Category: Scenic Artists

Copyright © 2021 by Wendy Waszut-Barrett

Howard Tuttle worked for Thomas G. Moses and the Sosman & Landis studio, c. 1887-1890. 

Tuttle was born in Philadelphia, Pennsylvania in 1859. Very little is known of Tuttle’s training or early childhood. However, his artistic endeavors on the streets of Philadelphia included sidewalk drawing, a pastime that connected Tuttle to Henry and James William Carling in an article published by the “Times Dispatch” on May 2, 1937 (Richmond, Virginia, page 63). The article reported, “James landed in Philadelphia, and the two brothers continued their sidewalk drawing with a boy named Howard Tuttle, the famous manhood scenic artist.”  For historical context, Carling supported himself as a sidewalk artist and Vaudeville caricaturist for a while in America.

In regard to Tuttle, in 1877 he married Sarah Gohl (1860-1921) and the two celebrated the birth of three children. The eldest, Percy Tuttle, was born in Chicago in 1878 and became an actor. He was the first to pass away in 1908 from a tumor that caused paralysis of both upper and lower extremities. Hazel was born in Michigan in 1886 and Maurice was born in Chicago in 1889. Both followed in their father’s footsteps as scenic artists.

The first listing that I have located for Tuttle as a scenic artist is in 1885. He was working as a scenic artist at Hooley’s Theatre, while living at 359 Hurlbut Ave.

Two years later, he was working for Thomas G. Moses and then Sosman & Landis.  In 1887, Moses established Burridge, Moses & Louderback, a scenic studio at with Walter W. Burridge and J. D. Louderback at the Columbia Theatre. pulled out of the firm by that fall, with Moses & Louderback continuing for a short period after that. When Burridge left, Moses hired Howard Tuttle, writing, “Burridge and Louderback couldn’t agree, so Burridge pulled out on November 20. Howard Tuttle joined us at our loft we rented on Lake Street.” From 1889 to 1890, Moses & Louderback placed a card in J. R. Clancy’s  stage hardware catalogue, advertising “Contractors for all stage appliances. Estimate furnished to all parts of the world,” with their offices at offices at 22 Chamber of Commerce. They also worked as subcontractors for Sosman & Landis at this time too, as work poured in from all over the country.  

In 1887 when Tuttle was brought on board, Moses recorded that “Tuttle did most of the big melodrama of ‘Tank Drama.’ Lights and shadows.” Tank shows were productions that used actual water on stage. On Dec. 25, 1887, “The Chicago Tribune” reported, “The tank drama marks the entrance of the plumber into literature and for the time being has eclipsed the carpenter in the public estimation. To see the stage turned into a big tub of water, across which boats are rowed, is enough to awaken the enthusiasm of the gallery gods who, perhaps never before in their lives showed a preference for the element in question” (page 19).

Moses’ next mention of Tuttle in his memoirs was from 1889. The two worked out west from the fall of 1889 until the spring of 1890, painting scenery in California, Oregon and Washington. Their first project was in Riverside, California. Moses wrote,  “Found Howard Tuttle in Riverside.  He had come on to help me as I had too much to do.  We worked night and day, and every evening a number of ladies would drop in from the hotel to watch us.  They were very interesting – very refined – mostly from the Eastern cities.  It was a pleasure to meet them…We had many experiences in and around Riverside, too numerous to mention in detail.  We completed the work December 30th.”

The two then headed up the coast to Tacoma, Washington, stopping by San Francisco  for several days and then Portland. Of their stay in San Francisco, Moses wrote, “Tuttle liked the city.  Had a pleasant visit with Bill Porter, artist of Tivoli Theatre.  We then went to Tacoma for several days.  Got some extra work to do, after I had Portland underway.”

By Feb. 8, 1890, Moses and Tuttle completed the scenery for the Tacoma Theatre, as well as a small project for the Arion Hall in Portland, Oregon. Heading south to Corvallis, Oregon, they painted scenery for a small hall. Of their hotel in Corvallis, Moses wrote, “One day Tuttle and I took all the candy at the table (as no one ever ate it) and gave it to the children on the street.  We found the dishes filled up again at night.” After finishing their work in Tacoma, they headed east to Spokane, Washington.

Moses, Tuttle and Loitz were credited with the scenery for the Grand Opera House in Spokane. On April 19, 1890, the “Spokane Daily Chronicle” reported, “The drop curtain and scenery for the new Spokane Grand Opera House have been completed by artists Thomas G. Moses and Howard Tuttle have returned to Chicago. Stage carpenter Joseph Wikoff and Edward Loitz, the representative of the scene painting firm Sosman & Landis of Chicago are now in charge of the stage and scenery” (page 5).  On Sept. 16, 1890, the “Spokane Falls Review” reported, The entire work on stage has been executed by Messrs. Sosman & Landis of Chicago, under the supervision of Thomas G. Moses, assisted by Howard Tuttle and Edward Loitz. The work throughout has been artistically designed and admirably drawn. The coloring, shading and tints are clearly and strongly brought out and will give a realistic effect when placed in position” (page 7).

Moses and Tuttle returned to Chicago for a short respite before heading out on the road again. In June 1890 Moses joined Tuttle in Evansville, Indiana, for another project at the Grand Opera House. This may have been one of their last projects together, as by 1891, Tuttle moved to Milwaukee, Wisconsin, where he established his own studio.

On Jan. 13,  1892, Tuttle was among the scenic artists present at the organization of the American Society of Scene Painters. Keep in mind that the executive staff was Richard Marston, president; Henry E. Hoyt, Harley Merry and Ernest Albert, vice-presidents; Homer F. Emens, treasurer; and Sydney Chidley, secretary. On June 26, 1892, the “Pittsburgh Press” reported, “the objects of the society are to promote the artistic and practical efficiency of the profession and consolidate as a whole to the dignity of the profession hitherto maintained by the individual artist. Practical reforms in the conduct of professional business are anticipated” (page 7). Other members of the organization included  George Becker, Moses Bloom, Harry Byrnes, Sydney Chidley, James Fox, W. Crosbie Gill, Frank King, Richard Marston, Harley Merry, John A. Merry, Thomas G. Moses, Arthur Palmer, Seymour D. Parker, Frank Platzer, W. T. Porter, Adolf T. Reinhold, John Rettig, John W. Rough, Horace N. Smith, Orville L. Story, A. G. Volz, Harry Weed, David W. Weil.

In Milwaukee, Tuttle became associated with the Davidson Opera House. He quickly gained a reputation as Tuttle worked his way across the country. In 1893, he painted scenery for Dolan’s Opera House in Logansport, Indiana. On July 25, 1893, the “Logansport Reporter” published, “Mr. Tuttle is a scenic artist of prominence, who has done work in many of the leading houses of the country and who formerly had a studio of his own in Chicago. His headquarters at present are in Milwaukee. His work here will consist in twelve sets and a drop curtain. He is assisted by Walter Edwards.”

Over the years, Tuttle was credited with painting scenery for a variety of performance venues, including: the La Crosse Theatre (La Crosse, Wisconsin), Grand Opera House (Oshkosh, WI), Normal School (Oshkosh, Wisconsin) Opera House (Sheboygan, Wisconsin), Opera House (Portage, Wisconsin), Davidson Theatre (Milwaukee, Wisconsin), the Illinois Theatre (Rock Island, IL), Calumet Theatre (Calumet, MI), Stone’s Theatre (Flint, MI), Turner Opera House (Green Bay, Wisconsin), Odeon Theatre (Marshalltown, Iowa), Opera House (Muscatine, Iowa), Greene’s Opera House (Cedar Rapids, Iowa), Music Hall (Kansas City, Missouri), Opera House (Winona, Minnesota), and the Moline Theatre (Moline, Illinois).

On July 27, 1897, the “Northwestern” newspaper in Oshkosh, Wisconsin, reported, “Howard Tuttle of Davidson Theatre, Milwaukee, working at Oshkosh. The new scene is from the brush of Howard Tuttle, scenic artist, Davidson Theatre, Milwaukee, and will be a masterpiece when completed. Mr. Tuttle is the artist who painted the new scenery for the Normal school and the opera house curtain will be somewhat similar to the one at Normal, only on a larger scale” (page 2). By October 3,  1905, the “Rock Island Argus Report” noted that Tuttle was a scenic artist for the Chamberlain-Kindt circuit.” His reputation continued to increase throughout the country. On July 17, 1909, the “Burlington Hawk-Eye” published a lengthy article about Tuttle entitled “Artist Works Aloft” (page 7). Keep in mind that it was quite a compliment when a newspaper fully described the studio and process of one particular artist. I am including this particular article in its entirety, as it presents a wonderful snapshot of Tuttle at work in 1909.  

The article reported, “High up in the air, fifty feet above the stage of the Grand Opera House, is working quietly every day one of the most famous scenic artists in the country – Howard Tuttle, who has probably a wider acquaintance among stage folk than any other man in the profession.

It would baffle the man who is unfamiliar with the strange surroundings back of the big proscenium arch to find his way up on the long, narrow paint bridge where the artist works alone, far from every sound, and just under the roof of the stage. Through the labyrinth of scenery stacked on the floor the explorer wends a tortuous course. Tacks are frequent to avoid butting into the sharp corners of the big sets, and the stranger in a strange land keeps his eyes open, scanning the floor in the semi-darkness to save himself falling into one of the mysterious traps that are part of the stage equipment. Taking a course north, by northwest, the newspaper man is guided by Fred Croft, the property man of the theater, to the flight of winding stairs that lead aloft. There are as many crooks and turns in the stairs as there are in a Boston street. After plunging and groping for what seems an interminable distance the first board landing is reached that parallels a row of dressing rooms. Up again goes the route, with more twists and turns, and the second landing is reached. It is lighter here and but a few steps away is the paint bridge, extending across the rear of the stage and built close to the back wall.

Far down is dimly seen the floor of the stage through a maze of drops and ropes. The bridge is narrow, but it is protected by a railing, and the place is unlikely any other spot that can be thought of.

Out in the center of the bridge the scenic artist is working. The big paint frames, holding the stretches of canvas, are operated by ropes and pulleys, allowing the artist to move the scene up or down at his will. A score of pans, containing colors of vivid hues, stretch along a shelf at the back of the painter. The scenic artist is working on a landscape, whose garishness bears little resemblance to the scene as it will appear when exposed to the view of an audience seated sixty feet away. Everything is laid on a broad manner. Great splotches of color are smeared onto the canvas to be spread with wide sweeping movements of the brush. The effect at close range is crude, but the artist is taking into account the fact that the scenery is viewed at long range by the audience, and the effect is then entirely different. Every proportion is right, and the whole beauty of the scene is unfolded in the same manner as is the smaller picture hanging on the wall of a gallery.

Mr. Tuttle has been in the business for almost fifty years, but he has retained the enthusiasm of youth and his smile and greeting are just a cheery as those of a boy. He has a son who is following in the steps of the father, and the artist laughed as he told of a letter received the other day from his boy, who is working at one of the large theaters of Chicago. It was brief. and after telling of his progress the lad wound up with these words: “I am succeeding famously and, father, some day you will be working for me.”

The artist paused between his stretches of painting to clean his brushes and talked of interesting incidents of stageland and the players connected with the mysterious region behind the footlights. He has met and known intimately all of the stars of the past and present, and through this acquaintance has amassed a fund of stories.

Mr. Tuttle’s story of the discomfiture of a noted dramatic critic is worth the telling. It happened years ago with Sarah Bernhardt, the great French actress, who was to open in one of the larger cities of the country  in La Tosca. Mr. Tuttle was engaged at the time in painting in this same theatre, attended the opening night and by chance was shown to a seat next to the critic – the dean of his profession at that period. The scenic artist and the writer were intimate friends and as the curtain rose on the prologue, both awaited eagerly the advent of the famous player. Other dramatic writers were grouped down front and the theatre was packed to the very doors with fashionable assemblage. Something seemed to be lacking, however, in the performance and it was noticeable at the start that the audience was cold and indifferent. Even the entrance of the French woman, who was perhaps without peer at that time, failed to arouse the expected enthusiasm. The applause was lacking. Not a hand was given, and the curtain dropped at the end of the prologue on a silent house.

The same thing was repeated at the end of the first act, and again at the conclusion of the second and third acts.

The dramatic writer before the opening of the play had entered a discussion with his friend, the scenic artist, as to how the audience would receive the French players, holding that the lack of understanding of the foreign language on the part of the listeners would not be a bar to the appreciation of the wonderful acting of Madam Bernhardt and her support. “They will understand the art, the great intelligence of the players and will, therefore, quickly absorb the meaning of the story,” insisted the writer.

“Wait and we shall see, “returned the painter.

As the play dragged its weary length with no response from the audience the dramatic critic grew restive, and it was then that Mr. Tuttle sprang his great coup that started the man of the press.

“If this is really Bernhardt, the actress is worth $5,000 a week,” Tuttle whispered to his friend, “but if it is an understudy, she is worth but $100 a week.”

The writer looked in amazement at Tuttle and then a great light shown in his eyes. He leaned forward trembling, and said breathlessly: “Tell me what you know, for Heaven’s sake, man, do you mean that it isn’t?”

Tuttle smiled and the writer gripped his hand. “If I knew, this would be the greatest scoop of the day; you must know I will never betray you.” Just then the actress was in the midst of the greatest scene of the play. At the conclusion of her lines a pause followed with the stillness of death. Then a roar of applause burst forth that spread from row to row, the shouts of excited Frenchmen being heard above the tumult. The curtain descended and the painter started for the door, followed by the writer who hung to his coat. “Tell me what you know; I must have the truth,” implored the writer. “Don’t you see what it means?”

Tuttle turned a smiling face toward his friend and said”: “You will have to guess,” and disappeared in the crowd. The writer’s paper contained but a short review of the play that next morning, and those who saw it read, but could not understand.”

When Moses hired Tuttle in 1887, he was an ambitious young artist. At the time, Tuttle was twenty-eight years old, living in Chicago. He was married with two small children and a third on the way.  Within five years, Tuttle moved to Milwaukee, Wisconsin, established a scenic studio, became a Socialist and entered Wisconsin politics. Tuttle was not just a Socialist, but a Socialist candidate in mayoral and gubernatorial elections. Tuttle’s passions were painting and politics.  By 1910, he was even a featured speaker at the Labor Meeting in Waterloo, Iowa. On January 26, 1910, “The Courier” of Waterloo, Iowa, identified Tuttle as one of two speakers at the Labor Meeting held in Carpenter’s Hall, reporting, “Mr. Tuttle has some previous acquaintance with Waterloo people. He is an experienced scenic artist and did the inside work on the Waterloo Theatre. He has gained some political notoriety, having been a candidate for governor of Wisconsin three times on the Socialist ticket, without success, His address last night dealt with the boycott on corporations in general…he advised the working men to be on guard and prepare for a national election, when some progress might be made by the laboring classes toward gaining control of monopolies, which he declared were responsible for the present high prices of everything”.

