Scenic Artists – Page 24

Historical Excerpt – Women in Scenic Art, part 1

The following was published in the 1927 issue of “The Scenic Artist.”

“It is quite interesting to note among other elements that have invaded the theater within the last decade, the active interest that women are taking in scenic work.

For many years women felt themselves barred from taking a part in the painting of scenery, because it involved extreme physical stamina, which, excepting in rare cases, women do not possess. However, being more or less tenacious, it is a foregone conclusion that women will work out their own salvation and this will perhaps, lie in the line of designing or art directing rather than the actual painting of scenes which take on large portions.

Women as a rule, have an excellent color sense and the knack of lending those almost indefinable touches which make a setting look as tho’ it was actually being lived in and not a make-believe room.” When in addition, they equip themselves with the necessary technical knowledge, they have every reason to expect not only to reach a high place but to retain it.

The women members of our craft are making a wonderful showing, and certainly, none of them can be classed as athletic, yet they are an extremely valuable asset to our craft. Effeminacy is sickly, disgusting and degrades anything it touches – and it has no place in art. Feminism is sound healthy and refining – There is no sex in art. Feminism means among other things – Tact, Temperament and Tenacity. These are needed and wanted.”

Image from “Theatrical and Circus Life; or Secrets of the Stage. Green-Room, and Sawdust Arena” (St. Louis: M.S. Barnett, 1882)

Victor Higgins, scenic artist

VICTOR HIGGINS, SCENIC ARTIST

This is the last of the artists noted by Moses in 1922.

William “Victor” Higgins (1884-1949) was born in Shelbyville, Indiana. Determined to become an artist by an early age, he left for Chicago in 1899 to study at the Chicago Academy of Fine Art and the Art Institute.

By 1905, Moses notes Victor Higgins in his memoirs as one the studio’s promising young scenic artists. He writes that Higgins had quit to take up picture painting, leaving “with a strong determination to win.”

In 1908, Higgins travelled to New York, meeting Robert Henri (1865-1929) – a leading figure of the Ashcan School of art with a fascinating story in his own right. Henri’s students included Edward Hopper, Rockwell Kent, George Bellow, Norman Raeben, Louis D. Fancher and Stuart Davis. Henri spurned the Academy and Impressionist school of painting. He promoted a revived realism, rallying “for paint to be as real as mud, as the clods of horse shit and snow that froze on Broadway in the winter.” It was this instruction that seems to have truly guided Higgins’ art throughout the course of his career.

In 1909, Higgins had returned to work for Moses at Sosman & Landis Studio – painting for the American Music Hall interior at a time when the studio was swamped. They were busy in both main and annex studios, producing Masonic drops for Atlanta, Georgia and Kansas City, Kansas; a huge spectacle called “The Fall of Messiah” for the White City; a Coliseum Show; and a large installation of scenery for Detroit’s Temple Theatre.

By 1910, Higgins traveled to Europe for training at the Académie de la Grand Chaumière in Paris and to study in Munich. Sponsored by then mayor and collector, Carter H. Harrison, Jr., Higgins remained in Europe for two and a half years.

While in Germany, Higgins met fellow artist Walter Ufer (1876-1936). Ufer had been born in Germany and immigrated to Louisville, Kentucky as a small child. The son of a master gunsmith, Ufer decided to become and artist after visiting the 1893 Columbian Exposition, moving to Chicago and attending the School of the Art Institute. Ufer apprenticed as a commercial lithographer and portraitist before traveling to Dresden, Germany to study at the Royal Applied Art Schools and the Royal Academy. He was the first beneficiary of the patronage syndicate formed by Mayor Harrison. It is interesting to note that during Harrison’s administration the city council also created the Commission for the Encouragement of Local Art (1914-1945) where taxpayer money was used to purchase paintings and sculpture created Chicago artists. THIS makes so much sense as one of the contributing factors that allowed artistic endeavors to flourish in Chicago.

