Copyright © 2021 by Wendy Waszut-Barrett
Fitch Fulton was a scenic artist who worked with Thomas G. Moses at Sosman & Landis from approximately 1924 to 1925. This was shortly after Moses purchased the Sosman & Landis name, establishing the second iteration of the company.
Fulton is well-known in the fine art world for his landscape paintings, prices for his work still fetching thousands of dollars. He also worked in the Hollywood film industry and is included in the Matte Painting Encyclopedia, INDEXFX (http://bigerboat.com/indexfx/?p=584). One of his most famous works was of Tara, seen behind the opening credits in Gone with the Wind.
The same information about Fulton is cut and pasted from one database to another, and frequently starts with: “Fitch Fulton studied at the Art Students League of New York city and at the Art Institute of Chicago under Vanderpoel, Freer, and J. Francis Smith. He came to San Francisco in 1913 to continue doing set design work, and moved to Los Angeles in 1916, where he worked for Fox Studios and others. He was a member of the Academy of Western Painters, the California Watercolor Society and the California Art Club, among others.”
There is so much more to Fulton’s story, starting with the fact that he did not move to California in 1913; he was only working on a project there. At the time, he was still living in Denver, Colorado. Fulton’s scenic art career began long before that, however, in the small town of Beatrice, Nebraska. He was not the only member of his family to enter the theatre profession either. Here is Fulton’s story…
Fitch Burt Fulton was born in Beatrice, Nebraska, on Oct. 10, 1879, the youngest of eleven children born to John Blythe Fulton (1835-1924) and Sarah Phipps (1835-1902). His parents were married on Nov. 24, 1858, and celebrated the birth of their children over the course of two decades. Various birth records and census reports help track the Fulton family’s journey from Pennsylvania to the Great Plains of Nebraska. In 1859, the first two children were born in Pennsylvania. Fitch arrived twenty years later in 1879, shortly after the family arrived in Beatrice. That being said, dates and names slightly vary from one census to the next, with some of the children dying in infancy. There is always the possibility of human error too. However, I have assembled a compilation of those whom I believe were Fitch’s siblings. Here are the names of the Fulton brood: twins Margaret “Maggie” Ann and William Fulton (b. 1859); Oliver Phipps Fulton (b. 1862), Mary Belle Futon (b. 1862-1863) Thomas Baskin Fulton (b. 1864), William Sherman Fulton (b. 1867), Hattie Fulton (b. 1868), Susan Fulton (b. 1868-1869), Richard Newton Fulton (b. 1869-1870) Henry Fulton, (b. 1870) and Jesse Berlin Fulton (b. 1872-1873). Of the twelve children listed above, Susan was likely adopted at birth, as she later appears on the Native American rolls, a full-blooded descendent of the Choctaw Nation in 1904.
The first two Fulton children, twins, were born in Sandy Lake, located in Mercer County, Pennsylvania. The 1860 US Federal Census listed John and Sarah Fulton living with their eight-month-old twins, Margaret and William. John Fulton was listed as a physician, a profession he continued throughout the duration of his life. The fourth child, Mary Belle Fulton was born in Champaign, Illinois, placing the Fulton Family in that city around 1862. Five years later, the Fultons were living in Fairbury, Illinois where Thomas, William S., and Richard N. born. Sometime after Richard’s birth in the spring of 1870, the Fultons moved to Pymosa Township in Cass County, Iowa. They were not in Iowa for long though, as Jesse B. was born in Gage County, Nebraska by 1872. Fitch was born in Beatrice seven years later. By 1880, the Fulton family home was located at 159 Seventh St. in Beatrice. Beatrice is now known for Homestead National Monument, park of the National Park system (https://www.nps.gov/home/index.htm). Beatrice was the site of the first claim staked on government land made available to settlers under the homestead act of 1862.
Little is known of Fitch Fulton’s childhood in Beatrice, exactly when his painting career began, or why he entered the theatre industry. The same year that Fulton was born, however, the railroad connected Beatrice to Marysville, Kansas. Previously, the railroad went only to Lincoln, Nebraska, Nebraska. As Fitch grew to adulthood, so did Beatrice’s connectivity with the rest of the country. By 1890 the Chicago, Rock Island and Pacific Railroad arrived in Beatrice, offering ever-increasing access to other areas throughout the region.
On September 30, 1898, “The Tribune” in Beatrice, Nebraska, reported, “Fitch B. Fulton, the young Beatrice designer and engraver, is rapidly coming to the front. He has gotten up some very handsome and artistic designs of late. The young man shows great ability and undoubtedly has a very bright and successful career before him” (page 6). Futon was only nineteen years old at the time. On October 15, 1898, the “Beatrice Daily Express” reported, “The carnival cut on this page is the design of Fitch B. Fulton of this city. It is a credit to Mr. Fulton’s genius and betrays the evidence of a rising young artist.” Fitch’s work for the local newspaper was likely helped along by his older brother, Thomas, who was the editor of the “Beatrice Daily Sun.” This connection meant a guarantee that many of Fitch’s accomplishments and travels also made the news.
On March 14, 1899, the “Beatrice Daily Express” reported, “Fitch B. Fulton has gone to Chicago to re-enter the art institute there.” Several of the Fulton relations were in Chicago about this time. Fitch’s older sister, Hattie, had married a baker named Ewart E. Samman, and was living at 1894 Fulton Street in Chicago. As her younger brothers left home and moved to Chicago, each likely found a safe haven at Hattie’s. In 1900, the Hattie Samman was housing both Jesse Fulton and Frank Damel, each listed as actors that year.