On April 21, 1910, Tuttle was interviewed in an article in the “Oshkosh Northwestern,” entitled, “Socialism is Coming.”  It is unusual to locate the political ideologies of scenic artists beyond a simple entry in voter registration lists. The “Oshkosh Northwestern” article paints a detailed picture of Tuttle’s political views. Here is the article in its entirety:

“Howard Tuttle, the famous scenic artist and expert authority on the matter of interior theatre arrangement and design, was interviewed today by a Northwestern’ reported and he talked on the subjects of Milwaukee’s new administration; Social Democracy in general; running for office; “Appeal to Reason;” theatre decoration and various other topics. To those who enjoy Mr. Tuttle’s friendship, whatever he says is of interest. He is a man of great sincerity. His present business in Oshkosh is to go over preliminary plans with Manager J. E. Williams of the Grand Opera House for the extensive remodeling of the interior of that playhouse. Mr. Tuttle’s home and studio are at Milwaukee, but he is engaged in many of the leading cities of the country. “Milwaukee is going to get along all right,”: Mr. Tuttle said as he laughed in response to the query. “Don’t worry about that. Everything will be done for the best of this city. No, I didn’t see the headlines in Chicago papers yesterday, but I am not surprised that Chicago is interested. They will all take notice of Milwaukee.  SOCIALISM TO SPREAD“ Was I surprised at the election results? Why no. I knew that socialism was to win. And its victories are not to be confined. We’re going to spread out and gain a voice in the administration of the great American cities. We’re growing stronger here in the Fox River valley, and the time is not far off when socialism will be a direct power in Oshkosh and neighboring cities. There’s nothing to fear. Milwaukee will prove that that. “And in Chicago, in that great American city we are pushing upward, and we will soon take hold of affairs there, and God, how Chicago needs it!” continued the pioneer artist, feelingly. Twelve years ago, Mr. Tuttle became a believer in the doctrines of so-called socialism. As he has confided to his friends, his business suffered for his faith. In his own words: “When it was known that I had become a socialist, business was withheld from me. I was punished by the interests in many ways. I had to fight to live, where once I had given so much. But it is always the way. When man takes up a principal against which so many are prejudiced, he must be prepared to sacrifice much. During several of the earlier campaigns of socialism, Mr. Tuttle was put up as the candidate for mayor of Milwaukee and for governor of the states. “We were beaten at first,” he says, “but socialism was bound to win, as it has so splendidly done in Milwaukee.” WORKER’S GET NOTHING The Appeal to Reason was lauded by Mr. Tuttle. “That,” he said is the biggest little paper in America. It cost the paper $20,000 to defend itself against rascally brought to oppose it. Let me tell you, Fred Warren, the editor, was sentenced to jail for six months on a lot of trumped-up charges, and the high officials have tried hard to keep the paper out of the mails. But they could not do this. “The paper charged Theodore Roosevelt with taking part in the ‘Alton steal,’ along with Harriman, and it drove Roosevelt out of the country. It went after the supreme court, and it drove Judge Grosscup out of the country – to Africa also. Judge Grosscup – he is the man who set aside that $29,000 fine on Standard Oil company. The Socialist paper charged that Grosscup was a rascal, and he could not face the charges. Socialism is not afraid to tell the truth. When they begin to try and down the Socialist paper it had less than 300,000 circulation, and now has over 400,000. The paper is printed at Girard, Kan. It has made a first-class post office of a country in a post office there. “And the Girard postmaster, who is a figurehead, so to speak, draws a salary to which he is entitled. The real workers get nothing for building up Girard. But, do you know, it’s always that way, and we can’t avoid it. Figureheads get everything, but the actual workers get little or nothing. NO FEAR OF LAWS “Trusts don’t give a damn for laws. If they need a law, they make it. Some of the judges don’t have the slightest show if they don’t do what is wanted by those who put them where they are. Sometimes I have heard it said, ‘It’s a wonder some of our big looters and grafters haven’t stolen the White house.’ “What made the Socialists succeed in Milwaukee? The hard work of a half dozen men. A half dozen or so started the party there twelve years ago, and they shape its destinies. The Socialists are ruled by a central committee, which meets regularly. When an alderman is elected by the Socialists, he does not become independent immediately after election like a Republican or Democratic alderman. On the other hand, he is directed by the central committee to do thus or thus for public good. Refusing, he is read out by the party. That fate fell to Mayor Born of Sheboygan, who tried to play politics with Republicans and Democrats. the Socialists dropped him. “ the Milwaukeean said. “The spread of Socialism has started the corporations to consider the commission form of government. They offer that to placate the Socialists. And Mr. Tuttle went on to tell in what manner commission government is opposed to the ideals of democracy which were put into effect when the colonists in 1776 threw off the government’s kings and commissioners. Commission government would make it impossible for a young party, like the Socialists, to do anything, he said. It makes for one big political despot, he asserted. “And back of a big political power,” he said,” you will always find an industrial despot.”

Until his passing in 1925, Tuttle continued to work as a scenic artist, but his work received far less coverage. One of his last projects described in any detail was for the Wisconsin Products Exposition in 1923. He painted a panorama to encircle the main arena and exhibit space, measuring 25-feet high by 300-feet long.

Tuttle was found dead by a gunshot to the head, and his death was determined as suicide. Obituary notices were brief, with newspapers suggesting either prolonged illness or insomnia as the cause.  Six months before his passing, Tuttle and his daughter had also survived a horrific car crash.

His brief obituary appeared in papers across the country on October 5, 1925.  “The Sheboygan Press” reported “Scenic Artist of Repute Ends His Life Today. Milwaukee.- Howard Tuttle, 62, prominently known throughout the United States shot and killed himself in his apartment here today. According to the Coroner Tuttle had been ill for some time. He is survived by a son, Morris and daughter, Hazel, and both are scenic artists.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

On June 1, 1893, Thomas G. Moses hired Fred McGreer to work at the Sosman & Landis  annex theatre on the West Side of Chicago.  He joined the West Side Force that included A. J. Rupert, Frank Peyraud, and Harry Vincent.  Moses recorded that McGreer “proved to be a good man.”

            Frederick Beesley McGreer was born in Muscatine, Iowa in 1866. He was the son of John McGreer and Louisa Beesley. The couple celebrated the birth of three children, with Fred being the oldest. The younger children were Eva (1869-1934), Rob Roy (1879-?) and Essie (1882-1966). Rob, Fred and their father all became artists. The family tale is quite something, beginning with John’s arrival to Muscatine, Iowa as a young man. Upon his passing on June 13, 1908, the Muscatine “News-Tribune” remembered John’s artistic abilities: “his greatest claim to distinction was as a comic picture painter. His skill with the brush was something marvelous and his comic designs were strikingly and peculiarly inimitable and original.” John did not have to fortune to begin his life as an artist, he began his career in mercantile pursuits, and engaged in the grocery trade with his stepfather Charles Drury. During the Civil War, John McGreer worked as a sutler, furnishing provisions to Union soldiers. It was near the end of the war that he married Louisa, with the first son arriving the next year. After the end of the war, John managed the City Hat Store. His success in the hat business allowed the family to move to Chicago 1870 where he established a pictorial printing office. Despite being burned out and losing everything in the Great Fire of 1871, he pursued his new occupation and was later acknowledged as a pioneer in this line.

John McGreer’s obituary remembered, “Much of his time and talent was devoted to the painting of comic pictures for which work he was especially gifted and won celebrity.” His listings in the city directories were either as artist or publisher, and by 1885 was associated with the Cartoon Publishing Co. in 1885. The McGreers frequently returned to Muscatine for family visits and were extremely close to John’s sister, Mrs. Henry Geiss, remained a resident of the town. Over the years, McGreer sent illustrated articles and cartoons for the Muscatine paper, including those that highlighted the artistic careers of his two sons, Fred and Rob. Fred McGreer had the good fortune to come of age in an artistic home with good press. His father’s publishing career greatly helped his sons’ artistic ambitions, keeping them very visible in the public eye.  By 1884, Fred McGreer worked as a lighting artist at the World Cotton Centennial in New Orleans. Later records would indicate that McGreer began working as a scenic artist at Sosman & Landis in 1887. Like many other scenic artists, he not only painted scenery for the firm, but also picked up extra work while on site. Additional work for scenic artists ranged from sign painting and decorative work to art exhibits and art classes.

On April 10, 1887, the “Inter Ocean” included a notice in the National Union section, announcing that McGreer was providing “an hour’s divertissement” in rapid oil painting at the Continental Council No. 55 (page 20). McGreer continued in this vein for the next two years as the couple celebrated the birth of their only son, Earl Milton McGreer on 3 May 1888. McGreer continued to work as a lighting artist, partnering with his cousin Ernest Cooke that summer. In August, the two were featured at E. W. Viall’s store on Main Street in Oshkosh, Wisconsin. Each showed how fast paintings could be created and also gave lessons.  Their class sizes numbered 20 students, with the two also holding classes in Elgin and Janesville, Illinois.  By the fall, McGreer became a featured artist at James Wilde Jr. & Co., located on the corner of State and Madison Streets. If customers, spent more than $10 at the store, McGreer painted a complimentary 8×10 oil painting in ten minutes or less.  He was advertised as “the most Wonderful Artist in the World – the rapidity of his work is marvelous. Hundreds of thousands of people visited him at the New Orleans Exposition” (Nov. 28, 1888, page 8).  Every afternoon between 1 and 5pm, McGreer was stationed in the Children’s Department of the store.  Regardless of his travels as an itinerant artist, McGreer started a family in 1885. On July 14, 1885, Fred married Minnie Ella (Elma) Hunt in Ravenswood, Illinois. Minnie was from Cedar Rapids, Iowa (b. 1865). The two lived in Cedar Rapids before moving to Chicago a few years later. Within three years the couple celebrated the birth of their only son, Earl Milton McGreer on May 3, 1888.

By 1889, McGreer was listed as an artist in the Chicago Directory, living at 584 W, Van Buren. and working at 263 State. Interestingly, Walter C. Hartson and Harry Vincent also listed 236 State Street as their business address.  I have yet to identify this business, but these were the three that eventually formed the West Side Force for Sosman & Landis Studio in the early 1890s. In 1896 McGreer was still representing the Sosman & Landis studio when the firm was contracted to produce scenery for Green’s Opera House in Cedar Rapids, Iowa. On August 29, 1896, “The Gazette” reported, “The scenery was painted by Sosman & Landis, the well-known Chicago artists, the work being done by Fred McGreer who formerly resided in this city and who has developed artistic talents that place him among the foremost painters of the country” (page 3).

By 1897, McGreer traveled with Thomas G. Moses and Edward Loitz for Sosman & Landis, painting scenery for the English Opera House (Indianapolis, IN), the Grand Opera House (Columbus, OH) and the Valentine Theatre (Toledo, OH).  Of these projects and his crews, Moses wrote, “I think we did some good work.” Sosman & Landis then offered Moses Pike Theatre Stock Company work in Cincinnati, Ohio. He accepted, writing, “I accepted $75.00 per week and went, taking McGreer and Loitz from Chicago.”  It appears as if McGreer never left Cincinnati and soon became the scenic artist for the Pike Theatre, sending for his younger brother, Rob, to be his assistant.

The next year, the artistic success of the McGreers was published in their old hometown of Muscatine, Iowa. On Dec. 25, 1898, the “Muscatine News-Tribune” article was entitled “John McGreer’s Boys. Two Muscatine Brothers who are Winning Laurels in the Theatrical Art World” (page 16).  

Here is the article in its entirety, as it provides a wealth of knowledge about the two:

“While the News-Tribune’s friend Mr. John McGreer, has been busy preparing the illustrated article which is a prominent feature of this edition, the management has taken the trouble to gather some facts and photographs that will show “Johnny’s boys,” Fred and Rob, their friends in Muscatine, the home of their birth.

Fred the eldest, is an exceptionally clever scenic artist, at present located in Cincinnati. When he visited Muscatine with his father some twelve years ago they gave what was called ‘lightning art exhibition.’ The late Geo. W. Van Horne, while watching Fred at his painting said: ‘Well Mr. McGreer, you ought to be proud of that boy. He has the making of a great artist, especially in the line of broad effects, as cyclorama, or scenic painting.’ Mr. Van Horne’s art criticisms were not made without a knowledge of art, for he had visited and studied in the Vatican, the Louvre, and all principal art centers of Europe.

The fine asbestos drop curtain that was in Hooley’s theatre, was the creation and execution of Fred. It was highly complimented be the entire Chicago press, and admired by patrons of the theatre. Fred has autographic letters complimenting his work from many leading lights of the stage, among them John Drew, E.M. Willard, Henry Irving, Joe Jefferson, Modjeska, Nat Goodwin, Augustus Daly, and others. The ‘Cat Concert’ drop curtain in the roof garden theater of the Masonic Temple was a unique and catchy production painted by Fred. The fine drop curtain which many Muscatine visitors to Cedar Rapids have seen in Green’s Opera House was also painted by Fred several years ago.

‘Rob,’ the youngest (just out of his teens) shows really more natural talent than Fred did at his age, but has not had the experience. His forte runs rather more to cartoon and figure painting, after his father, but with better opportunities for cultivation. His sketches show boldness, character, and originality.

“Scenic painting nowadays is a very important factor in the theatre, as all plays of importance require special scenes to harmonize with the play. Whereas in former years one set of scenery had to answer for everything.

At present the McGreer brothers are scenic artists for the Pike Theatre, in Cincinnati, and are winning both the applause of the public and the praise of the press.

In speaking of a recent production of ‘Alabama’ at the Pike, the ENQUIRER has this to say:

“Mr. McGreer, the scenic artist, has given what the people one of two settings that will bear comparison with anything the best stage of the country has ever known. His first act is not so good, lacking in harmony and completeness, as well as exact fitness in atmosphere and surroundings for the poetical character of Mr. Thomas’ writing, but the third act is almost a scenic masterpiece, and merited even better applause that that vouchsafed it last night, liberal and demonstrative as it was. In this respect nothing is wanting in Pike’s Alabama.’”

Pike’s prize play, ‘The Charity Ball,’ was recently given, and the COMMERICIAL GAZETTE says this of the scenery:

“Mr. McGreer, the chief artist of the house, gave three scenes to the play that were marvels of their kind, while all of the accessories were not only handsome, but so carefully chosen as to deserve the warmest and most sincere commendation.”

The CINCINNATI POST gives the brothers this complimentary notice regarding their work:

“From a plane of minor importance, the scenic artist has attained a position second to none about a theater. If the average person were asked the reason of the great success of the productions of the Neill Stock Company at the Pike, the answer would be, “The excellence of the company and the beauty of the scenery.” Two gifted artists are responsible for the elaborate stage settings that have been seen at this house. They are Frederick B. McGreer came to Cincinnati from Hooley’s Theatre, Chicago, and as an artist of exceptional talent and splendid taste in color and design. Robert McGreer, his brother, worked most of his life with Augustin Daly’s artists in New York. They form a duo whose combined work is the admiration of every patron at the Pike.”

The portraits accompanying this article are reproduction of recent photographs, but will scarcely be recognized by their many Muscatine friends who knew them in early boyhood days.”

In 1900, McGreer was still successfully employed at the Pike Theatre and listed in the1900 Cincinnati Directory was the chief scenic artist for the Pike Opera House, boarding at the Burnet House.

On April 15, 1900, McGreer described his artistic process to the “Cincinnati Enquirer” in an article entitled, “Vast Amount of Artistic Labor Contributed by Scenic Artist Fred McGreer Toward the Success of Many Pike Productions” (page 12).   

Although lengthy, it is a wonderful snapshot in time of McGreer and his scenic art process from 121 years ago:

“Perched up in a little room on level with the head of a big white lady who holds a cluster of electric lights, over the right proscenium box at the Pike, is a small room in which an unseen factor in many successes at that house toils industriously day after day making for success on the Pike Stage.

The potent influence is Mr. Fred McGreer, the capable scenic artist, whose stage settings at the Pike have been a prominent feature of the 60 odd productions seen at the house during two seasons he has worked there.

The writer, after climbing up a narrow flight of winding stairs and stumbling over bits of scenery reached this little den the other day, and found Mr. McGreer hard at work sketching out the stage plan for Nero’s banquet hall which will be seen there this weekend in ‘Quo Vadis.’ Rich in scenic opportunities, Mr. McGreer had spread himself on this big production, and judging solely by the care and work he has lavished on it, the scenic side of the piece promises to be a triumph.  Leading man and lady, villain or adventuress, or the others have thrilled with the applause at the Pike for their efforts, but Mr. McGreer who has contributed a great share to the stock company’s weekly offerings, seldom hears the same applause for his art as distinctly worthy as that of the players.