After Higgins and Ufer returned to the states, they accepted a commission to paint landscapes in Taos in 1914. Mayor Harrison again financed travel for Higgins and his friend; a year-long trip to Taos in exchange for eight paintings! The meat-packing tycoon Oscar Mayer, also contributed financially on Ufer’s behalf for this trip.

Higgins and Ufer fell in love with the southwest and both joined the Taos Society of Artists in 1917. Within a year, Higgins became president of the Society and remained in the area until 1927. Art historians note that at this point on his journey, Higgins abandoned many of the traditional artistic approaches that he had learned in Europe, specifically he captures the vibrant colors of the landscape and paints his subjects as realistically as possible. I also believe that his time spent with Robert Henri was probably a turning point for Higgins, providing artistic techniques and approaches that would be used throughout his career. He returned to this approach after Europe as it felt more natural to him. But that is just my personal view as I also see a lot of scenic art techniques in his later fine art.

Higgins initially focused on the Pueblo people and latter on landscapes, writing “This strong primitive appeal calls out the side of art that is not derivative; it urges the painter to get his subjects, his coloring, his tone from the real life about him, not from the wisdom of the studios” (meaning “European fine art studios “is my interpretation on this statement).

He continued to return periodically to Chicago, exhibiting his southwestern artworks at the Palette and Chisel Club, as well as the Art Institute – dominating the juried exhibitions. Higgins also exhibited in Indianapolis and New York, with an occasional artwork shown back in Europe.

By 1921, Higgins used Harrison’s model and formed his own syndicate of four wealthy collectors, including Frank B. Logan, who funded the two most productive and experimental years of his career . Higgins painted atmospheric effects with brilliant colors and an economy of brush stroke I these later years. One could parallel that these were techniques Higgins had initially encountered in scenic studios too.

As far as Higgins personal life, he was briefly married to Sara Parsons, the daughter of Sheldon Parsons, resulting in one child – Joan Higgins. Later, he married Marion Kooglen McNay of San Antonio from 1937-1940. McNay was the wealthy daughter of an oil baron with multiple marriages behind her. An artist in her own right, McNay had been trained at the Art Institute of Chicago and often worked as an art teacher. Little is said of these two relationships, other than Higgins loved art more than marriage.

In 1929 Higgins was invited to participate at the Museum of Modern Art’s second exhibit. That same year, Moses also mentions Higgins in memoirs on February 14th. The Higgins call to visit with the Moses as they are in town to settle the estate of their nephew, Theodore Roberts, a famous movie star. Obviously this must be his first wife, but I have no knowledge of his marriage dates to Parsons. It might also be an assumption that Higgins was married to a current paramour.

As many artists, Higgins suffered financially in the final years of his life and began painting small scenes on boards or Masonite that he called “Little Gems.” He would drive his car to a picturesque area, open his trunk and paint scenes for passersby. It is noted that he worked in a shirt and tie or full three-piece suit. Smoking a cigar with a paint box on his lap, he sold these small artworks for approximately $250.00. As with many artists, the end of their lives are spent in financial ruin. After death, their artworks bring the money that they desperately needed during their life. It is really sad to see others make money from an artwork produced by a destitute artist at the end of their career. Higgins artworks are now worth a substantial amount; two of the auction prices listed for Higgins “Going Home” and “Canyon Drive, Santa Fe” brought in $773,000 and $769,000 respectively.

Higgins continued to paint until his death on Aug. 23, 1949. His painter’s box, easel, palette and stool, now hang in a replica of Higgins’ studio inside the Eiteljorg Museum. The link is https://www.eiteljorg.org/ Also, for a fabulous book, see “Window on the West: Chicago and the Art of the New Frontier, 1890-1940” by Judith A. Barter!

There are so many images of Higgins’ work available online that I just selected a few that reminded me of scenic art.

