Category: Scenic Artists

Copyright © 2021 by Wendy Waszut-Barrett

Arthur Rider was a scenic artist at Sosman and Landis’ main studio from approximately 1904 until 1908. After 1910, he became associated with their eastern affiliate, New York Studios.  His theatrical contributions are seldom mentioned, yet his easel art is still making headlines on social media.

Earlier this year the Crocker Art Museum posted Rider’s 1928 painting, “The Bells at Mission San Juan Capistrana,” to their Facebook page.

The Crocker Art Museum post included a brief biography for Rider. The following text was attached to the image:

“Arthur Rider was born in Chicago and received his early training at the Chicago Academy of Fine Arts. While a student, he painted for local opera companies and then continued this line of work in London. Seeking further training, he moved to Paris to study at the Académie Colarossi and at the Académie de la Grande Chaumière.

Having heard a lecture by Spanish artist Joaquín Sorolla in 1911, Rider set off for Spain, where he studied and befriended Sorolla. He was greatly influenced by Sorolla’s approach to color and spent nine summers in Valencia painting with him and portraying the coast and activities of local fishermen.

After Sorolla died in 1923, Rider returned to Chicago and made visits to California. In the late 1920s, he rented a house in Laguna Beach and settled in Los Angeles in 1931. While pursuing easel painting, he also produced scenery for the film studios MGM and Twentieth Century Fox.

In California, Rider sought out subjects that recalled his time in Spain. Although he painted coastal scenes, he also depicted inland landscapes and buildings. He was especially fond of the gardens and architecture of Mission San Juan Capistrano. His depictions of the mission were unlike those produced by the previous generation of California artists, who sought to capture the entire mission in all its detail. Rider sought only the essence of the mission, finding it in fragments of light and color.”

The same snippets of information about Rider are continuously used by art galleries, museums, auction houses and other online platforms.  Like many scenic artists at Sosman & Landis, Rider exhibited his easel art and joined a variety of artistic groups. In Chicago, Rider belonged to the Palette & Chisel Club, as did most of his fellow scenic artists at the time. He was also a member of the Academy of Western Painters, Painters and Sculptors of Los Angeles, the California Art Club, and Laguna Beach Art Association. Rider participated in numerous exhibitions and received many awards, including recognition from Chicago’s Institute of Art, the Chicago Galleries Association, the California State Fair, the Golden Gate International Exhibition, the California Art Club, Circulo des Bellas Arts Spain, just to name a few. His paintings belong to public and private collections all over the world. In 2009,  his “Bringing in the boats, Valencia,” sold at Bonhams, Los Angeles, for $254,000. He is a pretty big deal in the art world.

All of this aside, Rider’s personal and scenic art story is absolutely fascinating. Prior to any association with the West Coast or work for the movie industry, Rider’s life in Chicago was quite a tale.  Here is what I have uncovered to date.

Arthur Grover Rider was born in Chicago on March 21, 1886. He was of Irish-German heritage, with his paternal grandmother emigrating from Ireland and his maternal grandparents emigrating from Germany. Rider’s paternal grandfather and father were both born in New York. His mother was raised in Oshkosh, Wisconsin. George W. Rider (1843-1916) headed west as a young man and settled in Chicago before starting a family of his own. In the Windy City he met Emma Blank (1858-1908) and the two were married on March 25, 1880. In Chicago, George Rider worked his way up from bartender to saloon keeper over the years. The couple celebrated the birth of at least four children, with only three surviving to adulthood. Arthur was the oldest, with his sister Libbie born a year later in 1887. Brother William “Willie” J. arrived the year after that in 1888.  During the late 1880s, the Rider’s briefly moved to Detroit, Michigan, where Willie was born, but returned to Chicago shortly thereafter.

The 1900 US Federal Census listed the family living at 274 Randolph Street, Chicago. At the time, George was working as a bartender and his daughter Libbie as a drug clerk. Arthur and his younger brother Willie were simply listed as “at school,” so they were students somewhere. In 1900 Arthur was only fourteen years old, too young to be accepted as a paint boy at Sosman & Landis; the firm made a practice of only hiring those over 16 yrs. old. That does not mean that he waited for work, however, as there were many other studios hiring much younger children.  

Likely, Rider began working at a scenic studio between 1902 and 1903.  Most young adults entered the paint profession somewhere between the age of 16 and 17, starting out as “paint boys,” or “pot boys,” before actually assisting the older artists with the painting process. We know that Rider was already working at Sosman and Landis in 1906 when John Hanny started as a paint boy. Rider’s skill was remembered by Hanny in a letter to Dr. John Rothgeb on July 14, 1976. Hammy wrote that Rider as a “natural.” Around 1906, Rider was promoted from paint boy to scenic artist assistant. This transition meant that Rider was able to work alongside an older artist at the scenic studio, receiving one-on-one training. This was a crucial step for scenic artists; after proving themselves as good assistants, they received their own palette and achieved the full title of “scenic artist.”  Rider was assigned to William Nutzhorn at Sosman & Landis, a position later filled by Hanny. Hanny became Nutzhorn’s assistant after Rider left Chicago to work for the Philadelphia Opera Company. His work in Philadelphia gives a two-year window, marking Rider’s transition from an assistant to scenic artist. The Philadelphia Opera Company was founded by Oscar Hammerstein in 1908, but disbanded by 1910. For Rider, this provides an approximate departure date from Sosman & Landis in Chicago (1908) and a later return date (1910). 

In regard to the short-life of the Philadelphia Opera Company, on April 29, 1910, “The Citizen” described Hammerstein’s departure from Grand Opera (Honesdale, PA, page 1). The article reported, “By the terms of the sale, which was formerly executed Tuesday evening at 9:42 o’clock in the home of Otto H. Kahn, 8 East Fifty-eighth street, the scenery, properties, costumes and other effects of the Manhattan and Philadelphia Opera companies, with its $400,000 mortgage, and the contracts existing between Oscar Hammerstein and his singers pass to the Metropolitan Opera company. Hammerstein will return to vaudeville.”

