboring town – Lawrence, Massachusetts. The city centers of Haverhill and Lawrence are only eighteen miles apart; less than a three-hour walk. Haverhill is also just up the river from Boott Mills in Lowell. Keep in mind that Lawrence was also only thirty miles from Boston.

In 1887, the New York Clipper” first reported Tryon as working at the Lawrence opera house. The August 27 article reported, “During the Summer the house has been thoroughly renovated, painted and new carpets added, while six new scenes have been painted by Henry C. Tryon of New York” (NY Clipper, 27 August 1887). At the time of Tryon’s passing in 1892 he was associated with the Bowdin Square Theatre in Boston. This does not mean that he lived in Boston, just that he was scenic artist for the house during 1892. Prior to his passing in Lawrence that August “New York Clipper” included an announcement about his work at the Lawrence Opera House in July:

“Lawrence.-At the Opera House all is business with Manager Grant who intends to add some new features in connection with the stage and scenery. Henry C. Tryon, of the Bowdin Square Theatre, Boston, is painting and retouching the scenes and flies, and everything will be in readiness for the opening Aug. 10, when “The Dazzler” will be the attraction” (July 23, 1892, page 312).

When Tryon passed away on July 27, 1892, he was entered into Lawrence city records. The death record listed Tryon as a scenic artist from Chicago. For years he had been listed as a Chicago scenic artist, especially while first courting Hattie in 1884. Tryon’s cause of death was noted as Bright’s Disease. Bright’s disease was a historical classification for kidney diseases. Here is a link for more information about Bright’s Disease if you are interested: https://en.wikipedia.org/wiki/Bright%27s_disease .

There was additional information in the death record, including his birthplace in Sandusky, Ohio. His parents’ names and birthplaces were also included – Jacob Hornbeck of Oswego, NY, and Anna M. Hammer of Hagerstown, Michigan. The detailed information indicate that it was provided by someone who obviously knew him well. Although a death notice for Tryon was announced in newspapers across the country, it only stated:

“Scenic-Artist Henry C. Tryon died at Lawrence, Mass.”

For someone who wrote so much throughout the duration of his life, Tryon’s own passing was marked with few words. No funeral notice, no tribute, nothing.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1103 – “That Erratic Genius,” Henry C. Tryon

Two years ago, I was writing about events in the life and times of Thomas C. Moses in 1884. At the time, I was trying to track down information about Henry C. Tryon. Tryon had entered my storyline when he began working at the Sosman & Landis Studio during 1884, filling in for Lem Graham after Graham left to establish a scenic studio in Kansas City.

By 1885, Tryon, Moses and John H. Young went to West Virginia on a sketching trip. Moses described Tryon as “eccentric,” and recorded some pretty humorous episodes about the older artist. While searching for additional information about Tryon’s projects in Utah (this is before he returned to Chicago in 1884), I came across mention of Alfred Lambourne (1850-1926). Lambourne worked with Tryon at the Springvale Theatre Hall. In 1883 Tryon’s younger brother, Spencer, assisted the two while creating stock scenery for the venue.

As I searched for articles in historic newspapers and past publications, I located an interesting description of Tryon by Lambourne in “Reuben Kirkham: Pioneer Artist” by Donna L. Poulton, PhD. Here is a link to her book: https://www.amazon.com/Reuben-Kirkham-Donna…/dp/1599553805. Poulton’s book provided an excerpt from Lambourne’s memoirs that described Tryon.

Lambourne referred to his mentor as “that erratic genius, that Bohemian of Bohemians.” Of his training with Tryon, Lambourne wrote, “…I worked with Tryon about seven weeks. Not on the paint gallery of the Salt Lake theatre, but in one of our southern towns, where we had taken a contract, jointly, for furnishing a set of stock scenery. Those seven weeks were among the most exciting, and from the art standpoint, most profitable of my life. Tryon arrived in Salt Lake City, after a long and successful season of scene-painting in Chicago, and at the Tabor Grand, in Denver. Who, that knew the man, could ever forget that walk, that shock of unkempt red hair, that shrewd ingratiating smile and fun, the enthusiasm, or flash of anger in those steel gray Irish eyes. How distinctly I remember the low suppressed tones of his voice and the sparkle in the same eyes, as he once confronted me and uttered these words: “I have never yet met a man whose combativeness I could not overcome with my own.” However that may have been, we became fast friends and without surrender on either side.”First of all, I find it fascinating that Lambourne not only worked as a scenic artist, but also authored several fictional works. In fact, I have just ordered three of his short stories about scenic artists; original copies are difficult to track down. Lambourne was like many of his peers; nineteenth-century scenic artists enthusiastically wrote about their art, the times, loves lost, and popular stage personalities, providing brief glimpses of life behind the curtain line and the challenges faced by theatre artists.