John H. Young, scenic artist

John Hendricks Young was born in Grand Rapids, Mich. in 1858, and began his artists career in fresco painting. His experience with scenic art and design began in 1880 and continued until his death in 1944. Moving to New York in 1895, he designed over 70 shows for Broadway, including some impressive original productions including “Babes in Toyland” (1903), “Forty-five minutes from Broadway” (1906), “Little Nemo” (1908), “Higgledy-Piggledy” (1905), “Ziegfield Follies” (1907,1908, and 1913) “Broadway to Paris” (1912), “Robinson Crusoe, Jr.” (1907, 1908, 1916), and “Sinbad” (1919). His information can be found in the Internet Broadway database

https://www.ibdb.com/

Reviews comment on Young’s “originality of conception and boldness, vigor, and expression of action in execution.” I have been unsuccessful in locating any examples of Young’s art. It seems that all he left behind was his studio, a four-story office building in New York City designed by Arthur G. C. Fletcher in 1904. The building still remains at No. 536 West 29^th Street, now home to the fashion company Lopez Knudsen, Inc. The building is clad in beige brick, with a double door at street level to allow the large frames of painted canvas to be moved out. The 2nd & 3rd floors have large studio windows on the right side, with a smaller rectangular window on the left side of the 3rd floor, and a terra-cotta plaque reading “JOHN H. YOUNG STUDIOS 1904” on the 2nd floor, above the doorway. The top floors has a similar window on the left side as the 3rd floor, and a large, round-arched studio window on the right, providing plenty of northern light to the interior spaces.

Thomas Moses recalls first meeting Young in Grand Rapids, Michigan as they secured his services to be one of three painter’s to decorate a large church in Jackson, Michigan. Moses, Young and an Englishman named Tom Brown were mistakenly referred to as the “Three young Roman Artists.” This was when Moses was working for Mr. Wardus in 1876 and an early lesson in life as Wardus took the earnings, leaving Young and Moses penniless.

Moses and Young worked together again at Sosman and Landis beginning in 1882. Their many sketching trips often included two other artists Hardesty Maratta (mentioned yesterday) and Ed Morange (of Gates & Morange Studio). All travelled across the country from West Virginia to the Rocky Mountains, including Pike’s Peak, Denver, and Breckenridge.

Young eventually moved to New York where he became quite busy and successful. Meeting up with Moses again in 1900 when as they both designed and painted scenes for “Quo Vadis.” While in New York, Moses and Young continued their sketching trips, now adding Harry A. Vincent to their group.

In 1905, Moses and Young had their last project together. They worked on old mill scenery at Luna Park for Ed Thompson; Young did all the properties and

papier-mâché work. Young isn’t mentioned again until 1922 in Moses’ reminiscing.

There is very little insight into what Young was like or his personality, other than it had to have been favorable to account for the numerous sketching trips over the years with Moses. The only small tidbit of Young’s life outside of the theater was his garden. Moses fondly commented on Young’s flower garden as “a hodgepodge mixture of growing things.” He remembers that as a joke, Young had bought a lot of seeds that had been accidentally mixed.

Attached are images of Young’s 1904 Studio as that is all that seems to remain in an online search until I start tracking down black and white production photos from his career in New York! The photographs were taken and posted by Tom Miller to his blog “Daytonian in Manhattan.”

UPDATE: Tom Miller contacted me this spring about having posted some of his pictures from a 2011 blog without crediting him five years later. He originally posted the exterior images of John H. Young’s home in 2011 with minimal information about the artist. My bad. I contacted him to apologize and immediately rectified the error. Part of the problem was my inability to navigate this webpage at the time, hence why all of the photos are just tossed at the end of text. As I gained my footing over the years, I figured out how to add titles, captions, etc. to my pictures. They are certainly not perfect, but typically I try to credit my source and provide a direct link. This is not an excuse, but a reason why some of my early blog posts look “rough.
My post, “John H. Young, Scenic Artist” was first created when I was still navigating this system and months before I started my series “Tales of a Scenic Artist and Scholar.”