In Chicago, Fulton studied under John Vanderpoel, Frederick W. Freer and J. Francis Smith, all at the Art Institute. Fulton likely encountered dozens of scenic artists at the Art Institute during this time, especially many who worked at Sosman & Landis. Fulton’s studies in Chicago were very brief, and he soon headed west. By 1900, Fulton was living in Denver, Colorado. On June 23, 1900, his hometown newspaper in Beatrice, Nebraska, reported, “Fitch B. Fulton, of Denver, is in the city for a visit over the Chautauqua.” The 1900 US Federal census listed Fitch B. Fulton as a portrait painter, boarding at 353 S. Tremont St. He was one of several individuals living at the home of Ann Rose.
He also worked as a scenic artist and sign painter, soon becoming associated with the advertising firm of C. W. Earle. In 1902, the “Ballenger & Richards Denver City Directory” listed Fitch Fulton as a sign writer at C. W. Earle, living at 353 S. Tremont. C. W. Earle was an outdoor advertising company. The firm’s listing in the directory noted: “Charles W. Earle, outdoor advertising signs, 1942 to 1948 Curtis, r. 3119 Downing av.” The directory also provides a snapshot of employees associated with the firm that year. The staff included “sign writers”- Albert E. Thomas (2532 E 3d av.) and Valentine Costello (1118 27th). Company employees who listed themselves as painters included William H. Remmelee (2326 W 32d av.), Cleve C. McDaniel (2205 Lawrence), Lee C. Stryker (623 E 1st av.), John G. Ohnimus (2247 Hooker), Charles W. Dent (1756 Curtis), and Bert Aldenhoven (1756 Curtis) Interestingly, William E. Dent was a carpenter for the firm, living with his brother and Aldenhoven, and the firm’s distributor, Bert Veeder, at 1756 Curtis. Fred Black was also listed as a distributor for the firm, but listed no home address. Louis Straughan was another carpenter for the firm. Joseph C. Earle was listed as the firm’s solicitor (3119 Downing av.) and Jay Kerstetter as the bookkeeper (2251 Lafayette). It was quite a sizable firm, with a substantial amount of healthy competition too.
That spring Fulton got married. He married Swedish immigrant Anna Maria Engstrom (1879-1941) in Golden, Colorado, on March 8, 1902. Born in Forsa, Gälveborg, Sweden, Anna was the daughter of Anders Wiktor Angstrom and Anna Sofia Wahlberg. The Engstrom family emigrated from Sweden in 1889. Shortly after marrying, Fitch and Anna moved back east, settling in Beatrice. In Fitch’s hometown they celebrated the birth of their son, John Phipps Fulton on Nov. 4, 1902. Two days prior to his arrival, Fitch’s mother passed away. On Nov. 4, 1902, the “Beatrice Daily Sun” reported, “Mrs. Sarah Fulton, wife of Dr. J. B. Fulton, died at her home in this city on Sunday morning at 4 o’clock, aged 68 years. The funeral will take place from the family residence, Thirteenth street, between Court and Market, at 3 o’clock this afternoon. Friends are invited” (page 1). A lengthy obituary was published in the “Beatrice Daily Sun” on November 6, 1902 (page 1).
Her obituary notice provides some additional information about Fitch’s mother and the Fulton’s move to Beatrice:
“Sarah Phipps, was born June 7, 1835, near Clintonville daughter of Judge Phipps. On November 24, 1858, she married Dr. J. B. Fulton. They located in Livingston county, Ill., where they resided for many years. In November 1878 they came to Beatrice where they have since resided. In 1897 at the Phipps reunion on the 26th and 27th of August a reunion of the Phipps family was held near Clintonville, Pa., on the original Phipps farm to celebrate the one hundredth anniversary of the settlement of John and Catherine Phipps. Three thousand people were present of which seven hundred descendants of the Phipps family were represented…Mrs. Fulton was the mother of eleven children, nine of whom, together with her husband, survive her. They are Oliver P., Mrs. W. W. Johnston, Richard N., Thomas B., Fitch B. and Mrs. Bell Barker of this city. Will S. and Mrs. E. H. Sammon of Denver, and Jesse B. of New York City. She had been in failing health for two years…”
Although mourning the loss of his mother, Fitch’s career began to soar. His project load rapidly increased and he soon entered into a partnership with George A. Drew. The two established Fulton & Drew, a painting studio that specialized in scenic art and sign painting. Their projects included scenery for theaters and business signage throughout the region. Again, it helps to have a brother who is editor of the local newspaper; Fulton’s projects and travels were closely monitored at this time.
Here is a partial list of their work in 1902 to give some sense of scope:
On Aug. 7, 1902, the “Beatrice Daily Sun” reported, “F. B. Fulton and George Drew left yesterday for Council Bluff, Ia., where they have secured a contract for doing some scenic painting” (page 3).
On Aug. 26, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew have the contract for painting the drop curtain in the hall at Crab Orchard” (page 3).
On Oct. 18, 1902, the “Beatrice Daily Sun” reported, “F. B. Fulton has been putting up some neat window signs the past few days advertising the special brands of cigars handled by H. A. Miller” (page 3).
On Oct. 31, 1902, the “Beatrice Daily Sun” reported,”Messrs. Fulton & Drew have painted some neat and attractive signs on the new building of the German nurseries, corner of Second and Bell streets” (page 3).
On Nov. 1, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew have painted a fine sign for the Speier Clothing Co., on the corner of Court and LaSalle streets. The sign certainly does the young paint slingers credit. It’s a peach” (page 1).
