Scenic Artists – Page 15

Tales from a Scenic Artist and Scholar. John Z. Wood, Scenic Artist (1846-1919)

For the past few weeks, I have been posting some of the scenic art designs by John Z. Wood; designs that he completed for the Twin City Scenic Co of Minneapolis, MN. Here is the fascinating tale of this primarily unknown artist. His artistic gifts were extraordinary and his life has been all but forgotten.

Designs by John Z. Wood in the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota. These designs are available online at https://
umedia.lib.umn.edu/
search?facet_field=collecti
on_name_s&facets%5Bcollect
ion_name_s%5D%5B0%5D=Sceni
c+Collections

Detail fo design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.

Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.

John Z. Wood was born in England and moved to London, Ontario as a small child. His family moved again when he was eleven years old, taking up permanent residence in Rochester, New York. Wood enlisted in the 1^st Battalion of the New York National Guards, Light Artillery, on August 2, 1864 and served until his discharged on Nov. 22 of that same year. Returning to Rochester after the Civil War, Wood initially worked as a decorative painter at Lang’s Children Carriage Factory and then as a sign painter for Frank Van Doorn.

In the late 1860s, Wood joined a local art club called the Goose Grease Club, attending informal gatherings at the studio of William Lockhart in Rochester’s Palmer building. By the 1870s, Wood had opened his own private studio at the Baker building, sharing the space with Lockhart. Seth C. Jones later joined their studio. During this same time he also worked for the Mensin, Rahn, and Stecher Lithographic Co., later known as Stecher Lithographic Co. , known for its beautiful fruit crate labels and nurserymen crates. After becoming a fairly well- ecognized artist, Wood worked as an instructor for the Mechanics Institute in Rochester.

By 1872, Wood helped found the Rochester Sketch Club along with James Hogarth Dennis (1839-1914), J. Guernsey Mitchell (1854-1921), James Somerville (1849-1905), Harvey Ellis (1852-1904), and William Lockhart (1846-1881). Wood, however, was the instigator, organizer and promoter of the group. Within five years, club became the Rochester Art Club. In 1874, the Rochester Academy of Art, also emerged as an offshoot of the Rochester Sketch Club. The Rochester Art Club incorporated in 1882, with Wood not only serving as Treasurer (1877-1882), but also Vice President (1889-1891) and President (1894). In 1883, a newspaper review described Wood’s contribution to the Rochester Art Club. Of his oil painting depicting two boys fishing, the review commented, “It gives him opportunity to apply his knowledge of anatomical drawing and his skill in producing excellent color effects. It is one of Mr. Wood’s best productions” (Democrat and Chronicle, 20 May 1883, page 4).

For the Club’s educational oferings, a room was secured at the Rochester Savings Bank Building. This became their headquarters with a small faculty consisting of Horatio Walker (water color), James H. Dennis (oil), John Z. Wood (drawing), Harvey Ellis (composition), and Ida C. Taylor (painting). By 1890, the Rochester City Directory listed Wood as a designer.

However, in 1892 the Directory listed John Z. Wood as “removed to Chicago, Ill.” That year, Wood traveled to the Chicago World Fair with fellow artist James Somerville. Life was on the up and up, and it was around this time that Wood became a member of New York’s Salmagundi Club, the same fine art group that Thomas G. Moses joined in 1904. Their paths possibly crossed during the turn-of-the-century in either Chicago or New York.

The first mention of John Z. Wood as a scenic artist, however, is in 1889. That year, he and Dennis Flood painted scenery for the H. R. Jacobs Opera House in Syracuse, New York. It was quite a lucrative contract and Flood would later be noted as Wood’s “life-time friend.” Newspaper articles noted that the pair painted not only a 25’ x 28’ drop curtain, but also the stock scenery. The drop curtain depicted an elaborate conservatory with a tropical garden view in the distance. Spending several weeks on site, they painted remaining stock sets that included a palace exterior, a fancy interior, a dark wood exterior, a classical garden, a rocky pass, a mountain landscape, a pastoral landscape, and a lakeside exterior. He dabbled in the theater while continuing to work as a fine artist, designer and art instructor, saving up what money he could.

Despite his success in fine art and some early theatre designs, Wood’s career hit a major obstacle in 1896 that resulted in a substantial financial loss. Wood had a financially devastating incident that involved his stepson Howard C. Tuttle, one that ended in family betrayal and subsequent financial ruin. Wood had known his stepson since he was born on Nov. 12, 1874. In 1875, Wood lived with the Tuttles; boarding with Charles, Nellie (Evalyn) and their newborn son Howard. It was short lived as Charles left Nellie, married his mistress Rosalie Graves and celebrated the birth of his second child Lillian that same year. Nellie and Howard C. moved in with her parents, Horace C. and Esther Rose; her father was a painter. Interestingly, Wood was now a boarder at the Rose home. Wood eventually married Nellie by 1886 and helped raise her son.

On July 30, 1896, Rochester’s “Democrat and Chronicle” reported, “Bad Predicament of a Young Man. Horace C. Tuttle Spent the Money of His Parents. His Arrest Followed. The Man Represented to Them That He Wanted the Money to Engage in Business in New York – Taken on a Minor Charge” (page 9). Tuttle was arrested at Batavia on a charge of skipping a board bill and that’s when the truth came out about his financial antics. The article reported that “Young Tuttle’s” home was at No. 17 Chestnut Street with his stepfather, John Z. Wood, who is an artist with a studio in the Reynold’s Arcade.” In short, Tuttle became dissatisfied with “his small salary and the hard work he had to do” at Miler’s Piano Store and made up his mind to do business on a larger scale. He unfolded to his stepfather and his mother the outlines of a plan that he said would make him speedily rich, telling his parents that he had been engaged as a traveling salesman with Newby & Evans, piano dealers in New York city, and that it would take some money to get started. The cash was forthcoming and the young man departed for New York in high glee. He soon pretended to be a member of the firm, getting his foster parent to furnish even more money. You can already see how this ends; the son doesn’t visit home, the parents get worried and contact his supposed employer, only to learn that their son doesn’t work there at all. In the end, the Tuttles lost $4,000, today’s equivalent $110,000.00 today.

This event was like let the instigator that prompted Wood to seek employment at theaters. At that time, being a scenic artist was a very lucrative profession, if one was good and fast. The substantial amount that one could make producing a variety of painted scenes was indicated in the business records of Thomas G. Moses. A good scenic artist was making today’s equivalent of 175,000-200,000 dollars a year.

In 1898, Wood was actively working as a scenic artist and painting scenery alongside Gates & Morange at the New Baker Theatre in New York City. He produced all of the exterior scenery for the venue, while Gates & Morange completed the borders, trips, and other specialty drops. Wood soon became an itinerant scenic artist and followed the work as theatres continued to spring up in the western United States and Canada. In 1901, the Rochester City Directory listed Wood as a “scenic painter.” By 1906, he also helped organize an association of Rochester painters known as the Picture Painters’ Club (Democrat and Chronicle, 15 Feb. 1901, page 8). The club was designed solely for working artists, similar to Chicago’s Palette and Chisel Club.

Wood began traveling throughout the country and working as a scenic artist for various theaters. He travels brought him to Winnipeg, Minneapolis, and Los Angeles. However, by 1907, Wood left Rochester, although the city directory continued to list him as a scenic artist there. For the 1908-1909 season, Wood was listed as the staff scenic artist at the Winnipeg Theatre. Winnipeg was the northern terminus of the railway and provided an excellent opportunity for Wood to work. It also connected him to the Twin Cities in Minnesota. After painting for the Winnipeg Theatre, Wood journey to Minneapolis, Minnesota, and painted scenery for a variety of venues. Another Rochester Art Club founder, Harvey Ellis, had settled in the St. Paul, Minnesota, during 1886, working throughout the region for seven years before returning to Rochester. Some of Ellis’ designs include the Mabel Tainter Memorial Building in Menomonie, Wisconsin, and Pillsbury Hall, at the University of Minnesota campus in Minneapolis (East Bank).