The silver lining at the end of this tunnel is that Miller and I have been in continued correspondence and he has rewritten his 2011 blog post, sharing the revised link with me today. Here is his new post with images: https://daytoninmanhattan.blogspot.com/2020/04/the-1904-john-h-young-studio-536-west.html

It is wonderful about his rewrite, is that there is more information about John H. Young! Great job, Tom!

For the record, here was the link to Miller’s old post with minimal text, yet stellar images: http://daytoninmanhattan.blogspot.com/2011/02/1904-john-h-young-studio-building-no.html

Edgar Payne, scenic artist

Early day for me as I have yet to go to bed. I am saving myself just a little time in the next few hours. Here are my thoughts:

Edgar Alwin Payne (1882-1947)

Payne was born in Washburn, Missouri, near Cassville in Barry County – this is near the Arkansas border. He had early ambitions of becoming an artist and would eventually become one of California’s leading landscape painters.

In 1900, he still resided with his parents, two sisters, and five brothers. During this time he began a career as a house painter, sign painter, and muralist. Payne studied briefly at the Art Institute in Chicago (lasting only two weeks), and continued to remain primarily self-taught for the remainder of his career.

Fortunately, he became part of Chicago’s Palette and Chisel Club where Thomas Moses was an active member! Whether this was before or after working in the theatre is unknown. However, Payne sought employment as a scenic artist! While in Chicago, Payne continued to both paint for the theatre and create murals for in provide and public buildings. By 1909 he ventured to California for the first time, painting in Laguna Beach and in San Francisco.

By 1912, he married a commercial artist, Elsie Palmer (1884-1971). He had initially met Elsie in San Francisco during 1910. However, she had taken a job in Chicago by 1911 and he followed her there. SWEET MAN! They were both drawn to Europe, and he travelled to paint Alpine scenes, colorful ships, and the seascapes of France and Italy.

By 1914, Payne saw the arrival of their first and only daughter, Evelyn. It changed their lives forever! During this same year, Payne also journeyed to the Sierra Nevada Mountains for the first time. It became his destiny. By 1917, Payne earned his first major commission with the rail road. It brought him to the unique landscape of the southwest – where he would capture Navajo Indians, arid canyons, and colorful landscapes with a paint brush.

The Santa Fe Railroad (brain child of William A. Simpson) was responsible for Payne’s stay in this region and ultimately offered a variety of opportunities for other inspirational artworks. Eventually, Payne returned to Chicago to create a murals for the Congress Hotel, covering several floors and hallways of the hotel with his artwork (11,000 square feet!).

The following year in 1918, Payne and Elsie made their “permanent” home in Laguna Beach, also organizing an art association where Payne became the first president. In California, Payne captured coastal landscapes and windblown trees near Laguna Beach or Monterey, venturing out to nearby areas to constantly sketch and continue artistic endeavors. By 1922, the trio (Payne, Elsie and Evelyn) took a “painting tour of Europe” trip that lasted until 1924!

They returned, first staying in Chicago, then Laguna Beach, and finally in New York City by 1926. The family was always on the go! Traveling across the country and all over to Europe, they enjoyed the harbors of Brittany, France, and Chioggia, Italy. Finally they headed home in 1928, by way of Lake Louise in Alberta, Canada.

After the financial collapse in 1929 and the subsequent depression, the Payne family returned to Southern California. While Moses and Payne were both living in California during 1931, they still interacted and enjoyed dinner – although Moses longed to join the fine art world of Payne and many of his past assistants.

By 1932 Payne and Elsie purchased a studio home in LA. It was during this time that their daughter, Evelyn, would marry. Unfortunately, Elsie and Edgar would also separate the same year. Edgar moved to Hollywood, and there he would continue to paint his favorite subject alone – the Sierra Mountains.

His obsession would lead him to produce a documentary film, “Sierra Journey.” His impressionistic landscape scenes were mostly painted in the plein-air style, often taking packhorses with supplies into the mountains to sketch, paint, study, and learn. In this favorite realm, he painted lofty peaks and pristine lakes for generations to enjoy. Payne Lake was even named in his memory.

