From the “Kingman Daily Courier,” 7 Dec. 1887, page 2.
By 1890, the
Kansas City Scenic Co. was mentioned in connection to a new opera hall project
in Little River, Kansas. The “Little River Monitor” reported, “The carpenters
work on the new opera hall is going on at a lively rate. Canfield & Co. are
doing the work in good shape, Messrs. Tschudi, Dunn and Oldham, of the Kansas
City Scenic company, are painting a set of scenes for the hall, and are doing a
fine job. The mammoth drop curtain is a beauty. It is ornamented with the
business cards of our merchants and others, and will be first class in every
particular” (16 June 1887, page 3).
Tschudi was a scenic artist who had worked in Kansas City since 1883.
I am going to take a moment and explore the life of John U. Tschudi, another immigrant who arrived in America during 1857. In 1881, Tschudi is first mentioned as being the scene painter who received the contract for the Whitley Opera House in Emporia, Kansas. He worked alongside J. W. Morris the stage carpenter. They put in a complete set of scenes and the latest improvements in stage equipment. By 1882, Tschudi was twenty-two years old and advertised as sign painter in Emporia. However, his advertisements soon announced that he was a fresco, scenic artist and sign writer (Evening News, Emporia, Kansas, 31 July 1882, page 4). He requested that people leave their sign orders at Moore’s Drug Store in town (The Evening News, 31 July 1882, page 4). Tschudi shipped ornamental signs across the country, even to Colorado and was associated with the Whitley Opera House (Emporia Daily News, 27 July 1882). As with many young and talented scenic artists, Tschudi soon partnered with Foreman, a stage mechanic and they delivered scenery to the Garfield Opera House in Kingman, Kansas (Kingman Daily Courier, 7 Dec., 1887, page 2).
Of his early
life, Tschudi explained his background to a reporter in 1896, “I was born in
Switzerland in 1852, but am an American artist. I came to the United States in
1857. My father was an artist in France and I, only one of eight children, am
an artist. I was fond of it from childhood. When I was a boy I sometimes got
punished for drawing comic sketches on the walls, and I would neglect my
lessons to draw those pictures and frequently get kept in school on that
account. (Daily Lexington, 24 Aug 1896, page 3). Other newspapers expanded,
“After school days he studied with has father and assisted him with his work
and soon developed such artistic taste in landscape painting that his father
concluded in 1868 to send him back to France to finish his studies. ‘After five
years,’ says Mr. Tschudi, ‘I returned to America and took a fancy to large
work, and consequently went to theatrical scene painting, and have since that
time worked in many of the finest theaters both in this country and abroad. My
father was the famous fresco artist under the old masters in France for ten
years. His work can be seen in France, Italy, Switzerland and America at the
present time. He died in his 69th year in New York” (Daily Leader,
Lexington, Kentucky, 15 Aug, 1896, page 3).
When asked why he
never changed the spelling of his name, he responded, “ I have no reason to be
ashamed of it, as it is famous in Swiss history being the name of one of the
oldest families on record and was borne by artists, generals and men of high
rank, and at the present time there are a number of recognized artists in the
family.”
In 1887, the
“Wichita Star” reported “A reporter was shown the number of samples from
scenic-artist work from the brush of Kansas City Scenic Artist company, in
which company figures, as an artist, Mr. J. W. Tschudi, formerly of the city.
The work is artistic and ranges throughout the entire term of scenic work.
Landscapes, rocky passes, woods, streets, palaces, parlors, chambers, kitchens,
hovels – in fact every known term of scenic effects were painted in the highest
style of art (22 March 1887, page 4).
In 1888, Tschudi,
was working on his own and noted as being “beyond all doubt, the thorough,
classical scenic artist in Kansas. His fine conceptions of mountain and sea, of
glen and valley, of hill and dell, when spread upon canvass by his deft hand,
are gems of beauty on which the eye fondly hangs. The COURIER heartily commends
Prof. Tschudi to the managers of the Greensburg Opera House. By 1895, Tschudi
was advertised as “one of the country’s finest artists,” and was delivering
sizable scenes to the Phillips opera house in Richmond, Indiana (Richmond Item,
28 Aug 1895, page 3).
The 1900 census listed Benjamin Dunn as a scenic artist; the
1910 census listed Benjamin Dunn as a proprietor of the Kansas City Scenic Co.;
and the 1930 census listed Benjamin Dunn as the president of the Kansas City
Scenic. Co.
There was another scenic artist with the last name of Dunn
from Olathe, Kansas, one with Chicago connections – Frank Dunn. He was born
around the same time as Benjamin F. Dunn and very likely a cousin. So what was happening in Olathe?
To put the remainder of the Dunn story in perspective,
Olathe was founded in 1857. It was a major stop along the Santa Fe Trail and on
the Oregon and California Trail. Up to
six hundred wagons stopped weekly, as settlers continued west on their way to
the gold fields or new homesteads. By 1873, three railroads served the
community, and by 1875 the town’s population was up to 2,146.
An 1870 US census provides a little information about the
eight-year-old Franklin Dunn of Olathe, Kansas. He was the middle of three sons
born to James Dunn, a carpenter, and his wife Harriet. Frank’s brothers were
William (10 yrs. old) and Arthur (6 yrs. old). A sister would later arrive in
1871, Mayane “Mamie” Dunn. Of the three boys, William Dunn remained in town,
following in his father’s footsteps as a carpenter, Arthur Dunn became a
traveling performer, and Frank focused on the backstage and decorative work.
The 1880 census lists Frank Dunn as apprenticed to a Marble worker
and living at 88 Willie St. This was common, as many young men were sent out to
work at an early age, apprenticed to other families. The 1880 census also shows
that his mother and sister were living on their own home that year, no sign of
the father. Dunn’s new living situation was a bit odd. Joseph Hedrick, a 70-year-old
widower and farmer, was the head of the household where Dunn was living. Dunn
was apprenticed to Hedrick’s 24-year-old son, Hiram. In the census, Dunn’s occupation was listed
as “apprentice to marble worker,” but his relationship to the family is listed
as “servant;” this adds another layer of curiosity. That year, however, Dunn
turned 18 and he appears to have struck out on his own.
The earliest mention of Dunn’s artistic abilities are
mentioned on Dec. 22, 1881, when Dunn was 19 years old. The “Olathe Mirror”
reported, “Frank Dunn has drawn a painting of himself on the head of the Bass
Drum, he thumps in the band, Frank is fast and becoming one of the finest
portrait and scenic artists in the west. Work that he has executed with the
brush will compare favorably with some that has received encomiums from press
and voice all over the country” (Olathe Mirror, page 1).
By 1886, the Kansas City Directory listed “Frank Dunn” as a
scenic artist working for Graham & Davis. Benjamin Dunn had worked there the
year before in 1885. In 1886, Ben Dunn but was simply listed as a scenic
artist, residing at 1210 e. 19th st.
On Sept. 26, 1889, the “Olathe Mirror” reported, “Frank
Dunn, of Kansas City is a former Olathe boy and scenic artist of wide
reputation, has gone to Chicago where he has secured more remunerative
employment” (page 7). The year before, Chicago’s “Inter Ocean” reported “On
June 2, the Rev. J.J. Garvin united in marriage Frank Dunn and Miss Notlora
Hurburt, of Chicago. (June 10, 1888). And that is where the trail goes cold for
this couple. It is difficult to know if this is the same Olathe Frank, as there
are many Frank Dunns living in Chicago; theatrical managers, painters,
traveling salesman. It is almost impossible to know where he worked or resided,
but he was mentioned three more times in Kansas newspapers during 1890.
On Feb. 6, 1890, the “Kansas Patron,” announced, “Frank
Dunn, who is now a scenic artist in Chicago, was visiting his mother and sister
here last week” (page 7). On Nov. 20 1890, the same paper noted, “Mr. Frank
Dunn, the scenic artist of this city spent several days in Kansas City last
week soliciting” (page 5). On Dec. 4,
1890, the same paper noted, “Mr. Frank Dunn, the head of the Kansas City Scenic
Company spent Sunday and Monday in Kansas City” (page 5). The “Kansas Patron” also
reported, “The Kansas City Scenic company, with studio in the Grange building,
has just completed a handsome drop curtain for the Haye’s Opera House of this
city” (Oct 30, 1890, page 5).