It was in Minneapolis that Wood worked for the Twin City Scenic Company. Several of Wood’s designs for drop curtains are currently part of the Twin City Scenic Co. Collection, Performing Arts Archives at the University of Minnesota Libraries. The backs of some designs include the name Robert J. Mork, a salesman for the Twin City Scenic Co. A few of Wood’s paintings also have competitive scenic studio stamps and markings on the backs, such as the Great Western Stage Equipment Co.

By 1911, Wood was again living in the Rochester, with the Directory listing him as a “scene painter.”

In 1917 he was “recognized as a scenic painter for the Masonic Temple and other theaters in the city” (Rochester Art Club history records). His work was for the new 1917 Masonic Temple building that included a theatre on the third floor.

Only two years after his return to Rochester, Wood was reported as suffering from “cardio vascular renal” at the Sellwood hospital in Portland, Oregon, as reported by the “Oregon Daily Journal.” However, this would not be a contributing factor to his death two years later. In 1919, Wood’s name would appear in the newspaper one final time when he was involved in a motor vehicle accident. On November 13, 1919, George C. Newel caused the death of John Z. Wood, residing at No. 144 South Ave. Wood was hit by Newell’s automobile when crossing the street. The court ruled against Newell as he was driving too fast and unable to stop in time. Wood was only 72 years old.

The Rochester Art Club records that Wood was “known for his sense of humor, ability at mimicry, and telling a good story.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 862: Spencer J. Cox, Contractor and Stage Carpenter

James Cox established the first scenic studio in Estherville, not his younger brother Jesse. James was the proprietor of Cox Scenic Company throughout the first decade of the twentieth century. A 1902 ad lists the Jesse Cox Scenic Co., but that advertisement was placed in a Minnesota newspaper. The Estherville scenic company was eventually associated with his Jesse Cox, and subsequently named the Jesse Cox Scenic Company.

Both James and Jesse were scenic artists, with James later primarily focusing on architecture later in his career. The boys’ father was credited with doing all of the carpentry work for the scenic studio.

Spencer J. Cox was born on July 1, 1847 in Mansfield, New York to James Cox and Aphia Webster. He married Julia Anne Hollenbeck (b. 1852) on August 15, 1870, in Grundy, Illinois. Julia was a fraternal twin and daughter of Justus Hollenbeck. Jesse Cox’s birth name was also Justus, named after his maternal grandfather. Julia’s obituary noted, “To this union eight children were born: Mae, James, Ellry, Jesse, Viola, George, Spencer, and Chauncy Lee. I have not found any information about the girls or Spencer Jr. The couple’s five sons were James Cox (b. 1873), Justus Cox (b. 1878), George L. (b. 1882), Spencer Jr. (b 1884) and Chancy L. (b. 1888). In 1891, the couple moved from Seneca, Illinois, to Estherville, Iowa. After a prolonged illness, Julia passed away on February 4, 1919. Census records note that in 1921 Spencer remarried, with his second wife being Octavia DeVinney (nee. Octavia Turner).

At the time of Spencer’s death, his occupation was listed as a retired contractor. Spencer was also the last surviving member of the Vandenberg Post, G.A.R. The Grand Army of the Republic (G.A.R.) was founded in 1866, joining veterans of the Union Army, Navy, Marines, and the U.S. Revenue Cutter Service. Organized into hundreds of local posts across the country, it was America’s first veteran’s association. The organization’s founding principles were “Fraternity, Charity, and Loyalty.” By 1890, the GAR boasted a membership of 490,000 veterans, such as Cox who served in the Union Army (Co. F., 53rd Illinois Infantry). Spencer enlisted with his brother Patrick.

On March 28, 1933, the Estherville Daily News reported, “S. J. COX LAST OF CIVIL WAR VETERANS DIES” (page 1). The article also provided some interesting context for the Cox studio.

“Is Given Full Military Honors at Burial Today — Legion in Charge
S. J. Cox, last surviving member of Vandenberg Post, G. A. R. has answered his last reveille. He passed away early Sunday morning [26 March 1933] peacefully, closing his eyes on a long and useful lifetime. Mr. Cox would have been 86 years old on July 1. He was born in Cattaraugus County, New York State, and went to Illinois as a child with his parents. It was in 1891 when Mr. Cox came to Estherville as a contractor and builder. He was associated with his oldest son James for a number of years and later with Jesse Cox in the scenic studio, doing all the carpenter work for the stage scenery, which has been shipped by this studio all over the United States.
Entered Union Army at Sixteen. Mr. Cox was proud of his service in the Union army during the last years of the Civil war. He enlisted in Co. F. 53rd Illinois Infantry, in 1863, and served until the close of the war. He became a member of the Vandenberg post here, and was always ready and willing to take part in all patriotic observances. It was his wish that he be buried with military honors and that he wear to his last resting place the regalia he had worn on so many occasions. Mr. Cox while in failing health was up and about until a comparatively short time ago and took part in the last services for all his comrades in the local Civil war veterans’ post, and insisted on carrying the flag of his country for which he had fought so valiantly. Always happy to talk of his war experiences Mr. Cox could hold a listener enthralled for hours telling of his narrow escapes during the battles in which to took part. He marched with Sherman’s army to the sea, and took part in many of the engagements from Chattanooga to Savannah. Mr. Cox is survived by four sons Jesse of Estherville, George of Des Moines, Spencer of Ames and Chauncey Lee of Indianapolis, Ind. James Cox preceded his father in death and their mother died in 1918. Mr. Cox was later married to Mrs. Octavia De Vinney of Lansing, Mich., who survives. There is also one brother Charles of Arroyo, Calif. and one sister, Mrs. Mayme Colgrove of Wilmington, Ill., left to mourn his passing.”

The details of the funeral service were published:
“Burial Today. Flags in Estherville will float at half mast today in honor of Mr. Cox. Funeral services which will be held at one-thirty from the home on East Roberts street and at two o’clock from the Methodist Episcopal church will be in charge of Rev. W. A. Winterstein. Maurice Doyle Post American Legion and the American Legion Auxiliary unit will attend in a body.
A color escort will attend the services at the home and the Legion men will accompany the remains from the church to its burial place in Oak Hill cemetery where the salute will be given by the firing squad and taps blown. Pall bearers will be Dan Howard, C. J. Mathiesen, R. H. Green, Geo. Lyman, Vance Noe and John Lilley.”

A little more information about Cox was reported in the “Vindicator and Republican” (Estherville, Iowa, March 26, 1933). The obituary notice included a brief history about Spencer Cox original published on May 28, 1913.

“S.J. Cox enlisted at Ottawa, Ill., April 15, 1864, in Company F, Fifty-third Illinois Infantry. He was mustered out of service August 28, 1865. His company engaged in their first battle at Bentonville, N.C., and they saw service from that time on. They were with Sherman at Atlanta and fought in the many desperate battles around that city. They had one hundred days of almost constant fighting from Chattanooga, Tennessee, to Atlanta. At Kenesau Mountain, the battle of the Twenty-eight, and at Janesboro they saw some of the hardest service of the war. There were three members of this post that took part in the hard fought battle of Janesboro. From Atlanta Mr. Cox went with Sherman’s army to the sea and was with him to the end of the war. During the entire time in service Mr. Cox kept a record of the distance he walked and it is most surprising to think that a man could walk 3000 miles as Mr. Cox did. After the close of the war Mr. Cox went to Seneca, Ill., to live. He remained there about thirty years and moved to Estherville twenty-one years ago. Mr. Cox is a very energetic man for his age but has always been very hard of hearing since he came out of the service.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 795- Victor J. Hubal Sr. and the Black Hills Passion Play

I continue with my exploration of Victor Hubal, a Sosman & Landis scenic artist who later worked for a variety of other studios. The 1930 Census listed Hubal (41 yrs.), living with his wife Eloise (32 yrs.) and children, Glenn James (11 yrs.), Lucille (8 yrs.) and Victor Jr. (6 yrs.) at 439 E. Sixth Street in St. Paul, Minnesota.