Lambourne’s memories of Tryon’s combative nature adds a lot of additional color to Moses’s own recollections about Tryon. It is clear that Moses liked and respected Tryon; after all, they planned a sketching trip together in 1885. However, respecting and working with someone is often different than living and traveling with them. Moses provides a peak into Tryon’s personal habits. I previously posted the article that Moses wrote for the “Palette & Chisel Club” newsletter concerning his 1885 trip to West Virginia – see past posts parts 202 to 212 at www.drypigment.net. For now, I’ll start with Moses and Tryon’s departure from the Chicago train station in 1885. Moses wrote,“Henry Tryon and I started for West Virginia on a sketching trip. I had more bother and worry with Tryon than a hen with a brood of chickens; he was simply impossible. A very clever painter but he was not balanced – very temperamental. While he was more than ten years my senior I had to lead him to everything that we had to do for the trip. I went to the B. & O. R. R. Co. and endeavored to secure free transportation. I tried to show them the great benefit our trip would be to the advertising department, as Mr. Tryon expected to write an account for the Chicago Tribune. They had plenty of this advertising, but encouraged us by giving us half fare both ways. We were highly pleased to get this with the understanding that John Young was to follow at the same rate within the week. I had a struggle to get Tryon down to the depot at 5 P.M. – the train left at 5:10. While we were rushing for the sleeper, Tryon stopped – he must get into his trunk which I had checked early in the day. I informed him that we had no time – the baggage was being put on the train. He insisted, so I went with him at 5:05 to the baggage-car. He asked the baggage master to pull the trunk off the truck so he could open it. After much grumbling it was lowered to the platform. Tryon untied the rope, unlocked it and from the top tray took out a fifteen-cent package of Durham smoking tobacco; replacing the rope he informed the baggage-man he was through with it. The baggage-man had been watching him and when he saw what was taken out he made some remarks that would not look well in print. Tryon never lost his temper, so the remarks did not affect him. We had less than two minutes to get to our sleeper, the trunk was thrown on and away we went. I never mentioned the incident again and Tryon forgot it immediately.”

More entertaining tales about Tryon tomorrow.

*Henry C. Tryon pictured in the “Inter Ocean,” Feb. 28, 1886, page 9*.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1099 – Robert Hopkin, Painter

Detroit scenic artists, Robert Hopkin and his son William G. Hopkin, traveled west in 1881 to paint scenery for the Tabor Grand Opera House and the Grand Opera House in Colorado Springs. Representing the Chicago firm J. B. Sullivan & Bro., they created similar drop-curtains for each stage. My interest in Hopkin is two-fold: first and foremost, his connection to the Tabor Grand Opera House in Denver, and secondly, his mentorship of Thomas G. Moses in the 1870s.

*Robert Hopkin pictured in an article published in the Detroit Free Press on September 23, 1906.*

On Sept. 23, 1906, the “Detroit Free Press” published an article about the life and career of “Robert Hopkin, Painter” by John Hubert Greusel. He passed away only three years later. I am including this article in its entirety, as it provides great insight into the nineteenth-century generation of scenic artists who trained the generation of Thomas G. Moses.

“ROBERT HOPKIN, PAINTER

Robert Hopkin’s pipe kept going out. Every few minutes, he would go to the corner of his studio, tear a leaf out of a magazine, twist the paper and set it on fire at a gas-burner, and so get a fresh fire for his pipe. Many times during the afternoon he kept that up. It was chat, smoke, show pictures, hunt through albums, delve into portfolios.

The artist looks like a sailor; collar open at the neck, weather-beaten face, silvery gray hair close-cropped, straightforward, candid man, who has nothing to say of his ambitions.

I could scarcely believe Robert Hopkin to be the master of that wonderful chiaroscuro of the sea, visible in many paintings which, one after the other, he placed on the easel. He appeared to me more like one of those rough and ready sailormen that he paints with fidelity; and as he examined the relics in the corners, Bob reminded of Jack looking over souvenirs of voyages taken years ago. He showed me a wooden soup-box filled with odds and ends, and fished out photographs to men prominent in Detroit forty years ago; reads scraps of poetry; studied forgotten theatrical programs, and I know not what else.

