Scenic Artists – Page 11

Tales from a Scenic Artist and Scholar. Part 1095 – “Birds of Passage,” Tryon & Graham, 1876-1877

Henry C. Tryon and Lemuel L. Graham formed a scenic art partnership that lasted from the summer of 1876 to the spring of 1877. Although short-lived, their partnership fills in one more missing piece to the nineteenth-century scenic art puzzle.

On August 9, 1876, the “South Bend Tribune” credited Henry C. Tryon and Lemuel L. Graham with new scenery for the South Bend opera house. Fifty years later, the small note was republished: “South Bend.-L.L. Graham, of the academy of music of New Orleans, La., and Henry C. Tryon of McVicker’s theater of Chicago, scenic artists are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others.” (“South Bend Tribune,” 9 Aug 1926, page 6).

Henry C. Tryon and Lemuel L. Graham were called “birds of passage” in scenic art advertisement during 1876. What a charming term for itinerant scenic artists. Tryon and Graham posted several ads in the “New York Clipper” for a two-year period while working together.

On December 23, 1876, the “New York Clipper” published their advertisement:

“HENRY C. TRYON from McVicker’s Theatre, Chicago, and L. L. GRAHAM from the Academy of Music, New Orleans, La. are prepared to paint, in first-class metropolitan style, scenery for theatres and public halls. Address, for the present, HENRY C. TRYON, care of Tootle’s Opera-house, St. Joseph, Missouri, and L. L. Graham, New Opera-house. Findlay, Ohio. Permanent address, care of McVicker’s Theatre, Chicago. As we are “birds of passage” due notice of change of address will be given. Respectfully, TRYON & GRAHAM.”

Advertisement for Tryon & Graham in the “New York Clipper,” 1876.

The advertisement provides some insight into Tryon and Graham’s projects that year; at the end of 1876, Tryon was painting at Tootle’s Opera House in St. Joseph, Missouri and Graham was still working at the Davis Opera House in Findlay, Ohio. Tryon and Graham had just completed a significant amount of stock scenery for the opera house in Findlay during 1876.

On January 6, 1877, the “New York Clipper” included an advertisement for the new opera house:

“DAVIS OPERA-HOUSE. FINDLAY, OHIO.

It has just been completed, and seats eight hundred; it has 350 iron opera-chairs in dress circle; good front and stage entrances; lighted by gas; stage 33 feet by 45 feet; proscenium opening, 23 feet; foot and border lights; elegant drop and act curtains, and nine complete sets of scenery by Chicago scenic artists TRYON & GRAHAM. Findlay is an excellent show town about six thousand inhabitants and will support a good show a week. For terms and dates apply to Davis, Detwiler & Co., Findlay, O.”

The two were working in multiple states that included Ohio, Indiana, Illinois, and Missouri. On January 6, 1877, the “New York Clipper” reported, “Hascall’s Hall, Goshen, Ind. has recently been fitted up with a new drop-curtain and six complete sets of scenery, painted by Chicago Scenic Artists MESSRS. TRYON & GRAHAM. Goshen is a fine town of about 5,000 inhabitants, on the Lake Shore and Michigan Southern R.R., about halfway between Chicago and Detroit. A good show can play three nights to good business. For terms apply to Chas. B. Alderman, Goshen, Ind.” The Hascall Hall was part of the Hascall Block, a massive building erected by Chauncey Smith Hascall in Goshen. Located at Main Street and Lincoln Avenue, the structure was raised in 1922 to make way for City National Bank.

On March 31, 1877, the “New York Clipper” credited the pair with painting scenery at another opera house in Troy, Ohio. The notice stated, “NEW YOU CITY OPERA-HOUSE, Troy, O., recently completed, is described as having a seating capacity of 600, a stage 56 x 40 feet, ten changes of scenery, painted by Tryon & Graham, and all the accommodations of a first-class house.”

Lemuel Laken Graham formed several partnerships throughout the duration of his career; each was fairly short lived, suggesting that Graham may have been a difficult partner. Five years after ending his partnership with Tryon, Graham partnered with Thomas G. Moses. Their partnership only lasted from 1882 to 1883, and then both Moses and Graham returned to the Sosman & Landis Studio in Chicago. By 1884, Graham left the Chicago offices to establish another partnership in Kansas City with William Davis. The new studio was known as Graham & Davis; another partnership that lasted for less than two years. Soon Graham was solely working under his own studio name in Kansas City– Lemuel L. Graham. As an interestingly aside, it was Tryon who was Graham’s replacement when he left Sosman & Landis in 1884. Keep in mind that in the 1880s, regional branches for major scenic studios did not necessarily use the main studio’s name, but a new, and often local, identity.

Graham was included in the 1888 publication “Industries of Kansas City: Historical, Descriptive and Statistical:”

“L. L. Graham. Scenic Artist, Contractor for Stage Equipment, Theatre Hardware, Frame Work, Canvas, Traps, Bridges and Every Necessary Equipment of First Class Theatres, 525 & 527 Main Street.” Here is the entire entry for Graham too:

“Mr. L. L. Graham is a prominent representative of the scenic art in Kansas City, having established this business here four years ago in conjunction with Mr. Davis, who withdrew from the firm some two years since. Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years. His first experience in the school of art was had at McVickers’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans. His establishment here is eligibly located at 525-527 Main Street, and consists of a studio and shops fitted up with every essential appliance and convenience for the correct and expeditious execution of the work, which comprises high art stage scenery and equipment, rich and elegant stage curtains, stage properties of every description, theatrical hardware, frame work, canvas, traps, bridges, etc. One special feature of Mr. Graham’s industry is his advertising drop curtain, which is richly draped on the top and sides with royal crimson and heavy bullion fringes and pendants gracefully falling on steps painted at bottom of curtain. In the center is a large and artistically painted picture in stucco frame, which is surrounded by a border of deep Prussian blue, divided into spaces for the insertion of business cards. The cards may be lettered in a becoming and artistic style in bright gold, the whole having a brilliant and pleasing effect. There are usually from eighteen to twenty of these spaces of varying sizes to suit the advertiser as to the amount he desires to pay. Full particulars concerning this feature will be furnished by mail, upon application, to theatre managers, hall proprietors and others interested as well as any other information appertaining to stage equipment and carpentry. Mr. Graham has executed stage work for some fifty or sixty houses in Nebraska, notably at Omaha and Lincoln, etc., and for forty-five different houses in Kansas, including Winfield, Wichita and Anthony, and in St. Joe, Hannibal, Springfield and many others in Missouri. As many as thirty-six men in his employ upon an average weekly pay roll of $500.00, Mr. Graham giving his personal attention to every detail of this most intricate work. Contracts were made for Priests of Pallas and trades displays and pageants in Kansas.” Thirty-six men in Graham’s scenic studio is comparable to that of Sosman & Landis in Chicago at the same time. However, Graham did not remain in Kansas, heading east.”

This publication also included an interesting commentary about scenic studios at the time: “Such industries as the one under special notice [L. L. Graham], are among the necessary concomitants of a rapidly developing metropolitan community, indicating that spirit of enterprise that caters to refined taste and social enjoyment.”

For more information about Graham’s career, visit my post “Travels of a Scenic Artist and Scholar: The Scenic Art Career of Lemuel L. Graham, 1884-1914.” Here is the link: https://drypigment.net2020/02/21/travels-of-a-scenic-artist-and-scholar-the-scenic-art-career-of-lemuel-l-graham-1884-to-1914/

To be continued…

Travels of A Scenic Artist and Scholar: Henry E. Burcky and Elizabeth “Lizzie” Smith

Henry C. Tryon worked as the scenic artist at the Tabor Grand Opera House in Denver, Colorado, from approximately 1881-1883. Henry E. Burky also worked there by 1884. Tryon and Burcky were both Chicago artists who intially partnered together in 1881. They painted scenery for the Cincinnati Opera Festival.

In addition to this storyline about Burcky, I am also writing about life and career of Tryon in “Tales from a Scenic Artist and Scholar.” For Tryon, I am currently exploring his work in the 1870s. His timeline complements that of Burcky and provides context for the lesser-known scenic artist. And the main reason that Burcky entered the picture is because of his scenery for the Tabor Opera House and Tabor Grand Opera House.