Was it possible that Frank Dunn and John Bronaugh established
the Kansas City Scenic Co., while Ben Dunn simply worked as a scenic artist for
the company at first? Remember in 1890,
Ben Dunn was mentioned as representing the Kansas City Scenic Company, but
simply as an artist.
On Jun 16, 1887,
the “Little River Monitor” reported, “The carpenters work on the new opera hall
is going on at a lively rate, Canfield & Co. are doing the work in good
shape, Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are
painting a set of scenes for the hall, and are doing a fine job.” (16 June
1887, page 3). It is unclear, which Dunn
was working with Tschudi and Oldham, Ben or Frank.
We are only left with the 1931 obituary of Ben, and that
raises some questions too.
Mr. Benjamin F. Dunn of 5817 Wornell Road in Kansas City
died at two o’clock Monday morning at his home. He is survived by his widow,
Mrs. Mattie Dunn, daughter, Miss Zula Dunn, and two sons, Benjamin Dunn, Jr.,
and James Dunn. He was president of the Kansas City Scenic Company which was
founded in Olathe twenty years, prior to his moving to Kansas City.”
The earliest mention that I have
located of the Kansas City Scenic Company is 1887. That year the “Peabody
Gazette-Herald” reported, “The Kansas City Scenic Co., is putting in some fine
scenery in Butler Hall this week, prior to Edwin Clifford theatrical
entertainment, on Wednesday night” (April 28, 1887, page 4). Of the specific
individuals associated with the firm in 1887, “Dunn” is mentioned twice. Three
decades later, the “Jackson County Democrat” credits Ben Dunn and John Bronaugh as the
proprietors of the Kansas City Scenic Company, “a concern which for many years
has provided scenery for theatres throughout the country,” noting they were
both raised in Olathe, Kansas (9 June 1922, page 3). However, Ben is never mentioned as a company founder
in the beginning, only a scenic artist. Dunn eventually becomes the company
president, with Bronaugh working as the general manager and treasurer.
Benjamin F. Dunn’s gravestone in Olathe, Kansas.
The firm’s history repeatedly
mentions the establishment date of 1890, but Bronaugh is not mentioned until
1890. On Sept. 25, 1890, the “Kansas Patron” reported, “Mr. John Bronaugh, a
member of the Kansas City Scenic Co., was in Olathe, the guest of B. F. Dunn”
(page 5). Note that Dunn is not mentioned in connection with the company and
Bronaugh is a “member,” possibly suggesting others.
The 1900 census listed Dunn as a scenic artist; the 1910
census listed Dunn as a proprietor of the Kansas City Scenic Co.; and the 1930
census listed Dunn as the president of the Kansas City Scenic. Co. But there
was another Dunn from Olathe, Kansas, one with Chicago connections – Frank Dunn.
It is possible that Frank and Ben were cousins.
Very little is known of Benjamin F.
Dunn’s childhood or parents, beyond the 1922 “Jackson Country Democratic”
article that states, “Benn Dunn was raised in Olathe and went to school with the owner of this
paper, who reported that Ben put in a good deal of time drawing scenery of one
kind of another, some horrifying to the vigilant teacher who often confiscated
his works of art” (Olathe, Kansas, 9 June 1922, page 3).
What I have pulled together from
various newspaper reports, city directories and census reports is that Benjamin
F. Dunn was born on Feb. 14, 1862, in Noblesville, Indiana. His father was from Indiana and his mother was
from Kentucky, with the couple moving to Olathe, Kansas, at an unknown
date. The first census record to include
Benjamin F. Dunn is from 1900, well after he was married and with children.
The first mention B. F. Dunn in the
Kansas City Directory is 1884. This year coincides with when Bronaugh, who is
also recorded as moving to Kansas City from Olathe in 1884. That year, the “Le
Cygne Journal” announced, “B. F. Dunn, whose artistic sign painting and Opera
Hall decorations have been the admiration of La Cygne people, has gone to
Kansas City, where he is connected with the scenic studio of L. R. Close &
Co” (July 19, 1884, page 3). Dunn started working as a scenic artist in Kansas
City six years before the purported establishment date of 1890, and three years
before “Kansas City Scenic Co.” is mentioned in the local newspapers in 1887
By 1885, Ben Dunn again worked for Levi R. Close, and resided
at 502 Inde. Ave. There is no mention of Bronaugh, either working for the same firm
or even working as a scenic artist. In fact, a J. C. Bronaugh was listed as a “butcher”
working at 2018 Grand ave. and residing at 2006 Grand Ave. Interestingly, a
“Frank Dunn” was also listed in the same directory, also working as a butcher, but
rooming at 408 E 14th. This
is where is gets interested.
In 1887 Ben Dunn was still working as a scenic artist,
rooming at 1731 Walnut Street. That May 20, “The Lyons Daily Democrat” reported, “Mess.
Tschudi, Dunn and Oldham, scenic artists from Kansas City, are preparing a very
fine new drop curtain for Tom Butler’s Opera House. Tom, very properly thinks
the public would be pleased to have a bran [sic.] new curtain to gaze at
between acts. These gentlemen represent a firm of artists who are furnishing
many of the finest Opera Houses in Kansas with stage settings, and out citizens
must admit, when their work is first shown, they understand their business
thoroughly and are first-class artists in every respect. They will furnish
scenery for the fine new Opera House at Wichita, and when Lyon’s new Opera
House looms up they will probably again have an opportunity to display their artistic
powers.
The 1887 opera house in Wichita, Kansas, with scenery by Tschudi, Dunn and Oldham. Kansas City Historical Society.
By the next month, these three artists were mentioned in connection with
the Kansas City Scenic Co. Tschudi, Dunn
& Oldahm were painting scenes for the new opera hall in Little River,
Kansas. The “Little River Monitor” reported, “The carpenters work on the new
opera hall is going on at a lively rate, Canfield & Co. are doing the work
in good shape, Messrs. Tschudi Dunn and Oldham, of the Kansas City Scenic
company, are painting a set of scenes for the hall, and are doing a fine job.
The mammoth drop curtain is a beauty. It is ornamented with the business cards
of our merchants and others, and will be first class in every particular” (16
June 1887, page 3). An additional note
on the same page stated,” The painters are now at work painting the scenery for
our opera hall. It is expected to have the hall fitted up in time to hold a
dance on July 4th.” By the way, the new Wichita Opera House in 1887
was the Crawford Opera House.
What makes this all
a little muddy is that there were two Dunns, each deeply connected to the
Kansas City Scenic Art Co. and it is difficult to determine the correct one
without any mention of a first name or initial.
The 1888 City Directory listed Benjamin F. Dunn as a “painter,”
now employed by L. L. Graham, and residing at 414 Troost Ave. Was L. L. Graham running
the Kansas City Scenic Co.? That was what I had always thought, but it remains
unclear. Was Frank Dunn was the one representing the Kansas City Scenic Co. listed
in above article from 1887? Another option is that someone else unofficially started
the Kansa City Scenic Co. in 1887 and John C. Bronaugh took over the name by
1890, officially declaring that as the start date. It would be perfect timing
for Lem Graham, as his partnership with William P. Davis (Graham & Davis)
ended in 1886.
Meanwhile, the life of Frank Dunn gets somewhat blurry. There
are many mentions of a Frank Dunn working as a theatrical manager, traveling salesman,
painter, or etc. after his departure fro Kansas City; simply too many to
identify the correct one. More on Frank tomorrow, but now back to B. F. Dunn.
So what was happening in the 1890s
with Ben Dunn? On March 17,1898, Dunn married Martha “Mattie” (1875-1862) in
Independence, Missouri. (Independence Daily Reporter, 15 March 1898, page 3).