This is where everything also circles back to Illinois and Chicago Opera. In later years, some of Hammerstein’s scenery made its way to the Chicago Lyric Opera from New York. The Chicago Lyric Opera collection was eventually donated to the University of Northern Illinois, DeKalb, now known as the Scenery Collection. The Scenery Collection is stored in the Arts Annex of the College of Visual and Performing Arts at Northern Illinois University, DeKalb. This Collection includes elements from the settings of 90 operas, with approximately 900 backdrops and borders and more than 2200 framed scenic units. The stage settings illustrate an exceptional range of production styles between 1889 and 1932. In addition to the scenery there are three-dimensional units including furniture and properties. Furthermore, the collection is supported by an extraordinary archive of production notebooks, property lists, inventories, expense records, performance time sheets, correspondence, original photographs of the sets, selected costumes, and opera stars of the period, ground plans and blueprints, painters elevations and renderings, original costume and set design drawings, and 120 exquisitely painted and detailed ¼” scale maquettes of the settings. There remains the remote possibility that some of Rider’s scenic art survives in this collection.

After Rider left the Philadelphia Opera Company, he returned to Chicago. The 1910 US Federal Census listed 23 yrs. old Arthur G. Rider’s occupation as “artist” in the “studio” industry. This meant that he was working as a scenic artist at a scenic studio. He was living with his father, sister, and brother at 1802 Ogden Ave. Libbie was now 25-yrs. old and working as a bill clerk in a liquor store. Both Libbie and Arthur financially supported their 21 yrs.-old brother and 68-yrs. old father, both unemployed. His younger brother Willie was epileptic. Two years earlier, their mother, Emma, had passed away at the age of 51. She was buried at Rosehill Cemetery on Nov. 8, 1908, but I have yet to locate any cause of death, gravestone or obituary.

Art Rider remained associated with Sosman & Landis after his return to Chicago. In 1910 he began working for the firm’s newly-established eastern affiliate, New York Studios. That was the same year the new studio was established to handle increasing work in the eastern region of the United States. Sosman & Landis’ treasurer/secretary David Hunt enticed Joseph Sosman into partially funding his new business venture. That year, Moses wrote, “Hunt had started a New York studio in New York City, and he expected us to do a great deal of work, as he had Sosman invest a small amount.” Beginning in the 1890s both Sosman & Landis had increasingly diversified their interests. New York Studios  starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. Hunt and David H. Hunt, with offices located at 325 W 29^th  Street, New York. New York Studios relied upon Sosman & Landis artists, sharing the talents of John H. Young, William F. Hamilton, Victor Higgins, William Smart, Al Dutheridge, and Art Rider. New York Studios also had a regional office located in Chicago, with offices at 1022 Consumers Building.

During the second decade of the twentieth century, Rider began exhibiting more of his easel art. This was very common for many of the scenic artists at Sosman & Landis, almost a rite of passage. In 1911, the Palette and Chisel Club held its fourth annual exhibition of pictures and sculpture at its club house on October 24, 1911. Articles included the names of members, many who were currently or formerly associated with Sosman & Landis, including Art Rider, Thomas G. Moses, and Edgar Payne.

In 1911, Rider attended a lecture by Spanish artist Joaquín Sorolla. Sorolla visited Chicago that spring where he painted the portraits for the prominent citizens and exhibited many other works. On February 19, 1911, the “Chicago Tribune” reported, “It was an unusually large assemblage that gathered at the Art Institute last Tuesday evening to greet the great Spanish Painter Sorolla, and his wife to get a first glimpse of his brilliant canvases. W. M. R. French and Charles Hutchinson were supporting guard for the Spanish celebrities and did most of the introducing. The Sorollas speak no English, and even their French has its limitations, though it suffices for the business part of their present adventure into the wilds of the land of dollars. I am afraid they look upon us, as the majority of foreigners do, as so many instruments for the distribution of American money. Mr. Sorolla expects to better here his New York record; and from his Gotham exhibit last year he took back to Spain $170,000. He and Mms. Sorolla are short and dark, but not especially Spanish in type. His face is eager and alert, his manner businesslike. Mme. Sorolla has a small head and features resembles the traditional North American Indian.” His final exhibition in the City was held at the Art Institute the second week in April, 1911. On April 8, 1911, the “Chicago Examiner” reported “Five Portraits by Sorolla on Show.” The couple returned to New York on April 19, 1911. On April 13, 1911,  the “Chicago Examiner” announces that although Senor and Senora Sorolla had planned to return to New York last Sunday, they were “still tarrying in Chicago, having remained because of the commission just given to Senor Sorolla to paint Mrs. William G. Hibard” (page 7).

Sorolla made an impact on Rider, prompting him to visit Valencia for several summers after that.  During the theatrical season, however, Rider continued to work in both Chicago and New York. The 1915 New York State Census listed Arthur G. Rider as an artist, living at 354 W 23^rd. The next year his father passed away on July, 1, 1916. Rider would continue to live with his sister when he wasn’t traveling.

In 1918 he was still primarily working as a scenic artist in Chicago, His WWI draft registration listed his employer as both the Chicago Grand Opera Co. and the Auditorium Theatre. Rider’s physical description at the time was listed as tall and slender, with grey eyes and light hair.

In the 1920 US Federal Census, Rider was still listed as single and living with his sister Libbie in Chicago. The two were lodging at 200 Hamlin Ave. and rider was still primarily working as a scenic artist, employed in the “theatre industry.” He also spent a great portion of the year residing in Spain from February until September.  

He was listed in the 1921 “Chicago Directory” as an artistic, living at 2944 W Jackson blvd. That year, his easel art began to make headlines in Chicago News. On April 24, 1921, the “Chicago Tribune” reported, “The Palette and Chisel Club is having an interesting exhibit of paintings by Arthur G. Rider, painted for the most part during the months he spent recently in Spain. There are scenes of boats along the beach, of hills and valleys, and charming castles drenched in warm yellow Spanish sunlight – the kind of sunlight that never stretches across the Atlantic.The pictures are well worth the visit” (page 109). He did not remain single long after this. In the fall of 1922, he married Mary Frances McGoorty, the daughter John P. McGoorty and Mary Wiggins McGoorty.