He always kept smoking his briar pipe which just as persistently kept going out and had to be relighted, with the twisted papers.

SOUVENIRS OF HOPKIN’S HISTORY

Robert Hopkin still has the sure touch of his younger days, the breadth of the distinguished Dutch marine-painters. Many of his scenes on the Great Lakes resemble the work of famous sea-painters along the Zuyder Zee and are at the islands of Marken and Monnickendam.

Bob tells me that he grew up on the Detroit wharves, passed through an apprenticeship in mixing colors for decorators, drifted to scene painting, and finally made easel pictures. As he finished around in his boxes and albums for souvenirs of his early life, at last he brought up a faded photograph of the first drop-curtain of the Detroit Opera House. The theme was an allegorical landscape surrounded by Corinthian columns, supporting a flat arch – an arch that builders always said was impossible. But a fig cared Bob, the scenic artist, for these mechanical criticisms. He also showed me a drawing of the second curtains, bearing the familiar lines:

So fleet the works of men back to their earth again

Ancient and holy things fade like a dream

And Bob with a merry laugh told me that George Goodale used to be worried half to death to satisfy curious letter-writers, who wanted to know where the quotation came from. The dwellers along the English Channel, says Bob, held a fete each year to scrub a great white horse, carved in chalk cliffs; and Kingsley’s lines are found in the opening of the description.

SMELL OF THE SEA

Once in a while, Bob makes pictures that are not for sale, paints ‘em for himself. No one is to have ‘em! He is that much od an artist. He spoke of “The Kelp-Gathers,” one of his favorites. But he did not show it to me. He is peculiar that way. He may bring out his pictures or he may keep them stacked up. He did hunt out a green-covered book, “The Land of Lorne,” and gravely handed it to me. On the title page, I read, “To Robert Hopkin from his friend Mylne, March 3, 1879. Mylne was one of Bob’s earliest admirer’s Some day you may see a picture by Wenzel, three men talking, called “The Council of War.” One is Bob, the other is William Mylne, the artist, and the third is George W. Clark, lawyer, cronies, all dead now, except, Bob. Wenzel, a society cartoonist, and the best, put patent leather shoes on Bob. Bob smiled as I showed it to him. He himself always wears old carpet slippers in his studio at this time of year.

How many pictures has Robert Hopkin made? He does not know. He has never kept a studio register. His plain ways were shown when he brought out an album, photographs of his paintings. Under one, here and there, was written in lead pencil, Mr. Muir, Mr. Robinson, Mr. Chittenden, Mr. Clark. That is his style of bookkeeping.

BOB’S DELIGHT

“Have a pipe?” He brought out paper and tobacco for me. Have I ever read “White Wings, a Yachting Romance,” by William Black? Bob again visited that mysterious rear-room and returned with a copy of “The Princess of Thule.” I opened it at random and leaning back in the tall old horse-hair upholstered chair, began reading the first thing.”

“A dreary sky, a dreary fall of rain. Long low flats covered their own damp breath through which the miserable cattle loomed like shadows. Everywhere, lakes and pools, as thickly sown amidst the land as islands amid Pacific waters. Huts, wretched and chilly, scarcely discernible from the rock-strewn marshes surrounding them. To the east, the Minch, rolling dismal waters toward the far off headlands of Skye; to the west, the ocean, foaming at the lips, and stretching barren and desolate into the rain-charged clouds.”

I have no doubt that the sea and the storm and the wind came back to the venerable artist, as I read on and on. He had never followed the sea, he told me, but some of his ancestors were seafaring people around the isle of Bule and the boy was a frequent visitor at the home of his grandfather, a sea captain of Rothsay, who took little Bob on many of his short coasting trips. He has spent his Boyhood in Glasgow, has seen the ships around the world, and wished to go to sea. At 11, with his father, Bob came to Detroit and has been here for 60 years, barring cruises here and there. In the early days he was never away from the wharves; worked in the shipyard at the foot of Cass street, knew the sailors, riggers and owners. He did boat-painting but soon drifted to scene painting and color work for Tuttle & Patton, the late William Wright, Dean Godfrey & Co. In 1871, Bob went over to Chicago, was burned out, came back to Detroit, began easel-work and has followed it ever since for pure love.