Born in Dakota Territory, Mattie was the daughter of a Scottish immigrant,
Isabella Carins Stewart (1852-1921). Isabelle was a single mother and the death,
or whereabouts, of her father William Henry Stewart of Massachusetts (1848-?)
remains unknown. Mattie had a brother,
six years her junior, named Gordon.
How, or where Ben Dunn and Mattie Stewart
met remains unclear, however, their marriage occurred in Independence, the same
city where the Kansas City Scenic Co. was working that year; even the
same month that the Kansas City Company was working on the new Opera House.
By 1900, the couple was living at 240 Walnut Street in
Kansas City. Ben and Mattie celebrated the birth of three children, James
Stuart (1902-1964), Zula Zohn (1903-1976) and Benjamin F. Jr. (1913-1980). The
1930 census lists Zula as a stenographer at the Kansas City Scenic Co. and the
1934 Kansas City Directory lists Benjamin Jr. as a salesman with the firm. It
was a family business, but more than that – it was John and Ben’s company; two
men who had close ties to Olathe and two who continued to bring their friends on
board.
Yesterday I examined the early
life of Lemuel Laken Graham, a partnership with Thomas G. Moses in 1882, and his
return to the Sosman & Landis Studio in 1883. By 1884, Graham left Chicago to
start his own studio in Kansas City, Missouri. The 1885 Kansas City Directory
lists Graham as a founder of the Kansas City scenic company studio known as
Graham & Davis. At the time, Graham was residing at 637 Garfield Ave. His business
partner, William Davis, was with the firm for less than only two years, and by
1886 studio was simply listed under Lemuel L. Graham.
Lem Graham, 1914 obituary notice.
In 1887, Graham was again listed in
the Kansas City directory as a scenic artist with his studio at 525 Main, rooming
at 517 E. Missouri ave. The 1888 Kansas City Directory lists “Lemuel L. Graham”
as employer for other scenic artists in the city, such as Benjamin F. Dunn,
future president of the Kansas City scenic Co. Two other bits of information in
1888 provide a little context for Graham’s career in Kansas City; the first is
that Moses mentions stopping in Kansas City to visit Graham in his memoirs, writing,
“He was doing well.” Indeed, Graham was doing very well, with a substantial
staff of artists work in his studio. The second mention of Graham and his
studio was included in the 1888 publication, “Industries of Kansas City:
Historical, Descriptive, and Statistical.”
The section on Graham included the following listing:
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.
There was an 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 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.”
By 1896, Graham was listed as doing business with another
scenic artist L. J. Couch (1838 – 1909). Little is known of their exact relationship
or business, but it was an unsuccessful venture and makes me ponder Moses’
comment, “a good fellow and a hard worker,
but altogether too close to please me.” Graham and Couch were listed in
the “Boston Globe” under the heading “Business Troubles.” Of their scenic
studio, the newspaper announced, “L. J. Couch and Lemuel L. Graham, doing
business at 384 West 1st St, South Boston, under the firm of Levi Couch &
Co., scenic painters, have been petitioned into insolvency by Edmund G. Pond,
creditor” (The Boston Globe, 9 Jan. 1896, page 7). This is Graham’s third
failed business venture in twelve years.
Couch was a scenic artist and inventor, specializing in
stage hardware. Born in Milford, Connecticut, he was also a stage mechanic,
with an extensive background as a general carpenter. This should have been the
winning combination for Graham and Couch – both scenic artists, with one being
a knowledgeable stage mechanic. Couch even applied for two patents that
involved the operation of stage scenery. One was for a “wire rope clamp” (US
Patent 756,158) and other for a “curtain block, drop” (US Patent 756,157). Here
are the links to Couch’s two patents:
Couch advertised his wire clamp in the “New England Business
Directory and Gazetteer” (No. XXI, 1904).
Advertisement from the “New England Business Directory and Gazetteer,” No. XXI, 1904.
Couch’s background I fascinating, especially before he
partnered with Graham. In 1890, Couch was working at the Bijou Theater in
Boston, listed as stage carpenter in the city directory. He soon founded L. J.
Couch & Co. and initially partnered with fellow scenic artist, David
Richards from 1893-1895. As with Graham’s firm in Kansas City, L. J. Couch
& Co. offered a wide range of theatrical goods ranging from painter scenery
and theatrical hardware to general stage appliances.
After L. J. Couch & Company, Graham partnered with P.
Todd Ackerman, another scenic artist. Their studio was initially located at the
Broadway Theater in Brooklyn, New York. On Aug. 13, 1902, the “Brooklyn Daily
Eagle” reported that Graham and P. D. Ackerman took a mortgage with John C.
Sceneck at Bushwick Ave. for $3900 (Conveyances, page 14). In 1903, “The
Standard Union” listed: BUSHWICK AVE, s w s 100 n w Eastern Parkway Extension,
50×29.5x-x56.3; Lemuel L. Graham to Philip D. Ackerman; ½ pt; all liens….nom” (22
July 1903, page 10). There Studio Building 1576 to 1580 Bushwick Ave, New York.
Graham later set up his own studio on Crosby Avenue in
Brooklyn, calling it L. L. Graham and Son. This must have been Revard Graham.
In 1905, the US Census lists Graham and his
wife living in Manhattan with their three children: Rachel Elizabeth, Ethel,
and Revard Parker, ages 21, 13 and 10. Graham would remain in Brooklyn, New York,
until his passing in 1914, yet listed “Graham & Son,” now working with
Revard Graham. There remains one drop credited to L. L. Graham & son at the
Grange Hall in Denmark, Maine.
Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.Signature of “L. L. Graham & Son.” Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.Painted detail. Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.Painted detail. Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.
Graham passed away after a brief illness on Sunday, Dec. 27,
1914, at the age of only 68. He died at his home, 3 Miller Ave, and was still working
as a scenic artist (“The Standard Union,” 29 Dec. 1914, page 3). The Brooklyn
Daily Eagle described Graham as “one of the best-known scenic artists of this
country.” The article summarized, “[Graham] was known from coast to coast among
theatrical men and had traveled through every State in the Union in his time,
and his work was known in all of the principal cities.”
Here is Graham’s obituary in its entirety:
“L.L. Graham Artist, Dead.
Painted Many Scene and Curtains for Theatres. Had Studio Here. Curtain at
Broadway Theatre His Creation. Lemuel Laken Graham, one of the country, died
Sunday from heart failure after a long illness at his home. 3 Miller avenue, on
the border line of Queens Borough, near Highland Park. Mr. Graham had a studio
building on Crosby avenue, near his home, or ten years, funeral services will
be held to-night with internment in Evergreens cemetery.
Mr. Graham was known from coast to coast among theatrical
men and had traveled in every State in the Union in his time. His work was known
in most of the principal cities. He was born in Ann Harbor, Mich., July 4, sixty-eight
years ago, the son of the Rev. Daniel McBride Graham, a Baptiste clergyman and
the president of Hillsdale College, Mich., and Ursula Graham. His father
apprenticed him to the scene painting business in his youth and he early
achieved fame in his chose calling.
He was associated with Sasman [sic.] and Landis of Chicago,
for some years and painted the curtain for the Chicago Auditorium. Later he was
a partner of L. J. Couch, of Boston, and in his studio there turned out some of
the best known to stageland, While at Kansas City for a number of years, Mr.
Graham was in charge of the great annual event there, the priest of Pallas
parade, and created all of the floats and scenes used in the carnival. Mr.
Graham and P. Todd [sic.] Ackerman did the decorations for the Broadway Theatre
here, and he painted several curtains and numerous elaborate settings for
Manhattan theatres.
Mr. Graham taught scene painting for years and some of the
most skillful scenic artists in the country were his pupils. Of late years he
confined his work to the creation of smaller scenes and he had a reputation for
clever organizations. He leaves his wife, Elizabeth West Graham; a son Revard
Parker Graham, a scenic artist, and a daughter, Mrs. Fermin Ferrer, of
Laurelton, L. I.” (The Brooklyn Times, 29 Dec, 1914, age 12).
Lemuel Laken Graham. From “The Brooklyn Daily Times,” 29 Dec. 1914, page 12.
