Billie Martin was a scenic artist at Sosman & Landis Scene Painting Studio in 1890. He was mentioned by Thomas G. Moses as one of the on-site crew that painted the stock scenery for the Broadway Theatre in Denver, Colorado. After completing some extensive research, I tracked down the life and career of William H. Martin (1853-1906). Identifying Billie’s birthname was quite a challenge, then everything fell into place.
William Henry Martin was born in Chicago, Illinois, in 1853. He was one of two sons born to Richard Martin (b. 1803) and Mary Sophia Keeling (b. 1829). His older brother was John Albert Martin (1850-1895).
Some of Billie Martin’s information was posted online as part of a family tree at ancestry.comThe ancestry.com family tree also included a few historical records about his brother John A. Martin.
The 1860 US Federal Census listed the Martin household as including Richard Martin, Mary S. Martin, John A. Martin and William H. Martin. Richard worked as a carpenter in Chicago at this time. Near the end of 1860 or at the beginning of 1861, Richard Martin passed away, leaving his much younger wife to fend for herself and two young sons. I have yet to locate any death record or obituary listing Richard. However, in the 1861 “Chicago Directory,” Mary Martin was listed as the widow of Richard Martin, living at “W. Madison nr Lincoln.” She was again listed as Richard Martin’s widow in the 1862 Directory, still living at West Madison, between Lincoln and Wood.
To support her family, Mary began working as a seamstress, an occupation that she would continue for the remainder of the decade. Interestingly by 1867, Mrs. Mary Martin was employed as a costumer, now associated with the theatre. Within the next five years, both of her son’s would also join the theatre. In addition to occupational changes, there were significant familial changes. By 1870 William Martin was living with his mother and brother in the home of his new step-father, John White. White was working as a day laborer, John A. Martin as a watchman, and William H. Martin as a house painter. Over the years, William would continue to work as a painter, eventually joining the theatre industry, as his mother and brother.
In 1872, his older brother, John Martin, was listed in the “Chicago Directory” as an actor, boarding at 727 W. Madison. William was still employed as a painter, also living with his brother at 727 W. Madison. Interestingly, by 1874, the two were associated with the Myers’ Opera House. John was working as a property man and William as a scenic artist, both boarding at the Davis House. The Myers’ Opera House was located on Monroe Street, between Dearborn and State Streets. The theater opened on Sept. 23, 1872, and primarily featured Minstrel acts. By September 1874, Myers’ Opera House briefly became known as the American Museum, but soon returned to the name Myers’ under the management of E. L. Dickey. In 1874, Myers’ Opera House was advertised as “the only variety theatre in Chicago” (“Chicago Tribune” 17 Oct 1874, page 11).
One of the many newspaper advertisements for Myers’ Opera House in Chicago, ca. 1874.
The Martin brothers’ work at Myers’ was confirmed in newspaper article from 1874. On April 22, 1874, “The Inter Ocean” published an article entitled “Clothing Smugglers” (page 8). It is a fascinating story in its own right, so I am including the article in its entirety:
“Clothing Smugglers.
For some time, past, John P. Campbell, Special Agent of the United States Treasury Department, has had reason to believe that certain parties in this city were extensively engaged in smuggling clothing from Canada, but he was unable to obtain evidence sufficient to warrant their arrest until a day or two ago, when he struck a lead that panned out pretty well. Yesterday, therefore, he caused the arrest of William Martin, scene-shifter at Myers’ Opera House, and Luther Marshall, the tailor who mends and alters clothing for the establishment. They were taken before Commissioner Hoyne for examination, at which some facts were elicited which may be of interest to certain dealers in [spirituous and malty liquors and certain “burnt cork” artists of this city. Among other matters it was stated that the new pantaloons which Frank Hildreth, the steward at Chapin & Gore’s establishment, wears cost him only $8, not counting the little balance still due to Uncle Sam; Richard R. Halley, a scene-painter at Myers’, it is alleged, wears a $27 suit procured under similar circumstances, Ben Cotton’s pants cost, it appears, just $8, while those of C. Kleist, one of the musicians, cost $11; John Martin, the property man sports a $5 vest; Ed Quinn, one of the violinists, has a $36 suit; Surridge, the sweet-voiced tenor, paid $24 for that overcoat and $10 for those paints; Thomas Rawley of Chapin & Gore’s place, wears a $26 coat and vest; William Keating the bartender, took a pair of pants at $11; and Mr. Lomar, or the Clifton House bar, has a $50 suit. One or two other parties are suspected of wearing smuggled apparel, and all will be called to account in due time. For the present the two men who were examined yesterday afternoon are held in $500 and $300 bail, respectively.”
This article is especially interesting when considering that Mary Martin worked as a seamstress and costumer. Some historical records also list “Canada” as not only her birthplace, but the birthplace of William Martin too. 1874 was also the year that Mary Martin White and John White celebrated the birth of their daughter, Lizzie White.
Although the Martin brother’s work at the Myers’ Opera House ceased in the spring of 1874, they continued living together. The 1875 Chicago Directory listed John Martin as an actor. He was still living with his brother, now each boarding at 186 State Street. I have not yet to located anything further information pertaining to the Martin brothers theatrical activities between 1875 and 1877. Interestingly, both were married in 1877. On August 12, 1877, John married Annette H. Conley in Manhattan, New York, and two months later, William married Margaret “Maggie” Mulvey on October 25. So sometime between 1875 and 1877, John moved west. Leaving his brother to remain as a painter in Chicago. When William and Maggie were married in 1877, they respective ages were listed 24 and 22 yrs. old respectively. Like William, Maggie’s parents emigrated from Ireland, her father passed away at a young age, her mother remarried, and then her mother started a second family with her new husband. There appeared to be more similarities than differences between the two as they began a new life together.
In 1880, both William and his older brother John were still working in the theatre, just 800 miles apart. John Martin was employed as a properties man in Manhattan, and William as a scenic artist in Chicago. In New York, John and his wife, Anne H., were living at 257 West Houston Street. Meanwhile William and Maggie were living at 449 West Madison Street in Chicago. The 1880 US Federal Census listed William and Maggie living with one boarder, May Swenson, a seamstress.
William did not remain in Chicago for long, and by 1883, was working in Cincinnati. He was listed in the 1883 Cincinnati Directory as a scenic artist, living at 320 Main. He returned to Chicago by 1886, as his son Edward Joseph Martin was born there on March 20 that year. The Martin’s remained in Chicago for the remainder of their lives, only changing addresses a few times. During the mid-1880s, William was listed in the “Chicago Directory” as a scenic artist, living at 364 Blue Island av.
Both of those years. Interestingly, there was another William Martin, listed as a physician, living just down the street at 322 Blue Island Ave. In 1867, William Martin, Physician, had been living at 361 Blue Island.
It remains unclear as to exactly when Martin began working at the Sosman & Landis Scene Painting Studio. However, by 1890, he was one of four scenic artists chosen by Thomas G. Moses to accompany him on site at the Broadway Theatre in Denver, Colorado. That year, Thomas G. Moses and William “Billie” Martin painted with Edward Loitz, William Minor and Charles Minor. In 1890. Moses recorded,” I had besides Loitz, William and Charlie Minor and Billie Martin.” Ff the project. Moses wrote, “The job was an ideal one. I made new models and we put in a cyclorama drop, 36 feet high and 250 feet long. It ran on a track and we could make three distinct skies; a plain, a cloudy and a moonlight. No borders. We trimmed the front stuff down to low enough to mask. All rows were profiled; very effective. There was some time lost in getting started….The Broadway opened August 18th, with Look’s Opera Company in the ‘Bohemian Girl.’”
For the next decade, Martin continued to work as a Chicago scenic artist. He passed away at the relatively young age of 53 yrs. old, only outliving his wife by two years.
Margaret Martin died on Aug. 19, 1904, and was buried at Calvary Cemetery in Chicago. At the time of her passing, the Martin family was living at 76 Oregon Ave.
Her obituary was published in the “Chicago Tribune”:
“Martin – Margaret [nee Mulvey] beloved wife of William H., and mother of Edward J. Martin, sister of John and Edward Mulvey, Mrs. E. Walsh. Mrs. B. C. Crowley; John and Nellie Foley. Funeral Monday , Aug. 22, from late residence, 67 Oregon-av., at 9 a.m., to St. Patrick’s church where high mass will be celebrated by carriages to Calvary. Member of Married Ladies’ Sodality and Holy Family Court No. 1. W. C. O. F.”
William H. Martin passed away on March 3, 1906, Chicago. He was buried at Calvary Catholic Cemetery next to his wife, Section N, Block 3, Lot 33.
Joe Hart was a scenic artist at Sosman & Landis in 1891. He was mentioned by Thomas G. Moses that year as one of his crew painting on site in Duluth, Minnesota. This is not the same Joseph Hart who established the well-known vaudeville act, Hallen & Hart.
Joseph Henry Hart was born on Sept. 16, 1859, in Philadelphia, Pennsylvania. He was the son of Patrick Henry Hart and Amelia Giltrap. His parents were married in Ireland and started a family before emigrating to the United States. They were on November 21, 1841, in Manchester, England. The son of a tailor, Patrick Hart was working as a dyer at the time. Their oldest son John was named after his paternal father John Hart. Their second son, George, was named after his maternal grandfather, George Giltrap, a farmer by trade. Patrick, Amelia, John and George emigrated to the United States and settled in Philadelphia, Pennsylvania where Joseph H. Hart was born.
The 1860 census listed the Hart family as including Patrick Hart (head, 42 yrs. old), Amelia (wife, 40 yrs. old), John (b. 1840, son, 19 yrs. old), George (son, 17 yrs. old) and Joseph H. (son, 2 yrs. old). I have yet to locate any other children born in the years between George and Joseph, c. 1843-1860.
The Hart’s were still in Philadelphia in 1862, when Joe was baptized that January at St. Mark’s Episcopal Church in Philadelphia. Shortly after the Civil War broke out, Joe’s father enlisted in the Union Army and was mustered out that summer in the 143rd Pennsylvania Infantry. He returned home that fall and was working as a watchman by 1863.
In 1863, only Patrick and George were both listed in the Pennsylvania, U. S., Septennial Census, Patrick as a watchman and George as a laborer. I have not been able to locate any record of John in Philadelphia after the Civil War.
By the age of eleven, Joe and his parents moved his to Chicago. His older brother George was married by this point and remained behind. The 1870 US Federal Census listed George and Sarah Hart, were living on 12th street in Philadelphia.
The same census listed Joe as a student and his father as a “Merchants Police” in Chicago. Patrick Henry Hart was also included in the “Chicago City Directory” that year, listed as a “mer. Policeman,” living at 202 Polk in Chicago. Interestingly, the “Chicago Directory” also included a listing for a John Hart, working as a painter and living at 93 Mohawk. It is possible that Joe’s eldest brother was the first to move west, but there are SO many Harts that it is very difficult to pinpoint the exact one.
Little is known of Joe Hart’s early life in Chicago. By 1877 he was working as a painter, listed in the Chicago Directory as living at 145 Johnson. He would have been seventeen years old at the time, and likely just entering the trade after attending public school. By 1878, he was listed as a scenic artist, now boarding at 14 Sholto. Five years later, he would still be listed as a scenic artist living on Shelto, but the house number changed from 14 to 11 over the years.
Sometime before 1876, Joe’s father passed away; I have yet to locate a death certificate. By 1880, however, the census listed Hart briefly living with his widowed mother at 260 Harrison St. in Chicago. As an itinerant artist, Hart worked throughout the region. The earliest mention that I have located of Hart’s scenic art work was in Topeka, Kansas, that year. He was painting stock scenery for the Topeka Opera House and became quite popular with the young people in town.
On August 20, 1880 the “Topeka State Journal” announced, “Scenic Artist’s Surprise” (page 4). The accompanying article reported, “Since Joe Hart, the scenic artist of Crawford’s new Opera House, came to Topeka he has grown to be wonderfully popular with our young folks, especially the ladies, and it is plain to be seen that he already holds a very enviable position in the affections of two or three of the select. While Joe was taking it easy last night before last after a hard day’s work, he was never more agreeably surprised in his life than when eight or ten young ladies and gentlemen all rigged up in their fanciest attires made their appearance at the hotel and inquired for him. Of course, Joe had to go with the crowd and the last seen of him before the latest hours of the night he vanished away in the soft moon light with a gentle Annie hanging to his arm. They went to the residence of one of the parties and enjoyed a delightful evening in his honor.”
Hart finished the project that fall. On Nov. 4, 1880, the “Weekly Kansas State Journal” reported, “STAGE SCENERY” (page 1). The article continued, “Nothing adds so greatly to the fine effect of an Opera House as the beauty, style and variety of its scenery. In this respect Mr. Crawford congratulates himself on having the most complete, latest improved and ample sufficiency in his new house of any theater west of Chicago. All the show people who have been here say so. For all this much of the credit is for Mr. Joe Hart, the scenic artist, who has done his work. Fourteen weeks ago, he slung the first paint. To-day the last stroke was made, the finishing touch put on, the brush thrown aside, the job pronounced finished and to-night leaves for Chicago. During all this time the drop curtain, the flies, the wings, and fifteen sets of scenery have been painted. Among them are some elegant pieces of architecture showing non but skilled minds and trained hands performed any of the labor. For instance, there is the three-arch chamber, double door chamber, centre arch chamber, all fancy parlor; the kitchen, prison, greenroom and landscape that are not surpassed anywhere for attractions of finish and beauty of style. Then the drop curtain itself is worth the praise of any artist’s skill. Mr. Hart is a true and honorable knight of his profession, and leaves behind him a monument of his abilities as an artist that will be admired long after he has climbed the golden stair. He has also made a great many friends with the young folks of Topeka by being a genial, sociable, and courteous gentleman. Should Sells Bros., or anybody else build an Opera House in Topeka, the JOURNAL will be pleased to recommend to them as a No. One scenic artist the name Joe Hart.”
The Grand Opera House in Topeka, Kansas.
The opera house in Topeka was one of many operated by L. M. Crawford. Hart continued to paint for Crawford the next year. On June 25, 1881, the “Topeka State Journal” reported “L. M. Crawford returned home this morning from Chicago, and expressed himself enthusiastically on the future beauty and elegance of his opera house, He has engaged the celebrated J. M. Wood to do the interior designing and decorating, and being one of the finest artists in the country he has promised Mr. Crawford a job that can’t be beaten, Joe Hart the scenic artist who painted the scenes for the new old house, was reengaged to do the same work for this house.
J. W. Wood compiled a theatre scrapbook, dating from 1880-1889, now part of the Kansas Memory project collection. The descriptor for the artifact notes, “This scrapbook, compiled by J. W. Wood, contains programs, clippings, illustrations, and other memorabilia of the theaters and performers in Topeka, Kansas, in the 1880s. There are two photographs of the Grand Opera House, which was located at 615 SW Jackson Street in Topeka, and most of the programs are from their productions. A theatrical date book for the Grand Opera House covers the 1884 and 1885 season. These items belonged to Jay House.” This is an extraordinary collection that gives so much insight into the variety of touring productions at this time.
The Grand Opera House in Topeka, Kansas. First page of the scrapbook.
Hart was still working as a scenic artist in Chicago during 1883, living at 11 Sholto. His mother, Amelia Hart, was now living at 44 Miller. Around this time, Joe Hart is listed on a marriage record, dated Feb 1., 1883, Milwaukee. Unfortunately, the digital record does not list the name of his wife. I believe that this is the same Joe Hart, however, as he soon begins listed as a scenic artist in Milwaukee. Interestingly, there is a later marriage announcement for Joe H. Hart and Lizzie Tipping, both of Chicago, by 1885. It was listed in the “Chicago Tribune,” on Feb 10, 1885 (page 8). I have uncovered very little about his first marriage, only that by 1908, he was listed as “divorced’ when married that year. Regardless, he continued to work in both Milwaukee and Chicago from the mid-1880s to mid-1890s.
In 1887 Joe Hart was working as a scenic artist in Milwaukee, associated with the Grand Opera House and living at 156 Huron. He remained in Milwaukee for quite some time and soon became associated with the new Academy of Music. On April 6, 1888, “The Inter Ocean” reported, “Milwaukee, Wis., April 7 – Special Telegram – H. H. Theile, leader of the New Academy Orchestra, has finished his new opera, “Fort Caramel; or Love in Leap Year,” and will give the initial production at the New Academy April 13 and 14…The stage settings will surpass anything seen here this season, especially the fort scene, that being the work of Joe Hart, scenic artist of the new Academy. In this scene will be used beautiful palms and tropical trees and plants, being appropriate as the story of the opera is laid on the coast of Florida” (page 9).