Finally, in 1941, Payne wrote “The Composition of Outdoor Painting,” a comprehensive book on composition and composition forms, explaining landscape painting techniques, color, repetition, rhythm, and value. One of his famous passages from this publication is, “A painter needs to study, meditate and experiment and practice interminably in order to produce a painting that would have nobility in its concept, variety, rhythm, repetition, unity, balance and harmony in its composition.”

After a 14-year separation, Elsie returned to Edgar in 1946, learning that he had cancer and stayed with him until his passing in Hollywood, California, on April 8, 1947. There is a bronze relief sculpture of Edgar at the Laguna Beach Art Museum, done by Elsie in 1952. She championed his work until her own health drastically deteriorated by 1959. Elsie eventually moved in with her daughter Evelyn in Minneapolis during the spring of 1969. Elsie passed away on June 17, 1971.

Throughout his life Payne received numerous awards and exhibited across the country. His works can be found in numerous private collections and museums, including, but not limited to, the Laguna Art Museum (Laguna Beach, California), the Chicago Art Museum, the Southwest Museum of Los Angeles, and the National Academy of Design Collection.

But most of all, yes…he was a scenic artist too! I am glad that I chose to learn more about him today!

Frank Peyraud, scenic artist

I am continuing my research on some artists mentioned in Thomas G. Moses’ memoirs during 1922.

Moses recalled working with Frank Peyraud. He writes:

“As I look backward over the names of the successful ones, I wonder what I would have done had I been gifted with the same amount of talent.

So it goes on, year after year, and you keep just a little bit ahead of the game, just enough to convince your friends that you are really a good fellow and that you haven’t abused their confidence.

But you are bound to look backwards and wish for the “Land of Beginning Again”

I wish that there were some wonderful place,

Called the “Land of Beginning Again”

Where all our mistakes and our heartaches

And all of our poor, selfish grief,

Could be dropped like a shabby old coat at the door

And never put on again.

(Louisa Fletcher Tarkington)

Today I did a little research on Frank Peynaud (1858-1948)

François “Frank” Charles Peynaud was born in Bulle, Switzerland and received some early artistic training at the l’Ecole des Beaux Arts, Paris. He immigrated to the United States in 1881 and settled in Chicago. There, he would remain for the majority of his life. He initially worked in an architectural firm as a draftsman. He was let go and it is unknown whether this was due to his work or his lack of English. After his dismissal, however, started working as a scenic artist and fine artist. Very little is known of his early years in Chicago, but by 1891, Peyraud touched up Paul Philippoteaux’s panoramic painting that depicted the Battle of Gettysburg.

Side note on this panoramic artwork:

The Battle of Gettysburg originally appeared in 1883 and exhibited in Chicago. Four versions were created, two of which are among the last surviving cycloramas in the United States.

1.)The first version for the cyclorama as noted above disappeared for years and was “discovered” in 1965, only to be purchased by a group of North Carolina investors.

2.) The second painting, originally exhibited in the cyclorama building in Boston. It is now on display at the Gettysburg National Military Park. For further information on this artwork, here is the link to that site: https://www.nps.gov/gett/learn/historyculture/gettysburg-cyclorama.htm I was fortunate enough to see this cyclorama with Larry Hill when I was in town evaluating the Atlanta Scottish Rite scenery collection.

3.) The third version of the cyclorama was exhibited in Philadelphia and subsequently destroyed by fire.

4.) The fourth version was exhibited in Brooklyn and remains lost.

But back to my tale on Peyraud….

Along with A. J. Rupert, Harry Vincent, Moses, Peyraud and a number of others artists painted William Hawoth’s “Flag of Truce” in 1892. By the way, the original script is still available at the University of Chicago in the Charles Morton Agency Collection of American Popular Drama 1842-1950, Box 35, folder 2.