For quite a few years, I believed that the history of the
Kansas City Scenic Co. was integrally linked to L. L. Graham. Lemuel Laken
Graham was a friend, fellow scenic artist and one-time business partner of
Thomas G. Moses. Moses credited Lem Graham with the founding a scenic studio in
Kansas City sometime during 1884. I mistakenly believed this studio was Kansas
City Scenic Co. Fortunately, I was able to connect several dots while preparing
a series of documents for the Tabor Opera House in Leadville, Colorado; this
venue boasts a 1902 Kansas City Scenic Co. collection.
In 1882, Moses and Graham established the scenic studio Moses
& Graham. The partnership only lasted until 1884 when Graham moved from
Chicago to Kansas City, founding another scenic studio – Graham & Davis. This
partnership was also short-lived, lasting only two years, but Graham continued
a studio under his own name, Lemuel L. Graham. In 1888, one of the artists in
his employ was Benjamin F. Dunn, future president of the Kansas City Scenic Co.
and childhood friend of later studio founder, John C. Bronaugh. Bronaugh was
listed as a Butcher, working at 2018 Grand ave. and residing at 2006 Grand Ave
that same year.
I have to wonder if Graham’s scenic studio was known as the
“Kansas City Scenic Co.” but he never officially registered or advertised the
business as such.
Back to 1882. In that year Moses recorded that when the theatre season closed, he left his position at Sosman
& Landis to partner with Lem Graham, I am focusing on the life of Graham today.
Little is known of Graham’s early
years, other than he was born in Michigan, about 1850, although some sources
list his birth year as early as 1845. Like Fred Megan, Jesse Cox, and many
other scenic artists, Graham began his theatrical career as a performer in a
touring company. In 1888, “Industries of Kansas City: historical,
descriptive, and statistical” included a section on Graham, reporting, “Mr. Graham
is an adept in this line, having followed the business upwards of twenty-five
years.” This suggests that Graham’s first theatrical work was in 1863.
Regardless of his start date, by 1870, an
“L. L. Graham” was touring with J. A. Lord’s Chicago Dramatic Co. Graham played
the role of Sir Charles Marlowe in “She Stoop’s To Conquer” that year. Starring
Louis Lord, his company toured throughout Kansas. (“The Daily Commonwealth,” 7
Jan. 1870, page 2). By the fall, Graham
was performing in “Frou-Frou” alongside Mary Graham (The Leavenworth Times, 22
Nov. 1870, page 4). It is unclear whether Mary was a relation or his wife.
By 1871, the “Junction City
Weekly Union” mentions Mr. L. L. Graham is a performer in “The
Ticket-of-Leave-Man.” Advertised as a “modern play,” Graham was credited with
personifying “Jem Dalton,” the tiger. The newspaper announced he “did it well,”
adding, “He is a young man of talent, and we believe a true artiste” (4 Feb,
1871, page 3). Few things make me smile, as thinking of a future scenic artist
and studio founder dressed up as a tiger.
In 1872, Graham again appeared
with Louie Lord’s Dramatic Company in their production of “Our American Cousin”
(Daily Commonwealth, 12 Jan. 1871, page 4), as well as a touring production
entitled “Buffalo Bill.” This production is a little confusing, as it was
advertised as a “Kansas romantic aboriginal spectacular specialty,” not really
a spectacle featuring William Cody, the actual “Buffalo Bill” (Daily
Commonwealth, 8 Dec. 1872, page 4). Something happens by the mid 1870s and
1880s, causing Graham to transition from a performer to a scenic artist. The
1888 publication, “Industries of Kansas City: historical, descriptive, and
statistical” included a section on Graham, report, “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.”
On September 17, 1875, the “Times-Picayune”
reported, “opening of the Amusement Season. – The Academy of Music, always
first to open and last to close, has been entirely renovated, a new proscenium
and ceiling put up, which is being decorated by Mr. L. L. Graham, the Academy’s
scenic artist, who, by-the-by, showed us some fine specimens of his art during
the last season, repainted all over, new carpets, and other modern
improvements” (New Orleans, page 1).
Later that fall, the “New Orleans
Republican” reported that L. L. Graham painted the drop curtain for Bidwell’s
Academy of Music,“representing Tasso at the Court of Ferrara. Graham’s new drop
was to be “unrolled for the first time” on Sunday October 10 of that year (October
16, 1875, page 1). By winter, Graham was mentioned again in connection with the
Academy of Music’s scenic attributes: “The truly sublime piece of scenery in
the transformation scene is the handiwork of Mr. L. L. Graham, the skillful
artist, who gets up some very grand effects, and it riveted the gaze of the
spellbound audience” (26 Dec. 1875, age 1).
By the beginning of 1876 the
“Times-Picayune” reported, “ACADEMY OF MUSIC. –
To-night there will be a change of programme at this theatre in “Dead to
the World” in which Mr. France will appear a Philip Warwick, Flip, a negro, and Aunt Hannah. The drama is described as “replete with thrilling
effects, exciting situations, startling tableaux,” but no Indians. The play
appears to have achieved a remarkable run of twelve weeks at the London Grecian
Theatre, which would lead us to the conclusion that there is much merit in it.
At all events the public will have the opportunity of judging to-night. The
play will be ornaments with new scenery from the brush of Mr. L. L. Graham,
whose handiwork has ere now received its need of popular applause.” (New
Orleans, Jan 20, 1876, page 8). Graham remains associated with the Academy of
Music during the 1870s before moving to Chicago and working with another
well-known scenic artist, Henry C. Tryon. Both would later work at Sosman &
Landis in the 1880s.
In 1876 Graham partnered with
Tryon to deliver a new drop curtain and stock scenery to an opera house in
South Bend, Indiana. An article in the “Southbend Tribune reported, “L. L.
Graham of the academy of music in 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, 1876). This seems to be a turning point, as Graham
becomes increasingly connected with the Chicago theatre scene.
By 1881, he was working at the
Academy of Music in Chicago. Enter Thomas G. Moses who is a young artists
working at Sosman & Landis. In fact, Moses is the first employee that
Joseph Sosman hires and the two go on the road, completing one project after
another secured by Perry Landis. Between trips in Chicago, Moses looked for a
second job as his finances are stretched thin after the birth of another child.
Moses secured a part-time position with Graham at the Academy of Music. The two
were painting for the Academy’s stock company, the same stock company that
included Moses’ sister Illie who is an actress [Illinois Moses]. By the way, in
1882, Graham is listed as an artist residing at 230 West Washington in the
Chicago Directory. Graham was also
listed as the scenic artist at the Standard Theatre in Chicago; this is before
partnering with Moses to form the new scenic studio Moses & Graham. Of the
partnership, Moses wrote, “We got together and I quit the firm after refusing a
big salary – that is, for me. Our first
contract was at Kalamazoo, Michigan. The
Academy of Music. We worked night and
day. I did all the foliage and I was
astonished. On seeing my stuff set, to see how I improved.
The Academy of Music in Kalamazoo, Michigan, was a 1250-seat opera house located on South Rose Street. The venue was directly across from Bronson. John McCullough’s “Virginius” was the opening production at the venue. The theater owners wanted to make it a big affair, so they paid Graham and Moses “a good price” for special scenery to accompany the production. Moses noted that they were all Roman scenes, recalling, “We spread ourselves and it was very pleasant work.”
After Kalamazoo, Moses and Graham
completed a project in Grand Rapids, Michigan for Redmond’s Opera House, also
built in 1882. The venue was later known as the Grand Opera House. While in
town, Moses recalled that Graham fell in love with the head waitress at his
boarding house; the two later married on Nov. 20, 1884. Her name was Elizabeth “Lizzie” West (b.
1860), and of her Moses wrote, “she proved to be a good wife and good
mother.” The Grahams celebrated the
birth of two children, Rachel Elizabeth (b. 1892) and Revard Parker (b. 1895),
Now, this was at least the second
marriage for Graham, if you read everything listed in the newspapers and
between the lines, he was married a few times.