On Oct. 7, 1922, Rider applied for a marriage license to wed Mary. Two weeks later their wedding day made front page headlines.

On Nov 10, 1922, the “Selma Times-Journal” (Selma, Alabama) reported:

“POISON ATTEMPT FOLLOWS MARRIAGE.

Chicago, Nov. 10. – Mrs. Mary Frances Rider, 22, divorced from Maurice Roberts, an artist, was dangerously ill today from poison she took just a few hours after her marriage yesterday at Valpariso, Ind. To Arthur Rider, another Chicago artist. She is the daughter of former Judge John P. McGoorty of the circuit and appellate courts. Mr. Rider returned home from his studio last night to find his bride desperately ill. The judge’s daughter caused a sensation in 1917 by running away to become an actress. She married Roberts in 1920.”  What I find interesting is the timeline; she takes poison after wedding, yet her husband doesn’t find her until after returning from studio. I have to wonder – did he attend the wedding ceremony and then go to work?  It is a little confusing, and this certainly presents a red flag from the get-go.  17 yrs. old runaway becomes actress, marries, divorces, marries, and immediately takes poison. There is something wrong, and there had to be more to the story.

I recalled a comment about Rider made by Art Oberbeck in an interview with Dr. John Rothgeb. Oberbeck said, “Working right alongside of me he wouldn’t even talk …He was so entrenched in what he was doing. And he was a very peculiar man. Nobody seemed to ever like him because he was so individual and so much for himself. But I had several arguments with him over this. But I always admired his work.”

After the tumultuous start to Rider’s first marriage, the couple ventured to Europe. They both applied for passports in 1923, with Rider listing the reason for travel as “study.” He and Mary were planning to visit Spain, England, and France. On April 26, 1923, Rider departed the US, sailing aboard a ship named LaBourdonnais.  His study and work made headlines back home. On Nov. 11, 1923, the “Chicago Tribune” announced, “Arthur G. Rider is holding an exhibition of Spanish landscapes in the galleries of George Petit, 8 Rue de Seze, Paris. Mr. Rider is one of the most active members of the Palette and Chisel Club, and this interesting item concerning his present activities was gently appropriated from that organization’s bulletin” (page 95). The couple returned to Europe again in 1924, but tragedy struck the couple. On Feb. 4, 1924, the “Chicago Tribune” reported, “Marie M’Goorty Takes Poison by Error in Paris.”  The article continued, “Mrs. Marie Rider, daughter of Judge John McGoorty of Chicago, wife of the artist, Arthur G. Rider, is tonight recovering in the American hospital from an overdose of twenty tablets of veronal, taken last night in her hotel in the Latin quarter, by mistake, according to her husband.  “My wife, nervous and suffering from insomnia recently, took veronal to overcome her sleeplessness,” Mr. Rider said. “Last night she swallowed twenty tablets, not realizing the danger, and then became violently ill. I rushed her to the hospital in an auto ambulance. The doctors report that she is out of danger” (page 10). If she had not previously attempted to commit suicide on her wedding day, I would read less into this story.

For medical context, Barbital was introduced by Fisher and Mering in 1903 under the name Veronal. It was the first commercially available barbiturate, used to treat agitation, anxiety, and insomnia. As a sleeping aid, its action was quite rapid and ordinarily produced sleep in ½ hour to an hour. Large doses of Veronal, however, caused depression of the central nervous system, resulting in dizziness, nausea and even vomiting. Although it was marketed as “safe” and “non-addictive,” Veronal overdose and death became increasingly common by the 1920s. My guess is that Mary was addicted to Veronal and repeatedly overdosed on the drug.

Mary Frances McGoorty died in March 1925 and was buried at Mt. Olivet on March 30. She was only 25 yrs. old at the time. Despite the loss of his wife, Rider’s artistic career soared, and he continued to travel. His name appeared in a variety of passenger lists at this time.  For example, On Feb. 2, 1927, he was listed as an arriving passenger in Puerto Barrios, Guatemala. On Nov. 30, 1933, Rider returned home from France. He was still listed as single, but remarried by 1935.

In 1935, Rider was living with his second love Jane B. Rider, still listed as an artist. Jane McChesney Berry (1897-1964) was a divorced, having left her husband Thomas Jesse Bethea Sr. by 1930. By 1937, Jane and Arthur relocated west again, with Rider seeking employment in the motion picture industry. By 1940, the two were still in California with Rider working approximately thirty hours each week painting film sets. Rider’s WWII Draft Registration card from 1942 listed his employer as MGM Studio. His physical description still described a tall slender man, at 5’-10 ½” and 150 lbs. He now had grey hair to frame his blue eyes and light complexion. In 1944 Rider pops up in California Voter registration records; he was living at 1906 Shenandoah, Los Angeles and registered as a Democrat. And then I found the couples California marriage record from 1955. On Dec. 15, 1955 Arthur G. Rider married Jane M. Berry. Life would continue the same for the next two decades, with Rider painting and always making time to travel for his easel art.

Arthur Grover Rider passed away on Jan. 25, 1975 in Los Angeles County, CA and is buried at Forest Lawn Memorial.

In a 1976 interview with Dr. John Rothgeb, Oberbeck explained that he and Rider were friends, but claimed that Rider was a difficult person to be around, due to his intense focus on work.

Oberbeck went onto comment that he considered Rider as one of the best colorists in the scene painting industry, sharing the same approach as Fred Scott. Scott worked at Sosman & Landis in Chicago from approximately 1904 to 1911.  Oberbeck explained that the color theory implemented by both Scott and Rider relied upon an undertone. This meant that every color mixed on the palette for the composition must have the same color in it to unify the composition.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Frank Wright Thompson and his father, Thomas Edward “Ed” Thompson, were scenic artists at the Sosman and Landis Scene Painting Studio in the early twentieth century.  