Peyraud worked with Moses for certain in 1892 and 1893. By 1896, he is painting allegorical murals with Hardesty G. Maratta (1864-1924) in Peoria, Illinois – for the public library and city hall. The one for the library “View from Prospect Heights” and measured 20’ x 11’ (it is now in the Lakeview museum). The one for city hall was titled Peoria, August 29, 1831. Peyraud stayed in Peoria for three years, offering art lessons for young aspiring artists until his wife passes away in 1899. He remains single until 1906 when he finds love again with fellow artist Elizabeth Krysher, a portrait painter and an illustrator. The couple settle in Ravinia, Illinois (a section of Highland Park) by 1919.

Peyraud was a notable Impressionist landscape artist. His paintings were exhibited at the Art Institute of Chicago, the National Academy of Design (NY), the Pennsylvania Academy of Fine Arts (Philadelphia), the Corcoran Gallery of Art (Washington, D.C.), the Pan-Pacific Exposition (San Francisco) and many other exhiits too numerous to mention. His paintings are in a varity of collections worldwide, including the Art Institute and Union League Club of Chicago, the Municipal Collection of Phoenix and the Art Museum of Bulle, Switzerland.

More information about Peynaurd is available at http://www.illinoisart.org/frank-charles-peyraud

Mural for Peoria City Hall

Mural for Peoria Public Library (now in Lakeview Museum)

Another work in Peoria at the Library

Other artworks of Peyarud.

Harry A. Vincent, scenic artist

In 1922, Thomas Moses recalls working with Harry A. Vincent, Frank Peyraud, Victor Higgins, John H. Young, Edgar Payne and many other well-known artists. He writes:

“As I look backward over the names of the successful ones, I wonder what I would have done had I been gifted with the same amount of talent.

But you are bound to look backwards and wish for the “Land of Beginning Again”

I wish that there were some wonderful place,
Called the “Land of Beginning Again”
Where all our mistakes and our heartaches
And all of our poor, selfish grief,
Could be dropped like a shabby old coat at the door
And never put on again.
(Louisa Fletcher Tarkington)”

An absolutely lovely sentiment and how close this hits to home!

My initial intent was to add a few images of each artists work, so I did a little research about the above mentioned artists that Moses referred to as the “successful ones” – cross-referencing the information with my database. Upon looking at their stories, legacies, and artworks, I think that I will present each one independently.

Today, I start with Harry A. Vincent (1864-1931).

Vincent appears in various articles and manuscripts, including Edward Fournier’s who recalls Vincent in 1927. Vincent was one of Fournier’s “pot boys.”

Brief side note on this title…I have stumbled across the designation of “pot boy” quite a bit lately, having never heard it before this year. It is another name designated to paint boys as it refers to one of their duties – keeping the “color pots” on the palette full. Keep in mind, not all paint boys advanced to artists as not every studio honored an apprentice system and just hired young boys to provided cheap labor (BIG surprise).

Vincent was born in Chicago in 1864 and started life as a scenic artist and was an artist for many other venues. Again, painting to make money with whatever came their way! He really leaned towards fine art and teaching though, teaching at the National Academy of Design in NY, the Art Institute in Chicago, the Carnegie Institute of Pittsburg and the Academy of Fine Arts (Pittsburgh). Vincent was also a member of the Salmagundi club (New York) with Moses and many others, winning the 1907 Shaw Prize and the 1916 Isador prize.

Crossing the country, he continued work as a scenic artist and exhibit fine art. Finally in 1918 he was elected as an Associate for the National Academy of Design (NY). As with most late-nineteenth-century and early-twentieth-century scenic artists (that I have studied), their fine art complemented their studio work. Plus, I believe that there is a practical training and study when one paints small and paints large – really large. The artist gathers the best tools and techniques from both worlds to artistically learn and grow in every aspect.

In 1893 at the age of 31 yrs. old, he applied for a position with Moses at Sosman and Landis Studio, but by 1898 decided to leave for NYC. In New York, he works for Gates & Morange. In some cases, Moses urges people not to enter the field of scenic art and continue on a path toward fine art – noting the physically strenuous work of the studio.