Suddenly, turning the talk, he asked me if I had seen that moonlight, last night, coming down from the Flats? It was fine, the moon on the red buoys, and the light through the clouds. He might paint it, sometime. And then, in his quiet, unimportant way, he went on to tell me that he could carry these pictures in his mind for a long time. He thinks in pictures, the way other men think in figures or in vague flashes. Bob’s mind is like a picture-book.

That he is filled with the mystery and witchery if the sea was easily seen, and it was not long before he was saying that he didn’t wonder sailors were superstitious, often imagined they saw ghosts and goblins. The lonesome life at seas appeals to Bob’s imagination. It was plain that he had been under the spell, many of time.

COLOR

He spoke of clipper-built ships as the finest every built by man.

Last year, he took a trip to Scotland, went on a slow boat, he said, so that it would last longer. The Irish channel is rough all the time. But Bob is never seasick.

Ireland is righty named the Green Isle. The mists hang over it and keep the sun from burning up the grass. In Scotland, it’s the same. The figs are fine. The dark glen of Scotland famed in poetry, is also fine, to the artist’s eye. In Ireland there is so much color. Women in the back countries dress in bright tints. A long way off, the Irish girl’s red hood and cloak is visible. In America the only people that still have a touch of color in their daily loves are Syrians and the Italian immigrants. How pretty they are with their rings and their bright shawls. Civilization robs them soon of these gay colors.

Bob smokes and talks like that. There is no haste. It takes a long time.

Did I tell you that Bob, who is a plain main, dresses plainly and sticks to boots, like those worn in Detroit 40 years ago?

You learn, slowly, more things. Bob will never put a brush to canvas while anyone is near. He works alone. He has no secrets but he doesn’t want anyone around.

If he hears that you are going to say a word or two of his work, he begins to fidget, objects, backs away, shuts the door of his studio and draws in the latch-string.

And beyond all other things, he hates newspaper notices – despises them.

The most money he ever received for a painting was $2,300; – Cotton Exchange, New Orleans. The worst treatment he ever had was at the Centennial of 1876. Through a mistake Bob’s picture was hung in the Michigan building, instead of in the art gallery. That sickened Bob of exhibits. He hasn’t bothered himself to send anything to any of them for years. Some years ago he was asked to exhibit in the Royal Academy, England. “What’s the use? Too much trouble! What’s it all amount to anyway?” says Bob.

He has a memory for technique. If he ever sees a scrap of canvas; well, he’ll know it again, after years. The other day, a friend found something in a second-hand store and asked Bob to take a look. Bob did so and the friend bought, on Bobs recommendation. On cleaning the painting, the name Bob had predicted was found there. The picture was by a Canadian artist of renown, but his works are known to only a few collectors. Bob had seen only one, years before. He knew the style almost at a glance.

IMPRESSIONIST

As for art, he is an impressionist, not in any high technical or extreme sense, but in the simple meaning, to reproduce and impression; to see something, in your own way. Many years before impressionism became the vogue or before we knew one school from another, he went direct to nature’s heart for his school and his instruction and took for himself and his school all that was good without being an extremist in impressionism. His teacher was Mother Nature; his school, the seas. He paints as he breathes, that is to say, naturally as you wink you eyes. What more is there to be said?

He is likely to get up at 4 in the morning and go to the wharves. Sunset often finds him strolling about, looking at the river.

He does not paint in open air. He makes sketches, perhaps adding a dab of color, for a key. He scribbles notes of backgrounds, or color scheme. The actual spirit of the scene he keeps in his heart.

Mcedag [sp?], the great Hollander, who paints everything thought the window of his studio, which opens over the sea, has one, perhaps two moods. Hopkin has as many moods as the sea has lights and shadow. You see his ships in a heavy storm, in a fair wind, in a dead calm, in moonlight. He knows all the caprices of the sea, He paints them all.

One day, his paintings are going to come into their own.

INSIGHT

Newspaper waifs of verse appeal to Bob. One day, Charles L. Clark read Bob a newspaper poem on ocean’s wonderous caves. That was enough! Bob painted them. On another day Bob read a bit of newspaper poetry entitled “The Graveyard by the Sea.” It told of a strange thing that the sea does somewhere on an unchartered coast, buries the dead in the crawling sands, heaps up the sands, while the storm sings in requiem. Bob was amazingly caught by the conception. In his mind’s eye he already saw it all. In the Detroit Museum of Art you will find a painting called “The Graveyard by the Sea.”

The graveyard by the Sea-

Where ocean breezes sweep across the restless deep.

It stands, with headstones quaint, with sculpture rude.