If the reader will follow we will take journey into his little den off the third landing of the winding stairs and see if we can’t get a faint peak at the amount of work a new production means to the indefatigable artist. You can imagine you climbed the stairway and arrived at the room, him half out of breath, with the writer who felt how sadly he had neglected his athletics. A generous part of the room is Mr. McGreer, a young man attired in a well-frescoed pair of shoes highly daubed overalls pulled over his other clothing. His sketches are works of art and marks the backdrops used in the course of a season, while at the other end a big roll of paper stands awaiting instructions.

When the photographer arrived, Mr. McGreer had just finished the elevation for the Nero palace.  He gave clear insight into the business side in painting a theatrical setting, which the average playgoer sitting in front would never realize from simply looking at it.  ‘We’ll begin at the beginning,’ said Mr. McGreer when told that his description of how a scene is built up was wanted. ‘The first thing that I do is to read the manuscript of the play to be put on. Then comes a consultation with the stage director regarding the practical openings for each setting of the play as every exit and entrance must be letter perfect so that the players will be kept within the point or sight and at the same time be able to make their exits properly.  This done I map out the stage plans for the carpenter with the elevations for each set, and he sets to work to make the wooden frames for the various scenes.’

On these plans the frames are all cut out and placed just as they go.  Then the heavy drill cloth is fastened to the braces which are attached to the paint frame.  This is worked by a windlass that can raise or lower the canvas at will.  The artists work on what is called the bridge while painting the scenery. This is a narrow platform suspended about 30 feet above the stage at the rear wall and the paint frames operates up or down close to this so that we can work up to the height on the drop merely by moving the windlass in whatever direction desired.

 The illustrations accompanying this show Mr. McGreer and his assistants at work on the paint bridge as well as several other phases of the work incidental to making the scenic productions for the famous play.

‘I am able to outline the scenes after they have been coated with glue priming, for which a particular glue is used that will not crack.  After the priming had dried I sketch the outlines with charcoal, and meanwhile the assistants are mixing their paints in buckets, and when I have concluded they set to work painting the scenery.  In this process, first the broad colors are laid in and then comes the ornamentation, such as the figures on the walls of interiors, or colors for the moldings to get the lights and shadows.  This is ended with the detail work of what we call bringing the scene together.  It is like the finishing touches you see the rapid-fire artists put on their pictures in the vaudeville theaters when a form emerges out of what is apparently a chaos of conflicting colors.  At this period, I may discover too much red at the base of a scene, or not enough red beneath the cornice of an exterior, and these must be toned down.

With the scene painted it is again hustled off the paint frame to make room for another act.  The painted set goes back to the carpenter to be cut out and attached to the lines running to the rigging loft, there being three lines to each drop. The columns and solid sections which will be noticeable in ‘Quo Vadis’ are made of what we call profile board.  It is a wooden veneer and is pre-hinged to a stand shipping.  These columns also stand by themselves as though apparently part of the setting.

In the first scene for ‘Quo Vadis’ the case is different.  The entire scene was originally painted on one big drop and then after it was completed I ‘red lined’ the whole scene.  This is to outline the columns and vases with a delicate red line, which the carpenter follows in sawing out these separate sections.  They are then all placed in position on the stage and the stuff that has been cut out is fastened together with a delicate netting which is invisible to the audience.  The perspective created the impression that they are standing alone though really the entire set is one big drop.  Some idea of the work required can be gained from the explanation that a single drop of this description generally requires the efforts of the carpenter and four assistants an entire evening to fix up.  On the drop for this garden scene, we used 1080 feet of cloth and about 75 pounds of paint. In order to attach them to the rigging loft about 300 feet of rope is also used.  Now another heavy scene is in the arena setting for the last act, in which over 700 feet of platform space is required, built up to a height running from two feet and reaching the topmost platform 15 feet above the stage.  These platforms are all hinged and made so they will fold for shipment as the piece goes on the road after it is used here.

In ‘Quo Vadis’ every scene is numbered and arranged so that it can be put together hurriedly and when brought into a theater is very much like the animal puzzles that are so popular with the Children at Christmas.  Only the stagehands will just know where every piece goes without being puzzled.

Mr. McGreer in conclusion estimates that he has painted over 30,000 feet of canvas for the big production this week and used about 2,000 pounds of paint in doing it, in addition to five barrels of whiting alone was used, while the paint was distributed among 20 or more colors. For ‘Quo Vadis’ everything had to be made new as nothing like it had been produced at the Pike.

Mr. McGreer during his two seasons at the local theater has mapped out and painted over 220 stage settings, and of these the ratio ran about three interiors to one exterior. The mere mechanical work of making the scenes is antedated by studies of the costumes as the ladies dresses and the scene colors must harmonize, and historical research as historical accuracy is demanded in these times.  In all his stay, nothing has been used over much, excepting the solid doors that figure in Pike productions.  These doors have been doing service for three seasons.  They have been slammed by the impetuous Nigel or gently brought to by the careful Todman, but in all that time the same old doors groaned under the weight of added paint until now they are so heavy it takes a firm grasp and a long pull to draw them open.

But this is digressing from Mr. McGreer.  Next week this popular artist will bid adieu for the summer, at least to his den back of the big white lady.  He goes to New York, having been engaged by Gates and Morange, the scenic artist there. If long and varied experience will count for aught, Mr. McGreer is sure to make his mark there for few visiting attractions as the first-class houses have exhibited scenery which compares to that which has been in evidence so frequently at the Pike.”

During the summer of 1900, McGreer painted scenery for the Sosman, Landis & Hunt production of “Quo Vadis.” Of the production, Moses wrote, “It was not a success, as another company with the same play got in a week ahead of this production at a better theatre, which naturally killed the Herald Square Show.” The artists for the Herald Square production included Thomas G. Moses, Will Hamilton, John H. Young, Fred McGreer, and Gates & Morange.

 McGreer left New York soon after this and headed to San Francisco. By January 1901 McGreer accepted a position as the scenic artist at Morosco’s Grand Opera House in San Francisco, California. He remained at the chief scenic artist for the venue until his passing in 1902.

Fred McGreer is buried at Chicago’s Graceland Cemetery.

Fred McGreer’s gravestone at Graceland Cemetery in Chicago, Illinois.

On January 18, 1902, the “Muscatine News-Tribune” reported his passing:

“Noted Scenic Artist is Dead. Mrs. Henry Geiss departed last evening for Chicago, in response to a message announcing the death of her nephew, Fred McGreer, the descendent is a son of our former townsman, John McGreer, the News-Tribune’s special artist. The Chicago Record-Herald, in its last issue, prints a fine portrait of this noted scenic artist and says:“ Fred B. McGreer, whose death occurred last night Monday at the German Hospital in San Francisco, was one of the best scenic artists in America. His first work was with Sosman & Landis, Chicago, fifteen years ago [1887], and since then has been identified with many of the leading theatres of the country. The drop curtain at Power’s theater in this city was painted by Mr. McGreer. One year ago, he took charge of the scenic studio of the Morosco Grand Opera House in San Francisco. The remains will be brought to Chicago for burial. The funeral will take place from Graceland Chapel next Monday afternoon at 2 o’clock.” (page 1). No cause was listed.

Fred’s son Earl continued his artistic legacy and by 1918 his occupation was listed as manager of Commercial Art School. He served in the army during WWI, achieving the rank of Sergeant and then moved Los Angeles California where he lived until his passing in 1954.  

His uncle Robert McGreer also lived in California and continued in the theatrical trade after his older brother’s passing. Robert had accompanied his older brother to California in 1901 and was listed in the San Francisco Directory that year as an artist for the Grand Opera House. When Fred died in 1902, Robert traveled the world. From 1902 to 1910 Rob McGreer visited the “Orient, Australia and South Africa.” During this trip he married an Australian actress named Beattie in 1904.  The two were still married and living in San Francisco in 1910.  However, in 1912 he married another woman Olive Mary King in Honolulu, Hawaii. He departed for Hong Kong in 1913 without his young wife.  Interestingly, his 1919 passport application lists a second trip for “theatrical work” with stops in Japan, China, Hong Kong, Australia, New Zealand, Tasmania, Burma, India, Ceylon and elsewhere. McGreer departed San Francisco on October 22, 1919. Overall, Rob McGreer could be the topic of a whole separate post, so I will stop here.

However, during Rob’s first absence (1902-1910), his father went to live with their sister in New York and met his own tragic end.

John McGreer’s passing at the age of 69 yrs. old made headlines in newspaper across the country. The aged artist died while sketching the Hudson River. On June 13, 1908, newspapers described the horrifying incident:

“John McGreer, a landscape artist, of No. 602 West One Hundred and Thirty-second Street, was drowned in the Hudson River yesterday afternoon. He had his easel on an old barge anchored near the shore at the foot of that street, and was seated upon a pile of bricks upon the scow. Laborers who were working in the vicinity were suddenly startled by the shouting of the artist’s grandson, who cried out that his grandfather had fallen overboard. The laborers saw that the Albany, one of the steamers of the Albany Day Line, had just passed down the river, and they also noticed that the barge upon which the artist had been painting was rocking and rolling in the big swell from the passing steamer. They ran to the deck of the boat, where the little boy told them that his grandfather had been thrown into the water by the rolling of the barge in the swell. Two of the men leaped into a small boat near at hand. They had scarcely done so when they say that Mr. McGreer’s head appeared above the surface of the water about thirty feet distant from the barge. Before they could reach him he sank and was seen no more. John McGreer, the nine-year-old grandson, ran home and told has what had happen. The West One Hundred and Twenty-fifth Street police station was notified by the dead man’s daughter-in-law, and efforts will be made to recover the body. The artist’s wife went to Atlantic City several day ago, and word was sent to her last evening. Robert McGreer, a son, is now in Manila. Two daughters of the artist are Mrs. L. N. Semper of this city and Mrs. Harry Crosby of Chicago. Mr. McGreer had been working upon his painting of the river for several days. The picture was a medium sized canvas showing a section of the Palisades and the Hudson with a schooner in the middle distance. The artist’s brushes and easel and picture were found upon the barge, and were taken to the home of his daughter-in-law. Mr. McGreer was sixty-nine years old and a civil war veteran. He lived, until recently, in Chicago”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

A. J. Rupert (1853-1934) worked with Thomas G. Moses at Sosman & Landis from 1892-1893. He was part of the firm’s crew known as the “West Side Force.” In 1892, Moses and his scenic art staff moved into the old Waverly Theatre on the West Side of Chicago. They primarily focused on subcontracted projects. Of the space, Moses wrote “I had A. J. Rupert, Frank Peyrand and Harry Vincent besides a number of assistants and paint boys.  It was awfully hard to keep the building warm.  It was so big we had to use stoves.” Some of their projects a production of “Ben Hur” and settings for William Haworth’s “A Flag of Truce.”

By the early 1890s, Rupert had become extremely well known as a landscape painter, having trained in Europe and worked extensively as an art instructor at the Art Institute of Chicago. Many art history books list A. J. Rupert’s birthname as Arthur J. Rupert, frequently sharing the same snippets of information in regard to birthplace, international study and art exhibits. Art experts explain that there is very little information available about the artist when lost paintings credited to A. J. Rupert come to light. Part of the problem is that they have the wrong name; A. J.’s first name was Adam, not Arthur.

Tracking down the correct information to tell A. J.’s story has involved slowly combing through city directories to look cross reference names, occupations and addresses. A. J. is listed as Adam, Adam J., Adam Jr., A. T., and A. G.  The handwritten “J” seems to have caused a problem when submitting information to various city directories in the late nineteenth-century; the letter was frequently misinterpreted.  What complicates matters even more is that his A. J.’s father, John Adam Rupert, also went by Adam, and is listed as such in city directories and other historic records. For the purpose of this post, I will use the name A. J.  for the son and John “Adam” for the father.

The Rupert family remained together; they traveled together, lived together and worked together. They moved from New York to North Dakota, with stops in Michigan and Illinois on their journey west. A. J. was fortunate to have come of age in Chicago where he was able to pursue a career in art. He was in the right place at the right time to start out as a fresco painter for P. M. Almini.  A. J. began his painting career at the famous decorative art firm around the same time that Thomas G. Moses began working there, 1873-1874. By 1874, A. J. was listed in the Chicago directory as an artist. By this time, the Rupert family had resided in Chicago for seven years, having moved west after living in Michigan.

Adam John Rupert was born on August 19, 1853, in Fort Plain, Montgomery, New York. He was the son of German immigrants, John “Adam” and Barbara Rupert. John was born in Bavaria in 1827, emigrated to the United States with his family before 1850, and ended his journey in Fargo, North Dakota at the age of seventy. A. J.’s mother, Barbara, is a little harder to track down. Barbara Holtzapel was born in Bavaria in 1826 and passed away in Fargo, North Dakota, in 1904.That is all I know about the matriarch of the Rupert family.

In 1866 John “Adam” worked as a shoemaker in New York, a trade that he would pass along to his son Christian Henry Rupert. In Fargo, Christian would establish C.H. Rupert & Co. Boot Store by 1880. He was also Fargo’s City Auditor for quite a few years.  John “Adam” changed professions when his family moved to Chicago in 1867. He left the shoe trade to work for the railroad, working as a foreman, engineer and finally master mechanic. He continued to work in this capacity even after moving to Fargo.

The birth of A. J.’s siblings tell the tale of his family’s travels across the country from 1853 to 1880. I am constantly amazed at how frequently people packed up their families and moved to a new town or territory. It really is staggering when considering the logistics of young children, transportation, work and basic necessities.  The two oldest Rupert children, Christian (1855-1913) and A.J. (1853-1934), were born in New York. Alonzo O. (1858-1920) was born in Adrian, Michigan. Helen (1860-1944) and John Henry (1864-1929) were born in Indiana.  The youngest child, John Adam Jr. (1863-1929), was born in Michigan, and then the family returned to New York where they remained until 1866.

The Ruperts left New York for Chicago and by 1867, John “Adam” was listed in the Chicago Directory as foreman at the M. C. R. R. roundhouse. By 1868, he was still with the railroad, but now working as a foreman in the M.S. & N.I.R.R. shop. In 1874 John “Adam” was listed as an engineer. As each of his sons came of age and secured employment, they were listed alongside their father in the city directory, always living in the same home together. First was Christian in 1873 (clerk), and then A. J. (artist) and Alonzo (messenger) by 1874. A. J. was the first to leave the family home, but would always return. His success in 1875 likely prompted his desire to study abroad. On August 8, 1875, the “Chicago Tribune” announced, “A. J. Rupert, a young artist and student at the Academy of Design, has several pictures in progress for the Exposition.” By September 8, 1875, the “Chicago Tribune” listed Rupert as one of the Chicago artists whose work was featured in the Western Wing at the Inter-State Exposition (page 1). By 1876, Rupert was studying in Munich.

From 1867 to 1876, the Rupert family lived at 755 Indiana Ave. in Chicago.  It was at this time that A. J. left to attend the Royal Academy in Munich. His 1876 passport application provided a physical description of Rupert at the 22 yrs. old: 5’-11” with dark hair, dark eyes and a fair complexion. During his absence his family moved into a new home at 29 Cottage Grove. In 1877 John “Adam” was working as an engineer, Alonzo as a bookkeeper, and Christian H. as a clerk. The Ruperts remained at their home on Cottage Grove until the end of 1879. When A. J. returned from his studied abroad, the Rupert family moved north. The family resettled in Fargo, North Dakota, with A. J. frequently visiting home to sketch the rolling prairie. However, his artistic career began to take off, so he remained in Chicago and opened a studio.