On Nov. 7, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew are painting a nice sign for William Ellerbeck, the south Sixth street implement man” (page 3).
On Nov. 25, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew are doing some neat sign work for Hunting & Kirby. The North Fifth street dentists” (page 3).
On Dec. 3, 1902, the “Beatrice Daily Sun” announced, “Fulton & Drew, the sign painters, have secured a big contract at Omaha, and will be there the next few weeks completing the job” (page 3).
On Dec. 21, 1902, the “Beatrice Daily Sun” reported, “Messrs. Fulton & Drew, the scenic painters, returned home yesterday from a trip of several weeks in Omaha, where they painted a drop curtain at Fremont while away” (page 3).
In addition to his work as a and sign painter, Fulton continued to thrive as an easel artist.
On Dec. 7, 1902, Fitch’s artworks were mentioned in the “Beatrice Daily Sun”:
“Local Artist’s Work.
The Beatrice Book and Stationary Co. has on display in their north show window a number of sketches done in water colors by Fitch Fulton, a local artist. These simple studies are well executed and show a fidelity to nature that is remarkable. The color is rather subdued but is more striking because of the prevalence and effects of the soft tints, At present Mr. Fulton is in Omaha engaged in work of this nature.”
On Dec. 16, 1902, the “Beatrice Daily Express” reported, “The Beatrice Book and Stationary Co. has on display in their north show window a number of sketches done in watercolors by Fitch Fulton, a local artist. These simple studies are well excited and show a fidelity to nature that is remarkable. The color is rather subdued, but it is the more striking because of the prevalence and effect of the soft tints. At present Mr. Fulton is in Omaha engaged in work of this nature.”
Fulton’s partner, Drew, was also quite young, three years his junior. The son of a carpenter, George A. Drew was born Oct 1882 in Illinois. Unfortunately, he did not last long in the painting business and soon left the theatre industry. Fulton & Drew only lasted for three years, from 1902 until 1904, but they accomplished quite a number of projects in their brief time together.
Here are a few projects completed by the firm between 1903 and 1904:
On Jan. 29, 1903, the “Beatrice Daily Sun” reported, ”Fulton & Drew, the scenic artists, expect to leave today for Council Bluffs, Ia., where they have secured the contract for painting a drop curtain. From there they go to Sioux City and other points in Iowa, having secured thirteen contracts in that state for putting in new drop curtains” (page 3).
On Feb. 28, 1903, the “Beatrice Daily Sun” reported, “Fulton & Drew, the scenic painters of this city, are now at Guthrie Center, Ia. Since leaving here several weeks ago they have painted new drop curtains in the opera houses at Council Bluffs and Atlantic, Iowa” (page 3).
On July 12, 1903, the “Beatrice Daily Sun” reported, “Fulton & Drew, the scenic artists, are painting a drop curtain for the Wymore opera house. They have it about completed” (page 3).
On May 7, 1904, the “Beatrice Daily Sun” reported, “F. B. Fulton and George Drew are at Lyons, Neb., where they are engaged in painting a drop curtain for the opera house at that place” (page 3).
On July 23, 1904, the “Beatrice Daily Sun” reported, “Fulton & Drew painted a new sign for the Begole & Van Arsdale company yesterday” (page 3).
On Aug. 19, 1904, the “Beatrice Daily Sun” reported, “The new drop curtain for the opera house, has been completed and it is a work of art, highly creditable, and one that Fulton & Drew may well feel proud of. There are very few advertisements on it, and the colors and blending are perfect. It will be hung today” (page 3).
In 1904, Fitch Fulton was listed as an artist in the Beatrice City Directory, living at 427. N. 8th. The Fulton & Drew partnership ended by 1905. My best guess is that Fulton left town for greater profits, heading west where the money appeared to flow like water in certain areas. By the summer of 1905, Fulton was living in Cheyenne, Wyoming, where his daughter Bernice was born on July 23.
As for his business partner, George A. Drew, Drew briefly managed a painting and wall paper firm known as Childs & Drew. The local newspapers reported the firm’s dissolution on August 23, 1906. Within a few years, Drew was solely working for the Beatrice telephone company.
Fulton continued to thrive, as did the rest of his bothers. He was not the only Fulton to enter the theatre industry. His older brothers William and Jesse established a stock company. I am going to add a little information about his two older brothers and their business adventure, as it helps to paint a much broader picture of the Fulton family, placing Fitch’s own career within the midst of well-educated and talented individuals. Fitch’s older brother Jesse was quite a gifted operatic tenor. Although Jesse was also skilled as a traveling salesman and plasterer, he made a name for himself on stage. Unfortunately, his career was cut short just as his brother Fitch’s was taking off.