Fred Thompson was mentioned by Randy Givercer Frank in her B.A. Thesis, “The Sosman & Landis Studio: A Study in Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979, page 91). She wrote, “Frank, born in 1880, did a little bit of everything, usually painting those things that other artists didn’t want to paint. After Sosman & Landis closed, he became a salesman for Oklahoma Scenic in Oklahoma City.” First of all, Frank was born in 1879, not 1880, and never worked for the Oklahoma Scenic Co. However, there was a Frank D. Thompson (1910-1980) who worked as a salesman for the Oklahoma Scenic Co. in 1937. Frank D. Thompson was the son of Frank A. and Marie J. Thompson, married to Elva Thompson and living at lived at 1300 Nebraska av.; completely different Frank Thompson.

In a 1976 interview conducted by Dr. John Rothgeb with John Hanny, a former Sosman & Landis scenic artist. Hanny remembered that the Ed and Frank Thompson specialized in Masonic scenery at Sosman & Landis. Thompson’s work on Masonic scenes is verified in a studio photograph, c. 1910. The image depicts two men industriously painting on palatial interior backdrop. Hanny indicated that Frank Thompson was  the one standing up and working on the drop. The backdrop has an identifiable composition, designed for an Ancient and Accepted Scottish Rite of Freemasonry degree production. It depicts King Solomon’s Apartments for the sixth and ninth degrees. This was a standard stock scene for Masonic theatre, and extant examples of the same design still exist at the Tucson Scottish Rite in Wichita, Kansas (1908), St. Paul, Minnesota (1910), Tucson, Arizona (1914) and Grand Forks, North Dakota (1915). Below is a similar drop still used at the Scottish Rite Theatre in Tucson.

Frank W. Thompson was the eldest of three sons born to Thomas E. Thompson and Rhonda Wright. His brothers were Fred (b. 1882) and Hiram (b. 1885). Frank was born in Indianapolis, Indiana on December 1, 1879. As a young boy, the family moved from Indianapolis, Indiana, to Cincinnati, Ohio, where his father worked as a scenic artist. In Cincinnati the elder Thompson studied with master scenic artist DeWitt C. Waugh at the Grand Opera House. Frank was five years old when his father started his two-year assistantship with Waugh. Ed Thompson was painting at a variety of theaters in Indianapolis, Cincinnati and St. Louis as Frank grew up.

The Thompson family moved to St, Louis, Missouri, in the early 1890s. This is where Frank came of age and trained as a scenic artist. It is very likely that Frank learned the scenic art trade from his father, and first began painting at Hagan’s Opera House when he was a teenager. In St. Louis, the Ed Thompson began working at Hagan’s in 1891; this was when Frank was eleven years old. From 1893 to 1897, the “St. Louis City Directory” listed “Edward Thompson” as stage manager for the Hagan Opera House. This would have been the time when Frank began focusing on the scenic art trade. By 1900, Frank was living on his own and working as a scenic artist in St. Louis. He married Emma J. Dietche in 1900 and moved in with his wife’s family, his mother-in-law’s home (Lena Dietche), that same year.

The 1900 Census lists newlyweds Emma J. Dietche Thompson (also Dietsche) and Frank Thompson living at 4337 Juniata Street in St. Louis, Missouri. This was the same address listed for Emma’s mother. Mrs. Dietche was 42 years. old at the time and recently widowed, losing her husband Charles Dietche (b. 1848) the year before to phthisis pulmonalis (intrathoracic tuberculosis). Carl Dietche’s occupation was listed as “drummer” when he passed. As a musician in St. Louis, he was part of the theatre scene, likely why Frank and Emma met. Emma J. Dietche was born in Missouri in 1880. She had an older brother named Adolphus Dietche, born the year before her.

Tragedy struck the Thompson family in 1904 when Frank’s younger brother drowned on August 12. At the time, he was attending law school in Indianapolis, Indiana. On August 15, 1904, the “Indianapolis News” reported, “Frederick Thompson, 21, 113 Hancock ave., accidental drowning” (page 8).

By 1910, the extended Thompson Family had relocated to Chicago, with Frank, Emma and their young son Robert living in York Township. York was due west of Chicago, approximately Eleven miles farther than Oak Park Thomas G. Moses and many scenic artists lived. The census that year listed Frank as a scenic artist, living on Stewart Ave.  Emma’s mother was still living with them.

Franks’ WWI Draft Registration listed “scenic artist” and “self” as employer; this meant that he was not a full-time employee at any one studio. This does not mean that he wasn’t working at Sosman & Landis, just not a full-time staff member. At the time, his address was 2414 Ems St. Chicago, Illinois. His “place of employment or business” was listed as 19 W 20^th St. Chicago. This address was a scenic studio operated by former Sosman & Landis president, Thomas G. Moses when he temporarily left the company that year. On Nov. 28, 1918, the “Chicago Tribune” posted the following want ad: “BOYS- WHO DESIRE TO LEARN SCENERY painting; good opportunity for advancement. Apply after 9 a.m. Friday. MR. MOSES, 19 W 20^th St. 2d floor” (page 26). Frank’s physical description on his WWI Draft registration card was noted as medium height, medium build, brown hair and brown eyes.

The 1920 Census still listed “F W Thompson” as a s scenic artist in the theatre industry. The Thompsons were living at 2414 Colvin St., still in Chicago. At this time, Emma was listed as an office worker for a nearby dry goods store.

By 1930, the Thompsons returned to the western suburbs of Chicago. The 1930 census listed Frank, Emma, Robert and Lena living at 190 Crescent Ave. in York, Illinois. Frank was still listed as a scenic artist in the theatre industry.  Robert’s occupation was listed, “will work with his father;” he was 22 years old. I have uncovered very little information about the Thompson family during the depression, yet he continued to work as an artist.