One example of Vincent’s scenic art work was for the “Flag of Truce” for William Haworth. For this project, he painted with A. J. Rupert, Thomas Moses, and Frank Peyraud, plus a number of other artists and assistants.

Attached are some examples of his fine art work.

Historical Excerpt – “The Scene Painter is No Ghost” and Charles Graham, part 2

Here are a few examples of Charles Graham’s artwork. I introduced him in my post yesterday (“The Scene Painter is No Ghost”) as an inspiration for Thomas Moses during 1874. Graham was primarily an illustrator but also worked as a scenic artist in Chicago and New York from 1874-1877.

I have included some of his illustrations for the Columbian Exposition in 1893 as he was one of the official artists for the world’s fair.

Historical Excerpt – “The Scene Painter is No Ghost” and Charles Graham, part 1

For today’s post, I started with an article that I stumbled across years ago. It reminded me of an old Ebay purchase. This print has travelled with me, always being on hand to frame at some point. For me, it as it captured the essence of the 1870s scenic artist working high about the stage on a paint bridge.

Amazingly, the man that created this 1878 illustration, was one of Thomas Moses’ earliest inspirations when he encountered the field of scenic art. This happened in 1874 while he was working for Jevne & Almini – fresco decorators – at the age of 18 yrs. old on a project at Hooley’s Opera House.

I did some research, connected a few dots, and voila!

The Sunday Telegraph, New York, September 28, 1902, “The Scene Painter is No Ghost”

“How man theatregoers can give the names of three scene painters in New York? Playhouse patrons admire their art, and even applaud it on opening night, but they know nothing about it, and it is a most unusual occasion when the artist is called before the curtain. He is not discussed at clubs or in the drawing rooms. The cheapest show girl in a Broadway burlesque, with just about brains enough to remember he name over night, gets her picture in the magazines several times in the course of a season and is written about as if she really was of some importance.

Up on the paint bridge, seventy feet above her head, is the scene painter. He is putting the finishing touches to a drop that has taken him many days to paint and more years of hard study to learn how. The press agent never worries him for his photograph, the dramatic reporters couldn’t find him if they went back on stage. The show is over, the lights are put out and a deathly stillness settles upon the theatre. The watchman lazily makes his rounds and finds the scenic artist and his assistants at work finishing a drop or a border or priming new ones. When the artist leaves the theatre the streets are still. He reaches home and over his pipe wonders if the game is worth the candle.”

And here is the artist for the illustration:

Charles S. Graham (1852-1911) was born in Rock Island, Illinois. He became a topographer in 1873 for Northern Pacific Railroad. Completing surveys of Montana and Idaho, this position trained him as a skilled draftsman and artist. From 1874 to 1877 he painted theatrical scenery in Chicago and New York. Between 1879 and 1891, he exhibited watercolors with the American Watercolor Society, and two years later was named an official artist for the 1893’s Chicago World’s Columbian Exposition.

Between 1883 and 1896 he was a member of the Bohemian Club and San Francisco Art Association, producing many scenes of Colorado, the Dakotas, and New Mexico for the Northern Pacific Railroad. He was an avid traveler and visited New Orleans in 1884, returning and making an extensive tour of the south with Horace Bradley. These two artists’ trop resulted in a series of illustrations for Harper’s Weekly. After 1900, Graham painted mainly in oils, but is primarily remembered as an illustrator.

Graham started as the staff artist at Harper’s Weekly in 1878 and remained there until 1892, leaving to travel and continue as a freelance artist. Although still contributing to Harper’s, other companies that he worked for included the New York Herald, the Chicago Tribune, the American Lithograph Company and Collier’s. While working in New York, Graham passed away at the age of 59 yrs. old.