On Nov 29, 1912, the “Lincoln Journal Star” reported
“Death Put End to Brief Career on Stage by Fulton
Beatrice, Neb., Nov. 29. –
Jesse B. Fulton, whose death Tuesday afternoon occurred at Phoenix, Ariz., had gone there in hopes of benefiting his health, which had been very poor since an attack of typhoid pneumonia a couple years ago. Mr. Fulton died at St. Luke’s hospital in Phoenix. Mr. Fulton began appearing on stage when a boy. He had a sweet tenor voice that made a great hit wherever he sang. His first engagement was with the Boston Opera Co. and it was not long until he was singing lead roles of the ‘Mikado,’ ‘Bohemian Girl,’ ‘Pinafore,’ ‘Olivette,’ and others. Later Mr. Fulton entered the dramatic field and became a popular actor. He played with Neil Burgess in ‘The Country Fair’ and sang with the Metropolitan Quartet, a big feature of the Burgess show. He finally entered stock work and became manager of the Fulton Stock Company, which for a number of years played in Lincoln and made a record for crowded houses. Mr. Fulton was married to Mrs. Enid May Jackson, a beautiful and talented Kansas City actress and she became his leading lady of his company. Besides his widow, and little son, Oliver, he is survived by his father, Dr. J. B. Fulton, of this city, three sisters and five brothers. They are Mrs. W.W. Johnston of Omaha, Mrs. Belle Butt of Los Angeles, Calif., Mrs. Hattie Scammon, of New York; O. P. T.B. and R.N. Fulton of this city. W.S. Fulton of Omaha and F. B. Fulton of Denver. The remains will probably arrive here next Saturday or Sunday when funeral arrangements will be made” (page 5).
Jesse and his older brother William started their stock company between 1905 and 1906.
This was shortly after Jesse’s marriage to actress Enid Jackson. The two were married in Kansas City on Jan. 7, 1904, with the On Sept. 22, 1905, the “Beatrice Daily Sun” reported, “The paper speaks in the highest terms of the work of Jess B. Fulton and Miss Enid Jackson” (page 3). On Sept. 4, 1906, the Fulton Bros. Stock Co. was mentioned in the “Beatrice Daily Sun.” Will S. Fulton was listed at the manager for the company, with Mr. and Mrs. Jess Fulton working as the leading performers (page 3). William was also a performer, as well scenic artist and sign painter. He would resume a painting career after the passing of his brother and the closing of the Fulton Stock Co.
By 1900, William Fulton was also successfully employed as a “sign writer” in Pueblo, Colorado. This was at the same time that Fitch was working was working in the same profession in Denver. William was also popular as a musical conductor. His obituary notice provided a little more information about the Fulton family’s musical attributes.
On 23 Dec 1955, the “Beatrice Daily Sun,” reported:
“They were a musical family. When the children were large enough to handle a musical instrument, Fulton’s band became a popular Beatrice organization. All members of the band were members of the family. Will continued in music professionally for many years and music was always his hobby.” In 1907 Will was listed as the conductor for the Beatrice Symphony Orchestra.
Back to Fitch Fulton…
In 1908, Fitch and Anna were listed in the city directory for Fremont, Nebraska, but was closely associated with several Omaha theaters. Fremont is located approximately 40 miles northeast of Omaha. In Fremont Fitch was listed as a painter, living with his wife Anna and children at 1619 E. Military Ave. He continued to work throughout the region, including in his old hometown of Beatrice, 94 miles due south of Fremont. On July 12, 1908, the “Beatrice Daily Sun” reported, “The first step towards reopening the Paddock Opera house was taken yesterday when the management of the block let the contract for new scenery to F. B. Fulton of Omaha, an old Beatrice boy. The contract calls for all new scenery and the remodeling of all stage properties in the latest up-to-date designs. Mr. Fulton stated yesterday that he would put several men to work Monday on the job with the view of having it finished in plenty of time for the reopening of the opera house which will be in the early part of September. It will cost nearly $1,000 to make this improvement, and the fact that the work will be under the supervision of Mr. Fulton is a guarantee that it will be done well, as he has made a specialty of this kind of work for years”
(page 1)
By 1910, Fitch was divided much of his time between Nebraska and Colorado. The 1910 US Federal Census reported that the Fultons were living in Omaha, Nebraska. Fitch was listed as a “scenic artist” in the “studio” industry that year. However, he was also spending an increasing amount of time in Denver and became associated with the Broadway Theatre and the Broadway Scenic Studio. He relocated his family west again where opportunities abounded. On Feb. 27, 1913, the “United Labor Bulletin” (Vo. 7, No. 30, page 2) included an article on Fulton’s western projects. The article reported, “F. B. Fulton of the Broadway Scenic Studio, has just returned from an extended trip to the Pacific coast. Why he took it is another matter which I will endeavor to explain. The Gypsy Love company played at the Broadway theatre some few weeks ago and they have a scenic studio conducted by Ellis F. Graham as master builder and F. B. Fulton as artist. Their production in the scenic line was in bad shape and Mr. Graham asked if he could rehabilitate it. He immediately put his men to work repairing the frames for the scenery and put Mr. Fulton to work repainting it. The work that the management wished could not be done in the brief engagement they played at the Broadway, but the ability displayed by Mr. Fulton in the work he did while they were playing their engagement at the Broadway, led the manager to make a proposition to the Broadway Scenic Co. to travel with them on their route and whenever there was an opportunity, to finish the job. The answer is that he worked in Salt Lake City, Los Angeles, and wound up in San Francisco, where he finished the job and sent the company on their way rejoicing, with the knowledge that out here in the wild and woolly West they have a scenic studio that embraces all the experience of the East, together with the practical experience of the West. This article is for the purpose of informing the business men and the boosters of the city of Denver that we have the men and the goods in any proposition they advocate to boost the city. AND WE BELIEVE IN HOME INDUSTRY.”
In 1913, Fulton was also hired to design a railroad exhibit for the 1915 Panama-Pacific International Exposition. On April 9, 1915, “The Rifle Telegram” credited Fulton with an achibit at the upcoming Pan-American Exposition in California known as “The Globe” (Vol. 12, No. 8, page 6). In an article entitled, “The Earth on Exhibit” reported, “The Globe was designed and built by F. B. Fulton, of Denver, who directed the construction of the interior scenes from paintings made by himself. It is quite possible that no other single exhibit in all the stupendous exposition will attract as wide attention or be more heartily praised by visitors, who find they have been instructed while being genuinely entertained.”