Undated photograph of the Victor J. Hubal family, likely from 1924.

When Hubal passed away in 1972, the “St. Paul Dispatch” included a lengthy article about Hubal reporting, “Among his other works were early Shipstad and Johnson “Ice Follies” productions and the Josef Meier Passion Play, both the touring productions and the permanent one at Spearfish, S.D.” Of the Black Hills Passion Play, a 1944 article in the “Queen City Mail” noted “Victor Hubal of St. Paul, scenic artist, was in Spearfish last week redecorating the play scenes for the winter performances” (Spearfish, SD, 21 Sept. 1944). Over the years, Hubal was was repeatedly connected with the production as the sets were repaired and new elements were added.

Meier brought his Passion Play to the United States in 1932. Born in Lünen, Germany, he was the seventh generation of his family to portray Jesus in the biblical drama. Meier translated the production from German to English and brought a small company to the United States, premiering the show in New York and then taking the production on tour. By 1939, Meier found a permanent home for his production in Spearfish, South Dakota, building a 6000-seat amphitheater. Even after settling in Spearfish, later toured the United States and Canada until 1964. The production was performed in more than 650 cities over the years, becoming an annual event for many cities. Meier remained part of the production until 1991, when he retired after performing in 9000 performances. Meier passed away eight years later at the age of ninety-four. The Black Hills Passion Play outlived its founder, lasting until 2008 when the summer performances finally ended. For more information about the show, there are amazing photographs available to peruse online, part of the Fassbender Collection. Here is the link: https://www.historicblackhillsstudios.org/keyword/Black%20Hills%20Passion%20Play/

Image from the Fassbender Collection that depicts the scenery produced by Victor J. Hubal, Sr.

Painted detail of the scenery by Victor J. Hubal for the Black Hills Passion Play in 1939.

My life intersects with Hubal’s on multiple planes, not having been aware of his existence until studying at the University of Minnesota and working with Lance Brockman. I knew nothing of the Spearfish Passion Play, however, until I was working in Spearfish and restoring the Twin Cities Scenic Co. collection delivered to the Matthews Opera House in 1907. Although many of my friends and family had made pilgrims to see this massive outdoor production, it didn’t pop up on my radar until 2017. And then while sharing some restoration stories with a good friend in Duluth, I made a connection. My friend’s eyes lit up when I mentioned Spearfish. “Spearfish?!?” she asked. “I have many stories about that place and the production my mother managed.” My friend was Nancyelaine Rusk Anderson, and she proceeded to she share a series of stories about the touring production and its founder Meier. What a connection to discover out of the blue!

Image from the Fassbender collection depicting the touring production.

I met Nancyelaine and her husband Duane in 1991. He was a well-respected Masonic scholar in Duluth and pulled in to help Brockman document the Scottish Rite scenery collection there. Nancyelaine taught dance, and has once been the prima ballerina with the Kansas City Ballet, as well as a concert pianist in the region. Her studies extended to Egyptian hieroglyphics and automotive repair. I still find her absolutely brilliant and fascinating. Duane was a mathematician with a passion for the Fraternity. He was on the Southern Jurisdiction Scottish Rite’s ritual revision committee and in line to be Grand Master of Minnesota in the 1990s. Duane was part of the Scottish Rite network that helped Brockman during the “Theatre of the Fraternity” Symposium that evolved onto the 1996 touring museum exhibit: “Theatre of the Fraternity: Staging the Ritual Space of the Scottish Rite, 1896-1929.” Working as his research assistant for both events, this exposure to Masonic scenery for the stage fueled my passion for scenic art and directed the course of my career.

I reconnected with Nancyelaine in 2015 while working as the Curatorial Director for the Minnesota Masonic Heritage Center. Her name was passed along to me when I sought various resources to help with shape the museum displays for various Masonic groups. I was looking for artifacts, information, and various Masonic representatives during the design phase of the six museum galleries. Nancyelaine has a depth of knowledge about Masonry for women that is unparalleled, having ascended to some of the highest state and national positions in five Masonic organizations. My initial correspondence with Nancyelaine led to my securing the Duane Anderson and Nancyelaine Rusk Anderson Library for the Minneapolis Scottish Rite. After the acquisition, however, I continued to visit my friend in Duluth whenever I traveled north.

Scenes from later productions of the Black Hills Passion play currently for sale online.

To be continued…

Tales from a Scenic Artist and Scholar. Part 794 – Victor J. Hubal Sr. at Sosman & Landis Studio in 1912

On January 12, 1912, “The News-Democrat” mentioned Sosman & Landis employee Victor Hubal. Hubal was painting scenery for the Kentucky Theatre in Paducah, a venue that first opened its doors on September 24, 1901. The Kentucky Theatre advertised “refined plays at family prices – 10, 15 and 20 cents. At the prices you can bring your family at least twice a week, pass a pleasant evening with them at this beautiful resort, and while being highly entertained save more than the price of admission asked in gas and fuel.”

On January 15, 1912, the Kentucky Theatre began a short season of permanent stock, with Manager Finney engaging the Garside Stock Company for fifty weeks. They were scheduled to perform two plays a week. The “News-Democrat” article continued, “Each play will be a production from a scenic point of view, as Mr. Vic Hubal, of the Sosman & Landis studio, Chicago, has been engaged to paint all the scenery, and is now hard at work at the Kentucky on the first production of ‘The Devil’s Kitchen,’ which will be the bill for the first three days, Monday, Tuesday and Wednesday.”

At the time, Hubel was 24 years old and living in Chicago, Illinois.

Victor Hubal (right) with fellow scenic artist George Wood in 1912.

Victor J. Hubal was born in Chicago on May 10, 1888. His father, Felix Hubal (b. Nov. 1861), was a Czech immigrant. His mother, Theresa Mary Koranda (b. 1864), was born and raised in Illinois. Hubal’s parents both worked, his father as a baker and his mother as a seamstress. Like Thomas G. Moses’ family, there is no indication of any connection to the performing arts, yet Hubal entered the theatre industry at the age of 17 in 1905. The 1910 United States census reports Hubal as still living with his mother and two siblings, Otto (20, born 1890) and Lucy (18, born 1892) at 3528 W. Cortland St. in Chicago. The census lists Hubal as an artist and his sister as a stenographer, with his brother being unemployed. Seven years later in 1917, the WWI draft registration card reported Hubal’s appearance as “medium” in height and “medium” in build with gray eyes and dark brown hair. His draft card also noted that Hubal claimed exemption status based on “kidney trouble.”

In 1917, Hubal met and married a Minnesota girl, Eloise L. Strenlund (1897 – 1984), moving his new bride to Chicago. The couple’s first address was 5030 Hutchinson St, yet familial ties would prompt the couple to relocate to the “Land of 10,000 Lakes,” raising their family in Minnesota.

Eloise’s father was a Swedish immigrant. Anton Strenlund arrived in the United States in 1887 at the age of sixteen. Traveling west, he worked as a carpenter and finally settled in Minnesota where he married Alise Oberg on August 21, 1897. At the time, she was pregnant, giving birth to Eloise on November 12, 1897. The couple’s second child Arthur arrived on 29 September 1900, with their third child, Ernest William, being born on April 1, 1903. When Eloise turned 17, she moved to St. Paul and began working as a clerk. Her new profession and new address at 1010 Euclid Ave. were listed in the 1915 St. Paul Directory for the next two years before moving to Chicago. Life married to a scenic artist in Chicago must have been a been a far cry from her simple upbringing in Minnesota.

Like Moses, Hubal’s scenic art career extended for more than sixty years and his work was featured across the country in both live theater and film productions. After moving to Minnesota, he became an integral part of the opera and theatre scene.

Victor Hubal pictured with fellow scenic artists in front of an ad drop. Date unknown.