Last month I documented a scenery collection at the Tabor Opera House in Leadville, Colorado. There was one jungle wing stored in the attic that caught my eye as it was signed, “W. J. Moon carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890.” This information provided a creator and manufacture date for the entire set of eight jungle wings. The “Herald Democrat” confirmed his stay in Leadville at the time, reporting his departure from Leadville for Denver. On October 16, 1890 the newspaper announcement reported, “Mr. H. E. Burcky left last evening for Denver.” Burcky was also listed in the 1890 Denver Directory, but only for that year.

Jungle wing constructed by William J. Moon and painted by Henry E. Burcky for the Tabor Opera House in 1890.

As an itinerant artist Burcky appeared in many city directories, including the Chicago Directory (1875, 1877, 1885, 1887, 1889), as well as the Cincinnati Directory (1893, 1894, 1895, 1897, 1888, 1889, 1900) and the Camden, NJ, Directory (1905). Although Burcky began his career in Chicago, he worked as an itinerant artist at theaters across the country. In 1884, “Harry Miner’s Dramatic Directory” listed “Burkey” as the scenic artist for the Tabor Opera House in Leadville. However, in the listing, he was noted as, “Burckey, scenic artists, Tabor Opera, Denver,” suggesting that he worked for both venues that year. The 1884 Denver directory also listed “Berky” as the scenic artist for the Academy of Music. Additionally, a scenic artist named “Burck” was credited in the same directory for the Masonic Temple in Louisville, Kentucky; likely Burcky, as theatrical directories are full of misspellings. In short, Burcky traveled to any place where he could secure work, crisscrossing the country by rail.

In 1888, Burcky was credited with scenery for “The New Karl. “ A comedy starring Charles A. Gardner, the Karl character was a peddlar. Gardner was advertised as a “great German comedian” who sang and danced. The “Wheeling Sunday Register” mentioned Burcky’s involvement with the production, reporting, “Scenic artist Burcky deserves credit for several new scenes which he painted for the play” (Wheeling Sunday Register, 19 Feb 1888, page 6). The following year Burcky painted scenery for another Karl production that played at Havlin’s Theatre (The Independent, 27 Aug 1889, page 4).

In 1888 Burcky settled in Cincinnati; well, as much as possible for an itinerant scenic artist at that time. On June 26, 1888, Burcky married Elizabeth “Lizzie” Smith. The following day, the “Cincinnati Enquirer” reported, “Henry Burcky and Lizzie Smith were married yesterday by Squire Hauser.” Louis Hauser was a justice of the Peace and this was not a first marriage for Lizzie. Here is where it gets a bit confusing. Lizzie’s maiden name was Clemmons. She married John J. Smith (b. 1850) in 1870; Smith worked as a janitor and there is no indication of a death, separation or divorce for the couple. In regard to Lizzie, some historical records list her birthplace as Pennsylvania and others Louisiana, but the year seems to remain consistent as 1853. While together, John and Lizzie Smith celebrated the birth of six children. Five of the six children included Charles (b. 1871), George Arthur (1875-1950), Thomas J. (1880-), Florence (m. Meehan, 1881-1964) and William Milton (1882-1914, m. Florence Holmes); one child possibly died in infancy. Lizzie and Henry Burcky celebrated the birth of a daughter in 1895. On Sept. 20, Marie “Alva” Burcky (1895-1969) was born in Hamilton, Ohio.

After Lizzie and Henry’s marriage in 1888, everyone was still living together. The youngest Smith child at the time took his step-father’s name and became William “Milton” Burcky. In 1889, the Chicago Directory listed “Henry E. Burcky, artist 254 Ogden Av.” Interestingly, he was also listed in the 1889 Lake City Directory: “Henry E. Burcky, scenic artist, r. 6611 Halsted, Englewood.” That same year his father Frederick Burcky and William E. Burcky were also listed in the Lakeside Director, each living at the same address as Burcky at 6611 Halsted. It is possible Henry forgot to notify the directory of his moved from Halsted to Ogden, or vice versa.

By 1890, Burcky was listed in the Denver Directory, suggesting that there was enough work to prompt a permanent address for a year. He is also absent from the Chicago and Cincinnati directories in 1890, 1891 and 1892. In 1892, Burcky is credited as painting scenery for Keene’s “Richard III” (“Saint Paul Globe,” 13 Nov. 1892, page 11). “The Springfield Leader and Press” credited “the well-known scenic artist, Berkey,” as one of the artists for Keene’s touring Shakespearean productions that included “Richard III,” “Hamlet,” and “Othello” (4 Dec. 1892. Page 4).

In 1893 and 1894, Burcky was living in Newport, Kentucky, with the Cincinnati Directory listing: “Henry E. Burcky, scenic artist, Walnut Street Theatre, res. Newport.” He remained employed Cincinnati’s Walnut Street Theatre throughout 1893 and 1894. In 1894, the Covington, (Kentucky) city directory listed “H. E. Burcky, scenic artist, h. 936 Putnam.” By the way, Covington is across the river from Cincinnati. It was in the mid 1890s that Burcky’s career hits some sort of snag. He shifts from scenic art and works as a lithographer and paper hanger. In 1895, he is listed in the Cincinnati Directory as “Burcky, Henry E. lithographer, wks. 11 8^th nw Main. In 1897, he is listed as “Burcky, Henry E., scenic artist, h. 330 E. 5^th”. At this same time, he is listed as living at the same address as his step-sons Thos. J. Burcky and Geo. A. Burcky, both paperhangers too. By 1898, Burcky is again listed as a scenic artist, but still living with Thomas and George, each still employed as paper hangers. The listing was, “Burcky, Henry C., scenic artist, h. flat 7, 337 E. 5^th. The “C” becomes another issue in tracking down Burcky, as the cursive “E” was often misread as a “C.”

The 1900 US Federal Census listed Henry and Lizzie living with five of their children, as well as Mattie, their daughter-in-law. Mattie was the wife of Thomas. The theatrical business was a family affair, with both Henry and his stepson Milton (18 yrs. old) working as scenic artists. George (24 yrs.) and Thomas (19 yrs.) were paper hangers, and Charles (age 27) was a carpenter. Interestingly, in 1899 Charles Burcky was previously listed as a paperhanger in the Chicago Directory.

Of the children, it was George A. Smith (m. Julia Anna) who remained involved with the theatre in various roles, including theatre electrician. His obituary noted, “George A. Smith, for many years employed at the Cox and Schubert theaters as stagehand manager, died yesterday at Bethesda Hospital. He was 75 years old. Mr. Smith is survived by two sisters, Mrs. Florence Meehan and Mrs. Alva Tigue, both of Paterson, N.J.; a brother-in-law, William Mack, Cincinnati, and an aunt, Miss Dena Eckhart, 2344 Wheeler Ave., with whom he made his home. His wife, Julianna preceded him to a grave. Mr. Smith was a member of the Oolah Kan Grotto, the Stage Workers Club and Robert Burns Lodge, F. & A.M. Services will be held at 10:30 a.m. Wednesday at the Vitt and Sterner funeral home, Fairmont Burial will be in Spring Grove” (Cincinnati Enquirer, 9 Oct. 1950, page 12).

Shortly after the turn of the twentieth century, the Burcky family eventually moved east. By 1905, Henry Burcky was living in New Jersey, listed in the Camden Directory. Alva Burcky was baptized in New York on April 20, 1907 at St. Jerome’s Church, Bronx, New York City. It remains unclear exactly when the family moved, or which members remained in the area after Henry’s passing in 1908. On February 21, 1908, Henry E. Burcky passed away in Manhattan, New York. Listed in the Episcopal Diocese of New York Church Records, he was buried at 377 3^rd Ave, Mt. Olivet on February 26, 1908. Interestingly, church records list his age as 60, conflicting with previous documents that suggest a birth year of 1852. I have yet to locate any obituary for Burcky, or memorial. He seems to have passed in relative obscurity.

His daughter Alva ended up living in Manhattan by 1910. The US Federal Census listed that Thomas Smith was living in Manhattan with his wife Mattie, daughter Mildred, and “sister-in-law” Alva Burke. At the time Thomas was employed in a blacksmith shop as a “horseshoer.” It is difficult to track down much information about Alva, as she was listed by both first and middle name in historic records. Regardless, Alva married Patrick Tigue in 1918, listing her parents as Elizabeth Clemmons and Henry Burcky.