The article described the Fulton’s design in detail:
“The exhibit is the production of the transcontinental system embracing the Western Pacific, the Denver & Rio Grande, the Missouri Pacific and the Iron Mountain. It stands on the northwest corner of the palace of transportation, and becomes of even greater interest as one approaches. About it on every hand are the finest examples of the locomotive builder and the car constructor, and these pieces of railroad ‘furniture’ give added point to the unique exhibit which illustrates a great railroad’s function in serving mankind. ‘The Globe’ is 52 feet in diameter; being cut off at the base, is 44 feet in height. The trains are seen traveling from San Francisco over the tracks successively on the Western Pacific, Denver & Rio Grande and Missouri Pacific to St. Louis, whence the Iron Mountain radiates to points in the southern states, and particularly to Hot Springs, Ark. Cities and places of interest are labelled with their names and a light glows at each as the train passes. Yellowstone, Mesa Verde, Rocky Mountain and Yosemite national parks and Great Salt Lake are indicated by squares of soft light. Although a train crosses from San Francisco to St. Louis in three minutes, it is impossible to regard this globe and the suggested activity upon its surface without feeling as never before the splendid achievement of transcontinental railroading and the part it plays in our national life. ‘The Globe,’ which is even more interesting within than without, is entered through ornamental arches. The pilasters are surmounted by strikingly sculptured figures of a prospector, representing mining; a fisherman, representing sports; a farmer, representing agriculture; a blacksmith, representing commerce, and a brakeman, representing transportation. Locomotives in relief appear to be emerging from the pilasters as from tunnels and their smocks drape above the arches to spell the names of the four lines. Car wheels form a border for the arch entrances. In the width of the arch is seen a fragment of ballasted track. The keystone displays a bell, beneath which are the words, ‘Scenic Line of the World.’ Adjoining the globe and forming a part of the roof of the interior exhibit is a reproduction of Marshall Pass in Colorado, the highest point reached by the Denver & Rio Grande. This pass, with an altitude of 10,857 feet, is the continental divide from which streams flow west and east
to the Pacific and Atlantic oceans. In the colorful reproduction Mt. Ouray rises solemnly in the background. The trees and rocks of the foreground being real, the spectator is assisted in getting the ‘feel’ of the ‘backbone of the United States.’ Below Marshall Pass are bas relief panels showing Ruby Canon and scenes on the Feather and Missouri rivers. The interior of this huge globe is so interesting that were the exhibit on the Joy Zone and an admission fee exacted, the never-ending stream of visitors would as eagerly pass through its entrance arches. Within the globe is shown in miniature three million feet of the finest scenery in the world. In passing along a winding fairy causeway one looks first to right and then to left upon the vistas of a partly modeled, partly painted diorama that pictures the scenery and the activities lying along the lines of this railroad system. The effect of viewing these superbly wrought miniatures is difficult to describe. Not only do they acquaint the visitor with what is to be seen on this route, but they make him prouder of being an American. Moving from scene to scene is identical with crossing the continent from west to east. The Panama-Pacific international exposition is shown just as one would observe it from a hilltop a mile away. The succeeding scenes are given in the order in which they occur: San Francisco; Sacramento, the capital of California; Feather River canon, which has made the Western Pacific famous throughout the world; Salt Lake City, Provo valley and Utah lake; Grand Junction, Colorado, with an orchard in the Grand River valley ; Glenwood Springs, the noted resort; Leadville, with its mines and smelters, and Mount Massive in the distance; Royal .Gorge, which has made the name of the Denver & Rio Grande known everywhere that men love to speak of the mighty and beautiful in j nature; the Sky Line drive, showing Canon City and the upper Arkansas river valley, where agriculture alternates with oil wells and gold and coal mines; Pueblo, with the Bessemer Steel works; the Garden of the Gods, with Pike’s Peak in the distance; Denver, the mile high metropolis of the mountain kingdom; the Pike’s Peak region from the Crystal Park auto drive at Artists’ Point, from which the eye takes in seventy miles of territory, including Colorado Springs, Colorado City, Manitou and the Garden of the Gods, San Luis valley in Colorado, showing a 2,000-acre alfalfa field; Sugar City, Kansas, with its beet industry ; the cliff dwellings of Mesa Verde National Park, in southwestern Colorado; Ossowattamie, Kansas, with a 3,000-acre farm and stock ranch; Kansas City, Missouri, with its new capitol building; St. Louis, the eastern terminal of the Missouri Pacific ; Hot Springs, Arkansas, the famous watering place connected with St. Louis by the Iron Mountain line. These scenes are faithful reproductions. They are full of color. They are made with life by the changing play of lights and shadows. There are sunrises, sunsets, night and storm effects. The growing and receding light makes one feel the might and majesty of the mountains.
When the visitor has reached the center of the earth, as it were, he finds himself standing before a softly flashing fountain. The light fades. Finally, the honey-colored moon sends a glow into the chamber. The soft firmament, with its marvelous heavenly bodies may be only a few yards away, but the illusion is perfect. It exactly as though one stood in a garden on a matchless summer night. The visitor is recalled to the actualities by a courteous attendant, who hands him printed matter in which the facts about the country he has been viewing are succinctly set forth.”