His first marriage ended in divorce during 1870, Chicago. We know this
because the original divorce decree was destroyed during the Chicago fire. On
April 17, 1884, the “Inter Ocean” reported, “Martha Elizabeth Graham of
Cumberland, Maine, filed a petition in the Circuit Court yesterday for the
restoration of a decree of divorce. The decree was rendered against her on Nov.
30, 1870, in the Circuit Court of Cook Country in favor of Lemuel L. Graham and
was destroyed by the great Chicago fire.”
(page 8). That same year, a Lemuel L. Graham also severed marital
ties to Nellie H. Graham, as reported in the “San Francisco Examiner.” On Oct.
28, 1884, “Judge Maguire has granted Nellie H. Graham a divorce from Lemuel L.
Graham, willful neglect and desertion.” Interestingly, both of these events
occurred the same year he eventually married Lizzie. By 1889, Lizzie was
working as a seamstress.
Back to Moses & Graham in
1882… After completing scenery for the two opera houses in Kalamazoo and Grand
Rapids, the pair traveled to Elgin. At this time, John H. Young also joined
their team. Young would become one of the top Broadway designers in the first
decade of the 20th century. Of Young in 1882, Moses wrote, “He was then
working as a candy concern, but was delighted to join us.” Moses had previously worked with Young in
Michigan during the 1870s. I have written extensively about Young, see past
posts 140, 171-173, and 186.
Moses, Graham and Young next
worked on a project in
Racine, Wisconsin, where they painted scenery for the Black Opera House. By
this point, Moses wrote, “Graham and
I were doing much better now and we had two good jobs at the same time. He was a regular Shylock, a good fellow and a
hard worker, but altogether too close to please me.” I am not even going to hazard a
guess to his comment, but the two soon split; Graham and Young departed for
Hannibal, Missouri, leaving Moses alone to finish the Racine project.
By 1883,
Moses & Graham went after a project in Oshkosh, Wisconsin. Sosman &
Landis were also competing for the same work. Of the encounter, Moses wrote, “I met Mr. Landis there.
I got the contract. We rode to
Chicago together and met Mr. Sosman on our arrival. We were offered $45.00 a week. I wired Graham at Burlington. He answered $50.00 and extras. We closed for that. I had Oshkosh to finish, which I did and May
1st found Graham, Young and myself back on Clark Street at the
Sosman and Landis Studio.” Graham remained at Sosman & Landis until 1884.
In 1884 Graham partnered with a
“Mr. Davis” to establish a scenic studio in Kansas City, Missouri, named Graham
& Davis (Sioux City Journal. 9 May 1885, page 3). According to the newspaper
accounts, Davis married Cora in 1884. He only remained with the company for two
years before withdrawing and moving to Chicago. He was listed in the 1887
Chicago Directory, living at 850 W. Madison and working as a scenic artist. I
believe that this was the same William P. Davis (b. 1855), who later worked at
the Chicago Auditorium and established the Twin City Scenic Co. in Minneapolis,
Minnesota. Davis moved to Minnesota in 1894 and was listed in the St. Paul Directory
as the scenic artist for the Grand Opera House. Interestingly, Davis first
worked for Moses in Richmond, Indiana, during 1881; Will Davis was Moses’
assistant at the time, just before Moses partnered with Graham. All three were working in Chicago for Sosman
& Landis.
Front curtain by Robert Hopkins for the Tabor Grand Theatre in Denver, Colorado, 1881.
Yesterday I explored the drop curtain created by Robert Hopkins
for the Tabor Grand Opera House in Denver, Colorado. On Thomas G. Moses, Edward
Morange, Hardesty Maratta, and John Young visited the Tabor Opera House in
Denver to see the drop curtain by their friend Robert Hopkins in 1884. Moses
wrote, “We all attended the theatre, the famous Tabor Grand, and we found it
all we had expected it would be, nicely decorated and fine woodwork. The Drop Curtain was very good: an old ruin
with some poetical feeling that pleased everyone. It was painted by an old friend of mine, Mr.
Robert Hopkins, of Detroit, Michigan.
This is a favorite subject of his, he having done a similar one in
Detroit” (The palette & Chisel, Vol. 1, No. 3, March 1928).
So who was Robert Hopkins? He was a scenic artist from the Midwest
who began his career in Detroit, and later was associated with other large
metropolitan areas through his work. Hopkins came from a family with four consecutive
generations of Detroit artists named Robert Hopkins. The patriarch of the
family specialized in marine scenes and never appears to have left the Detroit
area. I believe that it was his son, Robert Hopkins, Jr. who ventured to
Chicago and continued to travel west for theatrical opportunities.
Robert Hopkins, Jr. was born in 1856, the same year as
Thomas G. Moses. As Moses sporadically worked in Detroit throughout the
duration of his career, it is likely that their friendship began with the
Hopkins family in Michigan. Unlike Moses who started his artistic career at the
age of 17, Hopkins was already actively working and listed as a painter by 15
years old. The 1870 census listed Scottish artist Robert Hopkins Sr., age 37,
as an artist and his son Robert Jr. as a painter. Hopkins Sr. was married to
Evaline, age 38 at the time, with four children: Sophia (age 17, b. 1854),
Robert Jr. (age 15), William G (14), Marshall (8) and George Ruby (17). During
this time, the family was listed as living at 664 Detroit Ward 5, E Wayne,
Michigan.
In 1875, Moses recorded that he worked on scenery for the “Naiad Queen”
under the “celebrated Robert Hopkins.” Hopkins was a close friend of C. Lou
Malmsha (1847-1882), another well-known artist whose career soared, but he passed
away at the young age of 35. Malmsha seems to half left an indelible mark on
all who knew him. Moses worked as both Malmsha’s assistant and under the
direction of Hopkins at the in the beginning and this experience certainly
shaped his approach to scenic art. Less than a decade later Hopkins was
credited as producing the scenery for Detroit Opera House, according to Harry
Miner’s American Dramatic Directory for the 1882-1883.
It remains unclear as to whether Moses worked with the elder or younger
Hopkins in Detroit. Although it seems reasonable that it would be the elder
Hopkins, fame struck many scenic artists at an incredibly early age in the 19th
century; sometimes it just took one show. I believe Moses was referring to Robert
Hopkins Jr. Keep in mind, less than a decade later Moses left Sosman &
Landis for the first time to form a new scenic studio with Lemuel L. Graham,
future founder of Kansas City Scenic Co. Moses’ ascent to the top of his
professional was relatively quick too, he was just a few years behind Hopkins
despite their same age.
Like many itinerant artists at the time, the Hopkins
traveled from town to town and tried to secure as many painting contracts in an
area before departing. What I have noticed is that when a scenic artist came to
town to paint scenery for one theater, other venues took advantage of their
arrival. This means that a talented artist was immediately approached after
arriving in any town or territory. If
their name was associated with a popular touring show, the arrival was even
more anticipated and people lined up with projects. During 1881, Hopkins seems
to have settled in Colorado for a spell, before returning east. Hopkins produced scenery for both Tabor’s
Grand Opera House in Denver and the new opera house in Colorado Springs.
Of his 1881 Colorado Springs project, “The Leadville Daily
Herald” reported, “Mr. Robert Hopkins, of Chicago, an artist of large
experience, has had charge of the scene painting, and it, together with the
arrangements for shifting, are equal to that of any stage in the country. There
are thirteen sets of scenes, supplied with all the accessories to make each
complete” (April 19, 1881, page 1).
Front curtain by Robert Hopkins for the opera house in Colorado Springs, Colorado, 1881.
Colorado Spring’s “Daily Gazette” reported, “The
appointments of the stage will fully equal and in the best metropolitan
establishments. The scenery is of the most elaborate and tasteful description
and is painted by the well known artist, Mr. Robert Hopkins” (Colorado Springs,
19 April 1881, pages 1-2). Hopkins was mentioned again in the section entitled,
“Stage Arrangements,” providing a little my information about the scenic
artists and the stage house for the April 9, 1881, opening of the opera house
in Colorado Springs:
“The stage is very large considering the size of the
theatre, and the finest scenic effects can be produced upon it. The proscenium
arch is 24×24 feet, thus giving ample room. The drop curtain is an exceedingly
handsome bit of work, representing a Venetian scene. The decoration of the
theatre and the painting of the scenes are under the direction of J. B.