Robert Hopkin is touched by the pathos of the sea, the forlorn lives of toilers.

Bob has always been amiable in business. What does he care? Hasn’t he enough for himself? To begin with, he lacks the self-conceit of artists and musicians. For publicity or art criticism he cares absolutely nothing. He prefers to let his paintings tell their own story. Who is the man, that called today? A writer do you say? And he is going to say something of me in the paper? This will never do. Is there not some way to stop him?

Bob will avoid all his cronies for a week after reading wat is told of him here, today. It will cause him a bad quarter of an hour.

BOB’S STUDIO

It’s not the conventional studio with bronze lamps, bright silks, divans, mirrors and statuary. Bob’s place is a loft where a painter works; and the corners are stacked with stuff.

His atelier is in the rear of this house, No. 247 First street. A brick barn, reached by a stairs, with two turns. A hall, a wooden door of undressed lumber, black with age. An old-fashioned latch-string. A room perhaps 10×12, divided from another room of equal size. A blackened skylight, under which is the easel, on which is a picture of a full-rigged ship at sea. Here’s where you find Robert Hopkin.

Bob keeps a tiny point of gas burning for a pipe-lighter. He uses it often, for his pipe has a way of going out unexpectedly.

A base-burner with a long pipe stands in plain view and on the pipe someone has drawn a skull and cross bones. IN the corner, are two stone jugs, tubes of color, pipes, tobacco, a large mirror and above is the motto, in old English text, “Cheerful Company Gladdens the Hour.”

WORLD A PICTURE BOOK

The world to him is a picture book of the sea. We are coming to it, little by little. He is a man that grows on you. You must wait for him to reveal himself. He goes with his paint box and brushes and paints his seas. He does it not for money or for glory and never bothers his head over formal prattle. Bob tried symphonies in greens, greys and blues, on gold background, long before Whistler was known to fame. Bob had painted in the various schools, but he is not an impressionist, or realist, or an schoolman, or any stylist. He is himself. He paints the sea in his own way. When he shuts the door of his studio, he might as well be out at sea. He is alone, with his thoughts. The ship is in the harbor ready to sail. There is a fair wind and the tide is strong. The sails are set and she starts on her voyage.

Where does he get his knowledge of light? Why is the sea a mystery to him – a mystery yet an open book. The seas is his friend and confidant, because he loves the sea. He makes the waves roll, Storm or sunshine, and always that wonderful atmosphere of the sea – the old man puts them in his canvas. As he paints it, the sea loves. The ships all but sail out of the water. His pictures are all of flesh and blood people, hard-handed men and women who have to struggle to earn their daily bread. It is not the statuesque Barbizon peasantry, but he larger unidealized and yet idealized race, as Hopkin sees the people of the sea.

Robert Hopkin, master marine painter, seems to have a hand too large to be restrained by convention; that hand is therefore guided over the canvas by a sort of intuitive constructive imagination, restrained but not lost in the knowledge of the practical sailor.

The serious old man is there beside you, smoking his briar pipe. He is the sailorman and the artist; his shirt collar is open at the neck, his big sunburned hands rest in his lap. He is come home from the sea to tell us another story. Look upon him well; study his weather-beaten face and kindly eyes; – for among the world’s great marine painters you may not soon see his like again.

“Come up and have a smoke again, some day,” he tells me as I shake hands at the studio door.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1096 – Scenic Artist Henry C. Tryon, 1878-1881

For the past few weeks I have been exploring the scenic art careers of Henry C. Tabor and Henry E, Burcky, both listed as scenic artists for the Tabor Grand Opera House in Denver, Colorado.

Keep in mind that Henry C. Tryon was an alias, the painting name for Henry B. Hoornbeck. For the full story of Hoornbeck’s name change, visit: https://drypigment.net2020/10/16/tales-from-a-scenic-artist-and-scholar-part-1092-henry-b-hoornbeck-and-henry-c-tryon-1847-1892/ Hoornbeck’s name change became official in 1872.

In 1878, the Chicago Directory listed Henry C. Tryon as an artist, boarding as 198 W. Lake. William P. Tryon was also boarding at same address. Henry’s brother was William Patterson Hornbeck, but he also adopted the last name of Tryon at this time. The two were living with the Estella C. Tryon , the widow of sculptor and artist Horatio L. Tryon.