Victor Hubal pictures in front of a painted interior with co-worker. Studio and date unknown.

Although Hubal’s scenic art career began in 1905, little is known of his early work or the studios that he was associated with for the first six years. By 1912, however, he was working for Sosman & Landis in Chicago, as well as continuing as an itinerant artist, picking up work across the country during slow times.

Hubal’s 1972 obituary in the “St. Paul Dispatch” reported, “His work graced some 50 productions of the St. Paul Civic Opera, as the organization was then known, from the initial one, ‘Samson And Delilah’ in 1933, to ‘The Merry Widow’ in 1963. He also did the decorations and designs for a number of the International Institute’s, “Festival of Nations” at the Auditorium and was responsible for the mounting of major productions at Andahazy Ballet Borealis. (Feb. 20, 1972).” Other Andahazy production settings painted by Hubal included “Slavonic Scenes,” “Les Sylphises,” “Swan Lake,” “Spectre de la Rose,” “Aurora’s Wedding,” “The Miraculous Stag” and “Scheherazade.” I discovered a 1954 article that provided some insight into the scenery produced by Hubal for the Andahazy Ballet Borealis company at Northrup Auditorium on the University of Minnesota Campus. The “Star Tribune” described the scenery for “Les Sylphides:”

“The setting, a woodland glade, by Victor Hubal, had a spacious, semi-transparent effect which enhanced the quality of the ballet” (Minneapolis, Minnesota, 0 July 1954, page 29). The article also noted that the ballet company was composed of 40 dancers and headed by Lorand Andahazy and Anna Adrianova.

In regard to Hubal’s “Swan Lake” scenery, an entertaining tale was published in the “St. Paul Dispatch.” During the execution of scenery for “Swan Lake,” Andahazy accidentally upset a pail of dye onto the canvas and apologized. “Hubal said, ‘Never mind” [and] with deft strokes he converted the dark blotch into a rocky formation and balanced the composition by converting some trees into more rocks on the other side.” The “Dispatch” article ended with a description of the artist’s character: “A man of artistic sensitivity and great skill and accumulated knowledge of his craft, Hubal labored largely in obscurity, for he was shy and retiring by nature and had no talent for self-promotion. But the contributions to the community to which he made in his self-effacing way for so many years were great, and they can be remembered with respect and gratitude

One more insightful story about Hubal appeared in conjunction with his scenery for the St. Paul Civic Opera’s production of “Rigoletto.” Hubal’s past with the film industry was also described in a newspaper article:

“When the curtain rises Wednesday it will be on the work of a man who might have been prominent in his field in motion pictures as Wallace Beery and Charlie Chaplin are in theirs, had it not been for the fact that he found black and white too monotonous. He is Vic Hubal, scene designer for the opera association. When the motion pictures were in their infancy, Hubal, already an accomplished scene designer for some of the largest production and road shows in the country, wandered into the old Essanay Film company’s lot in Hollywood. There he went to work on designing backgrounds against which Charlie Chaplin, Ben Turpin and Beery were to cavort. But the backgrounds were all black and white, because those were the only colors to film well. There were relieving incidents once in a while, as he when he would be called down from his scaffold to take the part of a cop, or when he was called into the dressing room to make up Turpin for his monkey roles, but on the whole, black and white was too confining for a true scenic artist. Hubal went on to train with Fred Scott, Ansel Cook and Fred Lewis…” Scott and Cook both worked at Sosman & Landis, therefore, the article is likely referencing his time at the studio around 1912.

I will continue to explore the life of Vic Hubal tomorrow, as there is too much to put in one post.

To be continued…

Tales from a Scenic Artist and Scholar. Part 789 – George F. Schultz at the Sosman & Landis Studio, 1911

Newspaper illustration of a painting exhibited by George. F. Schultz

In 1911, Thomas G. Moses wrote, “Got Geo. Schultz on the staff at 20^th Street.” This was Sosman & Landis’ annex studio, a separate shop from their main studio on Clinton Street.

George F. Schultz was well known for his landscapes and marine scenes in both fine art galleries and upon the stage.

A child of immigrants, his father came from Germany and his mother from Canada. Schultz was born in Chicago on April 17, 1869, and began his career as a decorative painter in Chicago. As a souvenir decorator, Schultz’s specialty was china decoration. This initial trade provided training as Schultz grew and began to take classes as a student at the Art Institute of Chicago.

The 1888 Chicago City Directory, listed Schultz’s occupation as an artist and his residence at 2163 Archer Ave. in Chicago. Schultz began exhibiting his work around this time and by 1892, he exhibited some of his work at O’Brien’s Gallery. This was a shop that he ran with fellow artist William Wilson Cowell in 1893 on Chicago’s Rush Street. Schultz was featured in a solo exhibition at Thurber’s Gallery in 1896, again exhibiting at there in 1898. In 1896, “the Chicago Tribune” reported , “Last summer he visited Monhegan Island, the favorite resort of Edwards. Triscott, and other Eastern artists, away up on the Maine Coast. Most of the pictures he now shows are Monhegan views and the result of his sojourn. Many are coat scenes. In nearly all rocks abound, and Mr. Schultz has been eminently successful in catching the effects of sun and shadow on sea and land and rocky shore. One of the pictures, “A Misty Morning,” the artist calls it, is a really powerful bit of color work such as is rarely attained with aquarelles. The sun breaking through the mist and the softened aspect of the rocks are presented with such strength as many a man would have difficulty showing in oils” (16 Feb 1896, page 28).

Geo. F. Shultz painting that is currently for sale online

Later, in 1898, the “Chicago Tribune” advertised his twenty-five paintings on exhibition at Thurber’s, including “Gray Day, “ “Along the River,” “Hoeing Cabbages, “A Lowery Day,” “Quietude,” and “Morning” (10 April, page 43). An illustration of “Hoeing Cabbages” even accompanied the article. Although primarily known for his watercolor studies, Schultz also worked in oils. An article in the “Inter Ocean” commented on Schultz’s “delicate, loose and pleasing” technical skill. His work “Reflections,” appeared in the March issue of “Brush and Pencil.” The 1904 City Directory still listed Schultz as an artist, an occupational title that would remain throughout the duration of his career. Regional sketching trips included Delavan, Wisconsin during the 1890s, with later travel bringing him to Indiana, the coast of Maine (Monhegan Island) and even Mexico.

Like many Sosman & Landis artists, Schultz’s work was continuously exhibited in fine art exhibitions. He was a member of the Art Institute of Chicago, exhibiting over one hundred works at the AIC annuals, between 1889 and 1925. Schultz also belonged to the Palette & Chisel Club, the Municipal Art League of Chicago, the Arche, the Cliff Dwellers, and the Union League Club during the early twentieth century. He was also the president of the Water Color Club. Schultz also exhibited Converse at the Carnegie International in 1914 and the Pennsylvania Academy of the Fine Arts in 1916. By 1918, he received the William H. Tuthill Prize of $100 at the Art Institute in Chicago.

In 1906 works Schultz were accepted as part of the Palette and Chisel Club’s permanent collection. This is likely where Moses first met Schultz prior to hiring him on staff at Sosman & Landis. Around this time he also began painting woodland scenes, a possible result of his working with and for Thomas G. Moses at Sosman & Landis Studios. Art historian, Dr. Wendy Greenhouse, purports Schultz use of “bright color, rapid brushwork, dappled sunlight, and garden settings beloved of American adherents of impression.” These same artistic characteristics are the hallmark of many early twentieth-century scenic artists, and considering he was working at Sosman & Landis studio during this period, one has to wonder if studio work invaded his fine art work. Much of the Chicago scenic art community not only worked together, but also studied and socialized together. Throughout the decades, scenic artists gathered in town and planned sketching trips to hone their artistic skills for a variety of artistic projects, including theatrical settings, grand circus spectacles, panoramas, industrial fairs, and fine art exhibitions.