Sullivan & Bro. of Chicago, The artist in charge of the scene painting is
Mr. Robert Hopkins, who is the general designer of the decorations. These
designs are entirely original, having no duplicates in any theatre. The scenery
and the arrangements for shifting it are equal to that of any stage. The scenes
are shifted upon the Breach system, by means of counter-weights. There are
thirteen separate sets of scenes, which are supplied with all the accessories
to make each compete. Following is a partial synopsis of the scenes: garden
scene, set cutwood flats, garden flat, vases, borders, statuettes, set arbor,
walls, balustrades, ancient street scene, modern street scene, street arch,
cave scene with accompanying wings, kitchen scene, plain chamber, palace scene,
interior gothic scene, garret scene, prison castle, open wood, dense wood,
rocks, grounds waters, set trees, horizon, numerous landscapes. There are over
200 pieces in all and the scenery will be so arranged that each scene will be
complete from wing to wing that there rarely be need of pillar for instance, to
enclose a wood scene, the scene being all woodland scenery within the stage
borders, it will be a picture in a frame.”
This was a comparable scenery collection to that delivered
to Tabor’s Grand Opera House in Denver during 1881. It signifies a standard of excellence for
western theaters, as well as significant profits for a scenic artist.
Horace Tabor’s second opera house built in 1881, two years after the one in Leadville, Colorado.Horace Tabor’s second opera house built in 1881, two years after the one in Leadville, Colorado.
For additional installments, go to www.drypigment.net
One cannot explore the history of Leadville’s Tabor Opera
House without taking into consideration Horace Tabor’s second theater, the
Tabor Grand Opera House in Denver. It provides additional context for Tabor’s
first theatre.
Leadville’s Tabor Opera House opened in November of 1879. By
March 1880, Tabor announced that he had purchased land in Denver at Sixteenth
and Curtis Street with plans for another opera house. As with many theater owners
and architects of the time, they visited other opera houses for inspiration. Known
as the Tabor Grand Opera House, to differentiate from the Tabor Opera House in
Leadville, the building was designed by Edbrooke and F. P. Burnham of Chicago,
with a seating capacity of 1,500. Construction for his second opera house
construction began by the summer. Estimates for the new opera house were
projected at 750,000 to 850,000, today’s equivalent of over $18,000,000. The
theater opened on August 1, 1881, with Emma Abbott and her Grand English Opera
Company. Abbott was paid a staggering $20,000, plus railway fares, for a
two-week engagement (Topeka Daily Capital, 3 Aug 1881, page 7).
Interior of the Tabor Grand Opera House with stock scenery by Henry E. Burcky.
Of the new theater, the “Times-Picayune” reported, “The
stage is constructed and fitted up on a scale that would cause envy in many
Eastern theatres. The decorations in the body of the theatre itself are of the
most beautiful description, and one can see at a glance that expense was not
considered in the least” (New Orleans, 6 Dec. 1881, page 9).
I first learned delved into the history Tabor Grand Opera House after
reading an article by Thomas G. Moses (1856-1934) for the Palette & Chisel
Club newsletter. In the 1920s, he wrote
a series called “Tom’s Travels.” In 1884, Moses was on a sketching trip with
three other scenic artists, traveling from Chicago to Breckenridge, Colorado.
Their sketching trip was to gather source material for future stage settings
and hone their artistic skills. None of
the young scenic artists had ever seen mountains before this trip.
Moses
mentioned their stopping by the Tabor Theatre in Denver, Colorado, (Tabor Grand
Opera) to see the drop curtain produced by his friend and fellow scenic artist,
Robert Hopkins. Of his trip to Denver, Moses wrote: “We all fell in love
with the city. It is beautifully
situated, rather hilly but well laid out; fine buildings, very ornate homes,
built by men who had more money than taste.
We all attended the theatre, the famous Tabor Grand, and we found it all
we had expected it would be, nicely decorated and fine woodwork. The Drop Curtain was very good: an old ruin
with some poetical feeling that pleased everyone. It was painted by an old friend of mine, Mr.
Robert Hopkins, of Detroit, Michigan.
This is a favorite subject of his, he having done a similar one in
Detroit” (The palette & Chisel, Vol. 1, No. 3, March 1928).
Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.Painted detail. Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.A photograph documenting the removal of the drop curtain by Robert Hopkins at the Tabor Grand Opera House shows a detail of the scene’s bottom. Image from the Denver Public Library online database.
While looking for additional information about the Tabor
Grand Opera, I discovered a photograph of Hawkins’ drop curtain; it is part of
the Denver Public Library’s online collection. Now what is interesting to
consider about the Tabor Grand Opera is that Hawkins painted the drop curtain,
while Henry E. Burcky is credited with painting stock scenery collection.
At this time, it was not unusual for the drop curtain and
stock scenery to be separate contracts. In many instances, the front curtain
was considered a project in itself, taking much longer than most other scenery
delivered to a theater. Many nineteenth century articles solely focused on those
artists who specialized in drop curtains. In 1894, the “Philadelphia Inquirer”
included the illustrated article – “Well-Known Drop Curtains in Philadelphia
Theatre” (16 Dec, 1894, page 45). The
article reported, “The drop curtain is the most expensive piece of furniture in
any playhouse. Managers are more solicitous about the care of a handsome
curtain that almost any other appointment in their theatres. They are usually
painted by artists of wide fame in a particular branch of art which they
represent, whose charges for the work range from $1,000 to $3,000.” That amount
is today’s equivalent of $29,000 to $89,000 for the front curtain. This also
puts the $1,000 Royal Gorge backdrop purchased for the 1879 Tabor Opera House
in perspective.
So consider the 1879 backdrop at the Tabor Opera House in
Leadville, and the 1881 drop curtain painted by Robert Hopkins for the Tabor
Grand Opera; these were incredibly expensive items for each theater, likely the
most expensive appointment in the theater. We known that Tabor did not spare
any expense and the painted scenes beyond the curtain line would have been no
exception. Painted scenes on the stage
transported audience members to other worlds, with the painted front curtain
(drop curtain) being the portal. In most cases, the front curtain established set
the tone of the painted décor of the space, being the most unifying aspects of
all other painted elements. Restoring any theater is incomplete without this
original element, and I sometime wonder if todays’ architects are unaware of
this aspect.
Photograph of the drop curtain for the Tabor Grand Opera House, 1881. Image from the Denver Public Library online database.
Today, I examine the life and career of Henry E. Burcky. Burcky was credited as the scenic artist for the Tabor Opera House in “Harry Miner’s American Dramatic Directory” for the 1884-1885 season. As I noted yesterday, theatrical guides are tricky. There is no distinction between the scenic artist who worked at a theater and the scenic artist who simply produced stock scenery for a venue. By 1879, Burcky was a well-known scenic artist living in Chicago, traveling across the country for work. I believe that Burcky delivered painted scenery for the Tabor, but did not work at the venue, creating roll drops, borders, wings and shutters on site.
Painted detail from the wing and shutter scenery that predates the 1902 scenery at the Tabor Opera House in Leadville, Colorado.
Like many scenic artists of his day, Burcky travelled across
the country, following an ever-expanding theatrical network that steadily
spread from east to west. Traveling with cotton sheeting, dry colors, glue, and
brushes, Burky arrived on site. Once situated and after the paint frame was
built, he painted the entire stock scenery collection for the Tabor Opera
House. The railway had not reached Leadville in 1879; so all materials were
brought to town by coach. Keep in mind that the Tabor Opera House was just one
of many theaters that Burcky provided scenery for in 1879. He is quite a
fascinating individual.
Henry Burcky was born in 1852, one of three sons born to German
immigrants. Yes, the German contribution to American theatre again! His father,
Frederick Burcky (1814-1902), was a widower and baker; advertising in the 1862
Chicago city directory as running a bakery at 86 Wells. Eight years later, Baker
Burcky worked as a confectioner in downtown Chicago. He never remarried and
always lived with at least one of his sons.