When Alva passed away in 1969, the obituary listed her mother as Elizabeth Williams Burcky, and not Elizabeth Clemmons Burcky. “Williams,” may simply have been a typo.

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 1092 – Henry B. Hoornbeck and Henry C. Tryon (1847-1892)

Thomas G. Moses pasted an article about scenic artist, Henry C. Tryon, in his scrapbook. I first encountered the clipping as an undergraduate while creating an index of Moses’ diary and scrapbook; it was part of an independent study project with Lance Brockman. For quite some time I have looked for additional information about Tryon, never discovering much more information than was cited in the tattered old newspaper clipping. This week I discovered the reason; Tryon changed his name when he was twenty-five years old.

Henry C. Tryon clipping pasted in the scrapbook of Thomas G. Moses.

On September 19, 1872 Chicago’s “Inter Ocean” newspaper reported, “Petition of Henry B. Hornbeck. Petition to change above name to that of Henry C. Tryon. Petitioner is an artist, and has been known by the name Tryon among his friends and in business, and it is important that he should retain the name. A notice of his application for the above purpose, which has appeared for three weeks in the Legal News, is appended to the petition. Willett & Herrings, solicitors” (page 6). He had been working for some time with the stage name of Tryon, yet was still listed in city directories as Hoornbeck, and Hornbeck.

Henry B. Hoornbeck and his mother were both listed in the 1870 Chicago Directory.

The 1870 Chicago Directory listed Henry Hoornbeck at 384 W. Lake. He was living with his mother and brothers, Dell and Spencer. As a scenic artist, he became associated with Allen’s Globe Theatre in Wood’s Theatre. Like other itinerant artists, by 1871 Tryon was painting scenery across the country. One of his projects included the stock scenery collection for Frazer’s Hall in Lawrence, Kansas. On February 25, 1871, the “New York Clipper” reported, “Frazer’s Hall, Lawrence, Kansas, has just been fitted up with an elegant and complete set of scenery, painted by Henry C. Tryon, of Chicago. Best hall in the city for any and all purposes.”

The 1872 Chicago Directory listed “Henry C. Tryon, scenic artist” residing at 128 W. Randolph. At the time, he was living with the sculptor Horatio Tryon (b. 1826) and Horation’s wife, Estella Tryon. It is unclear as to when Henry met the Tryons or the exact nature of their relationship was in 1872. However, the 1872 business section of the Chicago Directory listed both Horatio L. Tryon and Henry C. Tryon in the “Artists” section, each residing at 128 W. Randolph. In print, it looks like a father and son partnership. Six years later, Henry was still boarding with the Tryons, now residing at 198 W. Lake Street. Interestingly, a William P. Tryon was part of the household, also boarding at the same place. Keep in mind that William Patterson Hornbeck was a brother of Henry B. Hornbeck. Henry’s younger brother, Spencer Hornbeck, also adopted the name Spencer Tryon while working with his brother out west a decade later.

In 1883, “The Salt Lake City Herald” credited a scene painted by Mr. W. C. Morris and Mr. Spencer Tryon, elaborating, “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” (30 June 1883, page 8). Again, all roads lead back to the Tabor in this story. In addition to Henry C. Tryon and Henry E. Burkcy, Spencer Tryon was also painting scenery for the Tabor Grand in Denver.

In regard to the Hoornbeck’s adopted family, Horatio Tryon was an artist and sculptor. He made a name for himself in the East before moving to Chicago, working in New York during the 1850s. The 1857 New York Directory listed, “Tryon, Horatio, marble, h. 270 W. 31^st.”

Henry C. Tryon and Horatio L. Tryon were both listed in the 1872 Chicago Directory

By 1863, Horatio Tryon’s Civil War Draft Registration listed him working as a sculptor in New Haven, Connecticut. Shortly after registering for the draft, Tryon relocated to Chicago, soon being listed in the 1864 directory at 221 Washington. Horatio Tryon remained in Chicago for the remainder of his life, passing away in the late 1870s. By 1878 Estella Tryon was listed as a widow by 1878, but again, still living with Henry C. Tryon.

HenryB. Hoornbeck not only created a new name, but also a new birthplace and background story. Years later, the article about Tryon pasted in Thomas G. Moses’ scrapbook provided the following information:

“Henry C. Tryon. Born in Chicago in 1847. After graduating from the public schools, and while o his 17^th year, he enlisted in the army in a regiment attached to the Second Army Corps, Army of the Potomac, serving until the close of the war. Afterward was a pupil of the Pennsylvania Academy of Design, with the purpose of becoming a landscape painter, drifting there by choice and mostly by accident into scene painting, which he has practiced in nearly every State in the Union. Was an artist at Wood’s Museum at the time of the great fire, and afterward at McVicker’s Theater. He is better known in all the other large cities than in Chicago. Has been a pupil of the eminent artists William Hart, N.A. and Thomas Moran, N. A. and accepted an associate member of the Chicago Academy in 1874. He earned a 2^nd degree and is a member of the Grand Army of the Republic. He had a large and varied practical experience, is a close student, has a fine education, and has given considerable attention to newspaper writing on art and theatrical subjects. His most noticeable points of excellence and perhaps free and carefulness in the handling of foliage brilliancy and quality of color and the delightful shape of them.”

Here is the history for Henry B. Hornbeck (Hoornbeck) that I have uncovered to date: Henry was born in Huron, Ohio, the son of Jacob Hoornbeck (1813-1864) and Anna Maria Hammer Hoornbeck (1824-1892). In 1850, the family was living in Portland, Ohio. Henry’s siblings included William Patterson (1848-1907), Mary (1851-1854), Sarah (1854-1858), Dell (1855-?), and Spencer (1863-?). In some historical records, Henry C. Tryon, was listed as Spencer’s father; possible with the sixteen years age spread. The patriarch of the family, Jacob Hoornbeck, passed away in 1864. At some point during the 1860s, the Hornbeck family moved to New York.It remains unclear what prompted the move.

Civil War Muster Roll Abstracts list a Henry B. Hornbeck, enlisted in New York on February 16, 1865 and mustered as a private in the 69^th Infantry on that same date. He was reportedly 19 yrs. old at the time, with his birth year noted as 1846. Military records list his occupation as a clerk, describing Henry as 5’-3 ¼” with light hair, blue eyes and a fair complexion.

Information about Henry C. Tryon when he was enlisted as Henry B. Hoornbeck.

In Chicago, the earliest mention of a Henry C. Tryon in the newspapers appears in 1868. That year a “Henry C. Tryon” was listed as playing the role of “page” in “Elizabeth,” starring Mrs. Lander (Jean Davenport) at the opera house (“Chicago Tribune,” 11 Feb., 1868, page 4). Two years later, Tryon was listed as one of the scenic artists for Allen’s Globe Theater in Chicago. He was also painting for Wood’s Museum, working there up until the great fire of 1871. As most other artists at this time, Tryon was worked as an itinerant artist, especially in the west. During the winter of 1870, Tryon found additional work in Lawrence, Kansas. The “Daily Kansas Tribune” reported, “Mr. Henry C. Tryon, from Allen’s Globe Theater, Chicago, is at present painting the scenery for the stage in Frazer’s Hall” (The Daily Kansas Tribune, 28 Dec. 1870, page 3). The installation consisted of “drop curtain, seven sceneries, tormentor wings and front drapery, representing a garden, palace, landscape, kitchen, prison, parlor, plain chamber and street, with wings and borders complete.

He also worked in Topeka, Kansas, that year. On January 31, 1871, the “Kansas State Record” reported, “Mr. H. C. Tryon, the scenic artist from Chicago will commence painting scenery for “Esther,” to-day. Look out for something beautiful. Mr. Tryon is one of the finest artists in the West” (Topeka, Kansas, page 4).

1872 advertisements in the “New York Clipper” announced, “Henry C. Tryon. Late Scenic artist Woods Museum, Chicago is prepared to paint scenes and drop curtains for theaters, public halls, etc. 363 W. Indiana St. Chicago, Illinois” (13 April 1872, page 20). By summer of 1872, advertisements about Tryon still appeared in the “New York Clipper,” but with a new address – 210 Clark Street.