Schultz’s exhibited several watercolor paintings in a solo exhibition at the Art Institute in 1907. That same year he became a charter member and secretary of the Chicago Water Color Society, being elected as the club’s president in 1912.

Six years later in 1918, Schultz was awarded the Tuthill Prize in the Art Institute’s annual exhibition of watercolor paintings. In 1919 the Marshall Field and Company department store exhibited his work; this became recognized as his last-known solo exhibition.

In regard to Schultz’s personal life, he raised a family in Chicago, after marrying Katharine Karr Hagenlotha on Sept. 20, 1883.The 1910 census lists his marriage to Katherine and their renting a house at 1158 Perry Street, Chicago, Ward 26, Cook, Illinois. This same census lists Schultz’s occupation as an “artist” who worked in the “picture paint” industry. Schultz was head of the household, with other members being Beatrice (b. 1895, age 15), Katherine R. (b. 1898, age 12), George F. Jr., (b. 1900, age 10) and Florence (b. 1908, age 2).

Schultz’s wife Katharine wife was also an Illinois native, with immigrant parents from Germany (father) and Switzerland (mother). By 1920, the couple was still married and living in another rental home at 4013 Green View Ave., still listing Schultz’s profession as “artist.” Their children were still living at home, with Beatrice working as a clerk in the Oil Concern industry, the younger Katherine working as a stenographer in the Building Waters industry, and George Jr. working as a tire-maker in the automobile Pates industry. The youngest child, Florence, was still listed as attending school.

Ten years later, everything changed for Schultz. The 1930 census listed George Schultz as a divorced male, although he was sill working as an artist “working on account.” He was now living in another rental unit at 1521 Warren Boulevard.

I have been unable to find any information about Schultz after 1930, including any obituary. This may indicate his being in poor circumstances or being estranged from his family at that time. Although art historians list his death in 1934, nothing is offered in terms of any public tribute.

To be continued…

Tales from a Scenic Artist and Scholar. Part 788 – Fred Scott at the Sosman & Landis, 1911

A scenic artists palette. Currently on display at the theatre museum in Mt. Pleasant, Iowa.

In 1911, Thomas G. Moses wrote, “Pausback had his hands full; Scott acted bad.” Moses was referring an extremely busy period at Sosman & Landis. Nicholas J. Pausback and Frederick J. Scott were both painting for Moses at the Sosman & Landis Annex Studio on 20^th Street that year.

Yesterday, I explored at the life of future studio founder Nicholas J. Pausback. Today, I look at the life of scenic artist Frederick J. Scott. “Fred” Scott was noted for his ability being able to paint any type of subject matter, a great asset to Sosman & Landis studio in 1911, considering the scope of their work. A naturalized citizen, Scott was born England on Aug. 16, August 1860. This made him four years Moses’ junior. In 1904, Moses was 48 years old, with Scott Being 42; both were journeymen artists. The personality of Scott, however, continually rubbed Moses the wrong way and their personalities clashed for years.

When Moses returned to Sosman & Landis in 1904, he had just closed a successful business in New York City known as Moses & Hamilton. Keep in mind that from 1900-1904, Moses worked with Will F. Hamilton on a variety of projects for many well-known stage personalities and producers. Regardless of Moses’ achievements and success in New York, however, Joseph S. Sosman desperately needed Moses to return to Chicago. Sosman had remained shorthanded after the retirement of Perry Landis. Ill heath had prompted Landis to leave the studio in 1902, and Sosman had taken over many of Landis’ sales and administrative duties. Sosman need someone to fill his own role as shop supervisor and realized that Moses was the only one who could do it. Moses had worked with Sosman since the beginning and knew the running of the studio just as well as its founders. Although Moses repeatedly left Sosman & Landis during the late nineteenth century to start various partnerships, he always returned when Sosman or Landis needed help.

Back to Fred Scott. Moses’ 1904 return did not sit well with all of the studio artists in Chicago, especially Scott. It was at this point that Moses became vice-president of the Sosman & Landis, a company shareholder and was given complete aesthetic control over all projects, supervising the design, construction, painting and installation of everything. In a sense, Moses was handed the world on a silver palette and many of the scenic artists resented Sosman’s preferential treatment of Moses. That year, Moses wrote, “When Mr. Sosman announced to the ‘gang’ that I was coming back and would take charge of all the work, there was much dissention among a few.” Moses continued, “Fred Scott tried to start a mutiny and quit, hoping the others would follow. But none did, and he came back. I put him on for he was a clever painter.” Unfortunately, Moses’ bringing Scott back on for his skill did not erase existing tensions between the two.

Little is known of Frederick J. Scott beyond a few newspaper articles and some public records. In 1891, Scott worked for Albert, Grover & Burridge. He was one of the decorators for the Beckwith Memorial Theatre in Dowagiac, Michigan, a landmark theater in terms of decoration and innovation. Scott secured employment with Albert, Grover & Burridge before bringing his family to America. Remember that Walter Wilcox Burridge had previously partnered with Moses to form Burridge, Moses & Louderback in 1887. All three studio owners were good friends with Moses, as scenic artists shifted from one shop to another.

Census records from 1900 list Scott living at 5019 Turner Street, Chicago Ward, Cook County, Illinois. His occupation is that of “artist.” Scott was the grandson of William and Sarah Scott, with his father being John Scott. Scott’s wife’s name was Ethel (b. Oct. 1868) and the two were married in England in1890, soon moving to the United States. The couple had four children living at home in 1900: Marjory (b. May 1890.), Granville (b. April 1895) Edwin (b. Feb. 1899) and Bobs Victor (b. May 1900).

To be continued…

Tales from a Scenic Artist and Scholar. Part 787 – Nicholas J. Pausback at Sosman & Landis, 1911

In 1911, Thomas G. Moses wrote, “Pausback had his hands full; Scott acted bad. Got Geo. Schultz on the staff at 20^th Street. I was obliged to remain at the Clinton Street studio only going to 20^th Street every other day.” Moses mentioned many Sosman & Landis scenic artists during his life. He greatly respected Pausback and his contribution to the studio.

In 1907, Moses first mentioned Pausback, writing, “I depended a great deal on Pausback to look after the work while I was away.” Two years later, Moses mentioned him again when Pausabck took control of the 20^th Street Studio. M<oses recalled that Pausback provided plenty of help “to rush the work through.” There was no question that Moses had great faith in Pausback’s abilities. By 1917 Pausback was still working at the Sosman & Landis annex and would remain with the company until its liquidation in 1923.

Nicholas John Pausback Jr., was born on May 5, 1881, in St. Louis, Missouri. He was the son of St. Louis residents Nicholas J. Pausback, Sr. (1853-1900) and Caroline Pausback (1859-1943), each born and raised in the city. By the end of his life, Pausback’s obituary credited him as being a “scenic artist de luxe”(Chicago Tribune 14 May 1953, page 36). Other notices reported his staying in the theatrical scenery business for 45 years with his wife Ottilia, and not retiring until 1947.

Pausback became the founder of Pausback Studios by 1927, four years aftert the initial close of Sosman & Landis. He ran Pausback Studio for twenty years, retiring only six years before his passing in 1953. As with many competitors, Pausback Studio primarily focused on public school and college projects, outfitting school stages with rigging and draperies. This branch of the industry had greatly increased in the 1920s and continued to thrive until the 1960s. Tiffin Scenic Studios and Art Drapery Studios became major competitors of Pausback Studios by the 1950s (The Times, 11 Feb 1953, page 2). Eventually Pausback merged with Acme and Carsen in 1957 to form the Acme Carsen Pausback Studio (see past installment #566). The company placed advertisements in the 1959 “Educational Theatre Journal” (Vol. 11, No. 1, i-xxxviii).