In 1891, he was working with Moses, Loitz, and Buhler in Duluth, Minnesota. It was a project for Sosman & Landis. On July 11, 1891, the “Duluth Evening Herald” specifical noted the work of Moses, Buhler and Hart.
In 1891, Thomas G. Moses wrote, “Mr. Landis and I went to Duluth, Minnesota, and closed a contract for $8.954.00, which is a very good price and a good-sized job. My work kept me at the studio until March 24th, when I left for Duluth and the Lyceum Theatre, a very fine building. I found a good hotel in the Spaulding and soon got started on a fine list of scenes. Loitz and Joe Hart were with me, and we had every convenience that enabled us to do good work in a short time. Mr. Miller the owner, started to work on a railroad section as a boss – saved and invested years ago. He is now worth over $12,000,000.00 which all came from Timber Land. He is also the President of the Duluth Bank. He was a fine man and enjoyed being with me. The weather was bitterly cold, but we all enjoyed it. We worked nearly every night. We had a big list of scenes and everything had to be done well! Nothing pleased us better that to know that our work would be mentioned years after. One of the most complete outfits of any theatre. We completed this work on June 1st and I received a check in full. Something unusual.”
Joe Hart was also included in “A Biographical Dictionary of Scenographers 500 B.C. to 1900 A.D.” Here is the entry for Hart:
“Hart, Joseph (fl./ 1892), Grand Opera House, Los Angeles, CA, U.S.A. Assistant scene painter to JOHN H. YOUNG for The Ensign, performed at the cited theater on September 15, 1892. Bibliog. 097, playbill, page 288.” Hart would have met Young during the late 1880s in Chicago. By the end of 1888, Young moved to New York and was listed in the 1889 New Rochelle Directory as an New York artist, working at 541 W. 21st In the 1891 and 1892 directories listed Young was listed as a scenic artist at 1445 Broadway, living in Pelhamville, New York. This did not mean that Young was only working in that area or region of the country. His studio may have been located at the Broadway Theatre in New York, but like all other scenic artists, he would have traveled for work. So, in 1892, Young traveled to California and worked with Hart at the Grand Opera in Los Angeles. Both continued to work as itinerant artists, going wherever work was available, but establishing their home residence in a large metropolitan area.
From 1893 until 1896 the Milwaukee City Directory continuously listed Hart as a scenic artist, living at 691 30th. During the early 1890s, Hart continued to live and primarily work in the Midwest. By the late 1890s, Hart relocated to New York and established his own partnership – Hart & Becker. I have yet to identify which Becker Hart was working with at this time; there were quite a few scenic artists with the last name of Becker painting at this time. Although it was short-lived, the two worked alongside some of the best-known artists in New York at the time, including former Sosman & Landis artists John H. Young, Edward Morange and Frank Gates. Hart, Young, Gates and Morange had all relocated from Chicago to New York within a few years of each other.
On October 21, 1899, the “Buffalo Review” listed the scenic artist’s credited with painted settings of “McFadden’s Row of Flats” (page 5). Hart & Becker were listed with Gates & Morange. This was a touring show that appeared at multiple venues across the country, with mechanical effects delivered by Hagan & McDonald. On Nov. 12, 1899, the “Buffalo Times” also listed Hart & Becker as the scenic artists who painted scenery for the “Green Room Fun” at the Star Theatre (page 24). The article reported, “The scenery was made by Claude Hagan of the Fifth Avenue Theater studio, New York, and was designed and painted by Messrs. Hart & Becker.”
Hart & Becker were still working together a year later. On January 14, 1900, the “Buffalo Courier” listed Hart & Becker’s scenic art contribution for “The Sporting Duchess” at the Star Theatre (page 21). The article reported the involvement of several New York scenic artists scenic artists, including John H. Young, Joe Physioc, Ernest Albert, Homer Emens, Gates & Morange, Platzer, and Hart & Becker.” Hart eventually left his partnership with Becker to paint for Gates & Morange. He was working for the firm when his name made the newspapers in 1908.
On June 7, 1908, the “New York Times” reported, “WEDDED TO A SCENIC ARTIST” (page 4). “Miss Ross’s Ostensible Visit to Washington Really a Marriage Journey.”
The article continued:
“We have been married. Will be home the first of the week,” was the message which Mrs. William Caire of 40 West 128th Street received last night from her sister, Miss Grace Elinor Ross, who went to Washington, D.C., a week ago. Ostensibly to visit friends there. That the young woman intended to become the bride of Joseph H. Hart, the principal scenic artist in the Gates-Morange studio, at 155 West Twenty-ninth Street, was never suspected by her sister, although Mrs. Caire knew that Mr. Hart was to be in Washington and that he wired to Miss Ross to come to Washington while he was there.
“Grace and Joe had been engaged for about a year,” said Mrs. Caire last night. “Mr. Hart had been doing some work in Richmond, Va., for the last month or so, and recently completed it, He has to stop in Washington on his way home, and, as his wedding to my sister was to have taken place shortly, anyway, I suppose they decided it might as well be in Washington.” The Washington D.C. compiled marriage index gave the following information: He was divorced , age 45, with birthdate of 1863. The marriage took place on June 6, 1908. Grace E. Ross was single, white, 30, with birthdate of 1878. Their license was published on June 9,m 1908 in the “Washington Herald. “Joseph Hart, 45, and Grace E. Ross, 30, both of New York City. Bishop F. M. Bristol.
Hart continued to work as a scenic artist in New York for at least another decade before returning to Chicago. He is quite difficult to track in the years following WWI. I have yet to locate any listing for him in either the 1920 or 1930 census reports. Joseph H. Hart died on Sept. 17, 1939, in Chicago. He is buried at Elmwood Park Cemetery, River Grove, Cook, Illinois.
John Fielding (1855-1915) was a scenic artist who worked at Sosman & Landis from approximately 1896 to 1915. He was born in Ireland between 1855 and 1856, and then emigrated to the United States in 1873. To date, I have uncovered nothing about Fielding’s childhood in Ireland, emigration to the United States, or his early scenic art career in the United States.
The gravestone of John Fielding, scenic artist.
The earliest mention that I have located about Fielding’s work as a scenic artist is from 1887. That year he was working at McVicker’s Theatre in Chicago and living at 144 N. Sangamon. He was still living at Sangamon and working as a painter in 1890. Although I have uncovered very little information about Fielding’s scenic art projects, he remained connected with McVicker’s Theatre until the mid-1890s. In 1894, he was listed as a scenic artist at the venue, working alongside electrician Mortimer C. Richards and properties master Robert Norton.
On Dec. 14, 1894, the “Chicago Tribune” reported, “Novel Exhibit at the Doll Show. One of the novel and interesting exhibits at the Charity Doll Carnival which opens next Monday morning at Battery D will be an exact facsimile of the stage of McVicker’s Theatre, which will be a contribution of Robert Norton, property man; John Fielding, assistant scenic artist; and Mortimer C. Richards, electrician of that playhouse. Work on the miniature stage has been in progress more than a week and yesterday it was nearly completed. The proscenium, which is made of papier mâché, and exactly similar in design and form of McVicker’s, is five feet six inches wide and fir feet nine inches high. The stage is about five feet deep. The setting is the one used in the second act of “The American Heiress,” which the stock company produced last summer. It shows an Italian Garden scene, with the Bay of Naples and glimpses of Naples and Herculaneum in the distance. The scene is made from the original models, which are on a scale of one-half inch to the foot, which will make it just one-twelfth the size of the stage at McVicker’s. It is wired for electric border and side lights and other devise used in illuminating stages. Mr. Norton said yesterday that it required less work to equip the regular stage with new scenery than the one he is now arranging for the charity show.”
A 1900 US Federal census report recorded that he was married Elizabeth Mulkally in 1885, although I have yet to locate any marriage license or public listing of the event. Unfortunately, there is no 1890 or 1910 census report to confirm any of this information. However, Elizabeth was born in Chicago on November 22, 1856. She was the daughter of John Mulkally and Jennie Flaherty, both Irish immigrants.
In 1896, the “Chicago City Directory” listed John Fielding as a scenic artist, living at 2128 Wilcox Avenue. He would retain this title in the city directory for the next few years, before reverting to painter and stagehand. 2128 Wilcox Avenue would also remain the Fielding family home for decades, well after his passing and into the 1940s.
Jon Fielding was also mentioned by Thomas. G. Moses in 1899. That year, he traveled to California with Moses and Edward Loitz. The three painted scenery for John C. Fisher at his opera house. Of the project, Moses wrote, “June 2nd, found me on my way to San Diego; Loitz and John Fielding going with me. Lost no time in getting to work. I had a nice room at the Brewster Hotel. Had my meals at Rudders, as Fisher paid all my expenses. My salary was clear, and a lot of night work was necessary to complete the work on time. The company soon arrived and started rehearsals. We went through two earthquakes which were a sensation to many of us.”
The fact that Moses selected Loitz and Fielding to accompany him on site says a quite a bit about their basic skills as scenic artists. Moses traveled with a select few individuals over the years, and retained even fewer of them. Keep in mind that in 1899, Moses and Fielding were both 43 yrs. old, and Loitz was 35 yrs. old. This was an incredibly experienced scenic art crew to have on site in San Diego. For years, Loitz had accompanied Moses from one job to the next, whether it was a project for Sosman & Landis or another studio. In a sense, Loitz was Moses’ “right-hand man” for almost four decades. Fielding must have also been an incredibly skilled painter, or Moses would not have brought him along.
Scenic artists who accompanied Moses were highly-skilled and fast painters; anyone who did not meet up to his standards did not last for long. So, the fact that Fielding was on site with Moses, at this particular point in Moses’ career suggests that Fielding was talented. For a little more context, 1899 was a pivotal point in Moses’ career. By 1900 he left the firm to establish his own studio, partnering with William F. Hamilton to establish Moses & Hamilton. However, in 1904, Sosman pleaded with Moses to return to Chicago. At the time, Perry Landis was incredibly ill and Sosman need the help. When Moses returned to Chicago, he became the vice-president of the firm, and was directly responsible for all design, construction, painting and installation from that point forward.
When Fielding was working with Moses in 1899, it was in the midst of a hiring war, as Henry Savage, John C. Fisher, and Jacob Litt each wanted to hire Moses on their team. Sosman & Landis did not want their star scenic artist to leave their studio, and were enticing him to say. At the time, Moses recorded that his “vagabond shoes” were “longing to stray.”
By 1899 Moses had already painted “special scenery” for Litt’s production of “The Club’s Baby,” an English farce at McVicker’s Theatre. Litt wanted to hire Moses as part of his production team, offering a substantial salary to leave Sosman & Landis. At the same time, Henry Savage asked Moses to paint for his opera company in New York. John C. Fisher’s was for the short term and included painting all of the settings for Mme. Modjeska upcoming tour. Moses had to make a decision and wrote, “Litt was rather put out when he learned I was going with Fisher and Savage.” This also did not sit well with Sosman and Landis, as they wanted Moses cranking out work back in the main studio. Keep in mind that when Moses accepted work outside of the main studio, Sosman & Landis received their cut, so they really could not say “no” to him. Moses’ contract with Fisher was from June 2 until August 10, often a good time to take a break from the main studio.
Fisher’s Opera House had opened in 1892, with the building situated on an entire block between Fourth and Fifth Streets. The stage was 43 feet wide by 43 feet deep with a grid 74 feet above the stage floor. The venue was illuminated with an electrical system; 1,000 sixteen-candle power from Edison incandescent lamps. Moses recorded that he, Loitz and Fielding lost no time in getting to work immediately upon their arrival in San Diego. On August 27, 1899, the “San Francisco Chronicle” reported, “Thomas G. Moses of New York and a staff of well-known artists have been at work for the past few weeks painting scenery for the tour. This includes elaborate productions for the play of “Marie Antoinette,” which is to be the most pretentious in Modjeska’s repertoire. Other strong plays are “Macbeth,” “Marie Stuart,” “Much Ado About Nothing,” “Gringoire,” and the “Ladies’ Battle,” the last two being a joint production” (page 31).
Moses wrote that his “salary was clear and a lot of night work was necessary to complete the work on time.” The project went well and Moses wrote, “The Modjeska company gave me a fine send-off – a large tent was put up on a vacant lot; refreshments were served and different members of the company did a little stunt. After a hearty God-speed, I was off for New York City. I regretted not being able to stay until Modjeska opened, but I knew I had a big time ahead of me in New York.”
Fielding returned to Chicago, and continued to work in the Windy City for the next sixteen years, living with his wife and daughter. Fielding passed away on July 1, 1915, and was buried July 3 at Mount Carmel Catholic Church Cemetery, Hillside. At the time of his passing, his occupation was listed simply as a “stagehand,” and he was still living at 4213 Wilcox Ave. John Fielding was only 58 years old when he died.
His obituary was published on July 2, 1915, in the “Chicago Tribune”- “John Fielding, beloved husband of Elizabeth Fielding, fond father of Genevieve Fielding. Funeral from his late residence, 4213 Wilcox-av., Sat., July 3, at 9 a.m., to St. Mel’s church, where high mass will be celebrated; autos to Mount Carmel. Member of Married Men’s sodality. Member of I. A. T. S. E. local No. 2. Presentation ct. No. 731, C. O. F.”
His death certificate listed that his father’s name was also John Fielding, so, I began exploring the various lives and careers of various men named John Fielding, focusing on one in particular who worked in the theater profession. The problem with touring theater folk, however, is that they are often not listed in nineteenth-century census reports. Being on the road so much of the time meant that performers and stage technicians were often missed, many not having a permanent address. The best option for pinpointing theatrical activities of touring individuals is newspaper advertisements, articles, and programs.
There was another John Fielding who must be mentioned at this point; his birthdate, Irish lineage, and work in Chicago is a little too coincidental to dismiss entirely.
John J. Fielding (b. abt. 1844) and Maggie Mcloughlin Fielding (1848-1913) were a well-known Irish song and dance team, working as comedic performers in the 1870s and 1880s. They were members of Tony Pastor’s famous road company, and performed at theaters in both England and the United States. In 1870, the US Federal Census listed John and Maggie Fielding as performers, living in Cincinnati, Ohio. On March 17, 1872, the “Detroit Free Press” reported, “On Monday John and Maggie Fielding, character artists will make their first appearance in this city” (page 1). They soon moved to Chicago, however, and began performing at the Bohemian Hall on the West side of Chicago.
Advertisement for the Fieldings’ performance at the Olympic Theatre. Published in the Chicago Tribune 7 Dec 1879, page 16.
There was another Chicago mention that is significant…
Fielding was most notably associated with the Jolly Corks in New York and organized the first lodge in Chicago; this later became Lodge No. 4 of the Benevolent and Protective Order of Elks (BPOE). Fielding is even featured in “The Official History of Chicago Lodge No. 4 B.P.O.E.” by Charles Edward Ellis, published in 1910.
John Fielding, the comedic actor, featured in The Official History of Chicago Lodge No. 4 B.P.O.E. by Charles Edward Ellis, published in 1910.
For a little touring context…in 1873 the two were performing at the Bowery Theatre in New York, but soon returned to England in 1874 where they performed ay Marylebone Music Hall. In London, there were billed as “American Delineators of Hibernian Humour, whose successful reception here proves that a refined entertainment can be appreciated by a refined audience” (“The Era,” 13 Dec. 1874, page 8). But 1875, however, the were back in the US and performing at New York’s Third Avenue Theatre. They soon moved back to Chicago where they remained until 1878.
On September 8, 1878, the “Chicago Tribune” announced, “Mr. and Mrs. John Fielding left yesterday for Detroit to begin an engagement at the New Coliseum of that City” (page 12). On May 18, 1879, the “Detroit Free Press” reported, “COLISEUM – Two separate and entirely new attractions to Detroit audiences will be presented this week at the Coliseum, the first will be J. Z. Little, in the romantic nautical drama ‘Riving Jack, or Saved from the Wreck,’ and the second being a capital list of specialties. John and Maggie Fielding will appear in an adaptation of ‘H.M.S. Pinafore,’ by Mr. Fielding called ‘Little Pinafore,’ and in which the most popular music of the opera is reproduced” (page 6).
While John Fielding Sr. and his wife were living and working in Detroit that year, another John Fielding was playing on the baseball team for Haverly’s Theatre in Chicago, likely John Fielding Jr.