Frank W. Thompson passed away on May 18, 1940 in Elmhurst, Illinois. Elmhurst was a short distance north from his former home of York. At the time of death, he was listed as a mural artist. He is buried in Norwood (Cook County) Illinois

Frank’s son, Robert Frank Thompson, did not enter the theatre profession or work as an artist after his father passed away. His WWII draft registration card listed his employer as the Illinois State Prison in Joliet, Illinois. At  the time Robert was still living in Elmhurst at 190 E. Crescent Ave. Robert was described as 5’-11 ½”, 135 lbs. with brown hair, brown eyes and a dark brown complexion.

To be continued….

Copyright © 2021 by Wendy Waszut-Barrett

 “Ed” Thompson and his son, Frank W. Thompson, were scenic artists at Sosman & Landis. In later years, fellow scenic artist John Hanny recalled that they specialized in Masonic scenery. This may be true as they were both at the studio during a peak period of production for Scottish Rite scenery (c. 1905-1920). I have yet to locate any Masonic affiliation for either man.

I am going to start with the life and career of the father – Thomas Edward Thompson. His name varies in historic records: Ed Thompson, Thos. Edward Thompson, T. Edward Thompson, Edward T. Thompson and Edward Thompson. Despite the name changes, it is always the same artist, with same wife, and same career.  As a young man, he went by T. Edward. As an old man, he went by Thomas E. His middle life is all mixed up; as for most, life events may prompt us to change everything, especially how our names appear in print.

Thomas E. Thompson was born on October 19, 1854 in Indianapolis, Indiana. He was the eldest child of Eli Thompson (1831-1895) and Catherine A. Weir (1837-1910). His parents were married on Dec. 31, 1853, and their first child arrived the next year. The 1870 US Federal Census listed the following members of the Thompson household: Eli Thompson (head, 39), Catharine A. Thompson (wife, 33), Edward Thompson (son, 16), Mary Thompson (daughter, 14), John Thompson (son, 12), Fannie Thompson (daughter, 9), George Thompson (son, 2) and Mary Kellin (possibly a servant). Little is known of Thompson’s early childhood, but he was the first of the children to be apprenticed in a trade. I can only surmise it was some form of decorative arts or painting.

I am going to briefly describe the patriarch of the Thompson family, Eli, in Indianapolis. It helps set the stage for Thomas E. Thompson’s home and youth. His father Eli was the son of John Thompson, one of the earliest settlers in Indianapolis. The Thompsons were a very well-respected family in the region and Eli grew to be quite a popular public figure. Starting out as a carpenter, he soon entered the lumber business. As an active leader in several local organizations, Eli soon became a city marshal and later the Chief of Police. His obituary, published on Dec. 8, 1895, in the “Indianapolis Journal,” lists many of his accomplishments. Eli even built a workshop for Thomas A. Edison when Edison was only a telegraph operator.

As Thomas E. Thompson grew to adulthood, his father became a central figure in Indianapolis society, mixing with a variety of personalities and businessmen. I am fascinated that his eldest son soon entered the theatre profession, training as a scenic artist in nearby Cincinnati.

On Feb. 5, 1876, Thomas E. married Rhonda Wright (1859-1909) in Marion County, Indiana.  Rhonda (sometimes listed as Rhoda) was the daughter of Annie Galassyre Wright and Hiram N. Wright, a blacksmith. After the Civil War, the Wrights relocated from Pennsylvania to Indiana.  By 1874, the Wright family was living in Indianapolis, the city where Rhonda would meet her future husband Thomas Edward; they two were only two years apart in age. The year after Rhonda wed “Edward,” he was officially listed in the Indianapolis City Directory as an artist. This title quickly shifted to specify “scenic artist.” From 1879 to 1881, T. Edward Thompson was listed in the Indianapolis Directory as a scenic artist, living with his in-laws at 300 Bellefontaine.

The 1880 census listed Rhonda, Edward, and their six-month-old son Frank as part of the Hiram N. Wright household, 300 Bellefontaine Street. It was obviously a home full of people and professions, with very little space or privacy. The extended family included: Hiram N. Wright (head, blacksmith, 60) Frank M. Wright (son, attorney, 32), Henry Clay Wright (son, machinist, 30), Amada J. Wright (daughter-in-law, 29), Louise M. Wright (granddaughter, 3), Josephine Wright (daughter, 23), Rhonda Thompson (daughter, 21), Edward Thompson (son-in-law, scenic artist, 26), Frank M. Thompson (grandson, 6 months), Annie Thompson (daughter, 19) and Ruth (daughter, 10). In 1882, Thomas E. and Rhonda celebrated the birth of another son, Frederick (1882-1904). It was time for the growing family to move out and get their own place.

By 1884, Thomas E. and Rhonda relocated their small family to Cincinnati where their third son was born. Hiram Henry Thompson (Sr.) arrived on February 18, 1885.  Thomas E. continued to seek employment as a scenic artist, assisting DeWitt C. Waugh at the Grand Opera House.  This is an important connection as Thompson’s future success was likely based on this two-year assistantship at the Grand Opera House. Experienced scenic artists who were associated with a particular venue often took on a series of assistants; such was the case with Thompson began working at the Grand Opera House.  Waugh became associated with Cincinnati’s  Grand Opera House in 1879, working with various assistants over the years: Frank J. Duggy was his assistant from 1880-1881;  James B. Quinn was his assistant from 1882-1883; and Thomas E. Thompson was his assistant from 1884-1885. The Cincinnati City Directory also noted that Thomas and DeWitt lived in Elmwood Place, Ohio. The 1884 and 1885 Directory listed: “Thompson, Thos. E. Thompson, ass’t scenic artist, Grand Opera House, res. Elmwood Place.”