To be continued…

Travels of A Scenic Artist and Scholar: Henry E. Burcky, 1880-1885

There were two events held the 1880s that drew scenic artists together in America – the Cincinnati Opera Festival (1881) and the Scenic Artists Show (1885). Henry E. Burcky participated in both events.

In 1880, Henry E. Burcky was a scenic artist Hooley’s Opera House in Chicago. At the time, he was working with Charles E. Petford. The two were credited with the scenery for “The Hearts of Oak.” A review in the “Chicago Tribune” reported, “Hooley’s scenic artists -Petford and Burcky- have spared no pains to present the drama properly. It affords fine opportunity for the painter, and in six elaborate sets we find that the opportunity has been improved. The first act, representing sunset on the coast of Marblehead, shows a cleverly-executed piece of work, and the storm, the sighing of the wind and the sound of the waves beating on the rocks, the wreck, the rescue, the rocket, and the rainstorm fill in a very realistic and effective picture. The mill scene in the second act shows great attention to detail, and the third set represents a charming painted interior of a cottage” (Chicago Tribune, 16 March 1880, page 3).

In 1881, Burcky became associated with another Chicago Theatre; Sprague’s Olympic Theatre on Clark Street, opposite of the Sherman House, featured Burcky’s work. The Inter Ocean reported that “Muldoon’s Trip To Boston” was produced “with entire new scenery by H. E. Burcky, Esq.” (4 April 1881, page 8). At this same time, Burcky’s future partner, Henry C. Tryon, was working at McVicker’s Theatre with C. Louis Malmsha. Both would travel from Chicago to Cincinnati for work on the great festival in 1881. That year, Charles Fox, the distinguished scenic artist of Her Majesty’s Theater, London, superintended the painting of the Great Opera festival (Cincinnati Enquirer, 18 Feb. 1881, page 4). After traveling to New York to procure some artists’ materials for finishing the scenery that could not be found in Cincinnati, the newspaper reported, “He returned yesterday and found that two young artists from Chicago, Messrs. Burcky and Tryon, and Messrs. Rettig and Waugh, of our city, had been progressing rapidly with their work. To-day and to-morrow will see all the scenery painted and in its place. To give an idea of the immensity of the work that has been accomplished by these artists, it is only necessary to state that for one opera alone, Lohengrin, eleven large scenes have been painted, and fully that number, if not more, have been painted for each of the other six operas.”

The annual festival in Cincinnati drew theatre artists and crowds from across the country. On April 22, 1883, Chicago’s “Inter Ocean” described the scope of the event, reporting, “Outside of Cincinnati, from lakes to gulf and from ocean to ocean, the whole country seems to be at fever heat in anticipation of this event – that is, if application form the press for courtesies and of excursion parties for hotel accommodations are trustworthy criterions, and they certainly are. All the great papers of the country will be represented by members of the home staff. Hotels are all but overwhelmed with application for rooms, and the railroads will do an immense excursion business during that week. The daily press here has written the matter up industriously, and this week’s Harper’s Weekly has commence picturing it – a work which it has done admirably, as far as it has gone, but which it will supplement next week with some of the principal scenery” (page 5).

A detailed description of the scenic art scene, shows the working environment that encompassed Burcky at this time. The “Inter Ocean” reported, “There are twelve artists working in scene painting alone, with each at least one helper. Not less than fifty carpenters are busy preparing flats and sets and putting up the proscenium and on the properties about thirty men, boys, and girls are employed. All these, with the painters and common laborers, will make a working force of something near one hundred and twenty-five people, working day and night getting ready. What a workshop they have. Horticultural Hall, 75 feet high, 100 feet broad, and with its appendages, 300 feet long, to say nothing of its corridors and its upper stories, all of which are used by the scene painters and property men. The spectacle of all these busy men, visible at one glance from some points of view in Horticultural Hall, makes an impression not to be forgotten. Here at the west end are a throng of busy carpenters huddled together as compactly as consistent with comfort, framing flats and working out furniture. Next beyond them under the glass roof of Horticultural Hall, in a light which on a clear day artists call wild, are the scene painters on their picturesque aerial bridges, painting away for dear life three scenes side by side; and such scenes for size – just think of it – sixty-six feet long and forty-five feet high; The frame work which supports these scenic artists’ swinging stages looks strong enough and complicated enough to serve for railway bridges…some of the best artists of the country are engaged upon them. Dewitt C. Waugh, Thomas R. Weston, Gaspard Maeder, Charles Murray, Joseph Piggot, and Harley Merry are of the number. They enter into the work with enthusiasm and are doing their level best.”

This was the event that really connected Burcky with Tryon, soon both were headed west and associated with the Tabor Grand Opera House in Denver, Colorado. In 1884 “H. E. Burcky” was identified as “the artist of the Tabor Grand (Memphis Daily Appeal, 19 Nov. 1884, page 2). This is Henry E. Burcky, sometimes spelled Burckey (Feb 1852 – 21 Feb. 1908), whose career spanned from approximately 1875-1908.

During the 1880s Burcky worked as an itinerant artist, yet primarily advertised in Chicago. Burcky bounced back and for the between Denver and Chicago. Burcky filled dual roles at both the Tabor Grand Opera House in Denver and the Olympic Theatre in Chicago.

In 1885, Burcky was involved with the renovation of Chicago’s Olympic Theatre and several upcoming shows at the venue. On August 16, 1885, the “Inter Ocean” published,

“With the conclusion of the engagement of the Wymans this week at the Olympic Theater the house will be closed until Sept. 7, when it will be reopened as the “New Olympic” by the present lessees and managers, and they state that such extensive and important changes in the place will be made as to entitle it to its name. The lobby will be changed to permit the addition of a foyer, with heavy velvet curtains shutting the body of the theatre from the foyer and lobby. In the theater and foyer will be hung twelve crayon pictures 4×7 feet with gaslight effects, arranged by Bressan, the artist. Other pictures and statuary will be added. The floors will be newly carpeted, walls repapered, entire woodwork repainted, and the roof and exits repaired and changed. H. E. Burcky is painting new scenery and a drop curtain, and there will not be a scene, border, or wing used that is not entirely new” (16 Aug. 1885, page 13).

At the Olympic Theatre, Burcky painted scenery for Mortimer & Weaver’s Dramatic Co. production of “The Colleen Bawn” at the Olympic Theatre. Chicago’s “Inter Ocean” reported, “New sets of scenery, showing the Lakes of Killarney, the cave by the seas, and other beautiful bits of scenery incidental to the play have been painted for the occasion by H. E. Burckey, the scenic artist” (9 Aug 1885, page 13). Burckey painted scenery for another Olympic Theatre production that year, Alfred Trumball’s “Custer,” starring William J. Fleming. The production included a series of scenic effects that ranged from shimmering waters to brilliantly lit skies. The “Chicago Tribune” advertised the show as including “realistic stage effects and the great battle scene by H. E. Burcky” (26 July 1885, page 6).

1885 was another significant milestone for Burcky, as well as and many other scenic artists. An event was planned to exhibit and sell distemper works by scenic artists. On August 1 , 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early inn September. Among the artists present were: Ernest Albert, John Mazzanovich, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. C. Burcky, Charles Ritter, and others” (page 4).

On October 12, 1885, there was the first exhibition of Water Colors by American scenic artists from all over the country. John Moran wrote an article about the Scene Painter’s Show for the “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85):

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 1089 – “Louis Malmsha, a Tribute to the Great Scenic Artist” by Henry C. Tryon and Malmsha

When scenic artist C. Louis Malmsha (18 Aug. 1845- 19 October 1882) passed away, the American theatre industry mourned his loss. At the time of his passing, this Swedish-American was principal artist at McVicker’s Theatre in Chicago. Malmsha died at his residence on October 19, 1882, suddenly seized with hemorrhage while painting at his home. He passed before his wife could reach him from the adjoining room (Inter Ocean, 21 October 1882). There is a monument to Malmsha in Stoughton, Wisconsin, at Riverside Cemetery, “erected by his Wife and his Friends.” We are six days away from the anniversary of his passing, and I leave in about an hour to drive to Wisconsin. I will be only thirty minutes away from his gravesite and am compelled to try and visit.

Memorial for C. Louis Malmsha (1845-1882), erected by his wife and friends.

Henry C. Tryon, worked closely with Malmsha and wrote a tribute to his friend that appeared in the “Salt Lake City Herald” on October 22, 1882. As I am in the midst of examining the writings of Tryon this week, it seems like a perfect time to include his tribute to Malmsha.