On May 3, 1879, the “Inter Ocean” reported, “The attaches of Hooley’s and Haverly’s theaters got them together yesterday and had some fun. The amusement was the popular game of baseball, nine from one house bracing themselves again nine from the other. The Hooley’s Club came off victor, beating the Haverly club by six runs, the score being 30 to 24…The nines were composed as follows: Haverly’s John McKinzie, A. W. Morse, Charles Huck, Henry Howland, Aaron Peterson, John Bell and John Fielding” (page 6).
The 1880 US Federal Census listed the couple living in New York City, but they continued to tour.
On September 3, 1882, the “Detroit Free Press” announced, “A Second Debut” for the John Fielding Company” (page 15). The article reported that John Fielding, “with his wife Maggie, has been known during the past fifteen years as one of the best vaudeville attractions in the country.” The article further described that Fielding “made his first appearance on stage in the old Metropolitan Theater, which stood where the Theatre Comique building now is. The debut was made twenty-three years ago under the management of Ed Sherlock. Mr. Fielding having been graduated from the composing room with a desire to play ‘leads’ and ‘heavies’ in a legitimate dramatic company. He soon realized that he was better calculated for comedy and for several seasons played comedy in character parts in stock companies throughout the country. Then the variety theater coming in vogue, Mr. and Mrs. Fielding adopted that branch of the profession, making Irish dramatic and musical sketches a specialty, establishing themselves firmly in the public. Now after twenty-three years of show life, Mr. Fielding starts with his first company, playing the Irish comedy drama entitled ‘False Friendship,’ and he feels that it will be a good idea to take the plunge in the city in which he made his first appearance.” On October 2, 1881, the “Detroit Free Press” announced,
“Park Theater. Eight performances, including Tuesday and Saturday matinees, will be given at the Park Theater this week by Col. J. H. Wood’s ‘Electric Congress’ and Harry Richmond’s Comedy Company. Among the principal people in the organizations are the well-known John and Maggie Fielding” (page 13).
On September 5, 1883, the “Detroit Free Press” announced, “Maggie Fielding, of celebrity in the theatrical world, has joined the Barry Fay Combination. Her husband, John Fielding, is manager of the Novelty Theater at Muskegon” (page 4). His stint at the Novelty Theatre was short-lived, and soon he established his own company. By 1884, John Fielding’s Company was performing at White’s Theatre in Detroit. On March 28, 1884, the “Detroit Free Press” reported, “WHITE’S – There was a large audience at White’s Theatre last night to witness the first performance in this city by John Fielding’s company, the play being a very active and continuously ludicrous composition called, ‘The Corner Grocery’ and based on the antics and incidents in the life of that reprehensible myth, ‘Peek’s Bad Boy.’”(page 4).
The Fieldings were still touring in the late 1880s. In 1886, they passed through Illinois, with the “Rock Island Argus” celebrating the performances of both John and Maggie (15 Oct. 1886, page 4). On February 22, 1887, the “Nebraska State Journal” announced, “John and Maggie Fielding in song and funnyisms at the People’s Theatre tonight” (page 8). This same year John Fielding Jr. Was working as a scenic artist at McVicker’s Theatre in Chicago. Although, I have yet to locate a death certificate or obituary notice, it appears that John Field passed away in the late 1880s.
By 1890, Mrs. Maggie Fielding, was back in Chicago, this time living by herself at 293 S. Clinton St. At the same time, scenic artist John Fielding was working as a painter and living at 144 N. Sangamon in Chicago. Although a widow, Maggie Fielding remained quite well-off and continued to work as an actress in Chicago for another decade. Eventually, she moved east, where she he passed away during the summer of 1913. On Dec. 31, 1913, the “Evening World” in New York announced, “Maggie Fielding, died July 15, 1913; total estate $7,716; net value $6,378” (page 7).
George Schultz was a scenic artist at Sosman & Landis in 1911, although he may have worked sporadically worked for the firm since the 1890s. In 1911, Thomas G. Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Sosman & Landis’ main studio was located on Clinton St. The 20th Street Studio was a secondary space that primarily focused on specialty projects, such as Masonic scenery.
Schultz is primarily remembered for his easel art, especially his landscapes and marine scenes. Like many scenic artists, he began his career in ornamental arts. Purportedly, his was employed as a “decorative painter” by the age of fifteen, painting pieces of china. Although this is noted in the majority of biographies about Schultz, I have yet to locate any information pertaining to a specific company at this time.
Schultz was born on April 17, 1869, and grew up in Chicago. His parents were Walter E. Schultz and Elizabeth Moizen. He was the eldest of three sons born to the couple. His younger brothers were Charles and Walter Schultz Jr. As a young child, his family’s household also included a grandmother, Anna Regnery.
By 1880, the US Federal Census listed the Schultz family as living in at 339 N. Franklin St. His father was employed as a bookkeeper that year, with George listed as a student. He was the the only child old enough to attend school at the time. The household now included a different maternal grandmother, Sarah Mazin.
After attending public school, Schultz began to take classes at the Art Institute of Chicago. By 1888, the Chicago City Directory, listed his occupation as an artist. At the age of twenty-one, he was living on his own at 2163 Archer Ave. Between 1889 and 1925, Schultz exhibited over one hundred works at the Art Institute of Chicago Annuals. Like many scenic artists at this time, he joined numerous fine art organizations, and was a member of the Palette & Chisel Club, the Municipal Art League of Chicago, the Arche, the Cliff Dwellers, the Union League Club, and the Chicago Water Color Club. Schultz was a charter member and later president of the Water Color Club.
He was featured in the “Chicago Tribune” on January 18, 1891: “George F. Schultz, a young water colorist who, when he goes to nature for inspiration frequently does some remarkably clever things, has taken a studio in the Japanese Building” (page 12). The Japanese Building was located at the corner of State and Jackson Street, with dozens of suites for artists and musicians. Schultz also exhibited his work at O’Brien’s Gallery in 1892, and by 1893, partnered with William Wilson Cowell to operate a studio on Rush Street. On April 23, 1893, the “Chicago Tribune” announced “Messrs. Cowell & Schultz have their establishment on Rush Street a number of their recently finished water-colors. Some marine views are cleverly executed, especially showing a number of fishing boats at anchor on a misty morning. Two landscapes by Mr. Schultz are especially pleasing. Both are evening scenes, one a gray effect and the other a sunset” (page 37).
He married Katharine Karr Hagenlotha (1869-1942) on Sept. 20, 1893. The couple celebrated the birth of four children between 1894 and 1907; three daughters and a son. His children were Beatrice M. (1894-1982), Katherine (1899-1940), George Jr. (1899-1940) and Florence (1907-1990). As his family grew, so did his reputation as an easel artist.
In the 1890s, Schultz’s artistic career began to soar. He was featured in a solo exhibition at Thurber’s Gallery in 1896, again exhibiting at there in 1898. Regional sketching trips included Delavan, Wisconsin, the coast of Maine (Monhegan Island), Indiana and even Mexico. On Feb 16, 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” (page 28).
From the Chicago Tribune, 16 Feb. 1896, page 28.
On April 10, 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” (page 43). An illustration of “Hoeing Cabbages” even accompanied the article.
From the Chicago Tribune, April 10, 1898, page 43.
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.
One of George Schultz’s paintings recently posted online at incollect.Detail of Twilight in the Marshes by George F. Schultz.
In 1902, Schultz’s work “Fishing House” was exhibited at the Municipal Art League of Chicago’s annual exhibition, That same year his “Reflections” was featured in the March issue of “Brush and Pencil.” By 1906, artworks by Schultz were accepted as part of the Palette and Chisel Club’s permanent collection. His membership in the Club bought him into contact with numerous scenic artists at Sosman & Landis, including Thomas G. Moses. The next year, Schultz’s paintings were featured in a solo exhibition at the Art Institute, and he became a charter member and secretary of the Chicago Water Color Society. He was later elected as the club’s president in 1912.
The 1910 US Federal Census lists the Schultz family living at 1158 Perry Street, listing Schultz as an “artist” who worked in the “picture paint” industry. In 1911, Schultz was listed as the secretary for the Chicago Society of artists. Fellow scenic artist Frank C. Peyraud was also an officer in the organization at the time, both working at Sosman & Landis. Despite success as easel artist, both continued to paint for the stage. Again, in 1911, Moses wrote, “Got Geo. Schultz on the staff at 20th Street.” Schultz is no different than the hundreds of scenic artists at this time who were recognized for both their easel art and stage art. It was advantageous to live with one foot in the fine art work and the other in the theatre industry; a mutually beneficial situation, joining networks and resources from the two worlds. The promotion of these two compatible careers had already been recognized in the 1880s when the first Scenic Art exhibition took place, publicly recognizing the work of scenic artists as fine art.
On April 30, 1913, “The Dispatch” of Moline, Illinois, reported, “Rock Islanders who are much interested in art will find a fine display at the Harper House which includes about sixty canvases by leading American artists. The collection was sent by the Artists’ Guild of Chicago for the purpose of promoting art and encouraging a keener interest in the works of American Painters” (page 3). The show was advertised as “direct from the Fine Arts building of Chicago.” It not only included the work of Schultz, but also another former Sosman & Landis scenic artist Frank C. Peyraud. In 1913, he painted a lovely picture of his daughter Beatrice. It recently sold at Brunk Auctions for $2,016, much more than the estimated $1,000-1,500.
Auction results for George F. Schultz. May 2021Detail of painting by George F. Schultz. His daughter Beatrice.
He exhibited “Converse with Nature’s Charms” at the Carnegie International in 1914, also exhibited at the Iowa State Fair that year in the newly constructed women’s and children’s building on the fairgrounds. In 1916 and “The Voice of the Brook” at the Pennsylvania Academy of the Fine Arts in 1916. On May 19, 1918, the “Chicago Tribune” reported, “the William H. Tuthill prize of $100 was awarded to George F. Schultz for his marine “Surging Seas.” The prize was limited to a Chicago artist and to a pure water color, as Mr. Tuthill wishes to encourage the medium. The painting shows an angry, restless seas hurling itself in vain attacks against a rock guarded shore from which is it thrown back again and again with increasing violence till over the green hunger of the tide a cloud of white foam is cast breaking back on itself in feathery masses” (page 47). That same year, a solo exhibition of Schultz’s work was presented at the Marshall Field and Company department store in Chicago. This is supposedly his last-known solo exhibition. I am skeptical as the art historians who state this also cite an incorrect year for his passing.
Online posting for watercolor by George F. Schultz. I absolutely love this painting.Detail of Schultz painting posted online.
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” in the “professional” industry. 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.
Within the next ten years, everything changed for Schultz. His marriage falls apart, he moves out and his children remain with his ex-wife who does not acknowledge the separation; her husband just fades from the familial picture.
The 1930 US Federal Census for George Schultz listed him as a divorced male, “working on account” as an artist. He was now living in a rental unit at 1521 Warren Boulevard. Meanwhile, his wife Katherine was still listed as married, now listed as the head of household, living at 1900 Newport Ave. in Chicago. George F. Schultz Sr. is no longer at home. Her household was listed as including her son George Jr., daughter Florence, daughter-in-law Yvonne Schultz, Son-in-law Owen M. Roubadeaux, daughter Beatrice M. Roubadeaux, granddaughter Florence M. Roubadeaux, and a boarder named Henry J. Benallack.
Although many art historians, fine art galleries and online sellers list his death as 1934; this is simply incorrect. This is the problem with cut-and-paste biographies; an incorrect statement is repeated so much that is becomes accepted fact. In actuality, George lived until 1950. In May 1939, George Frederic Schultz applied for Social Security. The next year, he was included in the 1940 US Federal Census. At the time of the census report, Schultz was 70 yrs. old and still employed as an artist in the “Landscape picture painting” industry. He was living in a multi-unit building at 1454 Sedgwick St. in Chicago, by himself. He lived for another decade, outliving his ex-wife by eight years. My guess is that he became estranged from his family over the years.
His wife Katherine passed away on September 22, 1942. Her obituary was published in the “Chicago Tribune” on Sept. 24, 1942 (page 26): “SCHULTZ – Katherine Karr Schultz, Sept. 22, loving mother of Mrs. Beatrice Roubadeaux, Florence, and the late George Schultz, and Mrs. Katherine Eger, fond sister of Mrs. Rosalie Willistein. Funeral Friday afternoon at 2 o’clock from funeral home, 6216 N. Clark st, to Graceland.”
Schultz passed away on Sept. 5, 1950. His obituary was published in “The Chicago Tribune” on September 7, 1950 (page 22):
“SCHULTZ – George F. Schultz, 1434 Sedgewick street, Sept. 5, 1950. Beloved husband of the late Kathryn Schultz, fond father of Beatrice Roubadeaux and Florence Schultz, brother of Charles H. Schultz. At chapel, 2121 W. 95th street, where services will be held Friday, Sept. 8, at 11 a.m. Interment Mount Hope.”
Ansel Cook worked at Sosman & Landis from approximately 1906 until 1908. Starting in 1906, Cook sporadically worked at the firm’s annex studio on 20th Street, often as a manager while Thomas G. Moses was on the road. By 1904, Moses was in charge of all design, construction, painting and installation, yet continued to travel for the firm. Moses was also on the road quite a bit, still meeting with clients, negotiating contracts and painting some installations on site. During some of Moses’ many absences, his right-hand-man, Ed Loitz, was left in charge. However, when Loitz accompanied Moses, others were left with the supervision of projects at both the main and annex studios.
In 1906, Moses left Cook in charge of the annex. Upon his return, Moses wrote, “Took charge of the 20th Street Studio on my return. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” Although Cook was a very gifted artist, he was not fast enough for Moses’ standards. However, the speed at which he worked did not stop the firm from hiring Cook. In 1907, Thomas G. Moses wrote, “We opened our annex studio at 19 W. 20th Street in July, and Ansel Cook went there as a manager.” Moses later commented, “He did some very good work but was a long time doing it, which, of course, didn’t pay us.”
Sosman & Landis’ annex studios were primarily for specialty projects, especially painted scenes for Scottish Rite degree productions across the country. I believe that one of Cook’s drop curtains still exists, originally painted for the McAlester Scottish Rite Theater, c. 1907- 1908. It is currently used at the Scottish Rite Theatre in Salina, Kansas.
Drop curtain painted at Sosman & Landis Studio, c. 1907-1908. This is possibly the work of Ansel Cookwhen he worked at Sosman & Landis during that time.
Years later, former Sosman & Landis scenic artist Art Overbeck remembered Cook. His recollections about the firm and various artists who worked there were shared in both in correspondence and interviews with Dr. John Rothgeb, University of Texas at Austin. from July 24, 1976, Oberbeck stated, “[Cook] could make satin shine beautifully. He used to talk and show me stuff and tell me stuff of that sort. I would lay in all the stuff the best I could myself and he’d come along with a brush and give it a couple of jabs and straighten this line out and something of that sort. And boy, it would look so beautiful. Just knowing of a touch in the right place. Oh, he was a genius.” It was the comment about satin and Cook’s specialty as a drapery and figure painter that brought to mind the above-mentioned drop curtain.
I was incredibly difficult to track down information pertaining to Cook’s early career and life in Iowa. Ansel C. Cook was the eldest of nine children born to Walter Cook (1834-1921) and Matilda Kinney (1840-1928). Ansel’s gravestone indicates that he was born in 1863. However, some historical records suggest that he was actually born in May of 1862. Ansel’s younger siblings were Aaron Tompson Cook (1864-1905), David Stinson Cook (1866-1935), Abner Branson Cook (1868-1973), William Clayton Cook (1872-1940), Edna “Elizabeth” Cook (1875-1918), Birdie Louella Cook (1878-1942), Nina Pearl Cook (1880-1943), and Esther “May” Cook (1883-1954). Of all the children, both Ansel and William became scenic artists.
The patriarch of the Cook family worked a variety of jobs, often listed as a “laborer” in census reports. However, when the Civil War broke out, he was working as a “coal digger.” Walter Cook registered for the draft on July 1, 1863, in Richland, Iowa. He was 29-yrs. old at the time, married with a pregnant wife and infant son at home. Unlike so many families in a similar situation, Walter survived the fighting and returned home to his family. After fighting in the war, he returned to Iowa where he would remain for the rest of his life.
By 1870, the Cook family had moved from Richland to Columbia, still remaining in Wapello County, Iowa. The nearest post office was located in Eddyville. The 1870 US Federal Census listed that the Cook household included: Walt (36), Matilda (39), Ansel (8), Aaron (6), David (4) and Abner (1 mth. old). Walter was now listed a working as a farm laborer.