DeWitt C. Waugh was not only a regional legend, but also a national legend; known for his incredible skill set, precision and speed. His 1894 obituary remembered, “DeWitt Clinton Waugh, widely known as one of the most capable scenic artists of later years, died at his home in Cincinnati last Tuesday afternoon and was buried Friday.  He was born at Rock Island, Illinois, almost fifty-eight years ago, coming from a family prominent as artists, his father being a painter of no little distinction, and the latter’s brother one of the best panoramic artists the country has produced, “Waugh’s Picturesque Italy” being his masterpiece.  DeWitt was apprenticed to a house and sign painter at his parent’s death, but he was afterward taken care of by his uncle the panorama painter. DeWitt crossed the plains with a caravan during the Pike’s Peak gold excitement, and failing of success in his search for gold, he became the leader of a small string band, which traveled about playing at the small mining towns. He was a fine musician, and could perform on almost any instrument. Later he became a leader of the orchestra of the first theater opened in Denver. While in that capacity need for a special scenery arose for the old play “The White Horse of the Peppers.” He remarked that he could do better than the local artist had done, was given an opportunity, made a great hit with the Denver public, and stepped into the pathway that led to fame. Wishing to enlarge his field after three or four years, he moved to Chicago. The famous Voegtlin was artist of the old Globe Theatre. After a row with the manager, Voegtlin resigned, leaving an unfinished immense “Gothic Interior.”  Mrs. Waugh, who was playing at the theater, suggested that her husband could complete it and to the surprise of all, he did it to such satisfaction that no one could tell where the great Swedish artist had quit work and the American boy begun. From that day he rose to the front rank. His great drop curtain at Robinson’s and several at the Grand in Cincinnati gained the approval of the critics and scenic artists of the country.”

Waugh was the perfect mentor; one who shared both skills and connections. After working for Waugh in 1884-1885, Thomas E. struck out on his own. In 1886, T. Edward Thompson was listed in the “Cincinnati City Directory” as “artist, 92 Elm, res. Elmwood Place”. Other scenic artists listed in the City Directory that year included: Waugh’s previous assistant, James Quinn; John E. Leslie at Havlin’s Theatre; and local freelance artists E. T. Harvey, John Herfurth, Emil Bazzaine, Lewis Kreyehagen, Simon Frank, and George Federle. By 1887, the Cincinnati Directory listed “Edward Thompson” as a lead scenic artist at the Grand Opera House. He was still living in Elmwood Place.

Thompson continued to work throughout the region for the remainder of the decade and by 1889 relocated to St. Louis, Missouri. There, he was listed as an artist living at 20 Centre. However, there was incredible competition in St. Louis, especially the partnership of Thomas C. Noxon and Patrick Toomey who ran Noxon & Toomey. Noxon and Toomey morphed into Albert, Noxon & Toomey at this time, adding Ernest Albert.  In 1902 the successful scenic studio became Toomey & Volland, after Hugo R. Volland entered the picture. Volland had the Masonic connections.  

Thompson E. began to diversify his trade beyond scenic art; this was similar Waugh’s approach before settling in Cincinnati. Thompson became associated with the Hagan Opera House, located at Tenth and Pine Streets in St. Louis.

Now listed as “T. Edward Thompson” in  city directories, he began managing all backstage activities for the venue. This did not mean that he stopped painting; he just gained more control and responsibilities. From 1893 to 1897, the “St. Louis City Directory” listed “Edward Thompson, stage manager, Hagan Opera House.” During this time, his home residence was located on Wyoming St.

In 1900, the Thompsons were still living at 4173 Wyoming Street in St. Louis with their two youngest sons, Fred and Hiram. Their eldest son, Frank W. Thompson, was working as a scenic artist St. Louis and living with his wife Emma at 4337 Juniata Street. Both Frank and his father remained integrally connected to the scenic art scene in the region. Frank’s younger brother Hiram (1885-1958) was also an artist, first working as a plate printer and later a commercial artist. Brother Fred (1883-1904) worked as a clerk for the Missouri Railroad and then entered law school.

The three brothers were not destined to grow old together, sharing stories of their theatrical father. After Fred Thompson entered law school in Indianapolis, he drowned at the age of 21 yrs. old in 1904. This tragic event may have been a catalyst that prompted the family to relocate to other cities. The Thomas E. moved north to Chicago where he worked at Sosman & Landis, while Frank moved to Milwaukee, initially securing employment as a sign painter.

In 1905, Ed Thompson was working for Thomas G. Moses at Sosman & Landis. Moses records that Ed Thompson worked on Old Mill Scenery for a Luna Park Project. Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park.  Ed Thompson went with me and J. H. Young went to do the properties and papier mâché work.  We also went to Pittsburg to do an old mill there for the same firm.  We also did two small stages in the Pittsburg Park.”

Thompson likely remained on staff at Sosman & Landis when work was plentiful for the firm. Sosman & Landis were notorious for cutting their staff as soon a work slowed down. In Chicago, information surrounding the life and career of Thomas E. dwindles. It is possible that scenic studio work swallowed up his name, as much art produced by a large firm seldom credits individual contributions to a project.

Thomas E. Thompson’s life and career become solely tied to census reports. A 1910 Census lists Edward Thompson living with his son Hiram and daughter-in-law Bertha “Birdie” Reichow Thompson (1887-1971). The census report noted that Hiram was a wholesale clerk and Edward was unemployed. This likely meant temporarily unemployed, yet there is no way to know if it was economic down turn, an accident, substance abuse, or something else.

Shortly after the census report, Hiram and his growing family relocated to Davenport, Iowa, and Thomas E. stayed behind in Chicago. By 1920 Hiram  was working as a commercial artist in Davenport; a career that he would continue for the remainder of his life. In 1920, their growing family included three children: Dorothy (6), Jeanette (3) and Hiram Jr. (2). Hiram’s brood remained in Davenport for at least another decade, with the 1930 Census listing Hiram’s occupation as “artist” in the “studio” industry. Hiram continued to work as a commercial artist, eventually moving back to Chicago in 1935 and on to New York by 1940. Hiram Sr. is even included in “Jacobsen’s Biographical Index of American Artists.” His son, Hiram Jr., became an assistant production manager for the Dictaphone Company, later working for the Abbott Kimball Company in Los Angeles. Artistry flowed heavily from one Thompson to another.