Tryon worked with Malmsha at Wood’s Theatre in Cincinnati and later at McVicker’s Theatre in Chicago. The title of Tryon’s article was “Louis Malmsha. A Tribute to the Great Scenic Artist.” Although I published this article years ago, I am reposting it today. There are a few reasons for my choice today. First, we are coming up on the anniversary of Malmsha’s death and it is a fitting memorial. Secondly, the article also provides insight into the life and career of Tryon, his friendship and loyalty. In light of Tryon’s 1883 article that I posted yesterday about his perception of art, it seems fitting to include an article by Tryon and his characterization of Malmsha who he deemed, “…entirely an artist, and used none but purely art means to accomplish even a mechanical object.” Those who we respect and remember are a direct reflection on our own character.

Here is Tryon’s article in its entirety:

“Editors Herald:

Malmsha Scenic Artist of McVickers Theatre, Chicago, Reputed the Best in His Profession, died last night. The above appears in the Associated Press reports in the morning papers.

The above appears in the Associated Press reports in the morning papers. 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, tenderest delicacy, dignity with grace, sublimity with loveliness. I have yet to see in American any art example 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. We have great artists among our scene painters, but no Malmsha; just as there was but one Charlotte Cushman among many great actors.

Mr. Louis Malmsha commenced his career as a scenic artist at Crosby’s opera house, Chicago, in 1865. He was then a mere boy, and while working in the auditorium under the employ of a fresco painter, he saw the scenic artist painting the scenery for the stage. He became so infatuated with this (to him) new art, that he could not be kept at his work, spending all of his time from his employers. From this time forth fresco painting was distasteful to him, and he accompanied the artist to New York. He there improved his advantages to such a degree that in a few years he was the peer of the best of his brother artists.

He returned to Crosby’s Opera House about the year 1869, producing “Hammersmith Bridge” and an English boat race at Putney. This scene astonished Chicago –(no easy matter) as it was the finest of the kind that had ever been painted there. He remained at Crosby’s for several months, until engaged by Mr. McVicker to paint the entire stock of his rebuilt theatre. (It was by the study of his beautiful work at this time that I drew my own first impressions of the possibilities of scenic art.) He remained at Mr. McVicker’s until the destruction of the theatre by the great fire in 1871. The following fall and winter he was engaged at Woods’ theatre, Cincinnati, returning the next summer to Chicago to paint scenery for Aiken’s Theatre and for Myers’ Opera House.

His drop curtain at Aiken’s Theatre (Dearborn Theatre) was undoubtedly the finest and most artistic of any in the country. He then left Chicago for a year or more returning to McVicker’s theatre where he remained until the time of his death.

Such is the brief career of this brilliant young man. He was (I judge about) 37 years of age. 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 that 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 McVicker’s with the exhibition of phenomenal genius. He will be sadly missed in Chicago, and now that he is dead the general public will join the artists in appreciating as he deserved to have been appreciated during his life.”

On October, 21, 1882, the “New York Times” published comments about Malmsha by David A. Strong. Strong worked at Sosman and Landis and was credited as the “Daddy of Masonic Design” there by Thomas G. Moses.

The “Inter Ocean” published:

“Mr. David A. Strong, scenic artist at Haverly’s theatre, says that Mr. Malmsha, as a scenic artist, had no superiors and only two equals in the country – Marston and Roberts” (page 4). The two artists that Strong stated as “equals” were Richard Marston (1842-1917) of New York and David Roberts (1796-1864), the well-known English artist and scene painter. Strong was a well-established and well-known scenic artist in both New York and Chicago. He is credited with one of the scenes for the original “The Black Crook” production at Niblo’s Garden in 1866. Malmsha also painted some of the first scenery for “The Black Crook” (Inter Ocean, 21 Oct 1882, page 4).

For some additional perspective, Thomas G. Moses (1856-1934) began his scenic art career as an assistant to Lou Malmsha. Malmsha was the head designer at Jevne & Almini, the fresco painters. The firm offered Malmsha his first job when he arrived in America (Inter Ocean, 21 October 1882, page 4). Both Moses and Malmsha were introduced to scenic art while working as decorative artist for Jevne & Almini. In Moses’ typed manuscript, he commented on his work for Malmsha there, writing, “He had a number of small panels to paint on paper which were afterwards pasted onto the ceiling. I was certainly very fortunate, being to green to be fresh in my work. I was soon working on portions of his work.”

Eventually, it was Malmsha’s after-hours work at McVicker’s Theatre that provided Thomas G. Moses with his first opportunity to paint scenery.

To be continued…

Travels of A Scenic Artist and Scholar – Henry E. Burckey and the Colorado Exhibit for the World’s Industrial and Cotton Centennial Exposition, 1884-1885

Yesterday, I started exploring the life and career of scenic artist H. E. Burckey. Remnants of Burckey’s painting still exist at the Tabor Opera House in Leadville Colorado. In 1890, Burckey painted eight jungle wings constructed by William J. Moon for the venue. Burckey was a scenic artist who grew up and entered the theatre industry in Chicago.

By the age of eighteen, Henry E. Burckey was listed as “scenic artist” in the 1875 Chicago Directory, living at 83 S. Halsted. Little is published of Burckey’s early career, but in 1879 he was credited as the sole artist for “Queen’s Evidence,” playing at Hamlin’s Theatre. The show starred Geo. C. Boniface and advertisements reported, “Every scenic in this play will be entirely new and painted by Henry Burcky” (Chicago Tribune, 14 Dec. 1879, page 16). Five months later, Burckey was credited as the scenic artist for a charity event that included a production of “The Frog Opera.” The “Chicago Tribune” reported, “This novel extravaganza, which has recently been given in New York, Philadelphia, Baltimore and other cities, will be brought out at the Central Music-Hall on Tuesday and Thursday evening s and Wednesday afternoon this week, for the benefit of the Nursery and Half-Orphan Asylum. Among the cast and chorus of frogs are some of the best actors in the Farragut Boat Club. Special scenery, representing the swamp in the earlier part of the piece, and the old mill in the last act, is being painted by Burkey, the scenic artist. As its title indicates, the Frog Opera is purely an extravaganza, and, with considerable continuity of plot, it describes the wooing on Prince Frog and his experiences with Simple Simon, Baron Rat, Sir Thomas Cat, Baroness Rat, etc. The costumes are made after designs by Mark Waterman, the Boston artist, and are said to be unusually effective” (“Chicago Tribune, 16 May 1880, page 11). His career was on an upward swing, bringing him into contact with other scenic artists, such as Henry C. Tryon who worked at McVicker’s Theatre.

By 1881, Burckey partnered with Tryon, and the two ventured south to paint scenery for the Cincinnati Opera Festival. Their work was very well received, and their departure even made headlines. The “Cincinnati Enquirer” reported, “Messrs. Burcky and Tryon, the distinguished artists who painted part of the scenery for the Opera Festival, are delighted with Cincinnati; say they were never treated so kindly, and never had so much appreciation shown them. They will probably leave for Chicago this week” (4 March 1881, page 5). Burckey, like most scenic artists of his generation, would travel to secure work. This was often in addition to holding down a seasonal theatre gig.

Western theaters offered wonderful opportunities for artists young and old alike. Soon, Burckey and Tryon two headed west, making a name for themselves in Colorado. In 1882, Tryon settled in Denver and was associated with H. A. W. Tabor’s second theater, the Tabor Opera Grand House. Built only a few years after the Tabor Opera House in Leadville, the Tabor Grand was a massive undertaking. By 1884, Burcky was listed as the scenic artist for the venue. Although Burckey was still listed in Chicago directories throughout the 1880s, he was building a good reputation as quite an accomplished artist. Although Burcky was now listed as the Tabor Grand’s scenic artist, he continued to paint for touring productions and other Chicago shows. The train ride from Chicago to Denver was only a day away, 17 hours and five minutes; a short jaunt with only one overnight. Similarly, Denver to Salt Lake City was only a fifteen-hour trip, explaining the ease of Henry C. Tryon working at both the Tabor Grand Opera House and Salta Lake Theatre during the early 1880s. Rail travel made it possible for scenic artists to hold dual positions in two different states.