By 1880, the Cook family was living in the nearby city of Ottumwa, residing at 415 Tenton Street. In Ottumwa, Ansel Cook was listed as a painter in the US Federal Census. By 1882, he was associated with the painting firm of Cook & Pagburn. On Dec. 24, 1882, the “Ottumwa Daily Democrat” reported, “Ansel Cook, of the firm Cook & Pagburn, is a painter of fine qualifications. He is one of the best sign painters in the city, and in addition to his qualifications in that respect, is quite a crayon artist. Yesterday a specimen of his crayon work was exhibited at his office that is hard to excel, and is certainly rarely ever equaled in this city” (page 4). I have yet to encounter any other mention of Pagburn and wonder if there was a misspelling; Ottumwa articles are rife with typos (almost like my own posts).
On April 15, 1883, the “Ottumwa Daily Democrat” reported, “The finest door post signs in the city are those in front of Mr. Nusbaum’s place of business. The work is equal to a chromo, and the skill of Ansel Cook is everywhere apparent. DuBoise is nearly as proud of the work as Mr. Nusbaum” (page 8).
His partnership with Pagburn did not last long, and soon Cook partnered with an artist from Chicago, Ernest Rotzein. On September 22, 1883, the “Ottumwa Daily Democrat,” reported, “It is with pleasure that we announce a new firm of business men in this city, Rotzein & Cook. They are both splendid workmen, and we now pronounce our verdict that they will succeed both as house, sign, and ornamental painting. They are Anal [sic. a truly unfortunate misspelling of Ansel] Cook, of this city, and Ernest Rotzein, late of Chicago. Interior decoration will be a specialty” (page 4).
Cook continued to work with Rotzein and remained in the area for the next few years. It was likely Rotzein that later lured Cook to Chicago. In the meantime, however, he married. According to a 1900 census years later, he married Nellie Cook in 1884. I have yet to locate any marriage license or filings for the union. And the 1885 Iowa State Census still listed Cook as living at home with his parents and brothers Aaron F. and David S. It is possible that 1884 was an error, made by a census reporter.
On April 15, 1885, the “Ottumwa Daily Democrat” announced, “Dissolution Notice – Notice is hereby given that the firm of Rotzein & Cook is this day dissolved by mutual consent, All liabilities are assumed by Mr. Rotzein, Mr. Cook retiring from the business” (page 4). The notice was signed Ernest Rotzein and Ansel Cook. Beneath was another announcement: “Thanking the people for past favors, I cheerfully recommend parties desiring work in this line to call up Mr. Rotzein” (page 4). It was signed Ansel Cook. This makes me wonder, if Cook left Ottumwa to get married and work elsewhere. There is a gap between 1886 and 1896 that I cannot account for in the life and career of Ansel Cook.
By 1896, Ansel pops up in Chicago. He was listed in the city directory that year, living at 187 Centre Ave. The next year, he moved to Boston, Massachusetts, where he was consistently listed as an artist for the Castle Square Theatre in the city directory from 1897-1900 and living on Follen Street.
The first mention of Cook working as a scenic artist in Boston. In an advertisement for “Erminie” at the Castle Square Theatre on September 6, 1896. Cook is credited with the scenic effects for the production.
Advertisement listing scenic effects by Ansel Cook. From the Boston Post, Sept. 6, 1896, page 10.
On January 17, 1897, the “Boston Globe” reported, “The preparations for the production of ‘Lohengrin’ at the Castle sq theater are well in hand, and all indications point to a successful production of this most popular music drama. Scenic artist Ansel Cook has already in hand a complete new scenic outfit for the opera. The models for these settings are studies from those used in the original production of ‘Lohengrin’” (page 16).
Later that fall, Cook painted a new drop curtain for the Castle Square Theatre. On September 9, 1897, the “Boston Evening Transcript” described his drop curtain for the Castle Square Theatre. The article reported, “One of the features of the opening of the Castle Square Theatre for the season of 1897-89, Monday last, was the new drop curtain. This curtain was painted by Mr. Ansel Cook, the scenic artist of the theatre, and represents a woodland after a style of French forests, and might be taken for the rond-point of the forest of Fontainebleau. The trees are scattered here and there, but no brush or underwood is seen. An artistic feature of this pretty landscape is that no paths are traced amid the trees. The time the picture represents is autumn, late in the afternoon. The trees in the foreground still retain their warmth of the declining sun, while those in the distance have already a hazy hue much resembling, in coloring, the perspectives in de Chavannes mural decorations. These are five figures in the picture, two of which, both in costume and attitude, are strikingly beautiful. They represent two lovers strolling from the chateau, which is dimly seen in the distance. The costume denotes the sixteenth century, and live the truth of Mareau’s picturesque characters. The picture itself is framed by means of generous draperies and olden-times frescoing. These are of an indefinite color, and harmonize with exterior decorations of the theatre. That Mr. Cook should have found time to both conceive and paint such an artistic and truly beautiful curtain, busy as he is every week with different productions, is to be wondered at. While then, credit is due the management of the Castle Square Theatre for doing everything to please its patrons, greater credit should be given for contributing so much to the stage ensemble and beauty” (page 5).
In October 1897, Cook’s scenic art contributions were noted in the Castle Square Theatre production of “Shenandoah.” An article in the “Boston Evening Transcript” on October 30 reported, “Unusual attention has been bestowed upon the scenic and other stage effects by Messrs. Ansel Cook and Ben Craig, the great scene for the second and third acts, representing Shenandoah Valley, being a faithful study from sketches made at the time of the historical occurrences depicted in the drama” (page 1). The next day, “The Boston Globe” announced, “A clever example of model making for dramatic productions may be seen in the window of the branch office of Castle sq theater on Tremont st the coming week. It represents in detail the scenes and figures of the principal picture in the third act of ‘Shenandoah’ and is an excellent example of the clever work done by Mr. Ansel Cook, the scenic artist of the Castle” (page 22).
Cook’s work with Ben W. Craig at the Castle Square Theatre from 1896 to 1902 included, “The Ensign,” “Captain Swift,” “Rosedale,” “The Heart of Maryland,” “The New South,” “The Prisoner of Zenda,” “Caste,” “Men and Women,” “Mignon,” “Tannhäuser,” “The Prodigal Daughter,” “Darkest Russia,” “A Social Highwayman,” Cumberland 61,” “Col George of Mt. Vernon,” “Nell Gwyn,” “Cyrano de Bergerac,” “The Little Minister,” “Jim the Penman,” and “Quo Vadis.”
By 1905 Cook moved from Boston to Chicago, establishing the Ansel Cook Studio and advertised as “Designer, Originator and Constructor.” His firm was located in room 60 of the Grand Opera House Building.
Advertisement placed by Ansel Cook in The White City Magazine, 1905.Advertisement placed by Ansel Cook in The White City Magazine, 1905.
One advertisement placed by Cook in “White City Magazine” gives some insight into some of Cook’s between 1902 and 1905. The ad stated:
“Now engaged in preparing the $60,000 reproduction of the CITY OF VENICE. Also, the $50,000 scenery for the SCENIC RAILWAY at WHITE CITY, Chicago. Designer and Constructor of the famous COAL MINE IN MINIATURE for the Fairmount Coal Co. of West Virginia (Highest Award), and the wonderful exhibit of the Davis Colliery Co. of West Virginia (Gold Medal), at the Louisiana Purchase Exposition; the two principal features and most popular exhibits in the Mines and Metallurgy Building. Designer and Constructor of the Mural Decorations for the Dome of the State Capitol Building at Topeka, Kansas.”
Cook’s work for the White City Amusement, “Venice,” in 1905 was featured in “White City Magazine.” Venice was advertised as “a romantic gondola ride through the moonlit water streets of Venice; viewing correct reproductions of her famous buildings and statuary groups.” It was a water ride that purportedly included 90,000 square feet of painted panoramas depicting the sites of the city, Venice.
1905 article about Ansel Cook in The White City Magazine.Design by Ansel Cook for the White City attraction VENICE, published in White City Magazine, 1905.
In a 1905 promotional book, entitled “White City Magazine,” Cook’s painting for the attraction was described in detail:
“SCENERY FOR BEAUTIFUL VENICE.
AN ENORMOUS QUANTITY OF IMPORTED CANVAS REQUIRED FOR MAKING THE PERSPECTIVE VIEWS
Ansel Cook, one of the most famous scenic artists in the United States and whose work is to be found in every first-class theatre, states that more canvas was required for constructing the perspective views which adorn the interior of Beautiful Venice, than was ever before used for any scenic work under one roof. Almost 10,000 yards of Russia sheeting, about 90,000 square feet, was imported direct from Russia because no dealer in this country could supply this enormous quantity. The canvas was used for the reproducing of scenes in Venice through which appear at a distance from the passenger in the gondola. That part of Venice through which the half mile of canals pass is actually built so that real palaces, groups of statuary, etc., are brought to view at every turn of the winding waterways, but the interior walls are hung with enormous panoramic paintings which carry out the effect for a distance of several miles.
In painting these panoramic views, Ansel Cook required the services of six associate artists and a small army of assistants. Their work lasted for a period of four months, during which time the entire force was kept busy practically day and night. The utmost care was exercised in order to give a perfect reproduction of Venice architecturally and in the color scheme. During a recent visit to the city of Venice, Mr. Cook carefully studied the details of ornaments, cornices and mouldings used on the buildings which have been reproduced for White City and he has correctly carried out the original designs in his work.
The wonderful perspective view of the Grand Canal, one of the most magnificent paintings ever produced on canvas, is about 30 feet high by almost 200 feet long. The size of this for an individual painting has rarely been exceeded. Particular care was taken to reproduce the animation and spirit of the busy scene presented to the sight-seer along the Grand Canal, with its host of gondolas, fishing boats with their bright colored sails, fruit barges, etc. Visitors to White City who experience the delights of a gondola ride through Beautiful Venice, will marvel at the life-like reproductions of these historic scenes, while those who are familiar with artistic efforts, will not hesitate to make frank acknowledgment of the excellence of the reproduction.”
On September 2, 1905, Cook’s operatic contributions were also featured in the “Minneapolis Journal” (page 14). He was credited with producing the painted backings for Lorenzo Perosi’s La Risurrezione di Cristo, the Resurrection of Christ, at the Minneapolis Auditorium in 1905. Perosi’s oratorio was part of the Banda Rossa program performed at the Auditorium during State Fair week, and included Gina Ciaparelli (soprano), Bessie Bonsall (contralto), Albert Quesnel (tenor) and Salvatore Nunziato (baritone) for the solo parts. The article noted that Cook’s painted compositions included “Mary at the Tomb, the meeting between the Savior and Mary Magdalene, the meeting of the Saviour and the Disciples on the Road to Emmaus, the Savior in the Multitude and the Ascension Scene.” On September 3, 1905, an article in “Minneapolis Journal” further detailed, “As the music progresses, these views, each 30×40 feet, with the wonderful electric lighting effects, are dissolved one into another. The effect is intensely interesting, and the mind, acted upon alike by the music and the pictures, is almost overwhelmed by the reality, the beauty and the solemnity of the scenes thus depicted by tone and brush…These are exquisite works of art and when lighted by the different electrical devices used in their presentation are wonderful, beautiful, and fantastic, illuminating the music as it progresses”(page 31).
It was in 1906 and 1907 that Thomas G. Moses mentioned Cook periodically managing Sosman & Landis’ annex studio. By 1908, Cook was offered work in California.
On July 27, 1908, the “Los Angeles Times” reported, “Ansel Cook, late scenic artist for Henry Miller, has just been engaged for the same position at the Belasco Theatre here. ‘The Great Divide’ settings were made by Mr. Cook. He was for six years with the Castle Square company of Boston” (page 7). In the August issue of “Billboard” that year, Cook was also credited with providing new scenery for Weyerson & Clifford’s Southern Thorne and Orange Blossoms Company (Vol. 20, page 25).
Cook’s work for the Belasco Theatre continued to make headlines. On September 30, 1908, the “Los Angeles Times” announced, “The Belasco Theatre has a new scene painter, Ansel Cook. He has the reputation of being one of the best in the country. His ‘Exterior of the Black Snake Ranch,’ in Acts II and III, is a Texas landscape, beautiful in color, and one of the most effective backgrounds ever seen on the Belasco stage.” In November, Cook painted new scenery for the Belasco Theater’s production of “Old Heidelberg.” On Nov. 1, 1908, the “Los Angeles Times” reported, “As Ansel Cook has painted entirely new scenery and appropriate sets, the production should prove a truly notable one from every standpoint” (page 25).
Cook was still working as an ornamental painter at this time, keeping himself employed between productions at the Belasco Theater. On Dec. 13, 1908, the “Los Angeles Herald” credited Cook with decorating the green room at the Belasco Theatre in Los Angeles, describing, “The green room now presents a very different appearance, being artistically decorated in green, maroon and gold, with beautifully decorated ceiling, executed by the clever artist, Mr. Ansel Cook” (page 32).
Cook was still listed in the 1909 “Los Angeles Directory.” However, he was now listed as an artist at C. F. Thompson Scenic Co. This was the newly incorporated scenic concern established by Charles F. Thompson. C. F. Thompson Scenic Co. originated in Chicago, and was operating by 1900. In 1909, the C. F. Thompson scenic company delivered a new drop curtain to the Home Theatre in Hutchinson, Kansas. On January 22, 1909, the “Hutchinson Daily Gazette” described the composition: “The center is a redwood scene with stage coach and a group of horsemen approaching a watering place” (page 5).
Between 1910 and 1914, Cook fades from radar again. By 1915, however, he has moved to the East Coast where he continues to work as a scenic artist. The 1915 New Jersey State Census listed Ansel Cook, now widowed, was working as a scenic artist and living with John B. Cook, Charles B. Cook, were J. Heiner, John L. Hoag, and Fred W. Kopke. They were all living in North Bergen Township. Interestingly, John B. Cook was also listed as a scenic artist. That being said, I do not know if there were any familial ties between Ansel, John and Charles. Distant cousins maybe, or did they just share the same common last name? It actually makes me wonder if this was the correct Ansel Cook, yet he passed away in Manhattan a year later.
Ansel Cook died on February 23, 1916 in Manhattan. He was listed in the New York extracted death index, yet the database listed his passing as Feb 24, 1916. It is hard not to think of Art Oberbeck’s comment about Cook decades later: “Oh, he was a genius. All his work was just so tremendous. And he died drunk in the back room of an old dump in New York. He was an awful drinker.”
Cook’s obituary was published in the “Ottumwa Tri-Weekly Courier” on Feb. 29, 1916: “Ansel Cook. The remains of Ansel Cook who passed away in New York, early Friday morning, arrived in this city Sunday morning, The funeral services were held this afternoon at 3 o’clock from the residence of his parents, Mr. and Mrs. Walter Cook, 427 Church Street, and were conducted by Rev. D. CX. Smith and Rev. Isaac Bussing. Interment took place in Ottumwa Cemetery.”
The rave of Charles P. Minor at Forest Hill Cemetery.
Here is brief recap of the Minor family to give a little context for Charlie:
John and Mary Minor celebrated the birth six children: Nora (1862), William M. Minor (1864), George Edward Minor (1866), John Harry Minor (1868), Charles P. Minor (1870), and Bert Minor (1880). After Mary passed away in 1880, John remarried and fathered two more children: Dollie (1887) and Jas. (1888). With the exception of his eldest daughter, the Minor children all grew to adulthood in Seneca, Kansas. William was the first to enter the painting profession, trained by a local sign painter in Seneca. He was soon followed by George and then Charles, and they all began working together as the Minor Bros. Early projects were primarily signage for local business, but soon they expanded their services to include theatre scenery. From 1885 until 1898, the Minor Bros. painted scenery throughout the Midwest.
In 1890, William and Charles Minor began working for Sosman & Landis. That year, the two were part of the crew painting scenery for the Broadway Theatre in Denver, Colorado. Three years later, Charlie was still working for the firm in 1893; he seems to have lasted the longest at the studio. On February 10, 1893, “The Representative” in Fox Lake, Wisconsin, reported, “Chas. Minor, representing the Sosman & Landis scene painting form of Chicago, was in town last week trying to arrange with Odd Fellows to put a new curtain in the hall. It is an advertising curtain, but whether he will make it a go or not remains to be seen” (page 4).