Thomas Moses recalls Graham’s work at Hooleys theatre in Chicago during in 1874. In his typed manuscript, he wrote,” In June I was sent to Hooleys Theatre to work. On the scenery was employed J. Francis Murphy and Chas. Graham. I was put in charge of the proscenium boxes, mostly gilding. I could see the work being done on the paint frame. I was more convinced that scenery was what I wanted to do; more opportunity to do landscapes.”

Hooley’s Opera House, the Parlor of Home Comedy, was dedicated on 21 October 1872, later to be known as Hooley’s Theater, a title destined to stand for almost twenty-five years. Mr. Hooley and his stock company first appeared on Monday evening, 31 August 1874. The theater’s address was 124 West Randolph Street, occupying a street frontage on Randolph of only 23 feet. The theater had a seating capacity of 1,500, although some sources say that it felt cramped with this many people. The stage was 50 feet wide and 65 feet deep with rear door that was 180 feet from the entrance of the building. It’s exterior was constructed of cut stone and iron and it measured four stories high.

Furthermore, there were lodge rooms on the upper floors.

Every small and crooked path leads to another wonderful discovery this month!

Geis, Andrew (1887/8-?)

Andrew Geis was a Chicago-based scenic artist during the early twentieth century. He parents were German immigrants (August and Anna Geis), coming to America in 1880 and 1883, respectively. Andrew had two siblings: Rose and Theodore. Andrew appears in the 1900 census, 1910 census, 1920 census and the 1927 Scenic Artist Ball program (Chicago). He has four interior designs (paintings) in the University of Minnesota Libraries Performing Arts Archives. Geis’ design book and a book on architecture are in the private collection of Wendy Waszut-Barrett.

Scenic Artist – Andrew Geis and his designs for the Twin City Scenic Company

Over the years, I have tracked down a variety of scenic artists and their work, finding bits and pieces of information regarding their life and painting. During this time, my primary focus always remained on Thomas Gibbs Moses (1856-1934) and his Masonic installations.

Recently, I have branched off to look at some of Moses’ contemporaries. Andrew Geis will be my first subject as I have an immediate connection to him.

Many years back, I received multiple packages from a friend in Chicago. I have often become the depository of “things a local museum won’t take and I can’t store them anymore.” Each once is loving placed in a file or stored in my studio until I am able to find a better home – one that the future generations can access. This is one of the reasons that I have started a blog. I want to get the information out sooner rather than later as it takes years to process a museum/archival collection ad digitize it. The blog also provides a searchable format for the information that I am sharing with the public.

So, back to my story…One of the Chicago boxes contained a portion of Geis’ design book. My training introduced me to this type of source book as a “painter’s morgue.” This term was introduced to me by my Professor Emeritus C. Lance Brockman at the University of Minnesota. In short, it is a source book for painters and designers with a variety of images to reference when drawing and painting.

Looking at Geis’ imagery with “older eyes” (and a tad more experience) I was able to pair up some of Geis’ sources with Masonic stage compositions. This excited me and I immediately went to my “Andrew Geis” file. Unfortunately, it only had four images of his design, currently held at the University of Minnesota Performing Arts archives. I contacted my friend in Chicago to see if he had any idea about Geis’ background. He recalled seeing the name in the 1927 Scenic Artists’ Ball program. Bingo.

I finally stumbled across a single census entry from 1920. Here is what I know to date about Geis. Both of his parents were born in Germany, emigrating the the United States before Andrew was born. Andrew is born in 1888 and eventually marries his wife Elizabeth (b. 1891). They lived in Chicago’s 34 Ward at 3906 West 19th Street in Chicago, Cook County. His profession was listed as scenic artist for the art industry. Both Geis and his wife are listed in the 1927 program as helping with the event.

The Scenery Collection renderings also his union affiliation: United Scenic Artists Local 350-2021. Again, here is the link to the online collection – http://umedia.lib.umn.edu/scenicsearch. You can find his rendering by typing in “Geis” in the Keyword option and hitting the “search” button.

Today, I will start with sharing his four rendering of interiors that were created for the Twin Cities Scenic Co.