While in Denver during 1884, Burckey painted the State’s exhibit for the World’s Industrial and Cotton Centennial Exposition. The States of Colorado constructed a 6,600 square-foot exhibit in the Government & States building. One of thirty-eight states represented at the exposition, the Colorado exhibit was located near the north entrance of the building, and included a realistic representation of the Rocky Mountains, painted by Burckey. As with other exhibits, Colorado’s agricultural products, ores and minerals were set out on display.

**The World’s Industrial and Cotton Centennial Exposition, 1884-1885**

The Colorado Exhibit at the World’s Industrial and Cotton Centennial Exposition at New Orleans, 1884-1885.

Painting by H. E. Burckey for the Colorado Exhibit at the World’s Industrial and Cotton Centennial Exposition at New Orleans, 1884-1885.

The “Memphis Daily” credited Burckey with painting “The Pioneer Car” for the World’s Fair in New Orleans, (Memphis Daily Appeal, 19 Nov. 1884, page 2). The exhibit was described as a “work of art” in the “Memphis Daily Appeal.” The article described Burckey’s work in detail. Here is the article in its entirety:

“Upon its sides are some splendid paintings from the brush of H. E. Burcky, the scenic artist of the Tabor Grand Opera house. These pictures are well worth careful scrutiny.

Upon one side of the car the picture is emblematic of Colorado’s beautiful scenery, her resources and the glory of the South, with New Orleans as the crown of that section. In the center is a large horseshoe, upon the arch of which is the inscription, “Miner’s Cabin.” Withing the arche, formed by the emblem of good luck, is the full-length figure of a miner with pick upon his shoulder, apparently just starting out on a prospecting tramp.

In the right center is a group of two figures, one a farmer binding a sheaf of wheat, while beside him sits his wife with a dinner-pail and basket, evidently resting after her noonday walk with her husband’s lunch. From this scene, the perspective goes back over fertile plains across which a railroad train is gliding, until the plains heighten to a grand view of the Rocky Mountains.

Upon the extreme right of the picture is a splendid view of the Grand Canyon from the mouth of which is approaching a train, the locomotive tender showing the letters D. & R. G.” At the left of the horseshoe, and covering about one-third of the side car, is the Southern scene, with idle darkies lounging around bales of cotton and cut watermelon lying in the foreground, while away to the left of the scene and in the depth of perspective is a river with the city of New Orleans in the distance.

Upon the other side of the car, about one-third of the picture represents a miner’s cabin, with utensils of a prospector’s housekeeping hanging upon its wall, while sitting a little distance in front is the miner with extended hands. In his hands he holds a pan, into which his eyes gaze earnestly for the coveted gold. The remainder of the picture is a sweeping view of snow-capped mountains.

This car and decorations will be a credit to the artist and to Colorado which sends it forth, and is safe to predict that no exhibit which will arrive in the Crescent City will attract more attention before it is opened to view.

The Miner’s Cabin idea and its careful preparation is highly creditable to its agent, Mr. T. E. Boynton, and Mr. Noel May, who so ably assisted in carrying the conception to a reality. Mr. Boynton will accompany the car to-night and Mr. May will follow in a few days.

The car is loaded with contribution of ores and minerals from over 100 different mines throughout the State, to be used in the construction of the “Miners’ and Prospectors’ Cabin,” connected with the Colorado exhibit at New Orleans. This collection includes many rare and valuable specimens of bullion-producing mineral. The “Cabin” is intended to be emphatically a Colorado structure, the mortar used being compressed of a material presented by the Denver Cement Manufacturing Company, and sand taken from the bed of Cherry Creek. Other shipments of ore will follow this car, to be used in keeping the cabin in repair, as well as to constantly ass its attractions.

The train containing the exhibits from the Denver Exposition and some other exhibits will follow, leaving Denver about the 20^th instant. The Denver Exposition display is now nearly all packed ready for shipment. A very valuable addition was made yesterday by the Hon. H. A. W. Tabor, who will send a splendid cabinet containing the specimens from Robert E. Lee and the Matchless mine, and valued at $1000.”

Much has been written about the World’s Fair in New Orleans, but here is a link to the 1885 publication – “Practical Common Sense Guide Book trough the World’s Industrial and Cotton Centennial Exposition at New Orleans”- http://archive.org/stream/practicalcommons00perkrich#page/26/mode/2up

To be continued…

Travels of A Scenic Artist and Scholar: Henry E. Burckey and Henry C. Tryon, Scenic Artists at the Tabor Grand Opera House

Back of a jungle wing noting stage carpenter and scenic artist, dated October 6, 1890.

“W. J. Moon carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890” is penciled on the back of a jungle wing at the Tabor Opera House in Leadville, Colorado. William J. Moon was a local resident and Henry E. Burkey was a scenic artist who began his career in Chicago. By 1884, “Harry Miner’s Dramatic Directory” listed “Burckey, Tabor Opera, Denver” as the scenic artist for the Tabor Opera House in Leadville; he was working for both venues. Burckey was still working for Tabor five years later. After completing the jungle wings for the Tabor Opera House in Leadville, the “Herald Democrat” reported his departure for Denver on October 16, 1890, noting “Mr. H. E. Burcky left last evening for Denver.”

Yesterday I wrote about stage carpenter and stage manager W. J. Moon. Today I explore the life and career of Henry E. Burckey (1852-1908). Burckey was been a bit tricky to track down, as the spelling of his name greatly varies in newspaper accounts and historical records. Variations included Burckey, Burkey, Bercky, Berkey, and Burcky; I am going with Burckey.

Born in 1852, Henry E. Burckey was the son of German immigrant Frederick Burckey (1813-1902). The 1850 US Federal Census lists that Frederick Burckey was born in “Frankfurt-Main” and emigrated from Germany in 1830. He eventually settled with family in Chicago area where he resided until his passing on October 21, 1902. Frederick was employed as a confectioner until he opened a restaurant with Augustus Berlin. He later worked as a clerk.

The 1870 census listed that Burckey was living with his three sons William, Henry and Charles, ages 16, 13 and 7. Between 1870 and 1875, Henry entered the theatre industry and became a scenic artist. He entered the scene about the same time that Thomas G. Moses did, about 1873-1874. By 1875 Henry was listed as “scenic artist” in the “Chicago Directory” living at 83 S. Halsted. Interestingly, Henry’s younger brother Charles followed him into the painting business and was listed as a “painter” in the 1880 Census. Burckey remained in the directory for the next decade, despite working for extended periods of time in other regions. At this time Chicago was a major theatrical hub with equal access to almost all of the country; it was the place to be during the second half of the nineteenth century. Ever-expanding railways provided easy routes for the marketing and shipping of both goods and services. A vast transportation network allowed remote communities access to a variety of services when constructing a performance venue that included scenic art. Many scenic artists, such as Burckey and Moses, made the Windy City their home and constantly traveled to new venues. Even when working for a studio, their lives remained that of itinerant artists.

By 1880, Henry Burckey, painted an old mill scene for the “Frog Opera.” The production toured New York, Philadelphia and Baltimore. By the spring the production played at Chicago’s Central Music Hall (Chicago Tribune, 16 May 1880 page 11). As Burckey made a name for himself, he began to partner with other well-known and respected scenic artists, such as Henry C. Tryon.

In 1880, Tryon was working as a scenic artist at McVicker’s Theatre, where he came in close contact with Thomas G. Moses, as well as Joseph Sosman, of Sosman & Landis. Moses joined Sosman & Landis in 1880 as their first employee, Tryon would follow four years later. There was an abundance of work for many, and the fortunate few secured permanent positions in popular theaters and opera houses.

By 1881, “H. E. Burcky” was listed as scenic artist at Hooley’s Theatre in Chicago. At this same time Burckey partnered with Tryon to provided scenery for Cincinnati’s Opera Festival. They worked alongside some other very respected gentlemen, including Fox, Magnani, Humphreys, Hughes, and Rettig & Waugh. An article in the “Cincinnati Enquirer,” reported, “Messrs. H. E. Burcky and Henry Tynor [sic.], 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 McVickers. They express themselves as amazed at the extent and magnitude of the affair” (“Cincinnati Enquirer,” 15 Feb 1881, page 4).” Burckey and Tryon were applauded for one “Magic Flute” setting, heralded as a “Beautifully painted scene.” The “Cincinnati Daily Enquirer” article described the painting; “…massive rocks in the foreground appear so real as almost to deceive the eye. Rich masses of dark foliage relieve their barrenness while their golden-yellow color is projected boldly from the deep blue sky. Two transformation tableaux occur in this scene, the first the ordeal, by fire, remarkable for its brilliancy and warmth of color; the second, the ordeal by water, for its cool and delicious coloring, complete contraries delightfully portrayed” (23 February 1881, page 4).