It was in 1880 that Thomas G. Moses began to study with Rupert, writing, “ I was determined to make something of myself.  I found an old friend, A. J. Rupert, with whom I had worked at Almini’s.  He was now an instructor at the Art Institute, in the life class.  He studied abroad and was very clever.” Moses joined Rupert’s art class, two nights a week for a very small tuition. Moses noted that it gave him enough courage to attempt some figure painting on drop curtains, commenting that many of the artists “were very clever and gave me a lot of valuable pointers, so I improved rapidly.” Moses continued his studies and in 1883 recorded that he “painted from life at Rupert’s Studio every Sunday.”

On October 2, 1881, the “Chicago Tribune” cited the location of Rupert;s studio at No. 34 Monroe Street. The article reported, “Mr. A. J. Rupert, who was at one time a pupil of the old Academy of Design, but for five years past a student abroad, principally at Munich, where he acquired the bold, broad handling now prevalent there, has a studio at No. 34 Monroe street, which is filled with many interesting sketches, studies, and bric-a-brac, most of them reminiscences of his foreign travel. A full-length portrait of his brother playing upon his violin is especially rich in tone, and there is much infusion of sentiment into the picture as the limitations of the subject would permit. All of Mr. Rupert’s work shows a good command of the brush, and whatever fault there may be in drawing or selection of subject, there is no hesitation or weakness in execution. Although a figure painter, he has some landscapes which show a close inspection of nature. A Dakota prairie upon which stands a solitary farm-house gives an excellent idea of the vastness and loneliness of that distant region. Two examples of his work are shown at the Exposition. No. 540, ‘Ruins-Pallas Temple, Roma,’ has been described at length, and No 741, ‘Landscape near Munich,’ is broadly handled in low key. Mr. Rupert is at present engaged upon the portraits of Mr. and Mrs. Brust, of Prairies avenue, and will, in addition  to his studio work, conduct the evening life classes at the Academy of Fine Arts” (page 6).

By 1882 Rupert was hired to teach for the Academy of Fine Arts in Chicago every afternoon during winter term. On October 15, 1882, the “Chicago Tribune” commented on the Exposition committee’s snub of Rupert’s painting, “The Beggars of Venice.”  The article reported, “The ‘Beggars of Venice,’ by A. J. Rupert has lately attracted many visitors to his studio in the Lakeside Building, extra interest being excited by the fact that the picture, which was painted for the Exposition, was rejected by the Art Committee of that institution as unworthy of a place in the collection. That any picture which A. J. Rupert could possibly paint would be deemed unworthy of a place in a collection which contains such wretched daubs as Ward’s ‘Tobacco Filed’ Douglas Volk’s Miln as Hamlet and Burleigh as Othello, and numerous others that need not here be specified, would on general principles he astonishing and  explicable except on the hypothesis of jealously and ill-will; but that so really excellent a work as the ‘Beggars of Venice’ should be rejected by the Art Committee is difficult to account for at all An artist who has been honored  by the hanging of a picture this year in the Paris Salon said of Mr. Rupert’s canvas, ‘It would be unquestionably and unhesitantly be accepted and hung in the Salon.’ But it would not do for the Chicago Exposition! The truth is the picture is exceptionally strong in many points – notably so in the bold, rich treatment of the massive marble pillars and in the handling of the architecture in general. The figure of the aged mendicant soliciting alms at the entrance of the gloomy and old palace is well drawn, and the artist has finely expressed the idea of contrast between the heavy grandeur of the stately edifice and the petty human squalor of the wretches who lie in wait for the charity of the occasional visitors. Mr. Rupert’s fame as an artist can far more securely rest upon this picture’s merits than can the fame of the Art Committee as competent and fair-minded persons rest upon their rejection of it” (page 20).

Rupert enjoyed quite a following, both among fellow artists and art enthusiasts. Moses greatly revered Rupert’s work, even naming his second child after his close friend. Moses bought a painting from Rupert in 1885 entitled “My Studio,” it measured 34” x 54”. That same year, Rupert exhibited artworks at the inaugural reception and exhibition for the Western Art Association (“Inter Ocean,” 23 Jan 1885, page 5).The group held their show at the Chicago Art Institute on the corner of Michigan Ave and Van Buren Street where a lot of collectors participated in the event. For this show, Rupert had exhibited three pieces “The Violinist,” “The Tramp” and “Discouraged Vestal” (“Inter Ocean” on Jan. 23, 1885, page 5). In 1887 “Adam J. Rupert” was listed in the Chicago Directory as an instructor at 200 Michigan av. He became increasingly invested in the establishment and exhibits of various art organizations. In 1888 he participated in the Chicago Art League Exhibition at Art Institute of Chicago.

By 1889 Rupert opened a studio at No. 59 Honore Block in Chicago and soon exhibited at the Chicago Society of Artists. On Nov. 10, 1889, the “Inter Ocean” reported, “A. J. Rupert, who at one time was instructor in the Art Institute, but who has of late been studying in Europe, has returned to Chicago and opened a studio at No. 59 Honore Block” (page 12). In 1891 Rupert’s artwork was featured next to those of Walter Burridge, Herbert E, Butler, L.S.G. Parker, Frederick Freer, and Joseph Jefferson (the actor). He remained extremely active at the Institute, as well as joining the Palette & Chisel Club. Other exhibitions including Rupert’s works at the Art Institute Chicago were in 1898, 1900, 1906, 1915, 1917 and 1919.  

Rupert was also listed as one of the founders of the Cosmopolitan Art Club in March 1892. Many of its members came from the Chicago Society of Artists. Founders included Franck C. Peyraud, Hardesty Maratta, Frederick W. Freer, Edgar S. Cameron, and others. Its purpose was to set a high standard for fine arts in the city of Chicago. Newspaper article announced, “This club, which is informal in its organization, is not intended to antagonize the interests of the older Chicago Society of Artists, but to procure the advantages of a smaller number of members having less diverse interests.” Their first annual exhibition was held in May 1892 at the Stevens’ Galleries. By 1896, the Cosmopolitan Art Club held their fifth annual exposition with A. J. Rupert, Hardesty Maratta, Frank Peyraud, Harry Wallace Methven and Charles Francis Brow as the painting committee. In

By the mid-1890s, Rupert began to travel throughout the United States, frequently stopping in Fargo. His name occasionally popped up the Fargo Directory, each time living with family there. By 1899, all of the Rupert family homes in Fargo were all located on 8th Ave. S. They remained a close-knit family. A. J. was also with his family at this time, but not for long.

In 1900 the Federal Census listed A. J. Rupert (artist) living in LaCrosse, Wisconsin. Frank Peyraud was also living at the same boarding house on 6th Street, so we know it was the same A. J. Rupert. The two sporadically worked together from 1900-1904. By 1904, the two were painting Rupert a World Fair attraction. The project was for Henry Roltair’s “Creation,” an amusement at the St. Louis Exposition. Rupert and George Schreiber were the assistants to Frank Peyraud for this project. The attraction was described in the “Chicago Sunday Tribune” on May 29, 1904 (page 20). The article reported, “A great dome covers transformation scenes representing the creation of the world with dioramas showing what man has created in the world.” The took two hours and consisted of a boat trip travelled around the big blue dome, illustrating the works of God during the six days of creation. Other side trips in boats included the scenic vistas of the Grand Canyon, Yosemite, and Alaska that allowed visitors to travel back into prehistoric time to primitive man. Another boat ride entered a labyrinth that depicted ancient countries and cities, including Egypt, Assyria, Greece, Rome, China, Japan, Spain, France, and England. The cost for this adventure was $0.50 for adults and $0.25 for children.

The next year, A. J. was listed in the 1905 Fargo Directory, again living with family; this time he was living with his brother Alonzo at 312 8th S. Street. And then he starts to disappear from print. His lengthy stays in Fargo were likely associated with the passing of his father in 1897 and mother in 1904. But there are so many other factors that could have been at play. It is so hard to know why this artist who was so revered by Chicago Society simply started to fade away from the public eye, despite his continued exhibitions. I have to wonder if he blundered, or made a social misstep.

By the early twentieth-century it becomes increasingly difficult to track down Rupert’s whereabouts and he only occasionally appears in a city directory. Maybe his time in the public eye simply over. In 1911, A. J. was listed as an artist and living at 55 W. Ontario in Chicago. I have yet to find a wife or any children; Rupert seems to have remained single. The 1930 Census lists A. J Rupert as a lodger on Dearborn Street in Chicago, living alongside performers and salesman. He is still working as an artist, but no longer active. He passed away on Nov. 1, 1934 in Minneapolis, Minnesota, and is buried at Riverside Cemetery in Fargo, North Dakota.

Gravestone for Rupert Family at Riverside Cemetery in Fargo, North Dakota.

Gravestone for A. J. Rupert at Family Riverside Cemetery in Fargo, North Dakota.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

On June 1, 1949, newspaper article across the country reported, “Frank C. Peyraud, 89, noted landscape artist whose works are represented in museum and private collections in the United States and Europe died last night.” He passed away on the eve of his 90^th birthday.

By the mid-1890s Peyraud was noted for his impressionist style, often depicting dramatic skies at dawn, sunset, or moonlight. His fine art was exhibited at the Art Institute of Chicago, the National Academy of Design (NY), the Pennsylvania Academy of Fine Arts (Philadelphia), the Corcoran Gallery of Art (Washington, D.C.), the Pan-Pacific Exposition (San Francisco) and many other exhibits too numerous to mention. His paintings remain in a variety of collections worldwide, including the Art Institute and Union League Club of Chicago, the Municipal Collection of Phoenix and the Art Museum of Bulle, Switzerland. In 1935 the conservative Association of Chicago Painters and Sculptors awarded Peyraud a gold medal and he was widely regarded as the dean of Chicago landscape painters. 

Before becoming an internationally-known artist, Peyraud worked Thomas G. Moses at the Sosman & Landis Scene Painting Studio. At the end of 1922, Moses reflecting on the many great painters that he worked with over the years, including Peyraud in the list, writing, “I am drifting back to the days when some of the present-day successful artists were working for me …Frank Peyraud, now celebrated as a landscape painter, was with me in 1893.”  Moses first mentioned Peyraud in 1892. At the time, he was thirty-four years old and working as a scenic artist, panorama artist, and easel artist.

Francis Charles Peyraud was born on June 1, 1858, in Bulle, Bezirk Gruyère, Fribourg, Switzerland. Bulle is a small city near Lausanne. Peyraud attended the College of Fribourg in Switzerland, the Polytechnic School of Zurich, and the Beaux Arts of Paris before emigrating to the United States in 1880. When he settled in Chicago at the age of twenty-two-years old, Peyraud tried to continue his career as an architect.  On June 7, 1896, an article in the “Chicago Tribune” explained Peyraud’s shift from architecture to painting after emigrating to the United States, reporting, “He tried architecture here for a short time. But having no friends and but a feeble acquaintance with the English language success in that line was doubtful. He therefore gave up architecture for painting and studied in the ‘life class’ at the Art Institute School.” (page 50). Peyraud’s first work in the Chicago had been as a draftsman at the architectural firm of William Le Baron Jenney. A decade later he was working at Sosman & Landis.

Peyraud married his first wife, Angeline “Angela” Morand (1862-1898), on May 18, 1886. His wife’s parents, Joseph Morand (1812-1889) and Josephine Castella (1823-1889), were also from the Gruyère valley in Switzerland, making their daughter an ideal wife for the twenty-eight-years-old artist.  The couple celebrated the birth of four children: Estelle (1895-1920), Henry Simon Peyraud (1887-1960), Alice E. Peyraud (1890-1961),  and Albert S. Peyraud (1890-1892).  By October 9, 1888, Peyraud was naturalized and would not return to his homeland until after WWI. His permanent home remained Chicago for the rest of his life. Little was printed of Peyraud’s work until the 1890s, and then his career quickly soared as an abundance of projects brought him into the public spotlight.

The period from 1891 to 1899 was packed full of nationally-recognized projects. In 1891 Peyraud exhibited his artwork at the fourth annual exhibition and sale by the Chicago Society of Artists that fall. His works were exhibited alongside those of John H. Vanderpoel, Oliver D. Grover, Ernest Albert, Jules Guerin, A. F. Brooks, Alfred Payne, W. O. Swift, Jr., L. Mullgardt, J. Frank Waldo, Alfred Juergens, H. W. Rubins, Ludwig Jurgensen, Charles E. Boutwood, Harry Vincent, H. G. Maratta, Edgard Cameron, William Clusmann, F. L. Linden, A. J. Rupert, William Schmedtgen, Arthur Feudel, Frederick Freer, A. W. Street, C. T. Brown and N. Ledochowski (Inter Ocean, 23 Oct 1891, page 6). On Nov. 29, 1891, the “Chicago Tribune” reported, “There is also a small landscape by Mr. F. C. Peyraud entitled “The Evening Star,” which is full of the poetry of twilight, which is a favorite theme of this artist. Half lost in the gathering darkness on the prairies is a cluster of houses and sheds, with few trees about them, and above them the evening star is seen rising. In a second exhibition of the Chicago Society of Artists that year, Peyraud was even the subject of a portrait painting by fellow artist Feudel. Feudel painted Peyraud in an “easy seated pose with a palette in his hand” (Chicago Tribune, 6 Dec 1891, page 38). Peyraud’s work was also exhibited at this time.

In addition to exhibiting in multiple galleries across the country, Peyraud continued work as a scenic artist and panorama artist. In1891, Peyraud touched up Paul Philippoteaux’s panoramic painting depicting the Battle of Gettysburg.  On Dec. 27, 1891, the “Chicago Tribune” reported, “F. C. Peyraud left yesterday for Toledo where he has gone to retouch portions of the canvas of the cyclorama of Gettysburg by Phillipoteaux, which is now owned by Howard Gross, the head of the project of the cyclorama of Chicago fire. The work was recently transported from Philadelphia to Toledo and Mr. Peyraud has been engaged to make certain restorations and add figures in parts of the scene” (page 32). While in Toledo, Peyraud also gathered source material. A year later the “Chicago Tribune” reported, “F. C. Peyraud has just completed a pleasing winter scene made near Toledo, O. ‘Before Sunrise’ is the title he has given it, for it shows a suburban street with a cluster of houses covered with snow, and the first yellow streak of dawn appearing behind them. Mr. Peyraud is to send two recently mentioned in THE TRIBUNE ‘The Last Ray’ and a twilight scene, to the spring exhibition of the National Academy” (21 Feb 1892, page 39).\

Peyraud’s artistic opinions about nudes were also published. On Jan. 24, 1892, Chicago artists spoke in support of artworks picturing nudes after a protest in Philadelphia (page 39). Peyraud rebuttal for the moral attack stated, “The nude is the best means of expressing noble thoughts and ideals. The old masters have used it, the new generation will, and it will always be used. It is the fault of the public rather than the artists if the nude in art is looked upon without appreciating the thought it expresses. The public must be educated to appreciate it, but if Comstock and his class are to be allowed to dictate to artists they will reduce art to its lowest level.”

His theatre work with Thomas G. Moses at Sosman & Landis included painted settings for William Haworth’s “Flag of Truce.” Moses worked with Peyraud, Maratta, A. J. Rupert, Harry Vincent, and a number of other artists. Peyraud continued to work with Moses on theater projects while also securing work with Steele MacKaye on his Spectatorium project for the 1893 Columbian Exposition.  He and Hardesty Maratta contracted with MacKaye during the planning stage of the Spectatorium. Maratta was hired to head MacKaye’s scenic department, with Peyraud on staff. The construction of the 9,200-seat venue was never completed, leaving both Peyraud and Maratta to look elsewhere for employment. Fortunately, in 1892, Sosman & Landis established a second studio in addition to their main studio. Of the new space, Moses wrote, “The Sosman and Landis Company had my new studio under way on the West Side.  The old Waverly theatre, 93 x 210 feet and 40 feet high; four frames were going in and there was plenty of floor space for all kinds of work.” After completing a project in California, Moses returned to Chicago and wrote, “ Found the new Studio all finished and I moved in immediately.  My arrangement was to have all sub-contract work – color and studio furnished me without cost…. I had A. J. Rupert, Frank Peyraud and Harry Vincent besides a number of assistants and paint boys.  It was awfully hard to keep the building warm.  It was so big we had to use stoves.”