During the spring of 1878, Tryon was credited with scenery for the new opera house in Monticello, Iowa. The announcement reported, “The opening of our new opera house last night was a great event in the history of this city. There was an immense crowd. The opera house is said the finest in Iowa, outside the large cities. The scenery by H. C. Tryon, scenic artist of Chicago, is superb. The play was “Led Astray” and it was well rendered in every particular. We are all pleased and gratified, and return our thanks to Chicago for sending us a first-class artist in the person of Mr. Tryon” (14 March 1878, page 5).

*From the “Des Moines Register, 14 March 1878, page 5.*

By 1879, Tryon was occasionally working in New York and painting scenery for Niblo’s Garden. Tryon and Edward Simmons delivered scenery for another production of “The Black Crook.” Simmons later became associated with Tony Pastor’s Theatre and was noted as their artist in the 1884 “Harry Miner’s Dramatic Directory.”

In 1880, Henry C. Tryon painted scenery for “Sea of Ice.” On May 17, 1880, the “Muscatine Journal” reported, “All the scenery to be used was prepared especially for the play by the talented artist, Henry C. Tryon, formerly of McVicker’s Theatre, who is now here, and will personally superintend the production of the drama” (page 4). His settings for the production included: the main deck of the Urania; a plain of ice; the coast of Mexico; and a garden in Paris. The “Muscatine Journal” article elaborated, “Among the beautiful and surprising scenic effects to be produced may be mentioned the display of the Aurora Borealis, the breaking up of the ice, the fall of the ice bergs, the tropical sunset, the ripple of the ocean, and the fountain in the garden scene.”

As an itinerant scenic artist, Tryon dashed from one project to another across the country. Artists on the go provided contact information in a variety of publications. Tryon placed ads in the “New York Clipper.” A listing from December 4, 1880, listed, “Henry C. Tryon, scenic artist. Address, care 20 South Canal Street, Chicago, Letters will be forwarded.” He continued to provide the same contact information on February 5, 1881. It was during this time that Tryon partnered with Henry E. Burcky, both traveling east to paint in Cincinnati for the Opera Festival. An article in the “Cincinnati Enquirer” reported, “Messrs. H. E. Burcky and Henry Tyron, the young and talented artists who came here from Chicago to assist painting the scenery, have been doing excellent work. They are bright, intelligent and rapid worker and but for their assistance it would have been difficult to have the scenery ready by Monday next. Mr. Burcky is scenic artist at Hooley’s Theater in Chicago, and Mr. Tryon at McVicker’s. They express themselves as amazed at the extent and magnitude of the affair” (15 Feb 1881, page 4).

After working in Cincinnati, Tryon headed west to Minnesota where he painted scenery later that spring. On May 21, 1881, the Minneapolis “Star Tribune” reported, “Henry C. Tryon, the excellent scenic artist left to-day for Chicago where he goes at once to fulfil another engagement” (21 May 1881, page 5).

To summarize, during the first half of 1881, Tryon worked in Cincinnati, Minneapolis, and Chicago. By this time, he was also associated with the Tabor Grand Opera House in Denver, Colorado. I find it fascinating to track the travel of nineteenth-century scenic artists. They were constantly on the go, zipping across the country as an amazing speed.

To be continued…

Remembering American Scenic Artist C. Louis Malmsha (1847-1882)

*Memorial to C. Louis Malmsha erected by his Wife and Artist Friends in Riverside Cemetery, Stoughton, Wisconsin.*

On this day in 1882, scenic artist C. Louis “Lou” Malmsha passed away. He was only 35 years old at the time of his death, yet many believed him to be one of the greatest scenic artists of his day. On October 22, 1882, Henry C. Tryon published an article in the Salt Lake Tribune, writing, “As an humble follower, ardent admirer, friend, and confrere of this dead artist, I felt it my duty to render tribute and homage to his transcendent genius. He was the best in the profession. Every artist who has seen his work has without qualification given him this position as a matter of simple fact. I have seen samples from the hands of the best scenic artists in England, France, and Italy, and from what I have seen and learned, I am convinced that Mr. Malmsha was the greatest scenic painter in the world. His identity appeared to be unbounded. The most familiar with his work could not guess how he would paint next. Week after week and year after year, his productions were a constant succession of surprises. He was entirely an artist and used none but purely art means to accomplish even a mechanical object. His compositions, the motive of which was ever noble and elevated, were entirely original and were produced with astonishing rapidity. He united power and strength with the sweetest tender and delicacy, with grace, sublimity, and loveliness. I have yet to see in American art any examples which manifest the wealth of genius that this man proved that he possessed. I am quite certain that had he turned his attention to the painting of pictures that he would have ranked as the greatest artist that our country has ever produced for his genius was certainly preeminent. His position in his profession was an isolated one. He had no peers. His place vacant, now there is none can fill.”