Henry E. Burcky was the middle child; William was three
years older and Charles was nine years younger. The 1870 US Census listed all the
three boys attending school in Chicago; Burcky was eighteen years old at the
time, an advanced age for public schools. It is possible he was attending art
school, or another form of advanced education, the education institution
remains unknown at this time.
By 1875, the US Census Records lists Henry as an “artist” and
his younger brother Charles as a “printer,” all three sons are still living
with their father. The oldest son, William works at a restaurant. All three
boys were still living at home with their father, who was now working as a
baker and renting a unit at 173 Randolph Street. In 1876, Chicago’s Lakeside
Directory listed Burcky as a scenic artist working at 83 S. Halsted. By 1878,
Burcky painted the new scenery for “Our Bachelors” at Hooley’s Theatre in
Chicago. The program from January 28, 1878 noted, “Entire New Scenery for this
Piece. Painted by H. E. Burcky.” His
stage settings included a Breakfast Room at Mrs. Mouser’s, Terrace at Central
park, Drawing Room and Conservatory, and Bangle’s Bower on the Hudson.” In
1879, Burcky was still painting scenery for Hooley’s Theatre when he was also
credited wit the new scenery for the Tabor Opera House in Leadville, Colorado.
On May 26, 1879, Hooley’s production of “Adirondacks” also listed H. E. Burcky
as their “scenic artist.” Burcky continued to be listed as the scenic artist at
Hooleys until 1881, painting settings for “The Danites” that summer (March
20, 1881) and the scenery for “Mulligan’s Silver Wedding” (June 13, 1881). Later that summer, J. W.
Ritter was listed as the new scenic artist for the venue, as Burcky began a new
partnership.
1878 program listing H. E. Burcky as the scenic artist for Hooleys Theatre.1879 program listing H. E. Burcky as the scenic artist for Hooleys Theatre.1881 program listing H. E. Burcky as the scenic artist for Hooleys Theatre.
In many cases, large painting projects required more than
one scenic artist on site. Scenic artists would partner up, sharing experience
and contacts. In 1881, “The Cincinnati Enquirer” credited H. E.
Burcky and Henry C. Tryon as providing the scenery for the city’s Opera
festival (15 Feb 1881, page 4). The article reported. “The scenery is nearly
completed for every opera. Messrs. H. E. Burcky and Henry Tynor [sic. Tryon],
the young and talented artists who came here from Chicago to assist in painting
the scenery, have been doing excellent work. They are bright, intelligent and
rapid workers, and by for their assistance it would have been difficult to have
scenery ready by the Monday next. Mr. Burcky is scenic artist at Hooley’s
Theatre in Chicago, and Mr. Tryon at McVickers. They express themselves as
amazed at the extent and magnitude of the affair.” Messrs. Burcky & Tryon of Chicago were
especially credited with the sixth scene of the production, noted as a
“Beautifully painted scene – 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” (Cincinnati Daily Enquirer, 23 February 1881, page 4). Tyron
worked all over the country, including in the Sosman & Landis studio in
Chicago.
By 1885, the “Chicago Inter Ocean” reported that H. E. Burcky
provided new settings for Dion Boucicault’s Irish Drama “The Colleen Bawn,” at
the Olympic Theatre. (9 Aug. 1885, page
13). The article reported, “New sets of
scenery, showing the Lakes of Kiliarney, the cave by the sea, and other
beautiful bits of scenery incidental to the play have been painted for the
occasion by H. E. Burcky, the scenic artist.” That same year, the “Chicago
Tribune,” advertised “Realistic stage effects and the great battle scene by H.
E. Burcky” for the production of “Custer” at the Olympic Theatre. The
advertisement listed “Custer” as the great drama by Alfred Trumball that
starred Wm. J. Fleming and company.
By 1887, roles had reversed for parent and child, as Burcky’s
father began boarding with his son at 254 Ogden Ave in Chicago, an address that
would remain constant until the younger Burcky married and moved to Cincinnati.
On June 26, 1888, Henry Burcky married his second wife Lizzie Smith, a native
of New Orleans, in Hamilton, Ohio. The “Cincinnati Enquirer reported, “Henry
Burcky and Lizzie Smith were married yesterday by Squire Hauser” (27 June 1888,
page 6). I have been unable to find any information about his first wife. By
1888, Henry and Lizzie were living at 6611 Halsted Englewood in Lake City,
Illinois, although Burcky was still listed at 254 Ogden Ave in the Chicago
Directory that year. His son Charles was
listed as a painter, residing at 3636 Dashiel. By 1889, the Chicago Business
Directory listed Henry E. at the Same address, still working as a scenic
artist.
By 1893 and 1894, Burcky was listed as the scenic artist for
the Walnut Street Theatre in Cincinnati, residing in nearby Newport. Burcky
remained in the area, and in 1897, Burky was living with his two sons, George
and Thomas, at 330 E. 5th Street, Both were paperhangers.
By 1900 the US Census listed Henry and Lizzie the couple
living with six adult children: Charles
(b. 1871), George (b. 1875), Thomas (b. 1880?), Charlene (b. 1880), and Milton
(1882). All of the sons were involved in the decorative arts with Henry and his
youngest son Milton working as scenic artists. Charlie worked as a carpenter,
with both George and Thomas making their living as paperhangers. In 1900 the
Burcky family was living at 716 Kenyon in 17 Precinct of Cincinnati with his
second wife Lizzie, five children and a daughter-in-law. However, the new
century brought new opportunities, as Burcky followed many other artists east
to the coast where another building boom was occurring.
In 1905, Burcky was listed as a “scenic painter” residing at
232 Ambler, in the Camden City Directory (New Jersey). And that’s where
Burcky’s trail has ended so far.
Evelyn E. Livingston Furman credits
J. B. Lamphere, as creating the Tabor Opera House drop curtain in 1879. In her
publication, “The Tabor Opera House, a Captivating History,” she notes that
Lamphere was a prominent New York and Philadelphia artist, writing that he was “one
of the most prominent artists in the west.”
I have not been able to uncover any mention of a scenic artist named J.
B. Lamphere, and Furman did not credit her source. However, there was a James
E. Lamphere working as a fresco artist in Denver during 1879. This is probably the
same Lamphere mentioned by Furman. Lamphere
likely decorated the Tabor Opera House, but I question whether he painted the scenery.
The Tabor Opera House in Leadville, Colorado.
The 1879 Denver Directory lists James
E. Lamphere as a frescoe painter and grainer.
The listing records his working for C. A. Treat, a wallpaper and sign
works company located at 306 15th St. in Denver (Western Magazine,
Vol. 4, 1880, page 5). That year,
Lamphere was residing at the West Lindell Hotel. All things considered,
Lamphere’s connection to Leadville remained strong and he even married a local
girl. On January 1, 1881, the “Leadville Daily Herald” reported that a James E.
Lamphere married Mary S. Faxon (nee Ainsworth) in 1880; they were listed with
all the other couples married that year (1 Jan. 1881, page 5). It is possible
that Furman conflagrated Lamphere and Burcky, as both Lamphere and Burcky had
Denver and Leadville connections.
The 1879 Denver Directory, 1879.
In regard to the new Tabor Opera House in Leadville, it is possible that
Lamphere solely decorated the auditorium of the Tabor Opera House and Henry E. Burkey
painted the scenery for the stage; Burcky was later credited with the Tabor
Opera House scenery in Harry Miner’s Directory (1884).
The Tabor Opera House featured both decorative painting and scenic art when it opened in 1879.Detail of both scenic art and decorative art at the Tabor Opera House when it opened in Leadville during 1879.
Lamphere was a regional decorator and Burcky was a well-known itinerant
scenic artist. As theaters popped up across the western plains, scenic
artists followed an unending source of income, as these new performance venues
always demanded stock scenery. Although Leadville was beyond the reach of any
railroad line in 1879, the owner, Horace Tabor, enjoyed ample funding to
transport any good or service to this remote mountain theater.