Gold and silver medals were award for Fulton’s design and execution of the Gould Railroad Building at the Exposition. On July 8, 1915, “The Oak Creek Times” reported, “Gold Medal for Colorado. The winning of the gold medal by the Globe, the exhibit of the Denver and Rio Grande and other Gould roads at the Panama-Pacific Exposition, while most gratifying to Colorado people is not a surprise to those who are aware of the exceptional ability who guides he publicity and advertising departments of the Denver and Rio Grande. It is inspired by ideas of national scope and appeal; the amount of constructed publicity which the Denver and Rio Grande has produced for Colorado through the carrying power of such ideas is inestimable. In appraising the forces that are working, day in and day out, to build Colorado , the publicity work of the Denver and Rio Grande occupies a place of the first importance. The Globe which won the gold medal at San Francisco was designed by a Denver artist, Fitch B . Fulton, and was built by Denver workmen. A detailed account of the Globe was published in the May 27 issue of ‘The Commercial.’ More than two thousand persons pass through the Globe daily, where are presented most effectively exhibits showing the attractions and resources of Colorado” (page 2).
On July 2, 1915, “The Record Journal of Douglas County” reported, “This unique exhibit, which has attracted so much attention, was designed by a Denver artist, Mr. Fitch B. Fulton. Mr. Fulton is well known to the citizens of Denver by his gigantic horse erected across Champa Street for the Knights Templar Conclave in 1913 and his equally famous elk erected on the occasion of the B.P.O.E. Reunion last year. “The Globe” was not only designed by a Colorado man, but it was constructed by Colorado workmen, who were sent to San Francisco to erect the structure. Within the Globe are twelve models, one bas relief and three mural paintings of Colorado subjects, which have in reality taken the place of the state exhibit, and Colorado visitors refer to it as “our” world’s fair exhibit.” (page 1).
Fulton’s success prompted a move to California in 1916. By 1918, Fulton was listed as a scenic artist in the Los Angeles Directory, working for the Edwin H. Flagg Scenic Co., 1638 Long Beach Ave. Fulton’s WWI draft registration card that year noted his physical appearance as short and stout, with black hair and brown eyes.
In 1920, The Fultons were at 1510 Mohawk Street and the Hurtt’s at 1518 Mohawk Street. That year Fulton partnered with J. D. Martin and Wm. T. Martin to establish the J. D. Martin Scenic Co., Los Angeles. It was listed in the Incorporations section of “Southwest Builders and Contractors” on Feb. Feb 1920 (page 30). The notice described J. D. Martin Scenic Co.: “Capital stock, $25,000; subscribed, $3,000; Directors J. D. Martin and Wm. T. Martin, 215 E. 25th St., and Fitch B. Fulton, 1519 Mohawk St.; Attorney: William Crop, 544 Wesley Roberts Bldg.
The 1920 US Federal Census also listed the Fultons living next to fellow scenic artist Arthur R. Hurtt and his wife Winnifred (58 and 55 yrs. old, respectively). This is another Chicago connection. Much older than Fulton, Hurtt was a very well-respected scenic artist, who shared the same Midwestern connections. Here is a little context for Hurtt from the nineteenth-century to give some context for this veteran artist over three decades later. On February 19, 1888, Hurtt was mentioned with several other well-known scenic artists in an article entitled “Stage and Scenery,” published in “The Saint Paul Globe” of St. Paul, Minnesota (page 10). In the section, “LOCAL AND GENERAL TALENT,” the article reported, Arthur B. Hurtt at the People’s Theatre, this city, is comparatively a young artist, having been painting scenery less than ten years, and a St. Louis paper is authority for his being one of the best young artists in the country. Mr. Hurtt is very retiring and modest young artist, a great worker and works rapidly He studies hard, is a close student of nature and has the true spirit of an artist, He has made a life study of trees and landscapes, his foliage being most natural, which is not at all easy to accomplish in scene painting. Being a good colorist, and draughtsman as well, his work is not often surpassed. Mr./ Hurtt came here from Chicago a short time before the opening of the People’s theater and has painted all the scenery used there except the drop curtain, which was let to a Chicago scenic firm owing to the rush of the opening.” In 1891, Arthur Hurtt assisted William P. Davis in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. Previously known as the Bijous Theatre, on April 11, 1891, “The Irish Standard” reported, “The stage has been enlarged and improved, new curtain and scenery being especially designed and painted by W. P. Davis, as assisted by Arthur Hurtt” (page 5). Hurtt was a big deal.
In 1922, the Fultons were living at 1545 Columbia in Glendale, California. That year he was credited with painting a landscape for California’s Pageant of Progress and Industrial Exposition. On September 4, 1922, the “Los Angeles Times” reported, “Camping styles for maid who crave to trade their skirts for knickers and steal away with rod and gun to fish and hunt have become distinctly a Los Angeles product. The best examples of this young Diana styles are on display at one of the most unique and effectively decorated booths on the exposition grounds. The Army and Navy camp shows a mountain woodland scene with a scenic background painted by Fitch B. Fulton, who received a gold medal at the Panama Pacific Exposition for the Gould Railway exhibit. He is a member of the California Art Club.” In 1922 Fulton’s stage settings for “La Golondrina (The Swallow)” at the playhouse in San Gabriel were also a hit. Throughout the 1920s, Fulton continued to primarily work as a scenic artist and designer, primarily focusing staged spectacles.