For Thomas E., it was a different story. The  1920 US Census listed Thomas E. Thompson living at 338 Morgan St. in Chicago. His occupation was still listed as a “painter” in the “shop” industry. As the head of a two-person household, he was listed as living with a boarder named Clara Smith. Smith was a 42-yrs. old teacher. She was still living with Thompson in 1930, both of them now residing at 69 Lexington St. in Chicago. At the time, Thompson listed his occupation as “painting” in the “scene” industry. He was still listed as the head of household, with lodger Clara Y Smith [also recorded as Clara G. Smith]. Smith was still working as a teacher.

Thomas E. Thompson died on May 15, 1931 in Chicago. He is buried at Waldheim Jewish Cemetery in Forest Park, Illinois. I have yet to locate his gravesite or any information about his cause of death.

Waldheim Jewish cemetery was founded during the second wave of Jewish immigration to Chicago in the late-19th century.  With immigrants insisting on their own Jewish cemeteries, these groups eagerly looked for a cemetery to sell its members plots in their own specially created sections. Beginning in 1870, over 280 cemetery sections representing various Chicago family groups, synagogues, vereins, landsmanshaften, and other organizations purchased sections in Waldheim Cemetery located in Forest Park, just 9 miles west of the Loop. Waldheim was unique in that, although it was one cemetery, it was comprised of 288 separate cemeteries with different owners, prices, rules, regulations and individual caretakers. Here is the link to the cemetery site:

https://jgsi.org/waldheim-cemetery

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

William “Willie” Nutzhorn was a scenic artist at Sosman & Landis Scene Painting Studio for approximately two decades, from 1894 until the early 1920s. He specialized in interior settings and took numerous assistants under his wing, including Art Rider and John Hanny.

Born on Nov. 23, 1873 in Chicago, Illinois, he was the fourth of nine children born of Gerhard Dietrich Nutzhorn and Antonie C. Wilnes (Wilms in some accounts). The couple emigrated from Germany in 1868 with their two young daughters, Amalia (1865-1951) and Augusta (1867-1925). Amelia later married an architect (Otto Runde, 1886), and Augusta later married a musical instrument merchant (Herman Sakrzewsky, 1889). When Gerhard, Antonie, Amelia and August relocated to the United States, they first settled in Manitowoc, Wisconsin. Shortly after their arrival, they celebrated the birth of Henry B. Nutzhorn (1868-1931). The family continued on to Chicago by the early 1870s.  

Gerhard also went by Gerhart or G. D. and opened ran a grocery store, Nutzhorn & Praeger. He was naturalized on Nov. 1, 1873. By 1874, local newspapers advertised, “ G. D. Nutzhorn (formerly Nutzhorn & Praeger), wholesale and retail dealer in groceries, flour, food, and provisions, 568 and 571 Elston-av.; goods delivered to any part of the city; prices as low as the market; satisfaction guaranteed” (“Chicago Tribune,” 6 Dec, 1874, page 14). At the time, the family was living at 724 Elston Avenue. In 1875, twins were born to the couple, but neither survived infancy. More children followed, including Arthur Carl (1876-1940), Clara (1878-1942) and George (1879-1880).

In 1876, The Nutzhorn family was living right next to their business; the Nutzhorn grocery store was 725 Elston Avenue and their home address was 723 Elston Avenue. Gerhard continued to run a grocery store for the remainder of the 1870s. but by 1880 was running a saloon.

The 1880 the Federal Census listed Gerhard’s occupation as “saloon,” an occupation that continued to be listed in the Chicago Directory in 1888. It was located at 241 W. Chicago Ave.

On March 1, 1894, Gerhard passed away at the age 56 yrs. old, with his eldest son Henry becoming head of household. By 1900 the entire Nutzhorn family was living at 1075 Kimball Av. This included Henry (plumber), William (scenic artist), Arthur Carl (plumber), Clara (house work), and George (no occupation). It became obvious that William was striking out on his own in more ways than one. He was employed at Sosman & Landis as a paint boy, gradually making his way to paint assistant before securing his own palette.

On January 16, 1900, the Chicago Tribune” reported, “WOULD NOT ENFORCE THE LAW. William Nutzhorn, Being Examined for Service as a Juror, Gives an Answer that Excuses Him. “No, I don’t believe in the enforcement of the laws,” was the statement made yesterday in Judge Hutchinson’s court by William Nutzhorn, 1075 Kimbark avenue, who was being examined touching his qualification to serve as a juror in the case of James H. Bird, on trial for forgery. Mr. Nutzhorn would not qualify his answer in any way, but said he was no Anarchist. The court excused him from jury service.” This may have been a turning point for William, however, as he soon settled down somewhat.

On April 21, 1901, William married Rose Z. Stephens (1882-1918), and the two celebrated the birth of a daughter on January 10, 1905 – Clara A, Nutzhorn.

Around this same time, Art Rider became an assistant to Nutzhorn at Sosman & Landis. When Rider later left the studio to start a position at the Grand Opera House in Philadelphia, John Hanny became Nutzhorn’s new assistant; this was around 1909. Each young man started out as a paint boy, working their way up to journeyman status over the course of several years. Paint boys became assistants before receiving their own palette, projects, and pay raise. Moses records that he hired Hanny in 1906, starting him out at sixteen years old. However, Hanny first applied for the position when he was only thirteen years old in 1903.

A paint boy’s duties primarily included washing brushes, cleaning the palettes of older artists, and other odd jobs. In later years Hanny recalled, “As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful.” Hanny greatly appreciated his training and the role of Moses at the studio, writing, “He, like Mr. Nutzhorn, was a very patient and kindly man and I shall be ever grateful for the help and the encouragement they willingly gave me” (Excerpt from Hanny letter, July 14. 1976). Many of Hanny’s statements and recollections are based on a series of interviews conducted by Dr. John Rothgeb between 1976 to 1978. At the time, his student Rand Givercier Frank was working on a B.A. Thesis entitled, “The Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979). Dr. Rothgeb had several students research specific topics as his continued to explore the history of scenic art in America. He conducted personal and telephone interviews with former Sosman & Landis employees, including Hanny and Art Oberbeck.