The opera festival was not only a game changer for each artist, but an incentive to travel westward. By the fall of 1882, Tryon had left Chicago and was working in Denver, Colorado, for Horace Tabor. Even when Tabor traveled to Salt Lake City for work, newspapers listed the artist as “Mr. Henry C. Tryon, of the Tabor Grand Opera House” (“Ogden Standard,” 30 Sept, 1882, page 3). Two years later, Burckey became known as “H. E. Burckey, the artist of the Tabor Grand” (“Memphis Daily Appeal,” 19 Nov. 1884, page 2). It remains unclear if they worked together on scenery at the Tabor Grand between 1882 and 1884.

An example of Henry E. Burckey’s scenic art.

Jungle wings by Henry E. Burckey stacked against the upstage wall at the Tabor Opera House in Leadville, Colorado.

Regardless, Burckey became the sole scenic artist at the Tabor opera house by 1884, the same years that Tryon returned to Chicago to work for Sosman & Landis. In 1884, Moses wrote, “Henry C. Tryon came to the studio to work. He enthused Young and I more than anyone ever had. He was a pupil of Thos. Moran and James and William Hart and was very clever, but awfully eccentric.” Tryon also joined Moses and John H. Young on a sketching trip to West Virginia in 1885. I will expand Tryon’s story in the next few weeks.

Between 1880 and 1884, Tryon submitted a series of articles about the scenic art profession in papers across the country. On Dec. 19, 1880, the “Chicago Tribune” published “ Scene Painting: Some hints to the Public Regarding a Special Department of the Painters’ Art Not Well Understood” by Henry C. Tryon (page 19). Here is the link to the article as I included it today as part of my “Tales from a Scenic Artist and Scholar” storyline (part 1087): https://drypigment.net2020/10/11/tales-from-a-scenic-artist-and-scholar-part-1087-henry-c-tryon-scene-painting-some-hints-to-the-public-regarding-a-special-department-of-the-painters-art-not-well-understood/

To be continued…

Tales from a Scenic Artist and Scholar. Part 1076 – Earle V. Ackerman, George W. Korb and Theresa E. Zsiday Korb

George and Theresa Korb made room for Earle Ackerman in their home and provided a space for him after death. Scenic Artist Earle Van Buren Ackerman (1877-1970) shares a gravestone with George Washington Korb (1889-1957) and his wife Theresa Elizabeth Zsiday Korb (1893-1947). By 1935 all three were living in Franklin, New Jersey. Earle was thirteen years older than Korb.

Theresa “Tessie” Elizabeth Zsiday was the daughter of Joseph Zsiday (1868-1926) and Elizabeth (Elza) Absalom Faber (1871-1962). Each left Hungary and arrived on America’s shore in 1890. Joseph Zsiday was a shoemaker.

Their first child Theresa “Tessie” Elizabeth Zsiday was born on Sept. 28, 1893. The 1910 census listed “Tessie” as a sixteen-year-old, the eldest of four children living at home in Brooklyn, New York. Her younger siblings were Julia (Jule) Agnes (1896-1964, married Paul Julius Zaber), Charles (1899-1977, married Anna Marie Offerding) and Joseph Jr. (1904-1989, married Rose Lillian Glod) At the time, Tessie was working as an operator in a fur factory. She married George Washington Korb on Feb 4, 1913. Their marriage announcement in the Brooklyn “Chat” specified, “George W. Korb, 23, of Newark, N. J., and Theresa E. Zsiday, 19, of 187 Throop avenue” (18 Jan., 1913, page 23.) The couple celebrated the birth of two children, Ethel M. in 1922 (married Ralph Mathews) and George Earle, on March 9, 1926.

George W. Korb, Sr. was born in Harrison, New Jersey, on February 22, 1890. The son of Ed J. Korb and Mary Ehehardt. His WWI draft registration card lists his physical appearance as tall and slender with brown eyes and light hair.

From 1909 to 1913, George W. Korb was working as a clerk, and boarding at 96 Spruce in Newark, New Jersey. It was not until 1910 that Korb partially transitioned from working as a clerk to a scenery painter. The 1910 US Federal Census listed both Korb and his brother Edward as living with their grandmother, Chrystina Korb. At the time he was nineteen years old.

In 1916, George W. Korb was again listed in the Newark City Directory as a clerk, living at 797 S. 13^th Street. He remained at the same residence in 1917 and by 1918 he was again listed as a scenic artist. In 1918 Korb worked for Joseph A. and Wray Physioc at Physioc Studios at 624 West 24^th St in New York City. In 1922, the Physioc studio burned to the ground. This was the same year that Korb founded the Beaux Arts Scenic Studio with Earle Ackerman. Of the Physioc Studio devastation, newspapers reported, “One of the most spectacular fires seen in New York for many months last Wednesday gutted the Physioc Studios at 449 and 451 First Avenue, and for four hours threatened the destruction of Bellevue hospital.”

In 1920, his brother Edward lived with George and Tessie on South 13^th St. in Newark, New Jersey. By this time, George was working for himself, listing his occupation as proprietor of a scenic studio. He was likely working under his own name at this time.

From 1922 to 1925 the Newark Directory listed that Korb as working at Beaux Arts Scenic Studios. I have only located one mention of the firm. The “New York Clipper,” reported, “Earl Van Ackerman and George W. Korb, doing business as the Beaux Arts Scenic Studio, filed the suit against Dudley for the sum of $638 plus interest from July 8, 1922. In their complaint the plaintiffs allege, that scenery worth $1,628 was sold to Dudley, on which he paid $990, leaving a balance which they seek to recover” (7 Feb. 1923, page 5).

Little else is known of George’s later years beyond his obituary noting that he worked as a scenic artist for CBS in New York.

Theresa passed away on Jan. 23, 1947 at the age of fifty-four yrs. old. Her obituary in the “Courier-New” announced, “Mrs. George W. Korb of Howard Ave. died last night (Jan. 23, 1947) in Somerset Hospital (24 Jan. 1947, page 17). In addition to her husband, Mr. Korb is survived by her mother, Mrs. Elisabeth Zsiday; one daughter, Mrs. Ralph Mathews; and one son George, Korb, all of this place; and a sister and two brothers. Funeral arrangements will be announced by the Taggart Funeral Home, Bound Brook.”

On July 22, 1957, George Korb passed away. His obituary in the “Courier-News” announced, “South Bound Brook – George W. Korb, 68, of Howard Ave., died Saturday (July 20, 1957) in New York following a sudden attack. A native of New York, he was a resident here for the past years. He was employed by CBS television in New York. Surviving him are one son, George E. of Green Brook; one daughter, Mrs. Ralph Mathews of Franklin Township; one brother, Edward of Pleasantville; and four grandchildren. Services will be held Wednesday at 10 a.m. in the Taggart-Chamberlain Funeral Home, Bound Brook, with Rev. Daniel U. Smith of the Reformed Church officiating. Burial will be in the Bound Brook Cemetery” (22 July 1957, page 20).

Earle Ackerman passed away on April 29, 1970, in Philipsburg, New Jersey.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1074 – Earle Van Buren Ackerman (1877-1970)

Philip Dodd and Earle Van Buren were the sons of Joseph Van Buren Ackerman (1848-1882) and Frances Talulah Dibble (1842-1916). Earle was two years younger than his older brother Philip, born on January 29, 1877, in Pensacola, Florida. Throughout the duration of his career, Ackerman was identified by a variety of names, including Earle Van Ackerman, Earle V.B. Ackerman, E. V. B. Ackerman and E. V. Ackerman and E. Van Ackerman. There is no indication of how, or why, the world of theater beckoned both Philip and Earle, luring each to New York. However, when they entered the scenic art profession opportunities were abundant and financial prospects high. Earle completed four years of high school before venturing north to New York.