As with many other Sosman & Landis artists, Peyraud also joined the Chicago Society of Artists, the Palette & Chisel Club, Society of Western Artists, and helped establish the Cosmopolitan Art Club of Chicago. By 1893, Peyraud was the Secretary for the Cosmopolitan Art Club. Peyraud belonged to a group of Chicago artists that functioned like a fraternal organization in many ways. They not only worked and played together, but offered aid to those who needed help. On January 17, 1894, the Chicago Tribune advertised that a “Charity Sale” of pictures in the rooms of the Chicago Society of Artists, on the top floor of the Anthenæum Building.  It continued ten days and the proceeds were turned over to the Central Relief Association for the benefit of the needy. Many of these same artists also supported Walter M. Dewey. On February 2, 1896, “The Chicago Tribune” reported, “The friends of Walter M. Dewey, a clever young Chicago artist, have been grieved to learn recently he has been sick for several weeks and it has been necessary to remove him to a hospital out of the city…His fellow artists, in their sympathy for Mr. Dewey and his family have arranged an exhibition and sale of paintings for his benefit.” These artists, all coming from a variety of backgrounds, worked, traveled, dreamed, and planned together. Their friendships, social exchanges, moral support, and partnerships went far beyond the realms of mere work or artistic study. They played and brainstormed together about future possibilities, not only for themselves, but also for future generations.

By the mid-1890s, Peyraud’s artistic style was already recognizable. On Dec. 11, 1896, the “Chicago Tribune” reported, “F. C. Peyraud, who is fond of depicting the transient phases of nature, has several snow scenes and evening effects.” In addition to gaining recognition for his work, Peyraud became even more active in a variety of artistic organizations. On Nov. 1, 1896, the “Chicago Chronicle” listed Peyraud’s involvement with the Society of Western Artists. Regionals organizations of the group were founded in Indianapolis, Cincinnati, St. Louis, Detroit, Cleveland and Chicago. In Chicago, H. W. Methyen, George Schrieber and Peyraud formed the committee in charge of the Chicago Exhibition (Chicago Chronicle, 1 Nov. 1896, page 9).

Peyraud and Maratta traveled to Peoria, Illinois, in 1895 where they completed two public painting projects and several private commissions.  They were contracted to paint murals and decorate the interiors of both the Public library and City Hall. In 1896, the new public library in Peoria, Illinois, was decorated with murals by Chicago artists Hardesty Maratta, F. C. Peyraud and Richard W. Bock. On June 7, 1896, the “Chicago Tribune” reported, “Frank C. Peyraud was born in Switzerland and educated as an architect. He studies at the College of Fribourg, at the Polytechnic School of Zurich, and the Beaux Arts of Paris. He came to America sixteen years ago and has lived in Chicago ever since. He tried architecture here for a short time. But having no friends and but a feeble acquaintance with the English language success in that line was doubtful. He therefore gave up architecture for painting and studied in the “life class” at the Art Institute School. He has exhibited pictures in all parts of the country achieving success with both landscapes and figure compositions. Mr. Peyraud also was one of the starters of the Cosmopolitan club” (page 50). On Feb. 28, 1897, the “Chicago Tribune” reported, “On the walls of the main hall of the building there have been placed several paintings by Maratta and Peyraud, representing allegorical development of human intelligence. These paintings fill a series of panels, extending around three sides of the hall, and are broken in places by doors. The general color scheme is of pale green, ivory and gold.”

Peoria newspapers hailed Peyraud as “Illinois’ foremost landscape painter” who had produced artworks for the Union League Club, the Flanagan House, and the Peoria Women’s Club. Unlike Maratta, Peyraud stayed in Peoria for three years and offered art lessons for young aspiring artists. 

He remained in the city until his wife passed away. On June 10, 1898, Angela died from Tuberculosis, leaving him with four young children to raise. She was buried at Mount Carmel Catholic Cemetery in Chicago. In all likelihood, his in-laws cared for his children as Peyraud continued to accept work across the country.

On April 30, 1899, the “Philadelphia Inquirer” described Peyraud’s work on the Battle of Manila panorama (page 4). The Cyclorama Company’s reproduction of the Battle of Manila was exhibited at the Cyclorama Building at Broad and Cheery Street (formerly known as the Arena).The article reported, “A model of the Olympia has been erected in the centre of the great building. This is a fac-simile of the famous cruiser, but reduced to one-third her actual size. This mimic battleship is 120 feet long, 40 feet wide and 28 feet high…the linen canvas is the largest ever hung for cycloramic purposes, and is over 400 feet long and 60 feet high. The painting was accomplished in five weeks, the artists being Salvador Mege, the famous cycloramic painter, and F. C. Peyraud, the great architectural marine painter and scenic artist.” The article described, “The realism of the painting is startling and when the scene is lighted by hundreds of electric lights incased in specially constructed reflectors, really marvelous. The tropical sunrise effects are beautiful and the panoramic view of Manila with the little village of Caloocan close by would more than repay the visit were there not even greater features to win the admiration and to excite the wonder.”

Peyraud won the Young Fortnightly Prize for the best painting in the Chicago Art Institute’s 1899 annual show.  It was the first of many awards he would receive over the course of his career.  Later awards would include a Municipal Art League prize in 1912 and the Art Institute’s Martin B. Cahn Prize in 1921.

However, he continued to complete work as a scenic artist, well versed in large-scale scenic illusion. By 1904 Rupert worked on an amusement for the St. Louis World’s Fair by Henry Roltair called “Creation.” A. J. Rupert and George Schreiber (each former Sosman & Landis employees) assisted Frank Peyraud for this project.

Peyraud eventually found love again in 1906 with fellow artist Elizabeth Krysher.  Krysher was a children’s portrait painter and illustrator. On June 14, 1906, Peyraud married his second wife in Chicago. She was 34 years old and this was her first marriage. The couple celebrated the birth of a son, Robert Francis Peyraud in 1908. The 1910 Census listed Frank and Elizabeth living with their three children: Albert (16 yrs.), Estelle (15 yrs.) and Robert (2 yrs.). Early on in their marriage, the couple traveled from California to the East Coast.  In Old Lyme, Connecticut, they even stayed with a colony of impressionist landscape painters. The couple eventually settled in north-suburban Ravinia, Illinois (a section of Highland Park) by 1919. However, their children grew up in not only a bi-lingual home, but also an artistic one.  

By 1918, Albert Peyraud (son from his first marriage) gave French art lectures at Camp Crane as part of the War effort. Servicemen expressed the need to be fluent in French in order to converse overseas. On June 15, 1918, the “Morning Call” reported, “The necessary of fitting the men for their duties in France by adding to their training a course in French conversation has been appreciated by the staff, and in particular the present cam administration purposes to develop a department of French instruction unequaled in any camp in the country…Twelve lectures are divided among four men…The subject of French Art will be discussed in three lectured by A. P. Peyraud, the son of F. C. Peyraud. Peyraud is a University of Illinois man, and an architect. He is an enthusiastic student of French Art.” (Allentown, PA page 3).

After the war, Peyraud was living with his wife and youngest son at 1230 Judiana St. in Chicago. With most of his children grown, Peyraud returned to Switzerland. In 1921, he applied for a passport to visit his hometown of Bulle. He left in July 1921, arriving in Bulle on August 1 where he remained for three weeks. Some historical sources indicate that he stayed in Switzerland for three years. He returned to Europe on 1923 after departing France in Dec. 9, 1923. During Peyraud’s European stay, his wife became increasing active in artistic circle. In 1922, Mrs. F. C. Peyraud lectured on the “Appreciation of Art” in Carbondale, Illinois. She was the sister of city Mayor F. C. Krysher. The “Carbondale Free Press” reported, “[Mrs. F. C. Peyraud] talked about several canvas paintings the work of her husband, a well-known artist, exhibited to the club (19 May 1922, page 3).

By 1930, the Peyrauds had all returned home to 1230 Judson Ave. in Highland Park. Peyraud was now 72, his wife 58 and youngest son 22. On Feb. 13, 1934, the Waukegan News-Sun” reported, “An art class conducted at Highland Park by Mrs. F. C. Peyraud each Wednesday afternoon from 1 to 4 o’clock at the Y.M.C.A. Mrs. Peyraud is a resident of Highland Park, and a speaker on subjects relative to art. She addresses the Waukegan Woman’s club this past fall” (page 2). In many ways, they continued to live very separate lives, each following their own artistic passions.

On Nov. 19, 1936, the ‘Chicago Tribune” published an article about Peyraud’s one-man show, held in O’Brien galleries, 673 North Michigan. The article reported, “Mr. Peyraud won for himself some years ago the title of “Painter to the Skokie,” because he  was as faithful a follower of its modes and aspects as Frank V. Dudley has been of the dunes. To this title now must be added “painter to all outdoors,” for his landscapes range over a wide sweep of territory, from Illinois to the farthest reach of the Pacific coast. Mr. Peyraud paints the autumn with particular sympathy and grace. His fall landscapes in brown and rust are as beautiful as any of the more glittering autumn pictures from the brush of John Spelman, for example. The quieter moods are as picturesque as those more decorative, or so he suggests. Mr. Peyraud handles sky and water with a craftman’s skill. He gets the feel of the countryside where he pitches his easel and nothing turns him from his path of recreating the beauty spread before him. His compositions are invariably satisfying, sometimes startling so. Shadows and sun play a part in many of his pictures, but wind, rain, and snow are rarely acknowledged. Serenity is a feature held in common by most of his work.”

Their youngest son Robert ended up serving in WWII and later marrying Nancy Forster. After the couple’s wedding on May 10, 1946, the “News-Herald” of Franklin, Pennsylvania reported, “Mr. Peyraud, a graduate of Northwestern University School of Journalism, is now employed in New York City where the couple will reside. He served during the war with the U. S. Army Air Corps in China, Burma, and India” (page 11). By this time, Frank Peyraud was well into his 80s, but not slowing down, and still painting.

On April 25, 1948, the “Chicago Tribune” published a feature article on Peyraud entitled, “Paintings of Another Chicagoan” by Edward Barry (page 154). The article about Peyraud was accompanied by several of his artworks, reporting, “These paintings are the work of a man who was born in French Switzerland close to come of the most beautiful imposing scenery on earth, but who has devoted a large amount of his time and effort to revealing to middle western American’s the quiet beauty that lies right under their wyes. Frank C. Peyraud does not demand the spectacular in nature – mountains and glaciers and roaring river – although he has successfully painted such things many times. He can be aroused emotionally, and his creative impulses deeply stirred, by the gentle contours and low horizons of such unpretentious country as the Des Plaines and Skokie Valleys. That he finds the Chicago area perfectly satisfactory as a source of inspiration is attested by the pictures here reproduced. Only one of them (June Morning on Cedar Creek – a scene near Galena) was painted more than 30 miles from this city…It is plain from Mr. Peyraud’s pictures that he has carefully observed, lovingly studied, and tellingly projected the subtle as well as grandiose in nature. Like all good artists he provides more than a reproduction of a scene. What he has personally seen and felt goes into the picture too.”

Peyraud passed away on May 31, 1948 at Highland Park, Illinois. His obituary was published in “The Pantagraph” (Bloomington, Illinois on June 1, 1948). It stated, “HIGHLAND PARK, ILL. – Frank C. Peyraud, noted landscape artist, died Monday. He would have been 90 Tuesday. Peyraud’s paintings won numerous prizes during the first third of the century. He is survived by his widow Elizabeth Krysher, also an artist, three sons, Henry, Albert and Robert, and four grandchildren. Peyraud is buried at Mount Carmel Catholic Cemetery.

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Hardesty G. Maratta was associated with Sosman & Landis from approximately 1884 to 1886. Hardesty became nationally known as a watercolorist, scenic artist, newspaper illustrator, color theoretician, and inventor.

“Hardy” Maratta was born in Chicago on August 22, 1864. He was the son of James B. and Mary Maratta. Unfortunately, I have uncovered little about his parents beyond a few city directory listings and some census reports. His father was living in Chicago by 1863, listed as a railroad agent and living at 222 S. Desplaines Street. He was associated with the same address in1865, although his occupation was listed as a clerk that year.

By 1882, the Marattas had moved up the street to 120 Desplaines. That year, Hardesty was listed twice in the city directory. The first time was as “Hardy Maratta,” an instructor at 504 W. Madison. His second listing in the directory was under the name “Harry Maratta,” a teacher residing at 120 Desplaines. 120 Desplaines is the same address where he and his mother would live six years later in 1888. I find it fascinating that 120 Desplaines was just a little north of his previous home, 222 Desplaines with Old St. Patrick’s Catholic Church situated between the two addresses. “Old Pat’s Church” was located on the corner of Adams and Desplaines. Founded in 1846, the main building still predates the 1871 Great Fire, although it was added to over the years. The church has been described as the cornerstone of Irish culture in Chicago. To all indications Hardesty’s mother was Irish, and this may have explained their connection to the area for over two decades. By 1888 James had passed away, and only Mary and Hardy were listed as living at 120 S. Desplaines.

By 1883, Hardy Maratta was not only working with Thomas G. Moses at Sosman & Landis, but also going out on sketching trips. In 1883 Moses wrote that he went on sketching with John H. Young, Ed Morange and Hardesty Maratta. Of their excursions he wrote, “We certainly had some good trips.  We were all working in watercolor. Most of our trips were along the river where we found good material and a lot of adventures – too numerous to mention.” In 1884, the four planned a trip west to Colorado. Moses wrote, “John H. Young, Edward Morange, Hardesty Maratta and myself talked and planned for over a year regarding a trip to the mountains of Colorado.  In our everyday work of Scenic Painting, we were called upon to paint all kinds of mountain scenes, and, as we had never seen a real mountain, we had to rely upon photographs or magazine cuts for our ideas.  So we were, naturally, anxious to see the wonderful piles of rock and earth. We started on the 15th  of June 1884, at one o’clock P. M.” Moses’ travelogues detailed the journey from Chicago to Breckenridge, Colorado. Years later, he published the story as a series of articles for the Palette & Chisel Club’s newsletter. The series, entitled “Tom Moses’ Trips, Breckenridge, Col.,”began, “Thomas G. Moses’ work as scenic artist has taken him to many strange places. Sometimes he has gone to gather material and at other times to execute commissions. As he is a careful observer of men, customs and local scenes, this series of accounts of his sketching trips contains much of unusual interest.

Here is a link to the first article: https://drypigment.net2017/08/29/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-192-tom-moses-trips-breckenridge-1884-fir/

After a week in Colorado, plans changed; Maratta and Morange were not prepared for the rough conditions and returned to the Windy City. Moses wrote, “Morange and Maratta were getting tired of the hard bed and indifferent food, so after a week of it they packed up and started east… We were sorry to see Ed and Hardesty go, as we had planned at least two weeks in the tent.” Regardless of Maratta’s early departure, this trip was one example of Maratta gathering source material for other commissions.