On May 3, 1895, “The Courier-Tribune” of Seneca, Kansas, reported, “Charles, W. M. and G. E. Minor, of Chicago, are in this city visiting their many old friend and acquaintances. They are the sons of Jno. O. Minor and formerly lived in Seneca, but the parents of the boys, Mr. and Mrs. J. O. Minor, now live in Baileyville. The three young men above mentioned are now with the Chicago Scenic Co., and are doing a nice business. They are working on the Crawford circuit and doing jobs at St. Joseph, Atchison and Topeka. Will painted the first drop curtain for the Grand Opera House. He picked up his trade while living here, and now all three are recognized as experts in this line. Will also painted the drop curtain for Sabetha and Hiawatha G. A. R. Halls. They are a nice lot of boys who have come right to the front” (page 3).
The Minor Bros. visits and projects continued to make Kansas newspapers throughout the 1890s. On May 9, 1895, the “Junction City Tribune” reported, “Will, Charlie and G. E. Minor of Chicago are visiting friends and will renew the old and paint some new scenery for the opera house while here” (page 5). By 1896, the brothers were associated with another studio, the Chicago Scenic Co. On May 4, 1896, the “Stevens Point Daily Journal” in Wisconsin, reported, “Minor Bros. of the Chicago Scenic Co. have finished painting a handsome advertising drop curtain for the Opera House. The curtain will be used between acts. The gentlemen are also painting curtains in Waupaca and Grand Rapids” (page 4).
They continued to remain part of the western theater scene too, painting scenery for opera houses in Colorado and Utah. On August 19, 1897, the “Avalanche-Echo” of Glenwood Springs, Colorado, (Vol X Number 33, page 4) announced the arrival of William and Charles Minor at the Kudrick hotel. On Feb 24, 1899, “The Courier-Tribune” of Seneca, Kansas, reported, “The Minor Bros. have taken the contract to paint the stage scenery for the Catholic school hall. They are at work on it now and doing a fine job. The Minor boys have the reputation of being as fine scenic painters as there are in the country and have done work in all the large cities from Chicago to the Pacific coast. They started to paint in Seneca years ago under the tutelage of J. Y. Benfer.”
By 1906 Charles relocated to Salt Lake City, Utah, In 1906, Chas. P. Minor was listed as an artist in the Salt Lake City Directory, living at 632 S Main. That year a want ad for his older brother William was placed in the “Salt Lake City Tribune” want ad on Dec. 24, 1906 (page 9): “WANTED – INFORMATION OF THE present residence of William Minor, a scenic artist. Address X 49. Tribune” (page 8). He disappears from print for a while and it is not until 1910 that he is included in the “Salt Lake City Directory.”
He was initially associated with Empire Theatre, the first movie theatre in town. Established by Harry S. Rand , it opened in 1908 and was located at 156 S State. In 1908 the “Salt Lake City Directory,” listed Charles E. Minor as manager of the venue, living at 9 Hooper & Eldredge Blk. At this same time, William M. Minor was listed as the treasurer for the Empire Theatre, residing at 76 E. 5th South. Interesting, a “May Minor” also worked as a cashier at the Empire Theatre, rooming at 49 S Main.
Charlie was still connected with the Empire Theatre in 1909, now listed as scenic artist for the venue and living at 76 E. 5th South. By now, his brother William was listed as the manager of the Empire Theatre, residing at 235 E. 4th South. William continued to live on 4th street, but became associated with the Salt Lake Theatre, painting their new drop curtain in 1910. On 4th St., William lived with his wife Minnie and lodger F. V. Ogle, a dressmaker.
Charlie soon moved west and by 1916, was listed as a scenic artist in the “Los Angeles City Directory,” living at 1249 S. Grand Avenue with his wife Mary . Charlie was registered as a Democrat. His stint in California did not last long, and by 1917 he and Mary were living in Lawrence, Kansas, with Charlie listed as a “traveling agent,” boarding at 804 Louisiana.
In 1918, both Charlie and William Minor moved from Salt Lake City to Kansas City, changing his profession entirely and becoming brokers. He continued to work with stocks and bonds in Kansas City throughout the 1920s. In 1929, Thomas G. Moses met up with Charlie and his brother, George “Ed” Edward Minor , in Kansas City. Of the reunion Moses wrote, “I called on the Lilley Company – (regalia company). Met Mr. Butcher, the assistant manager. He called up my friends the Minors – Ed and Charlie, and they came down to see me. Had a very pleasant visit then I took in a picture show.” Almost four decades had passed since Moses had met and hired Charlie for the Broadway Theatre project in Denver.
By 1930, Charlie Minor was living with his second wife Belle Bennett Swan in Topeka, Kansas. He initially started out as a boarder in Swan’s home, one of three lodgers at 914 King Street. The other two lodgers were school teachers (Helen A. Hudson and Ruby E. Taylor). The 1930 US Federal Census listed Charlie’s occupation a “broker” in the “stocks and bonds” industry. By 1931, the couple married, yet remained living at Swan’s home for the next decade. However, by 1933, Charlie became a salesman of life insurance and bonds, a profession that he would continue until his passing in 1944.
Charles Minor died on Dec. 19, 1944, passing away at the Major Clinic in Kansas City, Missouri. He had been admitted four days prior to his passing. Interestingly, his death certificate listed his birthplace as Bedford, Iowa. This surprised me, as all other records had indicated that he was born in Illinois.
On Dec. 20, 1944, the “Kansas City Times” published a brief obituary for Charles P. Minor, announcing,
“Funeral services for Charles P. Minor, 74, Topeka, who died yesterday at the Major clinic, will be held at 3:30 o’clock this Wednesday at the Newcomer chapel” (page 6). Charlie was buried at Forest Hill Cemetery.
Gravestone of George Edward Minor. Highland Cemetery, Junction City, Kansas.
G. E. Minor was a scenic artist and salesman at Sosman & Landis in 1892. On February 5, 1892, the “Clinton Register” reported, “G. E. Minor, representing Sosman & Landis, was in Clinton the first week arranging for new scenery in the opera house which will be put in in about ten days “(page 3).
George Edward “Eddie” Minor (1866-1940) was one of the Minor Bros., a scenic studio that started in Kansas during the 1880s. William, George and Charlie all starting painting as young adults in Seneca, Kansas, and were soon well-known throughout the region.
They were three of eight children fathered by John O. Minor. John and his first wife Mary A. Brown celebrated the birth of six children: Nora (1862) William M. Minor (1864), George Edward Minor (1866), J. Harry Minor (1869), Charles P. Minor (1870), and Bert Minor (1880). After Mary passed away in 1880, John remarried celebrated the birth of two more children with his second wife Rosa Hasson: Dollie (1887) and Jas. (1888).
The first public listing for Eddie as a painter is in 1885, working with his older brother William. The two even temporarily moved from their home in Seneca, Kansas, to Kansas City, Missouri, for greater visibility. On Feb. 7, 1885, their work was featured in the “Carbondalian” of Carbondale, Kansas, (page 4). A short article reported, “Minor Bros. (William and Edward) of Kansas City, have painted a very fine business directory for our business men. It is on canvas background with a large moulded frame, about 5×7 feet in size and will hang in the post office. We can recommend then to the business men of other places as good and reliable workmen.” They soon became known as the Minor Bros., with their younger brother Charlie entering the business too.
They initially focused on sign painting and outdoor advertisements. On Jan. 29, 1886, the “Smith Bulletin” of Smith Centre, Kansas, reported, “The Chicago Lumber Co. has had a neat, new sign painted on the north side of its large lumber shed. The work was done by the Minor Bros. the boys who painted the scenery for the tabernacle” (page 3). In 1887 they placed a whole series of advertisements in local newspapers that consisted of very brief statements, including: “Gilt-edged and artistic lettering by Minor Bros,” “Minor Bros. for skillful and tasty sign painting,” and “Minor Bros are literally bespangling the town with gorgeous signs.” By the fall, George became the first brother to marry.
On September 5, 1887, Eddie Minor married Lillie Beery in Geary County, Kansas. Lilian Priscilla B. Beery (1870-1941) was the daughter of Martin Beery (1839-1879) and Miriam C. Griffith (1842-1909). The Beery family had moved from Tiffin, Ohio to Junction City, Kansas, about the time Lillie was born. It was in Junction City that Lillie met her future husband, and soon the couple celebrated the birth of their first son, Charles Kendall Minor in 1888. Their second son was born twenty-five years later. George Edward Minor Jr. was born in 1913.
It remains uncertain as to when George began working for Sosman & Landis, however, Will and Charlie were working for the firm in Denver, Colorado, by 1890. My guess is that in 1892. Eddie, now going by G. E., was likely working as a salesman for the firm.
That same year, a humorous story appeared in the newspaper about a Sosman & Landis scenery order from Saddle Rock, Iowa. On Nov. 26, 1892, the “Los Angeles Evening Express” reported, “At Saddle Rock, Iowa, a new manager sent an order to Sosman & Landis, Chicago, scenic artists, for ten yards of woods, sixteen feet of prison cells, on-half mile of bridges and one quarter acre of sky. Someone told him they. Had those already painted by the bolt and tore off what was ordered” (page 6). Humor aside, Sosman & Landis had produced mail order scenery since 1879; it was part of their initial marketing ploy, shipping scenery without ever visiting the venue. They had to have encountered a wide range of characters by this point.
By 1895, all three brothers were working in the scenic art business, but now for the Chicago Scenic Co. Their projects were periodically mentioned in the Seneca newspaper, making me wonder if the Minor Bros. unofficially established the firm. On May 3, 1895, “The Courier-Tribune” of Seneca, Kansas, reported, “Charles, W. M. and G. E. Minor, of Chicago, are in this city visiting their many old friend and acquaintances. They are the sons of Jno. O. Minor and formerly lived in Seneca, but the parents of the boys, Mr. and Mrs. J. O. Minor, now live in Baileyville. The three young men above mentioned are now with the Chicago Scenic Co., and are doing a nice business. They are working on the Crawford circuit and doing jobs at St. Joseph, Atchison and Topeka. Will painted the first drop curtain for the Grand Opera House. He picked up his trade while living here, and now all three are recognized as experts in this line. Will also painted the drop curtain for Sabetha and Hiawatha G. A. R. Halls. They are a nice lot of boys who have come right to the front” (page 3).
Projects at this time included the opera houses in both Junction City and Salina. On May 9, 1895, the “Junction City Tribune” reported, “Will, Charlie and G. E. Minor of Chicago are visiting friends and will renew the old and paint some new scenery for the opera house while here” (page 5). On June 10, 1895, Junction City’s “Daily Sentinel” reported, “G. E. Minor left today for Salina to commence his contract of painting and renewing curtains and scenery at the opera house. The Minor Bros. are fine gentlemen and fully understand their business” (page 3). This notice was followed up on June 15, 1895, when the “Junction City Weekly” reported, “G. E. Minor went to Salina Monday” (page 2).
The Minor Bros. were still working for the Chicago Scenic Co. in 1896. On May 4 of that year, “Stevens Point Daily Journal” in Wisconsin reported, “Minor Bros. of the Chicago Scenic Co. have finished painting a handsome advertising drop curtain for the Opera House. The curtain will be used between acts. The gentlemen are also painting curtains in Waupaca and Grand Rapids” (page 4). Around this time, George Minor’s wife and children settled in Leavenworth, Kansas. Meanwhile, G. E. Minor drifted from one theatre project to the next. On Oct 22, 1896, the “Leavenworth Times” reported, “Mrs. G. E. Minor and her son Kendall, left yesterday for Junction City to visit a month with friends and relatives” (page 5).
It remains unclear as to how long the Minor Bros. were associated with Chicago Scenic Co, yet the firm continued to operate for two more years. In 1898 they were credited with delivering scenery to the opera house in Abilene, Kansas.
In 1899 the Minor Bros. were still working together, but I don’t know if this meant all three brothers, or just two. On Feb 24, 1899, “The Courier-Tribune” of Seneca, Kansas, reported, “The Minor Bros. have taken the contract to paint the stage scenery for the Catholic school hall. They are at work on it now and doing a fine job. The Minor boys have the reputation of being as fine scenic painters as there are in the country and have done work in all the large cities from Chicago to the Pacific coast. They started to paint in Seneca years ago under the tutelage of J. Y. Benfer.”
I want to briefly include a little background on John Y. Benefer (1844-1913). Benefer was living in Seneca when the Minor family arrived in 1882. That year, both Benefer and J. O. Minor were listed as members of the GAR when the George Graham Post was established in Seneca. Benefer ran a paint shop and worked as a sign and carriage painter in Benefer at the same time the Minor Bros. began their painting business. Born in Pennsylvania, Benefer learned the painting trade in Norfolk, Ohio, just prior to the Civil War. After the war, Benefer moved west, eventually settling in Seneca. Benefer ran a paint shop for ten years, but later in life he worked as an architect. He is credited with the many homes and business not only in Seneca, but also throughout Nemaha County.
On July 27, 1900, the “Junction City Weekly” reported, Mr. G. E. Minor went east today to take in Kansas City, Chicago, and Calumet, Mich.” (page 8).That same year William Minor working for Sosman & Landis. On July 20, 1900, the “Marengo Republican” of Marengo, Illinois, reported, “William Minor, representing the firm of Sosman & Landis, the great scenic artists of Chicago, has been for the past two weeks painting new scenery and redecorating the old at the local playhouse.” It remains unclear if G. E. Minor was still working in the painting industry at this time.
By 1904, G. E. Minor was working for the Red Wing Advertising Co, of Kansas City. This was a regional branch of the Red Wing Advertising Co. in Red Wing, Minnesota. The firm employed both men and women in their traveling sales department, sending them across the country with advance cards and samples. George’s work for the company in 1904 was noted in “The Seneca Tribune” on Sept. 15, 1904. An article about his father’s sixty-seventh birthday celebration included the current occupations of William, Eddie, Harry and Charles, listing, “W. Mansel Minor, scenic artist of New York, G. E. Mino, representing the Red Wing Advertising Co, of Kansas City, Harry Minor, with Brown & Bigelow making specialties for advertisers and Charles Minor, scenic artist of Chicago.”
George’s travels continued to be noted in the Seneca newspaper, especially whenever he visited home. On Nov. 29, 1906, the “Courier-Tribune” of Seneca, Kansas” reported, “G. E. Minor of Kansas City, visited his parents, J. O. Minor and wife last week” (page 8). George continued to work in sales over the years, but his focus was constantly shifting from one industry to the next. By 1910 he was working as a salesman for an insurance company in Kansas City, Missouri, living with his wife Lille (39) and his oldest son Charles K. (21).
By 1913, he began helping his brother Harry, attempting to include the Old Santa Fe trail as part of the new transcontinental highway system. On Nov. 14, 1913, the “Democrat-Opinion” of McPherson, Kansas, reported, “The Minor Bros., J. Harry and G. E., and George Loundsbury of Kansas City, representing the National Old Trail Association, held a meeting in the Opera House Monday evening. They are working for the Old Trail Association and are boosting the old Santa Fe Trail as part of the link of the paved highway from New York to Los Angeles and San Francisco. They delivered log books showing the route of the Old Santa Fe Trail, and went west along the historic route” (page 5). Years later, his brother Harry would be remembered as a “Pioneer Road Surveyor.” When Harry Minor died in 1941, his contributions were heralded in the “Los Angeles Times.” I am including the article in its entirety as I find it fascinating.
On March 16, 1941, “Los Angeles Times” reported:
“Pioneer Road Surveyor Dies.
John Harrison Minor, 72, Prepared Coast-to-Coast Highway Guide in 1914.
John Harrison Minor, 72, known as “J. Harry,” pioneer automobile highway map surveyor died yesterday morning of cerebral hemorrhage at the General Hospital.
He lived in Southern California seven years, making his home at 2014 N. Argyle Ave., with his wife, Mrs. Nellie Minor, and son, Charles Harrison Minor. He was born in Keithsburg, Illinois.
Prepared Guide.
In 1914, when preparations were under way for the Pan-American Exposition in San Diego, and when automobiles were classed as luxuries, Mr. Minor and his son toured from New York to California, preparing the first transcontinental road guide over the National Old Trails Road. U.S. Highway 66 and 40, in various parts of the country were mapped at that time. The trip was so successful that Mr. Minor mapped the entire United States, preparing maps for the Official Tourist Information Bureau.
FIFTEEN VOLUMES.
Fifteen volumes of his road guide ran into 65 editions, on file in the Library of Congress.
Besides his widow and son, he leaves a daughter, Mrs. C. A. Warner of Bloomfield, N.J.; two brothers, Charles P. and Burt A. Minor of Topeka, Kan.; a sister Mrs. G. A. Lansberry of Kansas City, Mo., and four grandchildren” (page 38).”