Most stock scenery collections were manufactured on site
over the course of weeks in the 1870s, if not a full month. In many cases, the
scenic artist was also a stage carpenter or mechanic who designed and installed
the stage machinery. A scenic artist could complete the entire project with the
help of an assistant, even an enthusiastic and talented local. The first aspect
to any project on site was the construction of a paint frame, and then scene
after scene was rapidly produced.
I cannot imagine that Horace Tabor
would have hired a local fresco painter from Denver and not a professional
scenic artist, especially when other Leadville theaters were hiring and crediting
new scenes to well known scenic artists.
By 1881, a scenic artist named Carter was involved in a deadly attack in
Leadville (13 Jan 1881). That same year, scenic artist George Heiman created
the stage scenery for Leadville’s Academy of Music; he was also a nationally
acclaimed scenic artist. The local paper referred to Heiman in Leadville as “a gem,” adding, “and in fact so are all his
designs about the building. He is evidently the man for who Colorado has been
waiting for years” (Leadville Daily
Herald, 20 March, 1881). Heiman was also credited as being the scenic artist for
the Madison Square Theatre in New York (Leadville Daily Herald, 25 March 1881).
Burkey [sic.] was listed as the scenic artist at Leadville’s
Tabor Opera House in “Harry Miner’s American Dramatic Directory” for the
1884-1885 season. He was also noted as the scenic artist for the Tabor Grand
Opera in Denver and Denver’s Academy of Music. I am sure that these three
listings, despite slight spelling variations are the same artist, Henry E.
Burcky. Burcky was not a Leadville
local; he was an itinerant scenic artist, well travelled and well known across
the country by 1879.
Theatrical guides are tricky, as there is no distinction
between a scenic artist that worked at one theater, versus one that was
credited with delivering stock scenery to several theaters. If a scenic artist
is listed at more than one venue, especially in different states, it is likely
that he delivered stock scene to that venue instead of working at the venue. I
believe that Burcky painted the roll drops, borders, wings and shutters for the
first stage at the Tabor Opera House, and that Lamphere decorated the Tabor
Opera House’s auditorium. We learn much by just looking at the 1879 photograph
and interior set. Both the skills of a fresco artist and scenic artist are featured
in this photo.
Walter W. Burridge. Undated newspaper clipping from the scrapbook of Thomas G. Moses.
Walter W. Burridge was a good friend and colleague of
Thomas G. Moses. In 1887, they established the scenic art firm Burridge, Moses
and Louderback, with well-known art dealer Walter Louderback. In 1914, Burridge
died after sketching scenes of the Grand Canyon for two months. His work was part
of the Santa Fe Railroad’s $300,000 exhibit for the Panama-Pacific Exposition
in San Francisco. Many newspapers covered Burridge’s death and burial, but it
was the “Brooklyn Daily Eagle” that provided a wonderful recount of his
achievements (Brooklyn, NY, 26 June 1913, page 20). Although I have written
extensively about Burridge in the past, this is a lovely summery of his life:
“WALTER W. BURRIDGE SCENIC ARTIST DIES.
Brooklyn Man Succumbs to Heart Disease at Albuquerque,
New Mexico.
STOOD AT TOP OF PROFESSION.
Was Engaged on Big Contract for Panama Exposition When
End Came.
Word was received in Brooklyn today, that Walter W.
Burridge, one of the foremost scene painter of his time, has been found dead in
a hotel in the little city of Albuquerque, N.M., yesterday. Death was attributed
to heart disease super induced by acute indigestion. Mr. Burridge had just
arrived in Albuquerque from the Grand Canyon, where he had been painting
pictures for two months. He was 56 years old.
Walter Burridge was a Brookylnite, born and bred, and very
well known as a painter of theatrical scenery. In 1903, he executed at the
Academy of Music the largest scenery contract ever awarded to a scenic artist.
$200,000 worth of scenery, including eighty complete sets and 300 hanging
pieces, was turned out under his supervision. The work was done for Henry W.
Savage, manager of the Castle Square Opera Company. Its most important feature
was the preparation of special sets of scenery for each one of the operas in
the Castle Square Opera Company repertoire. One of the pieces he completed was
the magnificent storm scene in the first act of Verdi’s ‘Othello.” It was
considered the piece de resistance of all the scenic effects ever produced at
the Academy.
Mr. Burridge had, at one time or another, been associated
with all the prominent actors and actresses in the country, among them Otis
Skinner, Julia Arthur and Margaret Miller.
Mr. Burridge’s father, Henry, was the proprietor of the
old Mason’s Arms Inn, on Myrtle Avenue, which was noted in its time as a resort
for artists and actors. The leading lights of both professions met there
frequently and the boy learned to know them well.
Young Burridge had a magnificent soprano voice and sang
as a choir boy in St. Anne’s Church, the Church of the Redeemer, and St. John’s
Church, where he was solo singer. His voice bade fair to connect him with the
stage in another capacity than that of a scenic painter.
As a boy, Mr. Burridge helped produce the scenic waves at
the old Park Theatre, by doing stunts on his hands and knees under a layer of
canvas, The old theater carried with it many pleasing reminiscences for him.
There he met Fred Chippendale and his wife. Later, at the Brooklyn Theater,
which stood on the site of the present Eagle building, he was fortunate enough
to attract the attention of Harley Merry, who was a great scenic artist of his
day, He was apprenticed to Merry at the age of 13 and scored his first success
by painting a water fall that had to be gotten out during his master’s absence.
Mr. Burridge did most of his work in the West.
Thirty-five years ago, he painted many cycloramas. For the Philadelphia
Centennial he painted the ‘Siege of Paris,’ and supervised the reproduction of
the well-known ‘Battle of Gettysburg.’ He also executed a Government commission
in Hawaii. He was sent there to paint a cycloramic picture of the great
volcano, Kilauea, which was part of the Government exhibit at the Chicago
World’s Fair.
Hugo Gerber, manager of the Lee Lash Studios at 1476
Broadway, Manhattan, who knew Mr. Burridge well, said today that he received a
telegram from the West confirming the news of the death of Mr. Burridge. ‘His
wife was with him at the time,’ he said. ‘Mr. Burridge had been working for us
lately and had been sketching in the Grand Canyon. He was preparing some very
important work there for the Panama Exposition, but I don’t know the details of
it.
‘We expected Mr. Burridge to return East in a short time.
The telegram we received was from his wife. It did not state the cause of
death.
‘Mr. Burridge had done much big work for Klaw &
Erlanger, but principally for Henry W. Savage. One of the last pieces of work
he did was painting the scenery for ‘The Trail of Lonesome Pine.’ He was one of
the most prominent scenic painter in the country.”
Burridge was survived by his wife, son Walter, two
brothers, Cyril and Harry Burridge (New York and Marblehead, Mass.), and a
sister, Miss Sarah Burridge (of Brooklyn). The loss of this artist in the prime
of his career was immeasurable, a shock to the fine art and theatre worlds. He
had so much potential and the Grand Canyon exhibit was to be one of the
pinnacles of his career.
There is so much more to Burridge’s story and his
accomplishments that I could not include in today’s post. However, I will end
with a quote from Burridge in 1902:
“Did you ever stop to think,” said Walter Burridge, one
of the best-known scenic artists in the country, “how the public says all kinds
of nice things about some popular theatrical production and throws bouquets at
everyone connected with it, except the man who painted the scenery? Of course
the man doesn’t care a rap for fame. His soul is wrapped up in his work; he
never comes before the gaze of the public, and never wants to. But at the same
time, it is a curious fact that the scenic artist is an individual whose
personality never becomes known to the public. If he paints a particularly
beautiful scene it never fails to elicit round after round of applause. The
people who are applauding, however, do not know who executed the painting, and
they don’t care. It is pretty and that is enough for them.” When Burridge was
interviewed by Chicago’s “Inter Ocean” on June 8, 1902, he was putting the
finishing touches on the scenes that were to be used in the production “The
Wonderful Wizard of Oz” that was opening at the Grand Opera House the next week
(page 42).
Walter W. Burridge with model of a theater design. Undated newspaper clipping from the scrapbook of Thomas G. Moses.