Maratta’s easel work increasingly gained recognition across the country. Although he continued to work as a scenic artist, Maratta’s water color and oil paintings appeared in a variety of exhibits from Washington State to New York. For example, in 1887, Maratta exhibited watercolors with the Indianapolis Art Association at the Masonic Hall (Indianapolis Journal, 17 April 1887, page 8). In 1890, his painting was included as part of an exhibition for the Northwest Industrial Exposition (Spokane Falls Review, 3 Aug 1890, page 6). In 1891, Maratta was one of many artists who exhibited at the Chicago Art Institute. Of Maratta’s work, the “Chicago Tribune” reported, “Hardesty G. Maratta, a Chicago artist of great promise, shows three pictures, two good ones and one that is not so good. The best one is called “An Effect of Evening” and has a marvelous sky, whose glow is reflected in some standing water in the foreground and also in the feeling it wakens in the one who studies it. “An Afternoon Sun,” by the same artist, is also good, but one can say that only in spots, as it were, for his “Road by the Willows.” In 1891 Chicago Directory, listed as an artist and living at 356 W. Madison. This was a new three-story brick building listed for sale by Griffin & Dwight in 1890. Maratta was basically living on the corner of N. Upper Wacker Dr. and West Madison Street, the same location where the current Civic Opera House stands and right near the Chicago Lyric Opera.

By 1892, Maratta was still working with several Sosman & Landis artists. He painted with Frank Peyraud, A. J. Rupert, Harry Vincent, and Thomas G. Moses, for William Haworth’s “Flag of Truce.”

In the mid-1890s, Maratta’s success as an easel artist landed him ever-increasing commissions. His work for the World Fair in Chicago prompted international travel. His 1892 US passport application described Maratta’s appearance at the age of 28 years old: black-brown hair, grey eyes, fair complexion, an oval face, small mouth, straight nose and broad forehead. A letter accompanied Maratta’s application:

“My Dear Mr. Brown,

The bearer, Mr. Maratta is an artist of Chicago. He is about to go to Spain in the interest of the Columbian Celebration Company and desires a passport. I will be personally obligated if you will see that he gets this document with all convenient dispatch. (letter to Wm Brown Aug 26, 1892).

            Maratta also partnered with another Sosman & Landis employee, Frank C. Peyraud, around this time. Maratta and Peyraud worked with Steele MacKaye (1842–1894) on his Spectatorium, designed to be the biggest auditorium and part of the 1893 Columbian Exposition.  Maratta was specifically hired to head MacKaye’s scenic department. In 1892 Maratta committed to a fifteen-year contract with MacKaye during the planning and development stage.  On September 25, 1892, the “Chicago Herald” described the much-anticipated venture: “After months of preliminary work, the initiatory steps for the construction of the biggest auditorium of the world were taken yesterday. A building permit was issued to the Columbus Celebration Company to erect a “Spectatorium” at numbers 1 to 27 on Fifty-sixth Street. The structure is to be six stories in height, 480 by 240 feet in dimensions and of frame and staff construction.” William LeBaron Jenney and W. B. Mundie were the architects of this endeavor, costing over $350,000 for the structure alone.  This price did not include furniture, scenery or machinery. In the article, MacKaye was quoted that the undertaking was “the realization of full twenty years of fond dreams and much study in the realm of the spectacular.”

The Spanish Renaissance style building more ground than any other building planned for the fairgrounds. The front extended over 480 feet with a depth averaging 311 feet. The height was 100 feet and included a large dome in the center will be surmounted by a statue of Fame. The theatre would seat 9,200, with ample exits that could empty the house in about half the time of an ordinary theater. The stage proscenium was 150 feet wide with a proportionate depth and arranged so it could accommodate its flooding with real water at a depth of four feet. The scenery was planned to run with wheels on railroad irons, placed under the water.  Each piece would be separately controlled from the prompter’s desk. The prompter will only have to push a button and the electric motor would do the work of 250 men.  MacKaye’s vision for productions at his future “super theatre” were described in 1892. On September 25, 1892, “Chicago Herald” reported, “The character of the performances to be given are promised to equal Wagner’s most extraordinary dreams of all that a great dramatic-musical performance should be. The greatest orchestral music, especially written by the best composers, solos and choruses by eminent artists, all Illustrated by brilliant spectacular and. realistic pantomimes, will be presented. The story of the piece to be given will be the life of Columbus and the discovery of America. Ships of the actual size and appearance used by Columbus will be fully manned by sailors in exact reproduction of the characters of those times. The capture of Granada and the procession of Columbus and Isabella to the Alhambra as well as the surrender of Boabdil, last of the Moorish kings, will be especially grand and on an immense scale. The scenery costumes and music will be elaborate and picturesque, and the promoters claim that it will be the greatest of the kind ever attempted.”

Unfortunately, the project was deprived of funds during the panic of 1893. On February 27, 1894, the “San Francisco Call” reported, “The MacKaye Spectatorium has failed and will go into the hands, of a receiver. It has not paid expenses; and with the death of its originator, it passes out of existence.” The deprivation of funds and MacKaye’s sudden death in 1894 left Maratta’s contract “null and void.” The dismantling of the Spectatorium was covered in the Chicago Tribune on October 7, 1893. “The Spectatorium, the large pile of steel and wood at the north end of the World’s Fair grounds, which was to have housed the grandest theatrical representations in the world, is being torn down to be sold as scrap iron. The Spectatorium, as yet incomplete, cost $550,000. It was sold for $2,250. The project was that of Steele MacKaye. He broached it first last year to leading capitalists of Chicago and it met with favor. The plan was to build a structure sufficiently large to give a representation of the discovery of America on a scale larger than was ever attempted. MacKaye invented new methods of lighting which promised to revolutionize the methods of stage illumination. The life of the production was to have been a great chorus arranged on the principle of the old Greek chorus. The organization of the company proceeded well. Work was begun, hundreds of men employed, and actors and actresses contracted with and put on rehearsal. The Spectatorium failed and went into the hands of a receiver June 1.” Then, Building Commissioner declared that the Spectatorium must be torn down as it was dangerous. It took two hundred men, thirty days, and $15,000 to clear the site and remove the 1,200 tons of iron. The lumber was repurposed for sidewalks and the building of small cottages for working people.

This was a turning point for Maratta in many ways. He didn’t exactly walk away from all theatre work, but he increasingly focused on easel art instead of stage art. He continued his partnership with Peyraud and the two completed a large commission for the public library in Peoria, Illinois, in 1896. On June 7, 1896, the “Chicago Tribune” published a lengthy article on the project and the two artists.  It reported. “A word about the artists who have achieved this notable success. Hardesty G. Maratta was born in Chicago and received his early art instruction at the school of the Art Institute. He has traveled much, making two trips abroad specially to study master pieces of artwork in the capitals of the Old World. He lived in the East several years and has been a frequent exhibitor in local and New York art exhibitions. He was one of the charter members of both the Chicago Society of Artists and the Cosmopolitan Art club.”

By the end of the century, Maratta spent significant time in the west and California. Some of his artworks remain in the Santa Fe Railroad Collection, Delaware Art Museum, Wilmington; Fogg Museum, Harvard University; and the Hubbell Trading Post Museum, Ganado, Arizona. He also exhibited many scenes from his European trips too. In 1898, Maratta exhibited a series of watercolors at Thurber’s Gallery. The “Chicago Tribune” reported, “At Thurber’s gallery tomorrow H. G, Maratta’s exhibition of water colors will be opened to the public. The collection which will be shown consists of thirty-five picturesque scenes from the various points of interest about the Island of Capri and the Bay of Naples.. Mr. Maratta spent a part of the summer in these favored resorts of painters, and seems to have found their inspiration for broader and more effective painting than any he has hitherto produced. His subjects are chiefly streets of the Town of Capri, often narrow and tortuous, sometimes rising abruptly, and always lined with the picturesque, stuccoed walls of houses glistening in the sunlight or silhouetting in luminous shadow against clear turquoise skies of southern Italy. There are also views of the beach with many colored fishing boats drawn up on the sand, precipitous rocks rising from the bay, and horizons broken by the classic profiles of the spur of mountains which springs from the Apennines and breaks up in picturesque irregular masses on the coast. In others the smoking cone of Vesuvius is a feature of the distance…Mr. Maratta shows in this exhibition the ability to choose most interesting subjects and a dexterity in the use of his materials which insures pleasing results “ (page 31).

By 1900 the Federal Census listed Maratta living at 161 Dearborn Ave. on the north side of  Chicago. He was staying at the Elroy, a furnished complex offering single and double rooms. He remained at this location while becoming increasingly active with the Art Institute of Chicago. In 1901, he was one of a jury for the annual watercolor exhibit at the Art Institute. He worked alongside Walter Burridge, William Boutwood and Miss Blanche Ostertag. Burridge was also a former Sosman & Landis scenic artist. Maratta didn’t completely abandon his scenic art roots and continued to work on theatre projects. He also applied for a scenic structure patent on Aug. 10, 1900 that was granted on July 9, 1901. His invention was for improved scenic realism on the stage with the use of curved wings and scenic pieces placed at an angle, enhancing the illusion of depth in a landscape setting. Here is the link to his patent:

https://www.ancestry.com/imageviewer/collections/1314/images/31082_19016780-12002?treeid=&personid=&hintid=&queryId=9b3ead5723a1b74b89abbfe1fccc6c1d&usePUB=true&_phsrc=PJS4609&_phstart=successSource&usePUBJs=true&pId=2411838

In 1904, Hardy was still working as a scene painter. On May 14, 1904, “The Daily Palladium” of Richmond, Virginia” reported, Maratta was hired to paint the new drop curtain for the Phillips Opera House, announcing, “The new curtain will be a gem of beauty. Mr. Hardy Maratta, who is considered the best watercolor artist in this country, will paint the picture in the center of the curtain which will be the ‘Grand Canyon of Colorado’” (page 1).

On October 16, 1905, Maratta married Adeline Smith in DuPage, Illinois, and this really began a new chapter in his life as Maratta began to explore color theory. In later years he would later explain that while cleaning several paintings by Guido Reni, he first became convinced that color harmony was a well-known science from long ago; he just happened to rediscover these ancient Greek rhythms.  In 1907, Maratta featured in a Chicago Tribune article entitled “Color Scale.” It was republished in papers across the country.  He explained, “I began studying this subject when I discovered the analogy that exists between color, music, architecture, and chemistry.  Music is a division of sound into harmonic ratios; architecture a division of space into harmonic ratios, and chemistry the division of elements in the same manner.” The article continued, “The blending and harmonizing of shades and colors were so exact in each of these that [Maratta] does not believe it could have been accidental.  Examination of pictures by other old masters confirmed his belief…Harmony of color, heretofore depending solely upon the training and taste of the individual handling of pigments, has been reduced to an exact science as the harmony of music.  This assertion of a great principle, forming the foundation for all art in which colors are used, is made by Hardesty G. Maratta, a Chicago artist, who has devoted the last twelve years to its solution.”  In 1907, Maratta published the “Margo Color System” in Chicago.

On Dec. 3, 1908, Maratta applied for a “Color-Chart” patent that was granted on April 13, 1909. Intended for artists and artisans, the color chart was to enable a person to select a plurality of colors which would harmonize with each other without depending on an individual’s color-sense, following a fixed rule based on the arrangement of the color spaces on the chart. Harmonizing complementals and harmonizing contrasting colors could be easily identified.

Here is the link to his patent as it is really quite complex:

https://www.ancestry.com/imageviewer/collections/1314/images/31082_19099180-68004?treeid=&personid=&hintid=&queryId=9b3ead5723a1b74b89abbfe1fccc6c1d&usePUB=true&_phsrc=PJS4608&_phstart=successSource&usePUBJs=true&pId=3455545

In 1909, “Scientific American Magazine” published the article entitled, “The Maratta system of color: Painting on a scientific basis” (Nov. 13, 1909, 311). The article noted “The Maratta chromatoscope chart illustrates how the harmonies, contrasts, melodies, chords, etc. are produced in a very simple manner. This chart is published at present for the use of printers. It is the scientific arrangement of the six colors and six hues that will enable a novice to select harmonious color combinations; it being so arranged that every seventh color is a complement, also showing the warm and cool colors, hues and tints on either side of the complement.”

The basis of his approach was also explained in the 1920 publication, “Arts & Decoration, Vol. XIV, No. 1.  The author explained the color system of Maratta, writing that any system of beauty, whether it is created or follows a system, is built upon rhythm (Nov. 1920, pg. 1). When Maratta finally decided to devote all of his time to the study of color, he first experimented with fire-resistant colors, making many burnt clay pictures.  Then he went into the factories where paints were made and studied them there. The article notes, “for a year, to demonstrate his theory, he painted stage scenery, using only three primary colors – yellow, red, and blue.”  Maratta also worked as a designer of TECO pottery at Gates Potteries in Chicago. He was one of the artists commissioned by Juan Lorenzo Hubbell, owner of the Hubbell Trading Post at Ganado, Arizona, to copy Navajo rugs, especially the classic designs, in watercolor and oil.  These designs were hung on his walls to encourage the rug weavers working during the duplication of the designs. Maratta studied the coloring of the plains of the Southwest after returning from his time abroad.

Maratta died July 21, 1924 in Woodstock, New York and is buried in Woodstock Cemetery. https://www.findagrave.com/memorial/136451457/hardesty-gilmore-maratta#

Hardesty G. Maratta’s gravestone.

On August 30, 1928, the “Kingston Daily Freeman” announced “Maratta Pictures Privately Shown” (page 14).  The article reported, “Mrs. H. G. Maratta has announced that an informal exhibition of the paintings by the late Hardesty G. Maratta would be held at her studio (one of the Came Lasher studios)…Hardesty Maratta was a Chicago artist who twenty years ago gave up his successful career as a painter to manufacture the now famous Maratta Colors. His color scales, the ‘Triad’ of palettes for artists, have been adopted by leading artists and teachers the United States over.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Henry C. Tryon worked at Sosman & Landis between 1884 and 1886. Born in 1847, Tryon’s original birthname was Henry B. Hoornbeck. Interestingly, this scenic artist not only created not only a new name for himself, but also a new birthplace and background story by 1886.  On Feb. 28, 1886, Tryon was one of six scenic artists featured in the “Inter Ocean,” alongside other Sosman & Landis artists that included Thomas G. Moses, Walter W. Burridge, Charles Ritter, David A. Strong, and John H. Young.

Here was Tryon’s listing:

“Henry C. Tryon. Born in Chicago in 1847.  After graduating from the public schools, and while in his 17th year, he enlisted in the army in a regiment attached to the Second Army Corps, Army of the Potomac, serving until the close of the war. Afterward was a pupil of the Pennsylvania Academy of Design, with the purpose of becoming a landscape painter, drifting there by choice and mostly by accident into scene painting, which he has practiced in nearly every State in the Union. Was an artist at Wood’s Museum at the time of the great fire, and afterward at McVicker’s Theater. He is better known in all the other large cities than in Chicago. Has been a pupil of the eminent artists William Hart, N.A. and Thomas Moran, N. A. and accepted an associate member of the Chicago Academy in 1874. He earned a 2nd degree and is a member of the Grand Army of the Republic. He had a large and varied practical experience, is a close student, has a fine education, and has given considerable attention to newspaper writing on art and theatrical subjects. His most noticeable points of excellence and perhaps free and carefulness in the handling of foliage brilliancy and quality of color and the delightful shape of them.” Henry continued to rewrite portions of his history throughout the course of his career.

Historical records and newspaper articles present a slightly different history than that one recounted by Henry in 1886. Henry C. Tryon was actually born in Huron, Ohio, between 1846 and 1847. Interestingly, his death certificate listed Sandusky, Ohio; Sandusky is a little east of Huron, but also along the shores of Lake Erie. Henry was the son of Jacob Hoornbeck (1813-1864) of Otswego, New York, and Anna Maria Hammer Hoornbeck (1824-1892) of Hagerstown, Michigan.  In many historical records, the alternative spelling for Hoornbeck was Hornbeck.  By 1850, the Hoornbeck family had moved west and was living in Portland, Ohio. Henry’s siblings included William Patterson (1848-1907), Mary (1851-1854), Sarah (1854-1858), Dell (1855-?), and Spencer (1863-?). In some historical records, Henry was listed as Spencer’s father, but this aspect remains a mystery.