While Harry crossed the country, G. E. Minor remained in Kansas City, soon setting his sights on the stock and bond trade. The remainder of Minor brothers joined in the game. William Minor even left his successful scenic art career to become a Kansas City broker by 1918. This says a little bit about the family. The Minor brothers continued to support one another over the years. Initially, it was the painting trade. Later in life it was stocks, bonds, insurance and oil.
In 1919, George partnered with Walter S. Nevins to establish the brokerage firm of Minor & Nevins, located at 502 Waldheim building in Kansas City. Both William and George became brokers at h this time. George Minor briefly returned to work as a salesman in 1921, as did his son Charles K. Minor, who was again living at home, now working for T. H. Mastin & Co. The entire Minor family remained quite active in the business community, with G. E. being elected as president at a J. C. Reunion that year; the event was even held at the Minor home, 5316 Oak Street (“Junction City Weekly Union,” 8 June 1922, page 1).
Their former Sosman & Landis boss, Thomas G. Moses, continued to visit the Minor Bros. over the years. In 1929 Moses recorded that met up with G. E. and Charles Minor in Kansas City. Of the reunion, he wrote, “I called on the Lilley Company – (regalia company). Met Mr. Butcher, the assistant manager. He called up my friends the Minors – Ed and Charlie, and they came down to see me. Had a very pleasant visit.” Almost four decades had passed since Moses hired the Minor brothers.
By 1930, George began a new business endeavor, one that seemed quite promising at the time. The census that year listed his occupation as a proprietor of the Farm Crop. His son Charles K. was listed as a salesman with the Farm Corps. too. It was a new company. On Jan. 4, 1930, the “Kansas City Star” announced that the Farm Corps. was a “New Kansas Wheat Concern” (page 3). The article continued, “G. E. Minor, of 5316 Oak Street was given contract for the fiscal agency of the Kansas Farms Corporation. The article noted, “The Kansas Farms Corporation, the latest addition to the group of incorporated farming enterprises in Kansas, was granted a charter Dec. 31 at Topeka. Its purpose is to industrialize wheat farming and produce wheat on a large scale with the aid of modern machinery. The officer and directors that year included: J. M. Rinker, WaKeeney Kas., a wheat grower, forty-five years in the section, and owner of 3,600 acres of wheat, president.; G. E. Minor, formerly in the bond business here, first vice-president. Others included bankers, lawyers and a retired wheat grower. The article added, “The Kansas Farms Corporation will maintain offices in Topeka and Junction City and later probably in Kansas City.”
G. E.’s association with the company didn’t last and he set his sights higher – on oil. He was continuing to hustle, constantly traveling the country; his body finally gave out. On May 15, 1940, the “Kansas City Star” headlined, “George Edward Minor. Oil Salesman Stricken Fatally on Trip to New York” (page 8). The obituary continued, “George Edward Minor, 73 years old, 5313 Holmes street, died in a hotel in New York, where he had gone on business. Mr. Minor had lived in Kansas City thirty-five years, coming here from Junction City, Kansas. He was an active member of the Shrine and of the Second Presbyterian Church.
He leaves his wife, Mrs. Lillie B. Minor, and two sons, C. K. Minor and George E. Minor, jr., all of the home; a sister, Mrs. George A Lansberry, 5811 Woodland av and three brothers, B. A. Minor and Charles P. Minor, both of Topeka, and J. H. Minor of Los Angeles. Burial will be in Junction City.”
His wife Lillie passed away the next year, on April 17, 1941.
William M. Minor was a scenic artist who worked at Sosman & Landis from approximately 1890 until 1900. He painted all over the country, sporadically returning to represent the Chicago-based firm. His two younger brothers Eddie and Charlie Minor also started as scenic artists and worked for Sosman & Landis over the years too.
William M. Minor grave in Forest Hill Cemetery in Kansas City, Missouri.
The Minor Bros. were well known throughout the Midwest and West, with their scenic art featured at theaters in Kansas, Missouri, Colorado, Utah, Illinois and Minnesota. It is almost impossible to tell the story of one brother, without mentioning the lives and careers of the others. They all worked together at one time or another; the family was a close-knit one. Each artistically-gifted son was mentioned at their father’s sixty-seventh birthday celebration, so I’ll start with the family members and patriarch of the clan, J. O. Minor.
John O. Minor (1837-1912) was a Civil War Veteran and later member of the Seneca, Kansas, post of the G.A.R. In 1902 George Graham Post No. 92, G.A.R., listed Minor’s past military service as a private in Company G of the 102nd, Illinois. John married Mary A. Brown (1840-1880) on Dec. 27, 1859, in Illinois and the couple celebrated the birth of one daughter and four sons before moving from Illinois to Kansas in 1879. The Minor children included: Nora (1862) William M. Minor (1864), George Edward Minor (1866), J. Harry Minor (1869), Charles P. Minor (1870), and Bert Minor (1880). After Mary’s passing in 1880, John remarried; his second was Rosa Hasson. John and Rose were married on October 19, 1882. They celebrated the birth of two children: Dollie (1887) and Jas. (1888).
J. O. Minor’s 67th birthday was published in “The Seneca Tribune” on Sept. 15, 1904; he passed away eight years later. Here is the article in its entirety as it really sets the stage, providing a sneak peek into the boys’ professions at the time:
“A SUNDAY ANNIVERSARY.
Mr. and Mrs. J. O. Minor Celebrate Mr. Minor’s Birthday with the Family Home and Happy.
Last Sunday was J. O. Minor’s sixty-seventh birthday, and they planned to celebrate the event by inviting all the children home once more and making the day one of social and family reunion. All the children, excepting the son Bert, got home safely, and sat down to a birthday dinner – making father and mother very happy, and the children enjoyed the day too. Bert is running a show and was billed for a town in Indiana that made it impossible for him to get out to Kansas last Sunday. This gathering was the first that all these children had been together for nine years, and it was eight years previously since they had met in re-union and then in Chicago. There were twenty-two at dinner. Those outside the immediate family being Allen Kerns and family of Baileyville, Mrs. J. W. Larimer of Washington, District of Columbia, a sister-in-law of Mr. Larimer. Of the children present Mrs. G. A. Lansberry of St. Louis, the daughter was unaccompanied by the husband. The four boys had their wives along and were, W. Mansel Minor, scenic artist of New York, G. E. Minor, representing the Red Wing Advertising Co, of Kansas City; Harry Minor, with Brown & Bigelow making specialties for advertisers and Charles Minor, scenic artist of Chicago.
Mr. Minor came to Seneca twenty-two years ago from drouth-stricken Rooks county out in western Kansas – poor and with this large family then all small and mostly dependent. But they were an ambitious lot, and took to any kind of work offering a chance to earn a nickel. Mr. Minor himself was a blacksmith and worked at his trade. The boys and girls all attended the public schools in Seneca, which gave them all the educations they started out in life. Out of school the boys helped their father along with work – they set fence posts for Bassett on his farms and helped dig the cellar for Dan Firstenberger’s store. These are only sample jobs; they were up and doing, and asked if any of them graduated from our school the answer came – “No we were too busy to graduate!”
But they proved rustlers, these Minor boys did; and in their work one or the other of them have been in every state in the Union excepting California; that state comes next, and the Uncle Sam’s outlying possessions. They have been to Cuba already.
Mr. Minor and the children, sons and daughters-in-law and all, were about town Monday morning; Mr. Minor was very proud of the flock, and they were glad to see so many in Seneca once more whom they had known in the years gone by. It is a fine thing to come back to the old town to receive only glad greetings from evert one; left Seneca with a good name and never ashamed to go back to the old home!”
The Minor’s first lived in Farmington, Kansas, in the 1880 US Federal Census. In Farmington, the Minor household included John O. (43), Mary (41), William M. (16), Eddie (14), Harry (12), Charles (10) and “Bertie” (9 mths). They remained in Rooks County until 1882 when they moved Nemaha County, settling in Seneca, Kansas.
After moving to Seneca, 18-yrs. old William became a scenic artist, with Eddie soon following suit. By 1884, William M. Minor was listed in the “Kansas City Directory” as a scenic artist, boarding at the Morgan House. He was only listed in the directory for a year, and soon returned to the family home in Seneca, taking small painting jobs in the area. On Dec. 11, 1884, the “Sabetha Weekly Herald” reported, “William Minor and Son, of Seneca, scenic artists, painted the most artistic sign filled with cards which hangs in the post office building, Go in and examine it. It is a daisy. These gentlemen make it a specialty of this business” (page 3). The “son” was obviously a misprint; he was working with his younger brother Eddie. The 1885 Kansas State Census listed both William and Ed as painters; they were primarily working in Junction City, Kansas, at the time.
That year, William and Ed were primarily known for their sign painting. On Feb. 7, 1885, the “Carbondalian” of Carbondale, Kansas reported, “Minor Bros. (William and Edward) of Kansas City, have painted a very fine business directory for our business men. It is on canvas background with a large moulded frame, about 5×7 feet in size and will hang in the post office. We can recommend then to the business men of other places as good and reliable workmen” (page 4).
The two expanded their business enterprise, leasing the Seneca Skating Rink. On March 19, 1885, the “Junction City Tribune” reported. The Minor Bros, of Seneca, have leased the Skating Rink for one year of Mr. Shull, and are making extensive changes in the appearance of the interior. It is really wonderful what changes a little paint makes when skillfully applied, and these Minor brothers are real artists in this line. Wednesday evening for the first time under new management. The decorations, though quite incomplete as yet, are quite tasty” (page 3). This did not last for long and soon the two were solely painting signs again.
On Jan. 29, 1886, the “Smith Bulletin” of Smith Centre, Kansas, reported, “The Chicago Lumber Co. has had a neat, new sign painted on the north side of its large lumber shed. The work was done by the Minor Bros. the boys who painted the scenery for the tabernacle” (page 3).
From March until June of 1887, the Minor brothers posted a series of advertisements in the Junction City Daily Junction. Their advertisements were briefly worded, including:
“Minor Bros. for signs”; “Minor Bros. for skillful and tasty sign painting”; “Gilt-edged and artistic lettering by Minor Bros.”; “Minor Bros are literally bespangling the town with gorgeous signs”; and “Minor Bros. will make all styles of numbers at one-third less price than anyone else.”
Charlie Minor began joining his older brothers on projects, accompanying his brother William to Denver, Colorado, in 1890. The 1890 “Denver City Directory” listed William M. Minor as an artist, living at 1827 Glenarm. In Denver, both William and Charlie were hired as scenic artists by Sosman & Landis for the Broadway Theatre scenery project.
Thomas G. Moses was responsible for all of the scenic designs and on-site supervision of painting. The drop curtain, entitled “A Glimpse of India,” was considered a local masterpiece and was the focal point of the auditorium. The on-site Sosman & Landis painting crew included Moses, William Minor, Charlie Minor, Ed Loitz, and Billie Martin. The team not only delivered the drop curtain, but also the entire stock scenery collection. The project included a massive cyclorama. Of the project Moses wrote, “The job was an ideal one. I made new models and we put in a cyclorama drop, 36 feet high and 250 feet long. It ran on a track and we could make three distinct skies: a plain, a cloudy and a moonlight. No borders. We trimmed the front stuff down to low enough to mask. All rows were profiled; very effective.”
The Broadway Theatre was part of the new Metropole Hotel, designed by Chicago architect Col. J. W. Wood. Wood had worked with Sosman & Landis on many theater projects prior to this one. The building was advertised as one of the first “fireproof” hotels in the country; the construction employed hollow clay fired tile units for all partition, floors, ceilings, and walls. By this time, Sosman & Landis were also fireproofing much their scenery. They continued to advertise asbestos curtains and fireproof scenery, even placing newspaper advertisements over the years.
1910 advertisement in June issue of Billboard.
The Broadway Theatre opened August 18th, with “Bohemian Girl” by Look’s Opera Company, but this did not mean the project was completed. Moses was called back to the studio in early September, with the Minor Bros. and Loitz remaining to finish the interiors. The contract was not completed until November, 1890. Shortly after the project ended, William Minor married Minnie Hill on Dec. 12, 1890, in Denver, Colorado. The couple soon moved east to Chicago, where William remained a scenic artist at Sosman & Landis, before joining the Chicago Scenic Co. They continued to visit family in Kansas, with reports of their travels published in local newspapers.
On May 3, 1895, “The Courier-Tribune” of Seneca, Kansas, reported, “Charles, W. M. and G. E. Minor, of Chicago, are in this city visiting their many old friend and acquaintances. They are the sons of Jno. O. Minor and formerly lived in Seneca, but the parents of the boys, Mr. and Mrs. J. O. Minor, now live in Baileyville. The three young men above mentioned are now with the Chicago Scenic Co., and are doing a nice business. They are working on the Crawford circuit and doing jobs at St. Joseph, Atchison and Topeka. Will painted the first drop curtain for the Grand Opera House. He picked up his trade while living here, and now all three are recognized as experts in this line. Will also painted the drop curtain for Sabetha and Hiawatha G. A. R. Halls. They are a nice lot of boys who have come right to the front” (page 3).
Their visits and projects continued to make Kansas newspapers in the 1890s. On May 9, 1895, the “Junction City Tribune” reported, “Will, Charlie and G. E. Minor of Chicago are visiting friends and will renew the old and paint some new scenery for the opera house while here” (page 5). On May 4, 1896, the “Stevens Point Daily Journal” in Wisconsin, reported, “Minor Bros. of the Chicago Scenic Co. have finished painting a handsome advertising drop curtain for the Opera House. The curtain will be used between acts. The gentlemen are also painting curtains in Waupaca and Grand Rapids” (page 4).
They also remained connected to the western theater scene in Colorado and Utah. On August 19, 1897, the Avalanche-Echo of Glenwood Springs, Colorado, (Vol X Number 33, page 4) announced the hotel arrival of William and Charles Minor at the Kudrick. By 1910 William relocated to Salt Lake City, Utah, where he would become the scenic artist at the Salta Lake City Theatre. Prior to that, however, he continued to work with his brothers all over the country.
On Feb 24, 1899, “The Courier-Tribune” of Seneca, Kansas, reported, “The Minor Bros. have taken the contract to paint the stage scenery for the Catholic school hall. They are at work on it now and doing a fine job. The Minor boys have the reputation of being as fine scenic painters as there are in the country and have done work in all the large cities from Chicago to the Pacific coast. They started to paint in Seneca years ago under the tutelage of J. Y. Benfer.”
That year, William M. Minor was listed in the 1899 “Minneapolis City Directory,” living at 621 7th Ave S. He was listed for just the year, as the 1900 US Federal Census listed William Minor living in Chicago at 161 Winchester Avenue. His household at the time included wife Minnie (36) and sister-in-law Grace Swickard (16).
In Chicago he was again representing Sosman & Landis. On July 20, 1900, the “Marengo Republican” of Marengo, Illinois, reported:
“New Scenery in the Opera House. William Minor, representing the firm of Sosman & Landis, the great scenic artists if Chicago, has been for the past two weeks painting new scenery and redecorating the old at the local playhouse. A new drop curtain has been added which is a beautiful marine view from the coast of Maine. It is extremely handsome, and the completion of the work shows Mr. Minor to be an artist of unquestionable ability and keen perception of nature. The coloring, from deep sea blue to the light grey of the surf, is exquisite and the dash of the rising spray adds life and vigor to the scene. A handsome new interior scene is also being added, far superior to anything ever seen here, besides several other new sets. The opening for the coming season will be Wednesday evening, August 1st, Bartlet & May’s, “A Woman in the Case” being the play” (page 5).
From Chicago he moved west again, setting in Utah. His name first appears in a “Salt Lake City Tribune” want ad on Dec. 24, 1906 (page 9): “WANTED – INFORMATION OF THE present residence of William Minor, a scenic artist. Address X 49. Tribune” (page 8). He disappears from print for a while and it is not until 1910 that he is included in the “Salt Lake City Directory.”
In 1910, William was listed as a scenic artist living at 235 E 4th S. in Salt Lake City. His household includes wife Minnie and lodger F. V. Ogle, a dressmaker. At the time, he is working at the Salt Lake Theatre.
On September 18, 1910, “The Salt Lake Herald-Republican” reported, “After thirty years of almost continuous service, the drop curtain at the Salt Lake theatre is to be replaced by a new one which Manager George D. Pyper expects to have in place in time for the engagement of Henry Miller, beginning Sept 29. The subject of the new curtain will be the Salt Lake valley in the days of the pioneers, and it will be copied from a painting by William M. Minor, scenic artist at the theatre.