Prior to working at Sosman & Landis in Chicago, Pausback began his scenic artist career in St. Louis, Missouri. In 1901, his occupation was listed in city directories as that of “artis.” Pausback’s residence was at 3113 Magnolia Ave. In 1904, Pausback married to Otillia Groebl (1883-1963) and the couple raised five children: Elvira Mary (m. Harold J. Howard), Mary C. (m. Mr. Welsh) and Mrs. Therese Curtis. Raymond J. Pausback (m. Yvonne Singer), and Very Rev. Gabriel N. Pausback (b. 1905) of the Carmelite order. Records show that the two eldest children of five were born in St. Louis during 1905 and 1906, with the remaining children being born in Chicago. In the early years, Pausback was crisscrossing the country like many artists, completing a variety of painting projects that included seventy-five scenes for the Grand Theatre in Owensboro, Kentucky (Messenger-Inquirer, 22 June 1905, page 8). Of this installation, twenty-five of the scenes were backdrops, with the greater part remaining framed pieces. In Kentucky, he waorked alongside stage carpenters J. A. McDanuel and his son.

N. J. Pausback pictured in 1928 (back row, second from the left).

In 1907, Pausback relocated to Chicago, immediately working with Moses at the Sosman & Landis in the 20^th Street Studio. By 1908, Pausback became the shop manager of the space, replacing Ansel Cook. By 1916, Pausback was frequently sent to in New York, installing shows with fellow Sosman & Landis employee, Harry Nailer, the well-known stage carpenter. He worked for New York Studios, the eastern affiliate of Sosman & Landis.

During the 1920s, Pausback founded Pausback Scenery Co. Living at 6606 Woodlawn Ave., in Chicago Illinois. His scenery company was located at 3727 Cottage Grove Ave., Chicago (Chicago Tribune 2 Dec. 1928, page 2). After founding the firm, Pausback also wrote a book on Stage Craft; a book that I am still tracking down (Dec. 17, 1928). By 1929, the Pausback Scenery Co was credited with a new innovation for gigantic Christmas trees – spangles in various shapes and sizes, some that measured 10 inches in diameter (Chicago Tribune 9 Dec. 1929, page 3).

Over the years, the Pauback studio pops up in several newspaper articles, but nothing really consistent. Briefly morphing from Pausback Studio to the Pausback Scenery Co.. the firm is briefly mentioned as providing properties for “Wings of a Century” at 1934 Century of Progress World fair in Chicago.

Toward the end of his career, Pausback partnered with another Sosman & Landis scenic artist, Art W. Oberbeck (Blue Island Sun Standard Archives, 15 June 1944, Page 6). Oberbeck and Pausback had started at Sosman & Landis around the same time; Oberbeck starting as a paint boy at the in 1904 and Pausback as a journeyman artist three years later.

In 1939 Pausback Studios advertised, “Scenery and Lighting Equipment Built and Rented” with offices located at 3727 Cottage Grove Avenue, Chicago and the phone nunbers being Drexel 7060 and 7061 (Labor Union Directory). The key to any scenic studio’s success at this time was diversification, manufacturing and installing both stage machinery and lighting systems.

Pausback was also an amateur magician. As a member of the International Brotherhood of Magicians and the American Society of Magicians, his stage name was “Nicodemus, the Magician” (Chicago Tribune 14 May 1953, page 36). This persona was even remembered “Do You Remember When,” a section published in an “Independent Magazine for Magicians” known as “The Sphinx” in 1949. “The magazine queried, “Do you remember when Nick Pausback, scenic artist de luxe, of Chicago was known as “Nicodemus, the Magician?” (Page 12).

Pausback passed away on March 13, 1953, buried in St. Mary Catholic Cemetery in Evergreen Park. His last residence was at 1000 S. Rhodes Ave., Chicago, Illinois.

To be continued…

Travels of a Scenic Artist and Scholar. Walter W. Burridge and Forest Park Cemetery, July 19, 2019

Picture of Walter W. Burridge pasted in the scrapbook of Thomas G. Moses

After visiting the home of Thomas G. Moses, I ventured over to see the gravesite of another scenic art legend – Walter Wilcox Burridge (1857-1913). The day had turned into a scenic art pilgrimage, as both Moses and Burridge were incredibly significant within the framework of American scenic art.

Postcard depicting a painting by Walter W. Burridge mailed to Thomas G.Moses in 1908

On Saturday, June 28, 1913, the “Oak Leaves” reported, “The funeral of Walter W. Burridge, late of New York, took place this Saturday afternoon from Grace church. Mr. Burridge died in New Mexico and the funeral took place here because Oak Park has become the home of Mr. Burridge since he became ill. Interment will take place at Forest Home” (page 34).

Unfortunately for me, my visit coincided with an intense heat wave in the Midwest. It was far too hot to be traipsing about the Forest Home Cemetery, yet I persisted, realizing that this opportunity may not dome again. Moving the car from one shaded spot to another and donning my sunhat, I finally located the Burridge’s tombstone. Kneeling in the grass before his grave, I took a moment to contemplate the life of this extremely talented artist. Despite the heat, I thought about his many projects in a relatively short period of time. Burridge died from “heart disease” at the age fifty-six years old while on a sketching trip to Albuquerque. He was working on an upcoming project for the 1915 Panama-Pacific Exposition.

A line from the musical “Hamilton” popped into my head while kneeling in the warm grass, “I ask myself, what would you do if you had more time.” Moses included an article by T. D. Williams article about Burridge in his scrapbook. Here is the article, “Great Colorist Dead.”

“A number of Chicago gentlemen prominent in the paint business have been life long friends of Walter W. Burridge, an artist of national, and one might almost say, international repute, because he visited London several times in the interest of art, who just dies while at Albuquerque, N. M., where he had gone to make sketches for pictures to be exhibits at the Panama-Pacific Exposition. The pictures painted by Mr. Burridge of the Grand Canyon earned him great praise, while other well known works have brought him equal prominence. He studied color, as every artist must do, and he sought and obtained pleasing effects for his scenic work, and is probably best known for his wonderful production of stage scenery. Many leading theatrical managers, actors and authors engaged him to paint settings and illustration for their productions, and there are few men who in the present time have painted as many excellent scenic and studio pictures. His beautiful pictures of Yellowstone National Park scenery have never been surpassed, while his wonderful scheme of color, so true to nature, makes a living record of the beauty and grandeur of the Yosemite valley, cataracts, lakes, giant rocks, towering domes and all the beauty spots of the valley which he faithfully transferred to canvas. The studio pictures of Mr. Burridge have frequently been exhibits in the various art institutions and galleries of this country. Nature was his great teacher. His mastermind gave him supreme command of the scale of color, which is evidenced by the many beautiful works of art which he has left. Mr. Burridge came from New York and was a resident for many years in La Grange, Illinois, the beautiful suburb in Chicago, in which he had many friends.”

Although I have written extensively about Burridge in past installments of “Tales of a Scenic Artist and Scholar,” here is a brief recap of his career:

At a very early age, Burridge apprenticed himself to a sign painter from Hoboken, New Jersey. His talent and outgoing personality soon brought him in contact with key personalities who were connected with the old Park Theatre in Brooklyn. Burridge soon found himself engaged as a part-time scenic art assistant, and by the age of thirteen was working full-time for Harley Merry at his Brooklyn Studio. Merry was the “artistic alias” for English stage performer Ebenezer Brittain.

Burridge was only was thirteen tears old at the time. He accompanied Merry to complete distant projects in both Chicago and Philadelphia, making all of the necessary connections for his career to soar. Burridge’s early career included a series of mentors, such as Russell Smith, who took a great interest in shaping the career of this talented young artist, later recommending him for a series of projects. Burridge’s talent and magnetic personality drew people toward him, providing one opportunity after another. His network of support included well-known performers and producers, including actress Mrs. John Drew.