            The patriarch of the Hoornbeck family was Jacob, who passed away in 1864. At some during the Civil War, the Hornbeck family moved to New York. It remains unclear what prompted the move, however, New York Civil War records list Henry B. Hornbeck enlisted in the Union Army on February 16, 1865, mustering out as a private in the 69th Infantry on that same date. Military records also list his occupation as a clerk, describing Henry as 5’-3 ¼” with light hair, blue eyes and a fair complexion. “Light” hair is relative, and does not necessarily mean blond. After serving in the war, the Hoornbeck family relocated to Chicago, and by 1870 Anna Maria Hoornbeck was living with her sons Henry, Dell, and Spencer.

By 1872,  Henry B. Hoornbeck was working as a scenic and changed his name. The following year, Tryon married Bridget “Bee” Pierce on Nov. 13 in Chicago. They celebrated the birth of one only son, Henry Tryon Jr., on August 18, 1874. It remains uncertain as to what happened to either Tryon’s wife or son. I have yet to locate any record of death, abandonment, divorce or remarriage. However, by 1884, Tryon was courting another woman; one that he never married. Tryon’s early theatrical career is about as difficult to interpret.

The earliest publication of Henry C. Tryon’s theatrical activities date from 1868 in Chicago. That year, Henry C. Tryon was listed as playing the role of “Page” in “Elizabeth,” starring Mrs. Lander (Jean Davenport) at the opera house (“Chicago Tribune,” 11 February 1868, page 4). Although Henry was performing under the name Tryon, he was still living under his birthname of Henry B. Hoornbeck. The 1870 Chicago Directory as Henry Hoornbeck, living with his mother and brothers (Dell and Spencer) at 384 W. Lake. That same year “Henry C. Tryon” was working as a scenic artist, painting at D. R. Allen’s Globe Theater, Aitkin’s Museum and Wood’s Museum (Chicago and Cincinnati). At Allen’s Tryon worked alongside scenic artists James H. Rogers and John  M. Kaufman. He would continue to work with Rogers on various projects for the next few years. As an itinerant artist, Tryon worked throughout the region, soon venturing west and into Kansas. During the winter of 1870, Tryon secured work in Lawrence, Kansas. The “Daily Kansas Tribune” reported, “Mr. Henry C. Tryon, from Allen’s Globe Theater, Chicago, is at present painting the scenery for the stage in Frazer’s Hall” (The Daily Kansas Tribune, 28 Dec. 1870, page 3). The stage installation consisted of “drop curtain, seven sceneries, tormentor wings and front drapery, representing a garden, palace, landscape, kitchen, prison, parlor, plain chamber and street, with wings and borders complete.

Tryon also worked in Topeka, Kansas, and on January 31, 1871, the  “Kansas State Record” reported, “Mr. H. C. Tryon, the scenic artist from Chicago will commence painting scenery for “Esther,” to-day. Look out for something beautiful. Mr. Tryon is one of the finest artists in the West” (Topeka, Kansas, page 4). In the 1870s, Tryon cast his net wide and accepted work anywhere in the country. This still meant that his permanent residence was in Chicago.  It was the Chicago Fire of 1871 that greatly changed the prospects for Tryon many scenic artists in Chicago. By 1872 Tryon was part of a group of scenic artists who banded together to create Alderson’s Great Panorama of the Chicago Fire. The panorama immediately toured the country, and included musical accompaniment and descriptive recitations. Advertisement’s for the panorama stated, “3,700 feet of canvas from actual views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry C. Tryon, scenic artist of Wood’s Museum; Henry Dressel, scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House” (Figaro, San Francisco, 31 July 1872, page 1).  

On April 13, 1872, Henry C. Tryon advertised in the “New York Clipper”: “Henry C. Tryon. Late Scenic artist Woods Museum, Chicago is prepared to paint scenes and drop curtains for theaters, public halls, etc. 363 W. Indiana St. Chicago, Illinois” (13 April 1872, page 20). He continued to place ads in the “New York Clipper,” but his address soon changed from 128 W. Randolph to 210 Clark Street. At this time, he permanently changed his name from Hoornbeck to Tryon. Early in 1872, Tryon was also working as an assistant to Mr. R. H. Halley’s assistant, painting scenery for the Wyndam’s Comedy Co. (Chicago Tribune, 5 May 1872, page 7). Halley had recently returned from Europe. On April 5, 1872, the “Chicago Tribune” reported, “R. H. Halley, the eminent English scenic artist, whose brush added so much to the attractive features of Crosby’s Opera House and the Dearborn Theatre, has just reached New York from Europe, and will soon visit Chicago. He will paint scenery for Myer’s Opera House, building on Monroe street, directly in the rear of McVicker’s Theatre” (page 5).

At the same time Tryon worked with Halley, he also studied with Lou Malmsha of McVickers. October 22, 1882, Tryon wrote a tribute to Malmsha. Tryon wrote, “As an humble follower, ardent admirer, friend, and confrere of this dead artist I felt it my duty to render tribute and homage to his transcendent genius. He was ‘the best in the profession.’ Every artist who has seen his work has without qualification given him this position as a matter of simple fact. I have seen samples from the hands of the best scenic artists in England, France, and Italy, and from what I have seen and learned. I am convinced that Mr. Malmsha was the greatest scenic painter in the world.” Mamlsha and Halley were among the top in their profession in the 1870s. On September 18, 1872, the “Chicago Tribune” noted that both Halley and Malmsha were “schooled under the artistic Telbin, of London, and others, and reflect lustre on their names as men of merit and talent” (page 4). Tryon worked with Malmsha not only at Wood’s Theatres in Chicago and Cincinnati, but also McVicker’s Theatre in Chicago. Tryon could not have picked better two individuals to study with in the 1870s. It was during this time that Tryon officially changed his name in Chicago.

On September 19, 1872 Chicago’s “Inter Ocean” newspaper reported, “Petition of Henry B. Hornbeck. Petition to change above name to that of Henry C. Tryon. Petitioner is an artist, and has been known by the name Tryon among his friends and in business, and it is important that he should retain the name. A notice of his application for the above purpose, which has appeared for three weeks in the Legal News, is appended to the petition. Willett & Herrings, solicitors” (page 6). The 1872 Chicago Directory listed “Henry C. Tryon, scenic artist” residing at 128 W. Randolph. Tryon was not a random choice. At the time, he was living with the Horatio Tryon (b. 1826) and Estella Tryon. It is unclear as to when Henry met the Tryons or the exact nature of their relationship, but it was likely an apprenticeship. To all indications, Henry adopted the older couple and functioned as a son until Horatio’s passing. Both Henry and Horatio Tryon were listed as artists in the business section of the Chicago Directory in 1872, each residing at 128 W. Randolph. In print, it appears to be a father-and-son partnership. Henry continued to list his permanent residence with the Tryons until 1879.

Horatio Tryon was an artist and sculptor who made a name for himself in the East before moving to Chicago. The 1857 New York Directory listed, “Tryon, Horatio, marble, h. 270 W. 31st.” By 1863, Horatio Tryon’s Civil War Draft Registration listed him working as a sculptor in New Haven, Connecticut. Shortly after Horatio Tryon registered for the draft he relocated to Chicago, and soon was being listed in the 1864 directory at 221 Washington. Horatio Tryon remained in Chicago for the remainder of his life, passing away in the late 1870s.

            During the 1870s, Tryon painted scenery for the renovated Academy of Music in Indianapolis, Indiana (1874), the Grand Opera House in Cincinnati, Ohio (1875). Henry C. Tryon and Lemuel L. Graham formed a scenic art partnership that lasted from the summer of 1876 to the spring of 1877. On August 9, 1876, the “South Bend Tribune” credited Henry C. Tryon and Lemuel L. Graham with new scenery for the South Bend opera house. Fifty years later, the small note was republished: “South Bend.-L.L. Graham, of the academy of music of New Orleans, La., and Henry C. Tryon of McVicker’s theater of Chicago, scenic artists are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others.” (“South Bend Tribune,” 9 Aug 1926, page 6).

On December 23, 1876, the “New York Clipper” published their advertisement:

“HENRY C. TRYON from McVicker’s Theatre, Chicago, and L. L. GRAHAM from the Academy of Music, New Orleans, La. are prepared to paint, in first-class metropolitan style, scenery for theatres and public halls. Address, for the present, HENRY C. TRYON, care of Tootle’s Opera-house, St. Joseph, Missouri, and L. L. Graham, New Opera-house. Findlay, Ohio. Permanent address, care of McVicker’s Theatre, Chicago. As we are “birds of passage” due notice of change of address will be given. Respectfully, TRYON & GRAHAM.” The partnership did not last long and Tryon was soon on his own again.

In 1878 Tryon was credited with the stock scenery for the new opera house in Monticello, Iowa. On March 14, 1878, The Inter Ocean mentioned the scenic artist for Monticello, Iowa’s new opera house: “The scenery by Henry C. Tryon, scenic artist of Chicago is superb” (page 5). On that same day, the Dubuque Daily Times also mentioned the new opera housein Monticello, reporting, “The structure – the school house above and the Opera House underneath – is the pet and pride of our town, and great interest was taken in its dedication. It is pronounced by good judges to be one of the finest public halls in the west, and by far the nicest in Iowa outside Dubuque, Davenport and Des Moines. The scenery painted by C. H. Pyron [sic. H. C. Tryon], the famous scenic artist of Chicago, and it was really elegant” (page 2).

Tryon then became well-known for his transformation scenes, especially those as featured in “The Black Crook.” On May 25, 1878, an Indianapolis newspaper known as “The People” included an article and advertisement for a “Spectacular Combination.” The article advertised,  “Introducing, through a tale of enchantment, all the scenery, ballet costumes, etc., of the BLACK CROOK! Elegant scenery by Tryon, Malmsha, Burcky and Strong” (page 8). Tryon was specifically credited with the “dazzling transformation scene” in the advertisement. Soon thereafter. Tryon was also credited with painting new scenery for a revival of “A Tale of Enchantment” for the Coliseum theatre in Cincinnati, Ohio.

In 1878 Tryon also partnered with his brother William P. Tryon. During this period, William P. Hoornbeck also changed his last name to Tryon, going by William P. Tryon. The two brothers were living with Estella Tryon, now listed as Horatio Tryon’s widow, at 198 W. Lake Street in Chicago. The “Tryon Brothers” produced “A Tale of Enchantment.” This was a touring spectacle in four acts based on “The Black Crook.” On February 24, 1879, an advertisement for Baltimore’s Front Street Theatre attractions featured the show. Their advertisement in the “Baltimore Sun” listed Tryon Brothers’ production, “A Tale of Enchantment. Replete with all the elements of the most wildly romantic interest, produced at an actual cost of Three Thousand Dollars. 100 Superb and Costly Dresses. Rich Appointments, Glittering Paraphernalia.” After a series of legal battles concerning the production’s similarities to the “Black Crook” and another version produced by the Kilrafy Brothers, the Tryon brothers ended their touring engagement and sold the stage settings. On Dec. 25, 1880, the “New York Clipper” included an advertisement for the sale of previously-used scenery painted by Henry C. Tryon: “SCENERY for a tropical transformation , properties, dresses , etc… and the manuscript and music or The Tale of Enchantment are offered for sale by Henry C . Tryon , who advertises.” (New York Clipper, 25 Dec 1880). Interestingly, Tryon was also credited with delivering scenery for a production of “The Black Crook” at Niblo’s Garden in New York in 1879; Tryon and Edward Simmons were credited with the scenery. Tryon was again working alone.

In 1880, Henry C. Tryon painted scenery for “Sea of Ice.” On May 17, 1880, the “Muscatine Journal” reported, “All the scenery to be used was prepared especially for the play by the talented artist, Henry C. Tryon, formerly of McVicker’s Theatre, who is now here, and will personally superintend the production of the drama” (page 4). His settings for the production included: the main deck of the Urania; a plain of ice; the coast of Mexico; and a garden in Paris. The “Muscatine Journal” article elaborated, “Among the beautiful and surprising scenic effects to be produced may be mentioned the display of the Aurora Borealis, the breaking up of the ice, the fall of the ice bergs, the tropical sunset, the ripple of the ocean, and the fountain in the garden scene.”

As an itinerant scenic artist, Tryon dashed from one project to another across the country. Artists on the go provided contact information in a variety of publications. Tryon placed ads in the “New York Clipper.” A listing from December 4, 1880, listed, “Henry C. Tryon, scenic artist. Address, care 20 South Canal Street, Chicago, Letters will be forwarded.” He continued to provide the same contact information on February 5, 1881.  It was during this time that Tryon partnered with Henry E. Burcky, both traveling east to paint in Cincinnati for the Opera Festival. An article in the “Cincinnati Enquirer” reported, “Messrs. H. E. Burcky and Henry Tyron, the young and talented artists who came here from Chicago to assist painting the scenery, have been doing excellent work. They are bright, intelligent and rapid workers and but for their assistance it would have been difficult to have the scenery ready by Monday next. Mr. Burcky is scenic artist at Hooley’s Theater in Chicago, and Mr. Tryon at McVicker’s. They express themselves as amazed at the extent and magnitude of the affair” (15 Feb 1881, page 4).

The two worked together, forming a brief partnership for the duration of the project, as well as working alongside several well-respected scenic artists that included Fox, Magnani, Humphreys, Hughes, and Rettig & Waugh.

After working in Cincinnati, Tryon headed west to Minneapolis, Minnesota where he worked later that spring. On May 21, 1881, the “Star Tribune” reported, “Henry C. Tryon, the excellent scenic artist left to-day for Chicago where he goes at once to fulfil another engagement” (21 May 1881, page 5). Within a few weeks, Tryon left Chicago and headed west with his younger brother Spencer to Denver, securing work at the Tabor Grand Opera House. The Tabor Grand Opera House opened on Sept. 5, 1881, with the Tryon brother’s painting the stock scenery. Spencer who also adopted the lats name of Tryon while working with his brother in the West. While in Denver, Henry C. Tryon was credited with scenery for Tivoli Theatre too. On May 24, 1882, Tivoli Theatre advertisements in the “Colorado Daily Chieftain,” announced, “Complete set of new scenery! From the brush of Henry C. Tryon, scenic artist of the Tabor Grand” May 24, 1882). By June 1, 1882, the “Colorado Daily Chieftain” announced, “Henry C. Tryon, the scenic artist, is making constant additions to the Tivoli scenery. The gentleman has few superiors in his line” (page 3).

            Regardless of his work at other Denver theaters, or his initial work in Utah, Tryon remained associated with the Tabor Grand Opera House of Denver throughout 1882 On September 30, 1882, the “Ogden Standard” referred to Tryon as  “Mr. Henry C. Tryon, of the Tabor Grand Opera House.”  Burcky followed in Tryon’s footsteps two years later. After the Tryon brothers left for Utah, Burcky became associated with both the Tabor Grand Opera House in Denver and Tabor Opera House in Leadville, Colorado. The Tryon brothers remained in Salt Lake City for the next few years, painting new stock scenery and special scenes for the Salt Lake Theatre, as well as working on other projects in the area. By the spring of 1883 Tryon was listed as the official scenic artist for the Salt Lake Theatre. Just prior to accepting this position, the San Francisco Grand Opera also offered Tryon a position as scenic artist at their establishment. It was this offer that helped Tryon negotiate work at the Salt Lake Theatre.