It will be difficult to exceed beauty of the old curtain, whose artistic coloring and good drawing have made it a favorite for years, “The Return of the Victorious Fleet” was painted by Henry C. Tryon [also a Sosman & Landis artist], one of the best artists in this line who ever came to Salt Lake, Those who have studied the stately ships coming into harbor may have wondered at the absence of life in the picture. The original, which is in the possession of Mr. Pyper, contained a crowd of people on the steps of the buildings, but Mr. Tryon was not a figure painter, and rather than mar his painting by inferior work, left them out altogether.
Except for short intervals, “The Return of the Victorious Fleet” has hung in the theatre nearly thirty years. Some years ago, an attempt was made to replace it by a picture of the chariot race in “Ben Hur.” The artist made the horses of heroic size, and so near the edge of the curtain that they sat close. One critic of the day said that a certain scene in a play created a strong effect until “Pyper’s horses came clattering down.”
The artist attempted to remedy the defect by drawing them smaller, when Le Grand Young, a regular patron of the theatre, objected to sitting in front of a horse that had one shoulder out of joint. That finished the curtain, and the same artist painted a second, an evening scene in Venice, which was hung for about a year. Another curtain which will be remembered was a field of carnations. This was secured from the Tremont theatre in Boston, but, though it was kept for nearly three years, did not prove to be popular, “The Return of the Victorious Fleet” was rehung, and has continued in place until now. With the closing performance of “The Spendthrift,” it was rung down forever” (page 26).
Salt Lake TheatreSalt Lake theatre with temporary “Ben Hur” drop curtain.
While working at the Salt Lake Theatre, Minor takes an interest in early movie screen development. On Sept. 14, 1910, the “Salt-Lake Herald-Republican” reported:
“Moving Picture Screen.
William M Minor, scenic artist at the Salt Lake Theatre, has applied for a patent on an invention which he calls Minor’s Wonder Moving Picture Screen. It is a cloth screen with a burnished metallic surface that adds distinctness to the picture that is thrown upon it. Last evening at the Orpheum theatre, preceding the regular performance, a test was made of the invention which impressed a score of invited spectators favorably. Seven by twelve feet of the entire scene was of the new material, and the remainder was the usual cotton cloth. This arrangement afforded opportunity for comparison between the two surfaces, and the mirror-like distinctness of the pictures on the metallic surface argued well for the success of the invention. Mr. Minor has experimented with the screen for about three months and since he received a receipt from the patent office, on Saturday last, has been testing the invention before private audiences. On Monday night it was tried at the Murray opera house.”
From 1910 to 1915, William M. Minor was listed as an artist in the Salt Lake City Directory. In 1912, William’s occupation was listed as a “scenic artist and float building;” this designation was listed upon admittance to the Salt Lake City Commercial Club (“Salt Lake Tribune”7 Dec. 1912, page 16). By 1913 Minor was also working as the scenic artist at the Colonial Theatre.
And then there is a slight career shift. In 1916, he was listed as the president of “Secret M & M Co.”,” still residing at the same home address, 235 E 4th South.” At this time, I have no information about the Secret M & M Co., but am hazarding a guess that it was mining or oil.
In 1918, Minor moved from Salta Lake City to Kansas City, changing his profession entirely. Like his brother Ed, William became a broker at this time and was listed in the “Kansas City Directory” as such. I will explore the life and career of Ed tomorrow, but need to point out something for context. Over the years Ed had managed to convince each one of his brothers to participate in some sort of business scheme, often a non-theatre related one with potential of enormous profits. Ed was the stereotypical “wheeler and dealer.”
By 1920, the “Kansas City Directory” listed William M. Minor as broker in the Oil Co., living with his wife Minnie at 3343 Forest Street in Kansas City, Missouri. Williams’ newfound career did not last for long; he died the next year. On May 12, 1921, “The Courier-Tribune” published William’s obituary (page 3):
“William M. Minor, stepson of Mrs. J. O. Minor, died suddenly Friday afternoon at his home, 3348 Forest Ave. Kansas City, Mo. Mr. Minor was fifty-seven years of age and was the eldest son of the late J. O. Minor. When a boy he lived in Seneca. He is survived by his widow, Mrs. Minnie Minor; four brothers, George E. Minor, J. Harry Minor, Charles P. Minor and B. A. Minor and a sister Mrs. G. A. Lansberry of Topeka, a half-sister, Mrs. Balie [sic.] Keith of Seneca and a half brother, James Minor of Sabetha. Mrs. J. O. Minor went to Kansas City Saturday morning to attend the funeral.”
Edgar Alwin Payne (1882-1947) worked as a scenic artist at Sosman & Landis in Chicago, the firm’s eastern affiliate in New York (New York Studios), and the firm’s western affiliate in Los Angeles (Edwin Flagg’s studio). Payne was also a well-known landscape artist and California impressionist. His artwork is still popular and quite expensive to acquire. In 2017 his oil painting, “Navajo Scouting Party” sold for $304,200. Prices for his easel art, however, will never reflect his scenic contribution to theatre history.
Edgar A. Payne in 1925.
Payne’s life story has been well documented over the decades, especially by his wife, Elsie Palmer Payne, and his daughter, Dr. Evelyn Payne Hatcher. My two favorite books about Payne are “Composition of Outdoor Painting” (1941) and “The Paynes, Edgar and Elsie: American Artists” (1988). The first was written by the artist himself and presents an approach to art, looking at drawing, color selection, and compositional layout. The second book was penned by a friend of his daughter’s, Rena Neumann Coen in 1988. “The Paynes” was published at Payne Studios, Inc. in Minneapolis, Minnesota, and delves into familial tales and artistic accomplishments, with a very a brief glimpse into Payne’s early life as a scenic artist in Texas and Chicago. Much of the information is based on interviews with Elsie Payne in 1970 and unpublished notes. These two publications provide a pretty comprehensive look at the life and career of Edgar Payne, yet so many details pertaining to his theater work are left out.
My two favorite books about Edgar A. Payne.
While doing research for this post, I continued to come across the statement that Payne was “largely self-taught.” Even the first chapter of “The Paynes,” reinforces this theory. Coen discusses the stylistic differences between Edgar’s and Elsie’s artwork, writing, “This difference prevailed even when the Payne’s travelled to Europe, where Edgar concentrated on the snowy peaks of the Alps or the colorful fishing boats in the harbors of Italy and France, while Elsie directed her attention to the human element in the Old World towns For unlike Edgar who came from the central states and was largely self-taught, Elsie grew up and went to school in the San Francisco Bay area where, though there were Impressionist painters there too, the decorative, linear style of Arthur and Lucia Mathews was more pervasive” (page 1).
I have noticed that some artists are quick to state they were “self-taught,” regardless of the fact that there are no definitive criteria to define “taught” or “self-taught.” I have often wondered about qualifications to identify a “self-taught” individual. Is an artist considered self-taught even if they have had one art class? Does artistic training have to come from a specific educational institution, or instructor? Is there an age-limit for the completion of the artistic training? Do trade apprenticeships qualify as a form of art instruction? In other words, if you assist a more experienced individual, actively assist in the artistic process, participate and then strike out on your own, can you still be considered “self-taught”? In my opinion, unless you live in bubble, have only worked by yourself, and never learned a single thing from any other artist, you have received some form of artistic training and are not self-taught.
Scenic artists, especially those who worked at a professional scenic studio during the turn of the twentieth-century, cannot lay claim to the term “self-taught.” Nineteenth-century and early-twentieth century scenic studios functioned as ateliers, training young artists in compositional layout, color selection, paint mixing, and a myriad of other artistic skills. If they did not follow the accepted artistic techniques associated with romantic realism for the stage, or if they deviated from the desired design, these artists were quickly unemployed.
In a personal interview between Randy Givercer Frank and Hanny in Chicago, Illinois on May 31, 1976, the following statement was made about Sosman & Landis:
“Sosman and Landis was the greatest school on earth…Everyone who was into Sosman and Landis profited by it afterwards because they had learned how to do things there. They were young fellers when they went in and they were getting the benefit of the experience of the older fellers. They saw some good work…It was training. The training has come in wonderful for me.”
Interestingly, Coen even mentions this scenic art training by page four in her book, She wrote, “The stint as a scene painter was an experience that Edgar shared with many other contemporary American artists who often found their first professional employment in this aspect of the craft. In Edgar’s case it undoubtedly taught him the broad brushwork and rapid technique that he later used, in a more sophisticated manner, in his landscape paintings” (page 4). There is a lot to unpack here, but in short, I take issue with the idea that his time as a scenic artist was a “stint.” He worked as a scenic artist for well-over a decade.
Payne was working as a professional scenic artist at Sosman & Landis by 1903, shortly before John Hanny began as a paint boy. Payne was still working as a scenic artist in the Chicago studio in 1914 when he joined the Brotherhood of Sign, Scene, and Pictorial Painters. He even made headlines just before joining.
On May 5, 1914, the “Chicago Tribune” reported, “ARTIST HAS TO JOIN UNION TO PAINT THEATER CURTAIN.” Under the article headline read, “Edgar Payne Starts Work, but Strike Results, and Compromise Solves the Problem. There is a difference between an artist and a scene painter. This Edgar Payne, of 4 East Ohio street, learned yesterday when he started on a big western picture for the drop curtain of the new American theater at Ashland avenue and Madison street. No sooner had the landscape artist titled his canvas and dipped his brush in a jar of blue paint than there was trouble. All the sign, scene, and pictorial painters of local 830 in the building laid down their tools and walked out. W. G. Lathrop, business agent for the union asserted the men would not work so long as a landscape artist remained. Moreover, not one man in the union would hang the curtain after it was decorated with the western mountains from the brush of a nonunion painter – Payne. “I am an artist, I am a landscape painter and mural painter, not a decorator – “ Mr. Payne trained to explain. But he had to join the union or lose the job. He joined the union and went on with the picture.”
In addition to the drop curtain, Edgar also designed the murals for the American Theatre depicting the history of France and Spain in the new world. Although the theater no longer exists, four of his preliminary designs still survive.
Image of mural design for American Theatre in Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”Image of mural design for American Theatre in Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”
Here is a little back story that provides context for Payne’s work for the Chicago-based scenic studio.
Edgar Alwin Payne (1882-1947) was the son of John Hill Payne and Nancy Ellen Reed. Although all of his grandparents came from Virginia, his father was born in Mississippi and his mother was born in Kentucky. The couple met and was married in Washington County, Arkansas, on January 22, 1880, but established their first home in Missouri. They celebrated the birth of five children, with Edgar being the eldest son, born in Missouri’s Cassville County. Possibly near the current city of Washburn, an area is in the southwestern part of Missouri, near the Arkansas border.
When Edgar was eleven years old, the Payne family moved south from Missouri to Prairie Grove, Arkansas; a sixty-miles trip. The 1900 Census verifies that they were living in Prairie Grove that year and the Payne Household consisted of John Payne (50 yrs.), Nancy E. (41 yrs.), Fleda (19), Edgar (17 yrs.), Nora (15 yrs.), Robert T. (12 yrs.) George W. (9 yrs.) and John B. (2 yrs.) John Sr. was listed as a carpenter, with his son Edgar listed as a carpenter apprentice.
The Payne’s incentive to move south was that his mother had inherited a small parcel of property. Familial tales suggest that it was in Arkansas where Payne’s began early experimentations in art began; playing with his mother’s bluing, white lead house paint, and red coloring made out of pokeberry juice were his early art supplies. As with many other ambitious boys growing up on a farm and longing for the adventure of city life, he made several attempts to run away. Like other, including Thomas G. Moses, hauled home and reprimanded.
The Payne’s soon moved south again, this time to Lovelady, Texas. To help place this small town within the massive geographical scope of Texas, Lovelady is located 14 miles due south of Crockett, Texas, and 100 miles north of Houston. Founded in 1872, the town was named after Cyrus Lovelady who granted land access to the Houston & Great Northern Railroad for their railway line. I have yet to locate any records that substantiate the Payne’s time or activities there. Coen’s book indicates that Payne began his scenic art career in Loveland. Purportedly, Payne delivered stock scenery for stage at the Lovelady Town Hall in 1902 at the age of twenty-four. With his background as a carpenter, my guess is that he both built and painted the scenery at this time. However, I have yet to locate any other information or images pertaining to Payne’s work for Loveland’s town hall stage.
Also, around this time, Coen notes that Payne delivered a few scenic pieces for the high school in Conroe, Texas. First of all, there wasn’t a high school at the time, just the Conroe Public School. An image of the school in 1900 shows a building that could have easily included some type of theatrical stage.
The schoolhouse in Conroe, Texas.Edgar A. Payne delivered scenery to the building in approximately 1902.
Conroe is located a little more than halfway between Loveland and Houston, approximately forty miles due north of Houston. The two theatre projects in 1902 appear to be his first scenic art projects, especially considering his age.
This is where the timeline presented by Coen on Payne’s youth-to-young-adult journey gets pretty sketchy. She writes, “At some time during this period [c. 1902], Edgar left home again, this time for good. He tramped through the countryside painting fences and barns, teaching himself how to letter, and occasionally getting a job painting signs. For a time, he also travelled with a barnstorming theatrical troupe, painting and rigging up scenery, sometimes stepping into the act, and generally doing anything needed as a handyman or roustabout.”
Working as an itinerant artist in his mid-twenties is not unusual, but I cannot verify any of Payne’s activities in Texas at this time.
By 1903, Payne relocated to Chicago at the age of twenty-five. There are a few things to consider about Payne’s brief move to Chicago and his working for Sosman & Landis. In 1903 Payne was twenty-five years old; not young enough to start as a paint boy at the firm, but old enough to be added as a full scenic artist. This mean that he started at the studio with his own palette, first painting at the firm between 1903 and 1904.
Sometime between 1905 and 1906, Payne purportedly returned to Texas and settled in the Houston area with his siblings. He was not listed in the “Houston City Directory” for either year, yet his siblings Robert, Fleda and Nora were rooming at 306 McKinney Ave during this period. Like most young scenic artists, he may have accepted any project that came his way, whether it was decorative work for residences or house-painting. That meant home-basing out of his sibling’s Houston residence. In her book, Coen also credited Payne with establishing the Payne-Morris Studio at 142 Pearl Street in Dallas, Texas, but gave very little information or exact year for the firm. We do not even know the first name of his partner. The studio must have been short-lived, however, as there was no listing in a city directory, nor was there a listing for Payne at all. The only proof of its existence is an image of the two men in front of a “Payne Morris Studios” sign. That being said, there were only two likely individuals working as painters with the last name of Morris in Dallas: Charles C. Morris and Octavius J. Morris. Between briefly formed the studio of Morris & Co. from 1907 to 1908. Living at 305 Peabody Street, Charles worked as the traveling salesman; Payne was not even listed in the directory during this time.
Image of Payne-Morris Studios in Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”Detail of Edgar A, Payne (front) and his partner Morris. Date Unknown. Image from Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”
By 1907, returned to Chicago and briefly studied at the Chicago Institute of Art, only lasting two weeks according to Coen. My guess is that Payne’s focus was on making a living, and continued to work as a scenic artist. He remained in the Midwest, yet began traveling west for sketching trips.
In 1909 he ventured to California for the first time, painting in Laguna Beach and in San Francisco. It was in California that he met his future wife, commercial artist Elsie Palmer (1884-1971) in 1910. The meeting and courtship are fascinating, described in detail by Coen in her book. Although Payne spent an increasing amount of time in California, the 1910 US Federal Census still listed Payne’s permanent address as Chicago, living at 3 East Ontario with C. B. Hartman and W. C. Wilbrandt. All three men were working as artists, listing their respective employers as “own studio.”
By 1911, Payne worked for Edwin Hardin Flagg (1878-1927) in Los Angeles, a western affiliate to Sosman & Landis. That year, Payne sent a postcard to Thomas G. Moses, humorously illustrating his work at Flagg’s studio. Moses became the company’s second president in 1915 after Joseph S. Sosman passed away. Moses had close ties with Edwin H. Flagg By 1913, the Edwin H. Flagg scenic company was one of the best-known scenic studios in the country, installing over $100,000 worth of theater scenery a year and employing a workforce of 30 artists. Flagg worked as a designer, scenic artist, theatre producer, and movie producer, running two studios by 1921; one in Los Angeles and the other in San Francisco. In 1921 the firm advertised that “90% of all stage equipment on the coast was provided by their studio” (“Los Angeles Post-Record,” 10 August 1921, page 16). Flagg’s studio was marketed as the largest scenic studio west of Chicago.