Throughout the 1920s, Fulton became increasing active in fine art shows. In 1923, he exhibited with the California Watercolor Society and on January 7 the “Los Angeles Times” reported, “Fitch Fulton’s ‘Wedding Dream’ is remarkably decorative in composition and color, it is permeated with delicate and refined beauty, it is a painted Epithalamium.” By 1925, some of Fulton’s painting were included in the first exhibition of the Artland Artists. On Nov. 1, 1925, the “Daily News” listed “Soboba Sycamore” by Fitch B. Fulton as one of the oil paintings on display (page 33). In 1926, Fulton’s artworks were part of the third exhibit of paintings by the Los Angeles Art Club (“Los Angeles Evening Express,” 3 September, 1926, page 17). That year, he also was the president of the Painter and Sculptors Club in Los Angeles. He continued to exhibit artworks whenever he could, but held off on a one-man exhibit until 1951. On April 29, 1951, the “Los Angeles Times” announced “Fitch Fulton Impresses.” (page 14). The article reported, “Fitch Fulton, now 62, has long been known here as a good landscape painter. Until his recent retirement from work for motion pictures, however, he was always too busy to prepare an exhibit. So, at 62 Fulton has his first one-man show. It consists of small oil landscapes, very sensitively recording things see by a poetic eye. This exhibit is on until May 7 at the Little Gallery, 626 N. Glendale Ave.” Here is a link to several of Fulton’s paintings now posted at invaluable: https://www.invaluable.com/artist/fulton-fitch-burt-h4a0zuidji/sold-at-auction-prices/
All the while, he kept working as a scenic artist, completing projects for a variety of studios and under his own name. The obituary of his father, J. B. Fulton, also provides a little insight into the Fulton family and suggests a possible falling out between Fitch and his father. On July 1, 1924, the “Beatrice Daily Sun” reported that J. B. Fulton was remembered as a pioneer physician, a native of Hillsboro, Ohio, who practiced medicine in Fairbury and Hammond, Illinois. By the end of the nineteenth-century. J. B. Fulton established Beatrice bloodhound kennels and shipped pedigree bloodhounds to all parts of the country, with his dogs winning prizes in Chicago, Kansas City and elsewhere. His obituary noted that he was survived by daughters: Mrs. W. W. Johnston [daughter Margaret] of Omaha; Mrs. Belle [Mary Belle] Burt of Los Angeles; Mrs. Hattie Samman of Boston, and sons O. P. [Oliver]; T.B. [Thomas], W.S. [William] and R.N. [Richard] of Beatrice, Nebraska. Fitch was not mentioned in the obituary at all, although he was alive and well in California. I have to wonder if he was estranged from his father during this time, or had a falling out with his family.
It was right around the time of his father’s passing that Fitch began working for Sosman & Landis. Between 1924 and 1925, Thomas G. Moses, Fitch B. Fulton and Harry E. Naile delivered scenery to several Masonic theaters. In 1924, Thomas G. Moses wrote, “Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we soon reached the 3rd Street Station just in time to catch a train for San Jose…It took us eight days to close a $7,000.00 contract.”
Moses was working closely with Fitch Fulton to land several Scottish Rite contracts that year. In addition to San Jose, California, their projects included Scottish Rite scenery for Fort Scott, Kansas and Pasadena, California. The Pasadena Scottish Rite project began on the heels of the Fort Scott Scottish Rite project, but it all started with Fort Scott, Kansas.
In August 1924, Moses wrote, “Fulton is now in Fort Scott getting ready for our big work. I bought a round trip ticket for a long western trip and started on the 16th of August arriving in Fort Scott on the 17th. Put in one day with Fulton, leaving on the 19th.”
Fulton was on site setting up the paint space in the theater and was already painting when Moses arrived for a day in Fort Scott. The two worked on a platform twenty-feet above the stage-left side of the theater. The project would be completed in spits and spurts that year.
After leaving Fort Scott and stopping in Salt Lake City, Moses arrived in Los Angeles on the afternoon of the August 22. He wrote, “Got busy immediately at Pasadena for ten days. As a final deal, I offered the Little Rock drops for $8,500.00, closed the deal and at Los Angeles for a big interior for the Consistory.”
So, while Fulton began the Fort Scott job, Moses landed the Pasadena job.
Moses returned to the Fort Scott Project that fall, finished the work with Fulton, and then headed back to Chicago. By November 1924, Moses wrote, “I must get back to Pasadena as they want to open on the 24th of February, so we put the house in perfect shape for cold weather and got our tickets via the D.R.G. through Colorado. Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we reached the 3rd Street Station just in time to catch a train for San Jose. Went to the Vendome Hotel and Mrs. Fulton came up. It took us eight days to close a $7,000.00 contract and get to Los Angeles where we spent two days, finally securing a fine apartment at the 159 S. Los Robles Avenue in Pasadena, where we will remain for two months. Had a delightful Christmas day at Walters.”
During this time, the Moses and Fultons became incredibly close. At the end of 1924, Moses wrote, “The last Sunday in the year we spent at the Fultons, where we enjoyed the day. As I had hoped a year ago, we are spending the winter in California and so far, we have thoroughly enjoyed it, as we have many winters in the past. “Even when Moses and Fulton weren’t painting scenery, they enjoyed social gatherings and sketching trips. The two were a generation apart, with Fulton in his 40s and Moses in his 60s. Both were skilled artists and greatly enjoyed plein air painting. Of one excursion, Moses wrote, “Walter, Fulton and I went out for a day’s sketching at Sycamore Rock near Eagle Rock. We had plenty of visitors. I found a vast difference between the far east and California as far as atmosphere is concerned. So, I was not as successful with my sketches as I had hoped to be.”