In Utah Tryon worked with many local artists, such as decorative painter William Clyde Morris and landscape artist Alfred Lambourne (1850-1926).  Lambourne referred to his mentor as “that erratic genius, that Bohemian of Bohemians.” Of his training with Tryon, Lambourne wrote, “…I worked with Tryon about seven weeks. Not on the paint gallery of the Salt Lake theatre, but in one of our southern towns, where we had taken a contract, jointly, for furnishing a set of stock scenery. Those seven weeks were among the most exciting, and from the art standpoint, most profitable of my life. Tryon arrived in Salt Lake City, after a long and successful season of scene-painting in Chicago, and at the Tabor Grand, in Denver. Who, that knew the man, could ever forget that walk, that shock of unkempt red hair, that shrewd ingratiating smile and fun, the enthusiasm, or flash of anger in those steel gray Irish eyes. How distinctly I remember the low suppressed tones of his voice and the sparkle in the same eyes, as he once confronted me and uttered these words: “I have never yet met a man whose combativeness I could not overcome with my own.” (quote from “Reuben Kirkham: Pioneer Artist” by Donna L. Poulton, PhD.)

From the fall of 1882 until the fall of 1883, Morris worked alongside the Spencer Tryon at the Salt Lake Theatre. On January 30, 1883, the “Salt Lake Herald” reported, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tryon, the artist of the Salt Lake Theatre, He is very talented and although scarcely more than a boy in years, has produced some very fine work here and at the Tabor Grand Opera House, Denver. We congratulate Mr. Morris upon the opportunities for the display of his recognized ability, which the scenery at the Salt Lake Theatre has given him, and which will give him in the future, as he has been engaged to assist the artist upon all work done.”

Henry Tryon worked as a scenic artist and author in the Salt Lake City area until 1884 before heading to Chicago. While in Salt Lake, Tryon’s name constantly appeared in regional newspapers. In addition to painting new scenery, Tryon also exhibited much of his easel art and submitted several articles to the “Salt Lake Daily Herald.” His creative ponderings included articles entitled “Artistic Flashes” and “Art vs. Skill.” Tryon also published a passionate tribute to his former mentor and friend, Lou Malmsha, upon his passing in October 1882. He continued to work as an itinerant artist in 1883, leaving Spencer and Morris in Salt Lake. In 1883, Tryon painted scenery for the new Scottish Rite Theatre in Indianapolis, Indiana. While working in town he was listed in the Indianapolis City Directory, boarding at the Bates House.

            By 1884 Tryon returned to Chicago and began working at Sosman & Landis Scene Painting Studio. The memoirs of Thomas G. Moses provide some insight into Tryon’s training. Moses commented that Tryon’s arrival enthused him more than anyone before. They became close companions and soon planned an outing. Moses wrote, “I certainly enjoyed talking on any subject with Tryon.  He was very strong on politics, which did not particularly interest me.  He was very interesting when it came to anything on art.  He had been a pupil of Thomas Moran.  Tryon told this story:  He had bothered Moran for some time trying to induce Moran to take him on as a pupil.  Moran was too much of a gentleman to throw Tryon out of his studio, so he finally took an old canvas, slapped on a lot of color with a palette knife, handed it to Tryon and said: “Take home that, make a picture out of the accidentals and bring it back in a week.” Moran felt that Tryon would throw the canvas away and not come back.  The week-end found Tryon back and Moran was so well pleased with the result that he took Tryon in as a pupil, which was very beneficial to Tryon who followed Moran’s style of work even into his scenic painting, as well as his oil.  He enjoyed telling this story; he surely must have made a good picture of Moran’s accidentals.” Moses’ memoirs paint a very colorful pictured of Tryon as an extremely eccentric artist.

In 1885, Tryon, Moses and John H. Young went to West Virginia on a sketching trip. Moses wrote, “Henry Tryon and I started for West Virginia on a sketching trip. I had more bother and worry with Tryon than a hen with a brood of chickens; he was simply impossible. A very clever painter but he was not balanced – very temperamental.” Moses remembered Tryon as “eccentric,” and recorded some pretty humorous episodes about the older artist on the sketching trip. His memoirs provide additional insight into Tryon’s artistic temperament.

Moses wrote, ““When we three were working together there was a constant stream of talk, not always about art.  Tryon was very fond of an argument. One instance: In painting a rock in the water, the wet part of the rock, being so much darker, forms a sharp line on the top of the water.  Young and I had always painted a light line – Tryon proved to us that the line was dark and water threw a shadow on the rock. He would lie on his back for hours studying the light coming through the eaves of a red maple.  At that time of year, the color was fine.  He succeeded in making a very effective sketch; the undertone was fine and the cool, grey lights were very effective.”

By the end of 1884, Tryon wrote a scathing article entitled “SCENE-PAINTING. An Art Which Has Been Neglected and Allowed to Retrograde in Chicago.” It was published on Dec. 28, 1884, in the “Chicago Tribune.” He remained at Sosman & Landis and was included with six other Sosman & Landis artists in the Feb. 28 “Inter Ocean” article.  He remained in Chicago for the next few years until heading east to Massachusetts.

Tryon’s return east was partially prompted by romance. On June 18, 1884, the “Salt Lake Herald” reported, “Henry C. Tryon, the scenic artist, wrote from Haverhill, Mass., that he is about to perpetuate matrimony, and he sends a photo of the beautiful lady whom he designates as the victim. In gazing at the picture and thinking of Henry, we wonder how he was able to “work the act” (page 8). After returning to Sosman & Landis, Thomas G. Moses also mentioned Tryon’s romantic attachment when the two went on the 1885 sketching trip to West Virginia. Moses wrote, “At this time, Tryon was very much in love with a schoolteacher in Haverhill, Massachusetts, whose name was Hattie.  He promised to write her every day and she had promised to reciprocate.  So, we spent the evening writing letters to our dear ones.” Tryon’s love interest was Hattie R. Goodwin. The 1885 Haverhill Directory listed Miss Hattie R. Goodwin as a teacher at Bowley School, boarding at 136 High. This was the same woman who would later married Henry’s brother William.

            I have yet to locate any additional information about Hattie or a second marriage for Tryon in the 1880s. Interestingly, it was his brother William P. Hoornbeck who married Harriet R. Goodwin (1863-1918) in Haverhill, Massachusetts on August 1, 1888. In their marriage registration, Hattie was listed as a schoolteacher. William was definitely Henry’s brother as he listed the same birthplace and date as in their other family records. By 1889, William and Hattie celebrated the birth of their first daughter, Helen P., in Chicago. Regardless of how the romantic intrigue, in 1887, Tryon was working in Lawrence, Massachusetts, a neighboring town to Haverhill. Tryon painted scenery for the Lawrence opera house. The next year, his brother was married to Hattie.

Tryon stayed in Massachusetts and y 1891, was making associated with Boston’s Bowdoin Square Theatre. On Dec. 11, 1891, the “Boston Post” reported, “Work on the Bowdoin Square Theatre is progressing most satisfactorily. The contract to paint the scenery has been awarded to Henry C. Tryon, one of the first artists in the country and a pupil of Robeechi the leading scenic artist in Paris” (page 4). This information is questionable and remains unsubstantiated. So much of his history, as told by Tryon to the newspapers, was falsified or slightly twisted. Looking at Tryon’s life is like looking at a landscape through stained glass; everything takes on a slightly different color.

Tryon passed away on July 27, 1892, His death was entered into city records at Lawrence, Massachusetts.  His death record listed Tryon as a scenic artist from Chicago; the cause of death was noted as Bright’s Disease.  It all seems to have happened to fast. On February 14, 1892, the “Boston Globe” credited Tryon with the front draperies, drops curtain and several other scenes for the new theaters. Tryon and A. H. Davis were listed as part of the executive staff there. In mid-summer 1892, Tryon was a pallbearer at the funeral of friend and fellow scenic artists William Voegtlin.  Tryon’s own funeral happened before the end of summer.

Tryon passed away in relative obscurity, with newspaper announcements stating, “Scenic-Artist Henry C. Tryon died at Lawrence, Mass.” (Pittsfield Sun, 4 Aug. 1892, page 6).

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Ed Loitz was first hired at Sosman & Landis in 1883. He was a scenic artist who became a loyal assistant and friend to Thomas G. Moses. They worked together for over four decades. Whether Moses was employed at Sosman & Landis, or working on his own, Loitz was there to help. In a sense, he was Moses’ “right-hand man.” For most projects, Loitz traveled one step ahead of Moses, preparing the jobsite for the master artist’s arrival, and then assisting on site with painting and all other tasks.

Loitz worked with Moses at theaters Moses all over the country, including the New California Theatre in Sacramento (1889), the Tacoma Theatre in Washington (1889-1890), the Marquam Theatre in Portland, Oregon (1889), the Auditorium Theatre in Spokane Falls, Washington (1889), the Corvallis Opera House in Corvallis, Oregon (1889), the Broadway Theatre in Denver, Colorado (1890), the Grand Opera House in Ogden, Utah (1890), the Lyceum Theatre in Duluth, Minnesota (1890); the Alvin Theatre in Pittsburgh, Pennsylvania (1891), the John C Fisher Opera House in San Diego, California (1891), Gilmore’s Court Square Theatre in Springfield, Massachusetts (1891), and the Yo Semite Theatre in Stockton, California (1892).

Edward F. Loitz was born on July 28, 1864 in Chicago, Illinois. His parents were William Loitz and Christina Sutor Loitz, both from Łódź. The city of Łódź was annexed by Prussia in the second partition of Poland, so some census reports list their birthplace of the Loitz’s as simply Prussia. William was born in 1861 and emigrated to the Unites States in 1861. By 1870, he worked as a laborer in a distillery, living with his father-in-law Daniel Sutor. I am still on the process of tracking down the specifics of the Loitz family, as there were so many children and possibly a second marriage. However, in 1880, the remaining Loitz children at the home of William Loitz were August (15 yrs.) Bertha (7 yrs.), Charles (9yrs. ), Emma (3 yrs. ), Theresa (15 yrs.,). They were still living with William’s Father-in-law Daniel Sutor. In 1880, Edward was likely working and living outside of the home, apprenticed somewhere. By 1900 William was living with his daughters Bertha (27) and Emma (23); the same two that would be mentioned in Edward Loitz’s obituary. Edward also had an older brother, Arthur, who died April 16, 1906.

As far as Edward Loitz’s education and training before Sosman & Landis, little is known. However, he did attend public school until 8^th grade. So, he began working at Sosman & Landis between the ages of 18 and 19 in 1883, and immediately began traveling with Moses as his assistant. In 1895 Loitz married for the first time started his own family. He certainly did not settle down, nor did his marriage impede on his extensive business travel with Moses. Loitz married Mary C. Weinrich (1873-1869) in Chicago in 1895 and his first child was born the next year. Weinrich emigrated from Germany with her family between 1880 and 1882, becoming a naturalized citizen by 1897, after the birth of her first two children.  The couple celebrated the birth of three children total: Arthur R. (b. May 1896) and Virginia (b. July 1898) Frederick Francis (b. Sept. 1906). The youngest was born in Mount Vernon, New York, as the Loitz family followed the Moses family to live in Mount Vernon, New York, when Moses established the Moses & Hamilton scenic studio in New York City. Loitz had followed Moses to a few other cities before New York, including Cincinnati.

In 1897 Moses wrote, “Early fall found Mr. Landis and Mr. Hunt camped on my trail; offering me the Pike Theatre Stock Company work at Cincinnati for the season.  They agreed to send down enough drops from the studio to complete my contract.  I accepted $75.00 per week and went, taking McGreer and Loitz from Chicago.”  This was all part of the Sosman, Landis & Hunt Theatrical management firm in the 1890s. That season, Moses, Loitz and [Fred] McGreer also traveled to Indianapolis, Indiana, for a few projects, including Das Deutsche Haus, a venue later christened the Athenæum. The trio also delivered stock scenery to the English Theatre (Indianapolis, Indiana), the Grand Opera House (Columbus, Ohio) and the Valentine Theatre (Toledo, Ohio).  After completing these three projects, Moses wrote, “I think we did some good work.” Moses and Loitz also painted scenes for David Belasco’s “The Charity Ball,” as well as other stage settings used at the Pike Theatre, including “The Wife,” “Capt. Swift,” “Shenandoah,” “The Banker’s Daughter,” “Lottery of Love,” “Charlie’s Aunt,” “The Amazon,” “Trilby,” “Held by the Enemy,” and quite a few more shows for Pike’s in Cincinnati. Moses recorded that it was a very successful season overall, writing, “The different newspapers gave our work splendid notice every week.”

After their work for the Pike Theatre Stock Company, Moses and Loitz headed west. In 1899 they painted scenery for the John C. Fisher Opera House.  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.” By 1900, Moses and Will F. Hamilton had partnered to open Moses & Hamilton in New York. Their studio was located at Proctor’s 125^th Street Theater. Moses’ wrote, “I took the Stock Company’s work in September.  We had some heavy shows, “Around the World in Eighty Days,” “Romeo and Juliet,” “Hazel Kirke,” “Prodigal Daughter,” forty shows in all.  I had to make ground plans and models.  I found I had my hands full.” It was at this point that he enlarged the scenic art staff at Moses & Hamilton. Of his employees, Moses wrote, “We depended on Al Roberts to get the stock work done.  Otto Armbruster was with us and he was a very valuable man.  He and Loitz worked at 125^th Street most of the time.  As we closed the year’s work, we found that we had done very well, and I didn’t regret going East; but we did miss our Oak Park home, and the Harrison Street house was a constant source of worry for us.” It was around this time that both Ella Moses and Mary Loitz packed up their households and children, relocating to New York. The Loitz family remained in the east for some time. It was not until 1920, that the US Census listed them again as residing in Chicago.

Interestingly, it was only Frederick Loitz who moved out of the Loitz home, got married and raised a family. His WWII draft registration card described Frederick as 5’-11”, 198 lbs., with brown hair, blue eyes and a fair complexion. His elder siblings, Arthur and Virginia never left their parents, each living at home and holding full-time positions. Arthur transitioned from an accountant to an income tax collector while Virginia went into secretarial work, eventually ending up as a private secretary at a life insurance company. After returning to Chicago, Frederick began working for the Chicago Motor Coach Company and married Alice A. Krueger. In 1920, Mrs. Edward Loitz also became a lifetime member at the Art Institute of Chicago (Bulletin of the Art Institute of Chicago, Vol. 19, No. 3, 1920, page 38).

Moses trusted Loitz enough that often when Moses left to secure contracts, Loitz was left in charge of the studio. When Sosman & Landis closed, Loitz remained with Moses and became part of the studio staff for the second iteration of Sosman & Moses. Moses & Loitz also painted scenery for the Binghamton Scottish Rite.

On October 17, 1923, Binghamton’s “Press and Sun-Bulletin” featured Moses and his work. The article was entitled “Vies with Nature in Realms of Beauty,” “Products of the brush of Mr. Moses and his assistant, Mr. Loitz, are not entirely new to Binghamton. Mr. Moses painted the landscapes and architectural exteriors for the State hospital theater and Mr. Loitz did the interiors.” In October 1923, the “Press and Sun-Bulletin” reported, “Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts” (17 October 1923, page 3). By 1923, the pair had been working together for forty years together. Their respective ages were 67 and 58. Loitz passed away seven years after Moses.

On Nov. 14, 1940, the “Chicago Tribune” published his obituary:

“LOITZ – Edward F Loitz, late of 1450 Grace Street, beloved husband of Mary C., nee Weinrich; fond father of Arthur R., Virginia E., and Frederick F., dear brother of Bertha and Emma. Member of Scenic Artist’s association. Funeral Saturday, 1:30 p.m., at chapel. 3807 Lincoln avenue, Burial Acacia Park Cemetery” (page 31).

The grave of Ed Loitz at Acacia Park Cemetery in Norwood Park Township, Cook County, Illinois.

To be continued…