The first mention that I have located of Earle’s scenic work was in 1897. That year, “E. Van Ackerman” was credited with painting a new drop curtain for B. F. Keith’s Union Square Theatre. The “New York Times” reported that Ackerman’s drop curtain depicted a “handsome interior with a view of a drawing room and distant conservatory” (Dec. 8, 1897, page 4). This was the same year that Earle married Rhoda Beatrice Snell in Brooklyn (1877-1953). His brother Philip also married his first wife Margaret in 1897.

Earle and Rhonda celebrated the birth of their son Robert on August 28, 1898 in Brooklyn, NY, the same year Philip and Margaret celebrated the birth of their daughter Emma. The two couples lived in Brooklyn, each man trying to succeed in the theatre business. The brothers sporadically worked together over the years, eventually forming Ackerman Bros. Scenic Studios by 1914. Unfortunately, the partnership never lasted long.

When they did work together, Earle functioned as a scenic artist and Philip as the supervising designer. It was Philip’s career that really took off by, with “P. Dodd Ackerman” appearing in one newspaper article after another. This may have prompted the two brothers to part ways; very little was published about the younger Ackerman’s scenic art and designs.

In 1909, however, the “Brooklyn Citizen” reported that E. Van Ackerman prepared twenty floats for the big Mardi Gras Carnival on Coney Island. Ackerman was working with Llewellyn J. Bruce on the project, and the carnival procession was estimated to be over a mile long, with 250 horses pulling floats and over ten thousand electric lights (Brooklyn Citizen, 25 Aug 1909, page 6). The 1910 US Federal Census listed Ackerman’s occupation as “artist” in “studio” as his industry. He was living with his, wife, son and a boarder, John J. Redmond, who listed as a thirty-six yrs. old musician.

I wrote about Earle V.B. Ackerman in a past post while exploring the studio fire at Harley Merry’s old space in January 1912. The incident had prompted me to track down a little information about Earle, the final renter of the studio space. His brother P. Dodd Ackerman had been on my radar for a while, but Earle was new to me. In 1911 Earle Ackerman partnered with J. Katser, also listed as Kapher and Kopher in newspaper articles. The two were renting Harley Merry’s old studio. Harley Merry was the scenic artist alias for British actor Ebenezer J. Britton. “The Brooklyn Citizen” reported “The Harley Merry Studios had been located on Franklin avenue for more than forty years. Harley Merry was an old-time actor and built scenery for Booth, Barrett and other well-known old-timers. Six months ago, Merry died and the business has since been carried on by E. Van Ackerman and J. Kopher” 9 Jan. 1912, page 12).

Here is a recap on the studio fire:

On January 9, 1912, the “Brooklyn Daily Eagle” reported, “The Harley Merry scenic studio in Franklin avenue, near Malbone street, in which the scenery for many of the greatest dramatic productions was painted, was destroyed by fire today. The entire contents of the building, including the completed scenery for one production and the partly finished scenery for another play, was lost. The building loss is estimated at $3,000, while the loss of the contents will amount to $10,000. The building and contents were uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27 Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the building at the time. Stabile was in the cellar under the studio when he heard a noise which sounded like the drop of a heavy weight. He ran up to the second floor, and as he opened the door leading to the stairway a cloud of smoke burst into his face. He called for help and a policeman sent in an alarm. Battalion Chief O’Hare, who was in charge of the fire engine companies to arrive, feared that the fire would spread to the adjoining building, which are all of frame construction, and to the Consumers Brewery across the street, and he sent in a second alarm. Six engines and two truck companies were soon on the scene, but the fire was beyond control and their efforts were devoted to saving surrounding property. The roof fell an hour after the fire was discovered. Ten foremen were in the building when the roof tottered and were warned by the call of Deputy Chief O’Hara. All escaped before the roof collapsed. The flammable nature of the contents and the high wind are given as causes for the building’s rapid destruction. The building was originally used as a scenic studio by E. J. Britton, retired actor and scenic artist, who painted under the name of Harley Merry. After his death last September, the building passed into the hands of his daughter Mrs. George Kennington. It has recently been rented as a studio to E. Van Ackerman and J. Katser.”

In the fire, Ackerman and Katzer lost scenery for an upcoming production of “The Real Girl.” The article reported, “The [studio] contents included the completed scenery for the production of ‘The Real Girl,” a musical comedy which is to be produced on Broadway within a few weeks, and also the partly finished canvas for the farcical comedy, “Class,” which also has a Broadway booking…The loss of these two sets is estimated between $6,000 and $7,000.” It was possible that this heavy loss without the safety net of insurance ended the Ackerman and Katser [Kapher/Kopher] partnership.

By 1913, Earle was working with his brother again, a likely result from financial devastation. They partnered to deliver scenery for “The Privateer” at the Star Theatre. Then Earle branched out again on his own, designing “Mlle. Modiste,” at the Globe Theatre. There was also a 1913 that advertisement that announced, “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.” This suggests a split, or the temporary departure of his brother. Yet his advertisement listed an address at 1576-1578-1580 Bushwick Avenue; his brother’s studio.

Earle Van Buren Ackerman’s scenic studio. Advertisement in Gus Hill theatrical Directory.

The 1913 advertisement also noted that the Earle’s studio was established in 1890. This date is extremely doubtful based on the ages of the brothers in 1890; they would have been 15 and 13 years old. In fact, in 1890, Earle V.B. Ackerman was working as an office boy for Kiser & Sparks while boarding at 242 Whitehall in Atlanta, Georgia. Keep in mind that attaching an earlier establishment date was not uncommon for scenic studios. Sosman & Landis and Volland Studio also added a few years to their establishment dates over the years, boosting the levels of their experience and longevity.

By 1914, “Ackerman Bros. Scenic Studio” is advertised in “Gus Hill’s Theatrical Directory.” The new firm is at the same location on Bushwick Avenue in Brooklyn. The advertisement offers, “Scenery Painted and Constructed, Productions, and Motion Picture Theatre Settings.” Their partnership did not last long, and soon Earle was on his own again, partnering with other scenic artists to compete projects. On Oct. 19, 1916, “The Vermont Tribune” reported, “Two scenic artists from Brooklyn, N. Y., E. Van Buren Ackerman and Henry Schmidt, are boarding at W. D. Livingston’s.” (19 Oct. 1916, page 8). About this time, both Ackerman brother’s encountered marital problems, each separating from their wives. Earle never remarried.

Earle Van Buren Ackerman and Philip Dodd Ackerman established Ackerman Bros. Scenic Studio by 1914. From Gus Hill’s Theatrical Directory.

Earle’s WWI draft registration card listed his physical appearance as similar to his older brother’s, fair hair, blue eyes, medium height and medium build. At the time, his occupation was noted as theatrical scenery and his employer H. Robert Law, at 502 W. 38^th in New York. Little is known of Ackerman’s life or career or personal life in the post-WWI years. Very seldom did his name appear in print; this was a marked departure from his older brother’s very public persona.

By the late 1920s Earle is working as a designer. In 1927 Earle designed the setting for “Tia Juana,” a melodrama at the Schubert Playhouse. On November 5, 1927, the “Morning News” reported, “The Company is capable, the scenery elaborate, and there are no dull moments” (Wilmington, DE, page 13). Ackerman’s design was built by the Vail Scenic Construction Company. Then he disappears again until the mid-1930s. By 1939, Earle only made headlines after a car collision. The “Courier-News” reported, “Car driven by Isador Gelbard, 43, of Davidson Ave., Franklin Township, was in collision with a car driven by Earle Van B. Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in front of the Brooks Theater Saturday afternoon. No one was hurt and no complaints have been made. Mrs. Isador Gelbard was in the car with her husband” (Bridgewater, CT, page 4).

In 1940, Earle was living in Franklin, New Jersey; lodging with another scenic artist and one-time studio owner, George W. Korb. Ackerman listed that he had been at the same residence since 1935, with his marital status still listed as divorced. The Korbs, however, became Ackerman’s new family and he would live with them for years.

In the end Earle outlived them all, his wife, son, brother ad both Korbs. Earle Ackerman passed away on April 29, 1970, in Phillipsburg, New Jersey. Ackerman shares a grave stone with George W. (1889-1957) and Theresa E. (1893-1947) Korb.

Grave stone that Earle Van Buren Ackerman shares with George Washington Korb and Theresa Korb in Phillipsburg, New Jersey.

To be continued…