In a July 14, 1976, letter written by Hanny, he described that Nutzhorn’s trained in wood carving, so he was an expert on all styles of ornament and architecture. In Frank’s thesis, she wrote, “[Nutzhorn] made most of the designs for the so-called ‘Interior’ for the ‘sample case’ from which the selections were made by clients, and later produced in the Studio. These included what were called ‘Palaces,’ part of the equipment of most Vaudeville theaters. Aside from this he was an expert in wash water and did many floral pictures. As you may gather from this, he was a most able and accurate-exacting craftsman.” 

In 1902, Sosman & Landis delivered an interior setting delivered to the Tabor Opera House in 1902. It is very possible that the interior was painted by William Nutzhorn, when considering the time period, and Nutzhorn’s specialty of interiors. Here are a few examples of a set that was possibly painted by Nutzhorn in 1902; I documented the setting at the Tabor Opera House in February 2020.

In a telephone interview with Dr. Rothgeb on September 6, 1979, Hanny described his advancement at the firm and becoming Nutzhorn’s by 1909. Hanny recalled, “Those things come by chance. Somebody dies or goes away or something and you get a chance to fill in and if you make it you stay there. That’s all.” It is hard not to think George E. Snell’s (employee # 36) passing from a freak cable car accident after work. Snell was an upcoming star at the firm; one whose death provided an open slot for another aspiring paint boy.

Before Hanny, Nutzhorn’s assistant was Arthur Rider. However, Rider had a chance to join the Opera Co. in Philadelphia, therefore opening up a position for Hanny. On July 14, 1976, Hanny recalled, “It was perhaps the most fortunate thing that ever happened to me when I was selected from the paint boy group to be his assistant and learn from a ‘pro’ the fundamentals of good craftsmanship. I was with him for three years and then assigned a palette of my own at the journeyman’s pay ($35.00 per week).” Frank surmised Hanny’s training at Sosman & Landis: “From Nutzhorn he learned to be very exact and to measure correctly, an approach to painting that he found valuable. On interior scenes it was especially important that everything be laid out carefully on each piece. If this work were not done precisely, the mouldings and baseboards would not meet when the set was assembled” (pages 80-81, based on letter received from John Hanny, July 14. 1976).

By the second decade of the twentieth century, several Sosman & Landis artists joined the Brotherhood of Scene Painters and Sign and Pictorial Painters; Nutzhorn and his assistant Hanny were part of the group to join in 1912.

In 1915 the “Chicago Directory” listed William L. Nutzhorn as an artist, living at 3412 Cortland. St. in Chicago.  A few years later, his WWI Draft Registration Card still listed his occupation as theatrical scene painter, with Sosman & Landis as his employer. At the time, Nutzhorn was described as short, with a medium build. His eyes were grey and his hair brown. This description, when combined with the 1910 studio photograph of Nutzhorn provides a pretty good picture of this talented interior painter in the early twentieth century.

Shortly after he registered  for the draft in 1918, his wife passed away that fall. Records indicate she passed on October 7 and was buried at Forest Home Cemetery on October 10. This left Nutzhorn with a teenage daughter to raise, prompting a new living situation again. By 1920, he was living with his sister Clara and brother Henry again, but this time he was listed as head of household. His brother was still a plumber and his sister managed the household. Clara A. attended high school, completing coursework until her second year.

William continued to live with his daughter, even after she reached adulthood. In 1930 the two were living at 1510 N. Mansfield Ave, with William still listed as an artist and Clara A. as a homeworker. Daughter Clara was 25-yrs. old at the time. By 1940, however, each had their own home, with William living in the Saratoga hotel on 19 Dearborn Street. He was still listed as an artist in the art industry. 

In a letter written by Mildred Nutzhorn (William’s niece) to Dr. Rothgeb in 1983, a little more information comes to light about William’s career in the 1930s. On August 26, 1983, Mildred wrote, “I’m sorry I can’t tell you too much about my uncle. I only know that he worked for the theatre during the Depression of 1933-1939 for the P.W.A. as a scenic artist. My father and I would attend several performances at the Blackstone Theatre. After that he painted ice for ice shows (Ice Follies?). My one cousin told me that he painted he mural about the proscenium of the stage at Medina Temple in Chicago ages ago when it was first built. Although I’m sure he wasn’t associated with the lodge.”

She also recalled his passing, “He wasn’t written up at his death because I attended his funeral. Here is his death date however, Dec. 1942. (69 years old). Nutzhorn passed away on Sunday, December 27, 1942 in Chicago. His sister Clara Nutzhorn preceded him in death by seven months on Feb. 28, 1942.  As indicated by his niece, Nutzhorn was laid to rest without any fanfare.  His obituary in the “Chicago Tribune” simply stated, “NUTZHORN- William Nutzhorn, suddenly, beloved father of Clara. Funeral services Wednesday, 11 a.m. at chapel. 4523 Broadway. For information Longbeach 2454” (29 Dec., 1942, page 22) He left this world in relative obscurity, his contributions to scenic art only recalled by a few individuals.

Two years prior to Nutzhorn’s passing, his daughter Clara was living on her own, working in sales. In 1940, she was listed as head of her own household and working as a saleslady, residing at 672 Sheridan Road. Clara soon changed her name to “Claire” A. Nutzhorn, and eventually became Claire Adams, dropping the Nutzhorn entirely. Keep in mind that this change occurred in the midst of WWII, and I have to wonder if antisemitic sentiment prompted the name change. I cannot help but think of the name-changing in New York City during World War II and the American documentary photographer Dorothea Margaretta Nutzhorn (1895-1965) who changed her name to Dorothea Lange.

Claire Adams passed away on Sept. 15, 1987, in Chicago. Little is known of her life.

To be continued…