Burridge’s artistic endeavors throughout the duration of his career spanned all across the continental United States and Hawaii. I will include just a few of the more notable venues. In Philadelphia, Burridge did a considerable work at the Arch Street Theatre, Broad Street Theatre, Walnut Street Theater, and Academy of Music. He also painted scenery for the Academy of Music in Baltimore, before moving to New York City where he accepted an engagement under J. H. Haverly, painting for many of Haverly’s theaters from New York to California, including the Fifth Avenue, Fourteenth Street, Niblos’ Garden, and Chestnut Street theaters. Other artistic endeavors included panoramas. In 1876, Burridge painted the “Siege of Paris” for the Centennial and later the “Battle of Gettysburg.”

He moved to Chicago by 1882, settling in suburban La Grange with his wife and securing work at the Bijou, 14^th Street Theatre and Standard Theatre. Around this time, Burridge was also under contract with John A. Havlin from 1882 to 1885 for work at the Grand Theatre. He also worked for six years as the scenic artist at the Grand Opera House and at McVicker’s Theatre; the man seemed unstoppable and scenic art was a thriving business. From 1887 until 1882, Burridge partnered with Thomas Moses (1856-1934) and successful art dealer M. Louderback to found Burridge, Moses & Louderback, located at the Columbia Theatre in Chicago. During less than two busy years, Burridge, Moses & Louderback stocked six theatres with all of the necessary scenery – no small task. Unfortunately personality clashes between Burridge and Louderback ended the partnership; Louderback came from a “managing art” background while Burridge came from a “creating art” background.

It was only a few years later, Burridge partnered with Ernest Albert (1857-1946), and Oliver Dennett Grover (1861-1927), to form “Albert, Grover & Burridge, Scenic and Decorative Painters” by 1891. Ernest Albert. Albert and Burridge, both artists first worked for Harley Merry at the Park and Union Square Theatres in New York. Albert, Grover & Burridge had a studio with over 12,000 square feet of working area, and another 2,500 square feet devoted to storage and sewing rooms. They had twenty paint frames, ranging from 56 by 35 feet to 30 by 20 feet. The firm did a considerable amount of business for the World’s Columbian exposition of 1893, including the cyclorama, “Volcano of Kilauea.” Burridge traveled to the Hawaiian Islands, making a series of faithful reproductions to capture this natural phenomenon, with his final composition measured 54’ x 412’ and was also a major attraction at the Mid-winter Fair in Sacramento. Unfortunately for Albert, Grover & Burridge, their business venture went bankrupt in two years and Burridge was again on his own.

The scenic studio founded by Walter Burridge, Oliver D. Grover and Ernest Albert

By 1900, Burridge was the scenic artist for the Chicago Auditorium and the Great Northern Theatre. He was also engaged by Henry W. Savage to prepare the scenes for the Castle Square Opera Company at the Studebaker Music Hall. We also know that Burridge designed the scenery for the premiere of “The Wizard of Oz” at the Chicago Opera House.

In 1900, Horace Lewis recalled a visit with Burridge writing, “every object, from his devoted wife to the pictures upon the walls, and his den in the garret, is indicative of the genial, most modest nature and simple poetry of the man who finds his greatest wealth within that home.”

Burridge passed away during a trip to Albuquerque, New Mexico while visiting the area to sketches for the upcoming 1915 Panama-Pacific Exposition. His funeral was at Grace Episcopal Church in Oak Park, Illinois, although the family did not attend the church. One can only imagine the projects that Burridge could have accomplished had he lived beyond the age of fifty-six.

Know as “Wallie” to his close friends, he was laid to rest at Forest Home Cemetery on June 24, 1913. His son would join him at Forest Home Cemetery three years later after an accidental drowning at the age of 30. The family grave now contains Burridge, his son son Walter C. (1886-1916) and wife Jane Anne (1860-1938). After losing her husband and son in such a short span of time, Jane lived for another twenty-two years, passing away when she was of 78 years, 4 months, and 20 days old.

Backside of Burridge grave site with dates for his son Walter “Cyril” Burridge who died three years after Walter W. Burridge

Aerial view of Forest Home Cemetery near Oak Park, Illinois

To be continued…

Tales from a Scenic Artist and Scholar. Part 767 – David Austin Strong, 1911

In 1911, Thomas G. Moses wrote, “Our beloved David Strong fell dead on the Street February 5^th. He was a grand old man – past 80 years. He was employed and was at work in Fords Theatre in Washington on the night that Lincoln was assassinated. The Doctor who attended Lincoln was a personal friend of Strong’s, and as the Doctor was cutting Lincoln’s hair to get at the wound, he put hair in his coat pocket instead of throwing it on the floor. He forgot until sometime next day. He gave Strong a bit of it, which he kept to his dying day. Strong was the “daddy” of all Masonic designs and he was a 32^nd Degree man. His color was deep and rich and his drawings very correct.”

I have explored Strong’s contribution to theatre history repeatedly over the past three years, but here is a recap. Strong was a designer, scenic artist and stage mechanic.

David Austin Strong was born on January 20, 1830 in East Windsor, a town in Hartford County, Connecticut. He was the youngest of ten children born to Erastus Strong and Lucy Wolcott Drake. As a young man, Strong moved to New Haven and primarily worked as a decorative and sign painter. It was not until the age of twenty-one that Strong entered the theatre profession, working as both a stage manager and scenic artist for Homan’s Theatre in New Haven. It was his early experience at Homan’s that greatly shaped both his personal and professional life. Strong married the star actress of the Homan’s Theatre Company, Esther Hosmer. However, his artistic life was shaped by friend and fellow artist Thaddeus Frisbie.

Strong and Frisbie formed a decorative painting company in New Haven, Connecticut during the 1850s. The partnership ended when Frisbie passed away in 1859. At the time, Frisbie was only 34 years old and it still remains unclear the exact nature of their relationship. In the end, both artists shared the same gravesite with their respective wives and children. Frisbie, his wife and children are all interred in the Strong family plot at Evergreen Cemetery in New Haven.

Shortly after Frisbie’s death Strong left the area. Throughout the 1860s, Strong primarily worked in Eastern theaters, specializing in visual spectacles. His first nationally significant work appears in Washington D.C. during 1863. “Strong’s Washington and the War” opened on May 18, 1863. On May 22, the National Republican of Washington, D.C., advertised the panoramic exhibition Strong’s Washington and the War, as “designed and executed by the celebrated artist Mr. David A. Strong,” heralding Strong as a genius. The exhibition included a series of representations of the City of Washington, with its street, houses, public buildings, fortifications, promenades, public levees, hospitals, stores, and hotels.”

During March of 1864, Strong created the scenery for the “Grand Fairy Spectacle of the Seven Sisters and the Birth of Cupid in the Bower of Ferns.” This production played at Ford’s Theatre during November 1864. Strong was listed as living in Washington, D.C. during 1864, at 334 E Street N. In Washington, D.C., he worked at a variety of performance venues, including Williard’s Hall and Grover’s Theatre, as well as Ford’s Theatre. His work at Ford’s during this time gives credence to his story about being at the theatre the night President Lincoln was assassinated.

Throughout 1865, Strong lived and worked in the District of Columbia. By December of that year, Strong was credited as producing as elaborate spectacle for the production of “L’Africaine.” A December 29, 1865, article in “The National Republican”commented that the settings were “greatly superior to the one given in London, and in every respect equal to the famous New York Scene.”

It was Strong’s grasp of staged spectacle that would greatly affect his involvement with grand burlesque spectacles of this same era, such as the premiere of The Black Crook at Niblo’s Garden Theatre in 1866. Strong was part of the technical crew that created the original scenery for the production of “The Black Crook” in 1866 at Niblo’s Garden Theatre. His fellow scenic artists included, Richard Marston, Robert Smith, Lafayette W. Seavey, and William Wallack. That same year, he also painted “Rip Van Winkle” with E. Hayes. By 1868, he painted scenery for an act for “The White Fawn” at Niblo’s. During the 1860s, Strong began working in Chicago too.