Postcard from Edgar A, Payne to Thomas G. Moses in 1911. Image from Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”Coen cites, “Courtesy of Mrs. John R. Rothgeb.”From Los Angeles Evening Post March 12, 1919.From Los Angeles Evening-Express, Feb 19, 1921.
In 1911, Elsie was offered a job in Chicago, prompting her to relocate to the Midwest. The two were married on Nov. 8, 1912. In Coen’s book “The Paynes,” Elsie described the postponement of their marriage due to a scenic art project. They rescheduled the ceremony from Sunday morning to Sunday evening. Edgar was in the midst of painting a backdrop for Mandel’s Department Store. Elsie remembered, “We went to work the next morning, Sunday, all alone in that big department store and both painted on the backdrop…in the afternoon O found a nice comfortable bed on display so I took a nap while poor Edgar toiled steadily on. I felt like a heel but just could not keep awake.”
Photograph of Edgar and Elsie Payne in 1913, from Rena Neumann Coen’s book “The Paynes, Edgar & Elsie: American Artists.”
Payne continued to work as a scenic artist in Chicago, despite repeated sketching trips for his easel art. While away on his trips, Payne continued to send postcards to Thomas G. Moses. On December 27, 1914, Payne sent Moses a postcard with “Holiday Greetings” written on the back, The postcard depicted one of Payne’s paintings. The inscription on the back noted “By Edgar Payne, Palette and Chisel Club, Chicago. A reproduction of one of eight paintings presented to the Henry O. Shepard School, Filmore and Mozart streets, Chicago. Engraved by Wells & Co., Chicago. Printed by the Henry O. Shephard Company, Chicago.”
Front of postcard sent from Edgar A. Payne to Thomas G. Moses in 1914. Harry Ransom Center, with the Dr. John Rothgeb papers.Back of postcard sent from Edgar A. Payne to Thomas G. Moses in 1914. Harry Ransom Center, with the Dr. John Rothgeb papers.
In 1922, Moses reminisced in his memoirs about the talented individuals who passed through the studios doors, writing, “Edgar Payne, now in France, was with us only a few years ago… 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.”
The rest of the Payne’s story primarily concerns his easel art and rise to fame in the fine artworld. This tale is well documented and presented in dozens of art history books, so I will stop here.
William Joseph Smart (1893-1962) was a scenic artist at Sosman & Landis from approximately 1900 to 1921. His highest level of education was 8th grade, suggesting that he started working as a paint boy when he was 15 or 16 yrs. old.
Gravestone of William J. Smart (1893-1962), scenic artist, and his wife Loraine Merow Smart (1907-1987)
Born on March 26, 1893, he was the son of Thomas James Smart and Emma Josephine Houlb. Thomas Smart was born in the Czech Republic. Arriving in the United States in 1880, over the years, his birthplace was listed as Austria, Pisek, Bohemia and Czechoslavakia. He was the son of James Smart (French) and Emma Josephine Strobel (Czech), with Czech being the primary language spoken at home.
Thomas and Emma were married on April 24, 1886. The couple celebrated the birth of five children: Tillie E. Smart (1889), William J. Smart (1891), Martha Emilie Smart (1891-1895). Blanche Helen Smart (1893-1962) and Arthur Frederic Smart (1901-1970). They would remain an extremely close-knit family over the year; The majority of adult children remaining at home.
The 1910 US Federal Census listed William J. Smart as a scenic artist, living with his parents and four siblings at 3921 W 16th St. in Chicago. His father Thomas was a machinist in the iron work industry, a position that he would continue for the majority of his career. At the time, sister
Tillie worked as a telephone operator and Martha as “tag marker” for a mail order house.
Like many Sosman & Landis scenic artists between 1910 and 1920, Smart was part of a shared workforce between the Chicago-based firm and their eastern affiliate New York Studios. The New York counterpart was established in 1910 by David Hunt, secretary and treasurer for Sosman & Landis. Hunt, Sosman and Landis had previously established a theatrical management firm in the 1890s known as Sosman, Landis & Hunt. Hunt and New York Studios’ close ties with Sosman & Landis necessitated a regional office in Chicago; this was to manage a shared labor force and resources.
In the 1970s, former Sosman & Landis scenic artist, John Hanny, recalled Smart working for New York Studios. Hanny also remembered Smart as a fine draftsman, a necessary skill for scenic artists who also designed at the firm. Hanny, Smart, Art Rider, and William Nutzhorn all joined the Brotherhood of Sign, Scene and Pictorial Painters, Local 830, in 1912. This denotes a shift in Sosman & Landis scene painting staff, and lead to increased tensions with local union leaders.
On May 5, 1914, the “Chicago Tribune” reported, “ARTIST HAS TO JOIN UNION TO PAINT THEATER CURTAIN.” Under the article headline read, “Edgar Payne Starts Work, but Strike Results, and Compromise Solves the Problem. There is a difference between an artist and a scene painter. This Edgar Payne, of 4 East Ohio street, learned yesterday when he started on a big western picture for the drop curtain of the new American theater at Ashland avenue and Madison street. No sooner had the landscape artist dipped his brush in a jar of blue paint than there was trouble. All the sign, scene, and pictorial painters of local 830 in the building laid down their tools and walked out. W. G. Lathrop, business agent for the union asserted the men would not work so long as a landscape artist remained. Moreover, not one man in the union would hang the curtain after it was decorated with the western mountains from the brush of a nonunion painter – Payne. “I am an artist, I am a landscape painter and mural painter, not a decorator – “ Mr. Payne trained to explain. But he had to join the union or lose the job. He joined the union and went on with the picture.” For context, Payne started as a scenic artist at Sosman & Landis in 1903, so he was not just coming in as an easel artist.
That being said, I am going to take a moment and address a major shift in the theatre manufacturing industry at this time.
By the second decade of the twentieth-century, an internal battle was brewing among scenic artists. The main tension concerned the perception of those who painted scenery for the theatre; were they artists or craftsmen? This was the beginning of a shift that has continued until today. Contemporary scenic artists are handed designs to paint, or sources to interpret. Many nineteenth-century scenic artists designed stage settings and machinery, as well as painting; in short, they were masters of scenic Illusion and intimately understood all aspects of various stage systems. The names and work of these nineteenth-century scenic artists were featured alongside producers and performers, sometimes with equal billing. Their work was highly-valued and drew crowds to not only theatre productions, but also outdoor amusements and spectacles. This cannot be discounted, as they were “masters” in marketing themselves and their services to the public.
By the turn-of-the-twentieth-century, the names of scenic studios continued to replace those of individual scenic artists, and the perception of scene painting changed for both the general public and theatre professionals.
Not all early twentieth-century scenic artists were willing to throw their lot in with a group who worked as ornamental painters, and decorators. This was a specific mindset shared among many high-caliber American scenic artists; it had been reinforced for quite some time. In the 1880s and 1890s, Sosman & Landis catalogues took an entire page to discredit the ability of decorative painters in the production of stage scenery. They used the same wording in catalogues from at least 1889-1894:
“Our prices on Scenery invariably come in competition with some so-called “Scenic Studio,” the Local Fresco Artists and Sign Painters. All are emphatic in stating their ability to paint Scenery as good as the best. The utter absurdity of such statements should be apparent at a glance. [Their bold print] We expect competition, but such parties are not worthy competitors, and it is impossible that they should in any degree equal Artistic and Correct Scenery made by us with our Corps of Skilled Artists – many of whom have held positions as Chief Artists in the Best Theatresof this Country.”
This nineteenth-century sentiment remained with older artists at the onset of the twentieth century. The older generations of artists who worked at Sosman & Landis in he twentieth-century were very different from those who began as paint boys during this time. The younger artists may have been trained in the old ways, but their perception of the work was radically different. They were striking out against the establishment and the old establishments were their scenic art predecessors; those who had outfitted theaters all over the United States during the 1880s and 1890s, delivering the same stage aesthetic that had been used for generations in both North American and Europe, The scenic art period from 1880 to 1900 is what I personally consider the “heyday” of scenic art. My reasoning is their popularity and prosperity at this time remains unparalleled.
The success of Sosman & Landis was based on a stream of highly skilled scenic artists coming in to do what they did best, and then leaving. This cut down on the studio’s overhead, while securing some of the best talent at the time. By 1902, Sosman & Landis had delivered scenery to 6,000 stages in the United States, Canada, Mexico, Jamaica, and South Africa; they knew what they were doing and did it well. It is very possible that the paint boys who came on to the scene at this time did not fully understand the contribution of those who came before them. The same can be said for scenic artists who represented the new school of Modern Design. From 1880-1910, the Sosman & Landis name was synonymous with “quality;” quality of not only scenic art, but also stage machinery.
The late nineteenth-century and early twentieth-century success of Sosman & Landis was linked to the reputations of their artists and mechanics; those who sporadically appeared for projects and then went on to something else. In 1894, their catalogues stated, “Our Artists are selected with reference their special abilities. Some excel in designing and painting drop curtains, others in landscapes, and other in interior scenes; so, we divide our work that each is given what he can do.”
That all being said, there was still a core crew of painting staff who never worked for other employers or on their own. It is not that they were the “B-Team,” but they decided to stay in one place and at one job. This created an entirely different set of expectations for those “long-haulers” at the firm.
In the early twentieth century, scenic artists, like many other theatrical positions, were becoming increasing specialized; a shift that caused in-fighting among painters themselves. As noted above, Payne started as a scenic artist at Sosman & Landis in 1903. That being said, he was becoming increasing well known for his easel art. In the nineteenth-century, this would have been a feather in his cap among fellow scenic artists. However, by 1914 there was a resentment of those who are well-recognized and respected for their work in multiple fields, working beyond the confines of a scenic studio. Payne, like many scenic artists at Sosman & Landis, took time off from scene painting to work on other projects, returning to help out when needed. This did not sit well with those full-time employees who stayed behind for years.
It also happened to Thomas Moses when he returned to Sosman & Landis for the fourth time in 1904. He left a profitable scenic business in New York to become the vice-president and immediate supervisor of all design, construction, painting and installation at the firm. Upon his return in 1904, 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. Fred Scott tried to start a mutiny and went as far as he could by quitting, hoping the others would follow. But none did, and he came back and asked for a job. I put him on for he was a clever painter.”
I personally think that much of this stemmed from jealously. Those who remained at a single studio longed for the freedom to paint whatever and wherever they wanted. Keep in mind that some of the really great artists at Sosman & Landis would suddenly leave to form a brief partnership, yet still return to fanfare and laurels for individual projects; immediately resuming their old position at the studio. This must have really irritated those who stuck it out through thick and thin at the studio, never really leaving or accepting outside work.
William Smart was a Sosman & Landis scenic artist who stayed around until almost the bitter end, well passed Sosman’s departure from the studio. Smart did not strike out on his own until the early 1920s, when he joined with four other former Sosman & Landis employees to establish Service Studios in Chicago.
Smart’s WWI Draft Registration card from June 5, 1917, listed that he was still an artist at Sosman & Landis in Chicago, Illinois. In 1920, the extended Smart family moved from 3921 W 16th St. in Chicago to the nearby western suburb of Cicero in Cook County (south of where many Sosman & Landis scenic artists lived in Oak Park). Their new home was located at 1846 57th Ave, Cicero. Thomas was still a machinist, Tillie a telephone clerk, William a scenic artist, Bartha a “checker”, and Arthur, a bookkeeper. For some reason, his sister Blanche remained at home, likely helping their mother manage the household. My own maternal grandmother was placed in this role. I cannot imagine how difficult it is to watch all of your siblings lead lives of their own each day while you stay home to cook, clean and wash their clothes. You remain trapped in a role; one that you did not choose and are only free when your parents die.
In 1921, the Smarts were listed in the “Cicero City Directory.” Employers were listed, Thomas working for the Crane Mfg. Co., William working for Sosman & Landis Studio, and Tillie working for the Chicago Tel Co.
Listing for Sosman & Landis scenic artist, William J. Smart in 1921. Cicero City Directory.
By 1923, Martha Smart is also working as a cashier, with Blanche still working at home. This continues until the matriarch of the family passes away in 1925. Her obituary remembered her as the “ beloved mother of William J., Arthur F, Tillie E., Martha E., Mara, Blanch H. Sister of Mary Schultz, Julia Rizicka and Frank Holub. Member of Cicero Chapter, OES., No. 741, and Shepherd Shrine No. 42 Ottikar Temple No 318” (“Chicago Tribune,” May 21 1925, page 12).
Life changed a bit for the Smarts by 1930. The census that year lists the Smart’s home residence as 1832 Austin Blvd., Cicero, Cook, Illinois. Thomas’ occupation is listed as a pattern maker in the pipe fitting industry, with Tillie as a manager at the telephone company and William as a scenic artist. Blanche was still at home. On March 12, 1930, William married Jessie L. “Loraine” Merow in Chicago. Loraine was the daughter Louis Alexander Merow (1880), a theatre performer, and Ida May Merrean. At the time, she was working as a hairdresser, living at 311 Central Ave. in Chicago.
The patriarch of the Smart family passed away on Jan. 2, 1938. Thomas Smart is buried in the Bohemian National Cemetery, Chicago. At the time of his passing, his occupation was still listed as a pattern maker. Thomas Smart’s online memorial at www.findagrave.com states: “Adventurer, inventor, enjoyed music, good sense of humor, family man. Spoke several languages. Always encouraged education. Raised silkworms, traded around world for butterflies and unusual insects. Donated large cabinet of these trays to high school in Crystal Lake, Il.” Here is the Link: https://www.findagrave.com/memorial/5532295/thomas-james-smart
Gravestone of William J. Smart’s parents.Smart family memorial in Bohemian Cemetery, Chicago.
William only left his home in Cicero after his father passed away. He and his new wife Loraine moved to the East Coast in 1940. The census that year listed 45-yrs.old William living with his 33-yrs.-old wife and his 25-yrs. old brother-in-law (Loraine’s younger brother) Donald M. Merano (25 yrs.). The three were living at 199 Westside in Hempstead, Nassau County, New York. William was listed as a scenic artist at General Motors, while Donald was a stock boy in a model airplane factory. William and Loraine eventually returned to his old home to briefly lived with his sister Blanche in Cicero, Illinois.
Photograph of Lorain Merow Smart, wife of William J. Smart. Posted to ancestry.com.
William’s 1942 WWII Draft Registration Card again listed his home as 1832 S. Austin Blvd, Cicero, Illinois, with a second address as 61 Parson St., Detroit, Mich. Interestingly, he listed his sister Blanche as the person who would always know where he lived. Like her brother William, Blanche also got married after their father died. She married Rudolph H. Pidrman, an assembler at the Electrical Manufacturing Co. The couple settled in the Smart family hose at 1832 Austin Blvd, Cicero; Blanche’s old home.
William’s WWII draft, Williams’ employer listed as George Wittbold, with offices at 4623 Woodward, Detroit. On May 6, 1940, “Automotive News” reported, “Wittbold Sets Up ‘Exhibit’ Business; Built ‘Futurama.” The article continued, “DETROIT. – George Wittbold, who gave up a $300,000-a-year retail flower trade in Chicago last spring to construct the General Motors “Futurama” at the New York World’s Fair, is going into the exhibit business himself. “Exhibit engineering” is the way Wittbold describes in his announcement. His headquarters will be in Detroit. Although he has spent much of his life in his family’s florist business, Wittbold’s interest was captivated by the construction of miniature displays. For years he had been staging the GM motor shows in New York’s Waldorf-Astoria and elsewhere, making them less floral backgrounds than masterworks of dioramic building. When GM asked him to take charge of building the “Highways and Horizons” futurama, which Norman Bel Geddes designed, Wittbold sold his flourishing flowed business to his employees in Chicago and embarked upon one of the most difficult tasks of his life” (page 7).
William J. Smart worked for George Wittbold in the 1940s.
William died on July 9, 1962, in Los Angeles, California. His obituary was published on July 12, 1962 in the “Chicago Tribune” (page 31). It simply announced:
“Smart – William J. Smart of California, beloved husband of Loraine; dear brother of Mrs. O. R. Rank, Mrs. Martha E. Mara, Arthur F. Smart, and the late Blanche F. Pedrman [sic.]. Masonic services at Arcana lodge, No. 717, A. F. & A. M., Thursday at 8 p.m. at the George Schubert Chapel – 6617 Cermak road, Berwyn, Funeral Friday, 1 :30 p. m. Interment Bohemian National. ST 8-1092.”
Loraine passed 25 years later on March 11, 1987. She died in Long Beach, California.