There is nothing left of Malmsha’s work and little known of his personal life beyond a family grave plot at Riverside Cemetery in Stoughton, Wisconsin. I visited this cemetery last week, and contemplated the love that went into Malmsha’s memorial. The base reads, “Erected by his Wife and Artist friends.” In front of the broken column are five smaller headstones for the entire Malmsha family: Papa, Mama, Freddie and two with “Baby.” I have yet to uncover anything about Malmsha’s personal life, nor his marriage to Emma. They were married quite young, and only a short time after Malmsha arrived from Sweden.

*The Malmsha family graves and memorial to C. Louis Malmsha in Riverside Cemetery, Stoughton, Wisconsin.*

On a cloudy fall day, it was difficult to look at the gravestones without experiencing profound sorrow. By the age of 32, Emma Malmsha had lost three children and her husband. She never remarried and lived for three more decades, passing away in 1912. I have yet to locate a single historical record about her life, or even a marriage license to Lou.

When Emma was seventeen years old and Lou was twenty years old they mourned the loss of

their first child on Aug. 30, 1867. The name at the base of the gravestone is badly chipped, possibly reading “Daws,” but “Our Baby” remains clearly legible.

*Child of C. Louis Malmsha and Emma Malmsha*

They would not celebrate the birth of another child for six more years. That second child was born to the couple the same year that Thomas G. Moses met Lou Malmsha – 1873.

When Thomas G. Moses began his artistic career, he assisted Malmsha who was lead artist at Jevne & Almini, fresco painters. Moses recalled Malmsha years later, writing “He was a very clever man. In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work, very simple in drawing and color, but very effective.”

In the fall of 1873 and at the beginning of 1875, Lou and Emma celebrated the birth of two more children. Despite a string of continued successes in the theatre, the family’s personal life began to crumble, as did Lou’s health. On June 23, 1877, the couple lost their second child, only two years and six months old. A small gravestone simply carries the name of “Baby” at the top.

Less than a year later, they lost their third child. On March 3, 1878 Freddie passed away at the age of four years and six months old.

The loss of Freddy occurred just before Lou left for Minnesota to paint stock scenery for the St. Paul Opera House. On site, Malmsha must have thrown himself into work, painting six scenes that included a kitchen, a landscape, a three-door chamber, a forest, the street, and a garden.”

Just prior loss of their two children, Lou also began showing the signs of illness; he suffered from consumption. Despite his ill health, Malmsha continued to work as a scenic artist for McVicker’s Theatre in Chicago. Upon his passing in 1882, Henry C. Tryon wrote, “For the past ten or twelve years he had been afflicted with consumption so that it was difficult for him to exert himself violently or to do more than two or three hours a day, but as he was for the past few months required to do none but purely artwork, other artists doing all of the preliminary work possible to make his labor easier, he was enabled, no doubt up to a recent period, to astonish and delight the audiences at McVickers with the exhibition of phenomenal genius.” This meant that Malmsha began suffering from consumption in his early 20s.

Malmsha was born in Gothenburg, Sweden, in 1847. Demonstrating a strong talent for painting at an early age, Malmsha emigrated to America in 1863, soon settling in Chicago and securing employment with the fresco artists, Jevne & Almini. While working for the firm, Malmsha became interested in scenic art and soon was assisting Mr. Arragon at Crosby’s Opera House.

In 1866 he moved to New York where he executed the first scene for “The Black Crook.” This was just prior to the loss of his first child. In New York Malmsha also was engaged multiple times at the Union Square Theatre, as well as Dan Bryant’s Old Hall on 23^rd Street and Kelly and Leon’s Minstrels. While in New York City, Malmsha designed and painted scenery for the Tammany Amusement Co. On March 14, 1869, Malmsha was also credited with several scenes for “Harlequinade,” including the settings that depicted Horse Cars on Sixth and Eighth avenues, the Wildcat Bank, and a Seminary for Young Ladies” (New York Daily Herald, 14 March 1869, age 9).

By the end of the decade, Malmsha briefly worked alongside William Voegthlin. The two painted scenery for “Robinson Crusoe and His Man Friday,” a pantomime burlesque at the Tammany theatre. Malmsha’s settings for the production included the Island of Sorosis, the Rocky Shore of the Island, London in the Olden Times, the Forest Dell, the Firework Shop and Groceries, Seaman’s Home and Pawn Shop, and the Caverns of Gloom (New York Daily Herald, 25 April 1869, page 16).