In 1874, Strong permanently relocated to Chicago, establishing his new home in this bustling city that continued to rebuild and expand after the Great Fire of 1871. He worked as the scenic artist for a variety of theaters, including the Adelphi Theatre, Haverly’s Theatre and McVicker’s Theatre. In Chicago, Strong joined the Oriental Consistory of the Ancient and Accepted Scottish Rite. From 1878 to 1885, he primarily worked in Chicago at Haverly’s Theatre, receiving accolades for new scenery that accompanied new productions, such as Dion Boucicault’s “The Shaughraun.”

In Chicago that Strong joined the Ancient and Accepted Scottish Rite of Freemasonry. Raised in Hiram Lodge No. 1 during 1852, he entered the Oriental Consistory during 1876 and was instrumental in the development of Masonic degree productions in the Northern Masonic Jurisdiction. He received the Honorary 33^rd degree for his continued contribution to the theatrical settings for degree work. When Moses credited Strong as being “the Daddy of Masonic Design,” it was likely for more than simply his scenic art. Strong’s knowledge of stage machinery and spectacle would have been instrumental in transforming Scottish Rite ritual into degree productions.

In the larger context of American theatre history, Strong was one of the last scenic artists noted as a member of the Dusseldorf school. In the 1892 article, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Strong was noted as one of the premiere scenic artists working in the United States at the time (Chicago Tribune, Dec, 18, 1892, page 41). The article reported, “David Strong, ‘Old Trusty,’ still at work in this city, is the only survivor of the good old Dusseldorf school. Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays.” It was this “quality of opaqueness” that was in direct contrast to the English practice of glazing, a tradition that dominated much scenic art along the Eastern Seaboard. The opaque application of solid color also meant that a subject could be worked up from dark to light. The use of glazes typically meant that the composition was worked up from light to dark. Each was successful, yet supported differing approaches when mixing paint and applying color to the composition. For example, the scenic art of Russell Smith (1812-1896) is characteristic of the English practice of glazing, whereas the scenic art of David A. Strong is characteristic of the “slap dash” tradition.

Detail of backdrop possibly painted by David A. Strong, ca. 1901.

The significance of Strong’s passing in 1911 is more than the passing of an individual artist, it signified the passing of a generation. His influence in the production of scenery for Scottish Rite collections and commercial scenery delivered by Sosman & Landis vanishes at this point. Strong’s work represented an older generation of scenic artists, one that is still preserved in Scottish Rite theaters across the country. Although his painting for commercial theater primarily disappeared over a century ago, his work still lives on in Masonic degree productions.

To be continued…

Tales from a Scenic Artist and Scholar. Part 738 – Drop Curtains in Philadelphia, 1894 – Messrs. Schaefer and Maeder at the South Broad Theatre and Girard Avenue Theatre

Another Moorish-revival style theater drop curtain was featured in the 1894 article “Well-known Drop Curtain in Philadelphia Theatres.” It was published in “The Philadelphia Inquirer” on Dec. 18, 1894.

“The drop curtain at the South Broad Theatre is the work of two scenic painters, Messrs. Schaefer and Maeder, both of whom are now dead. The curtain, which represents a Moorish scene, was painted four years ago. It presents a scene common enough in the East, where a courtier woos his lady love with the aid of a mandolin. The scene reveals a lady leaning from the balcony window of a Moorish castle, listening to a courtier on the pavement below, who strains his passion from the strings of the mandolin.”

The scenic artists mentioned in the article were William Schaeffer and Gaspard Maeder.

Drop curtain painted by Garspard Maeder and William Schaeffer for the Broad Street Theatre in Philadelphia

Postcard of the Broad Street Theatre in Philadelphia

The article mentions another drop curtain by Maeder in Philadelphia: “The handsome drop at the Girard Avenue Theatre is the work of Gaspard Maeder. It was painted in 1890, and was the last drop curtain ever painted by that artist.”

Gaspard Maeder was born 1839. As a scenic artist, he specialized in landscapes and rural scenes. Like many of his generation, he was an itinerant scenic artist, traveling throughout the country for work. His name appears sporadically in newspaper reviews and advertisements, yet little is known of his life; his parents outshone their children. He came from a theatrical family, with everyone working in the performing arts.

Gaspard was the eldest son of James Gaspard Maeder (1809-1876) and Clara Fisher (1811-1898). His father was a distinguished composer, musical director, teacher, theatrical manager, and singer. J. G. Maeder emigrated from Dublin, Ireland, in 1833, accompanying two other theatrical professionals of the time – Mr. and Mrs. Joseph Wood. Shortly after his arrival in 1834, he married Clara, an actress and opera singer. In 1834, he wrote an opera for his wife called “Peri, or the Enchanted Fountain.” The couple opened a theater in New Orleans too.

Clara Fisher Maeder published her autobiography in 1897, and was reported to be the oldest living actress at the time (Inter Ocean, 25 April 1897, page 44). She died just a year later. Her life is absolutely fascinating, as she performed continuously on the stage from 1817 until 1889. In short, her first performance was on Dec. 10, 1817, at the Drury Lane Theatre as Lord Filmnap in the production of David Garrick’s “Lilliput.” When she was sixteen, her family immigrated to the United States. Her American debut was at the Park Theatre, where she was an immediate success. Her father, Frederick George Fisher, was a librarian and well-known amateur actor. She performed with many great actors of the day, including Edwin Forrest, Laura Keene, Joseph Jefferson, Edmund Kean, William Charles Macready, Edwin Booth, and John Brougham.

Clara Fisher Maeder in 1897, the year before her passing

The couple had seven children, with three sons and one daughter surviving to adulthood: Gaspard, the scenic artist, Frederick G., an actor, Frank, a business manager of Salsbury’s Troubadours, and Mollie, and actress at Wood’s Theatre in Cincinnati, Ohio (The Era, London, 25 June 1876, page 9).

By 1856, Gaspard Maeder was working as an assistant scenic artist to Messrs. Hyllyard and Culbert at the Bowery Theatre in New York (New York Daily Herald, 23 June 1856, page 3). He was seventeen years old at the time. At the age of 18, he was working as a scenic artist on his own for the Mobile Theatre. He continued at small theaters throughout the region, soon meeting his future wife. In 1862, at the age of 23, Maeder married Maria Farren. The couple had only one child. Their son who predeceased both of them, passing away three years before his father.

By 1863, Maeder and Lewis painted the “Polymorama of the American War” on display at Queen’s Hall on Bold Street Liverpool Mercury, etc. 24 Oct, 1863, page 1). The panorama depicted principal events of the Civil War, which he exhibited in England. For years afterward he painted much of the scenery of Wallack’s theatre. Whenever quick work was required his services were in demand. His special talent lay in landscapes and rural scenes. Maeder also painted scenery for approximately seven years at the Boston Museum.

By 1878, Maeder was associated with the Walnut Street Theatre, painting new scenery for various productions, such as “The Shamrock” (The Times, 28 May, 1878, page 3). In 1881, Maeder was listed as the scenic artist at Booth’s Theatre (The Cincinnati Enquirer, 4 Sept. 1881, page 12). Other venues where he painted included Philadelphia’s Arch Street Theatre (1882) and the Academy of Music (1886). At the Academy of Music he was credited with producing “elaborate new scenery and realistic stage pictures” for Charles Fechter’s “Monte Cristo.” The show starred James O’Neill (The Buffalo Times, 18 Oct. 1886, page 8).

By 1887 Maeder was working with William Schaeffer and Daniel Cremens (The Times, Philadelphia, 4 Sept. 1887, page 3). Two years later, Maeder was painting scenery for Marie Wainwright’s production of “Twelfth Night,” along with Richard Marston, Charles Graham, Phil Goatcher and William Schaeffer (Daily Standard, 29 May 1889, page 4). It was during this time that Maeder and Schaeffer created the drop curtain for the South Broad Street Theatre.

Maeder was only fifty-three years old when he passed away at his residence on 311 East Fourteenth Street, New York. For over five weeks he had battled chronic catarrh (Los Angeles Times, 31 Jan, 1892, page 10). His died from a similar condition in 1876 at the age of sixty-seven.

To be continued…