Working as an itinerant artist, Malmsha next partnered with Barney Macauley of Cincinnati. At this time, he was listed in the Cincinnati Directory, boarding at 69 W. 6^th.

He returned to Chicago just before the great fire in 1871, and began working at McVicker’s Theatre with James Howard Rogers. Rogers had already been at the venue for twelve years. A few weeks into this job, the great fire prompted Malmsha to return to Cincinnati. It is doubtful that Malmsha’s family traveled with him to each city. Emma was likely living in Stoughton, waiting for her husband to return between projects. This was certainly the case with Tom Moses and his wife Ella.

In March 1871, Malmsha was credited with painting new scenery for “Streets of New York” at Wood’s Theater in Cincinnati. (“Cincinnati Enquirer,” 9 March 1871, page 5). Other productions painted by Malmsha there included “Blue Beard,” starring Miss Lydia Thompson” (Cincinnati Enquirer, 11 Dec. 1871, page 5). Malmsha was listed as a scenic artist in the Cincinnati Directory from 1871 to 1873, residing at 73 W. 3^rd. On February 18, 1873, the “Cincinnati Enquirer” credited Malmsha as the “leading scenic artist of the day” for Dion Boucicault’s new one-act play, “Kerry, or Night and Morning” (page 8). The article reported:

“Wood’s Theater. – The engagement of Dion Boucicault at Macauley’s theater is so far the dramatic event of the season. Boucicault is the Shakespeare of scenic effects, and we might almost say the creator of the modern stage, materially speaking. He is also the most successful playwright of the generation, and last night he proved himself likewise the most powerful emotional actor and the truest delineator of Irish character that has ever appeared here. If more is wanting to justify our opening assertion, it is easily supplied. The actor and author brings with him as support his accomplished wife, professionally “Agnes Robertson,” and several other powerful supports, while the manager of the theater, appreciating the occasion, has not only strengthened his company, but has, with the aid of the leading scenic artist of the day, L. Malmsha, “put on” the plays in a style unexampled here.” The production was Boucicault’s new one-act play “Kerry, or Night and Morning.” On Nov. 24, 1873, the “Cincinnati Enquirer” included an advertisement crediting “L. Malmsha” for “entirely new scenery” for “Divorce,” the great society play, at Wood’s Theater.

Malmsha returned to Chicago by 1874 and began working at McVicker’s Theatre again It is possible that the birth of his second child prompted his return to accept a permanent position closer to his wife in Stoughton, Wisconsin. In 1877, Malmsha was listed in the Chicago Directory’s “Artists” section, living at 768 Wabash Ave. By 1878, Malmsha was credited with the new Opera House scenery in St. Paul. “Manager Hains has secured the services of Mr. Louis Malmsha, the scenic artist of McVicker’s theater, Chicago, to repaint and add to the scenery of the opera house. Mr. Malmsha is one of the best scenic artists in the country. He will arrive in St. Paul this morning and begin work at once” (“Daily Globe,” 12 August 1881, Vol 4, No. 224). The “Saint Paul Globe” reported the work was completed by “Mr. L. Malmsha, renowned throughout the entire theatre-going public as the scene painter of McVicker’s establishment, Chicago” (11 July 1878, page 4). As part of a four-week renovation, the “Saint Paul Globe” reported, “This consists in the refitting of the entire stage scenery behind the curtain with new “flats” and “wings,” depicted on new canvas. The scenes so far completed are six in number, but, with the “set piece” and others to follow will, when finished, amount to twenty-four in all. The six completed scenes were last night privately exhibited to a very few invited guests and to the members of the press. They consist of a kitchen, a landscape, a three-door chamber, a forest, the street, and a garden.”

Regardless of other projects. Malmsha continued to work with Rogers at McVicker’s Theatre in Chicago, painting “Little Innocents” (1877), “After Dark” (1878), and “The Parson” (1880). The two were also credited with scenery for Gotthold & Rial’s touring production of “Uncle Tom” (Racine Daily Herald, 6 Feb 1879, page 4). Despite his failing health, Malmsha continued to paint. Upon his passing, newspapers noted that although physicians advised Malmsha to “seek a more salubrious climate,” he remained in Chicago to continue his art.

Rest in Peace.