Later in 1925, Moses wrote, “We all enjoyed the many week-end trips, we took with wonderful lunches and good sketching grounds. Mrs. Fulton looked after the eats and she certainly did not overlook anything, as we were overfed and did not feel like sketching after the meal. We found some very good sketching down in Topanga Canyon, over towards Santa Monica and Flint Cliff. I would like to make an extended sketching trip out here, but I am very much afraid I will never be able to, as business will keep me from it as it has always done in the past. It has been very pleasant out of doors. Some days the sun was so hot that we had to get under a tree – pretty good for January.”
Moses and Fulton planned on preparing the used Little Rock scenery for installation and painting a few new scenes for the Pasadena Scottish Rite. In regard to the San Jose Scottish Rite…the groundbreaking ceremony for the San Jose Scottish Rite was announced in the “Salina Daily Index” on Feb. 20, 1924. The article reported, “Work on Scottish Rite Temple Progressing Rapidly.” The construction went quicker than the contract negotiations. Like most Scottish Rites at this time, discussions were drawn out until the last possible moment. This never worked well for either the scenic studio or client. In the end it everything was rushed through, greatly taking its toll on the artists and installers.
In 1925 that Moses recorded, “We finally received out contract back from San Jose after they had it a month, which settled the matter of our going there immediately after we completed Pasadena.” The San Jose Scottish Rite was scheduled to open at the beginning of May. That spring, Moses wrote, “I started for San Jose on March 27th and found Naile had everything in good shape. Fulton and I got busy immediately, got a good start and pounded away pretty steadily until April 18th”. It was at this point, however, that Moses was rushed to hospital by Dr. Moore and Fulton. He wrote, “All through my illness, I had to keep work going and had to ask the Madam to see that the salaries were paid and the work at the Consistory did not stop. It was opened on time and we were through on April 27th, a few days before my second operation.” Moses’ second operation was on May 1, 1925, with him recovering at the hospital all month. He was not released until May 30. Fulton held down the fort for Moses during his absence.
The San Jose Scottish Rite Temple opened on May 8, 1925. On May 10, 1925, the “Oakland Tribune” announced, “Masons Dedicate San Jose Home.” The article reported, “Formal dedication of the new $450,000 San Jose Scottish Rite Temple was made last evening with Sovereign Grand Commander J. H. Cowles, highest ranking Mason in the United States, as guest of honor. The dedication ceremony followed a banquet in honor of Cowles and Sovereign Grand Inspector W. P. Filmer. Scottish Rite Masons and their ladies only were in attendance, and the big new temple at Third and St. James streets was packed to capacity for the rites.”
By 1926, Fulton returned to primarily working at J. D. Martin Studios in Hollywood. In 1927, Fulton was credited with the scenic design for the “Devil’s Plum Tree” with J. D. Martin Studios executing Fulton’s designs. By the 1930s, Fulton transitioned to working more with visual effects for film. The IMDb credits Fitch Fulton as a matte painter for “The Enchanted Cottage” (1945), “Citizen Kane” (1941), and “Gone with the Wind” (1939). Fulton was also listed as technical staff for “Mighty Joe Young” (1949), credited with special effects for the film. Again, this is no surprise, as Fulton was intimately familiar with engineering special effects for the stage.
The 1930 US Federal Census listed Fulton as an artist in the “theatrical” industry, living with his wife and daughter. At the time, Bernice Fulton was working as a high school teacher. After she attended public schools in Glendale, Bernice graduated from U.C.L.A. and continued her art education in Europe. She married in 1932, the “San Bernardino Country Sun” reported, “Miss Fulton has been a teacher in the art department of the Belmont high school, Los Angeles, for five years, being a graduate of U. C. L. A. and also studies in Europe. Her father was the artist painting the curtain in the municipal auditorium in San Bernardino.” That year, Fitch and his wife were living at 1545 Columbia, with Fulton still listed as an artist in the “Glendale City Directory.”
In 1935, Fulton was recognized at the Palos Verdes Art Gallery, receiving a purchase prize. Throughout the late-1930s. Fulton’s easel art continued to gain recognition. In 1938 and 1941, he received gold medals from the Painters & Sculptors Club of Los Angeles. Fulton is also included in Eda M. Hughes publication, “Artists in California, 1786-1940.”
The 1940 US Federal Census listed Fitch and Anna Fulton living in Los Angles, with Fitch listed as an artist in the “studio” industry. Fulton’s WWII Draft Registration card listed his employer as David O. Selznick of Culver City, California. By now, Fulton’s son, John Fulton, was listed as the person who would always know is address. During this time, John Fulton was employed at Universal Picture Corp. in Los Angeles, California.
In 1941, Fitch’s wife Anna passed away. On April 7, 1941, their hometown newspaper reported, “A message was received here yesterday announcing the death of Mrs. F. B. Fulton, formerly of Beatrice, which occurred at Glendale, Calif., where she had resided since leaving this city. She has been in failing health for a year or more. Surviving are her husband, who has long been connected with the scenic department of the movie colony in Hollywood, one son John, who is also with the movies as a production representative and a daughter, Bernice” (Beatrice Daily Sun, page 1).
Fulton remarried the next year. In May 1942, he wedded to Mary Ann “Mamie” Davlin (1890-1994). Mary is quite interesting in her own right, as she was purportedly the first woman in the United States and Canada to become a freight router. Mamie was the daughter of Henry Davlin and Jennie Evans. A native of Plankington, South Dakota, she spent most of her adult life in Los Angeles, where she attended Heald Business College. This was Mary’s second marriage too; her first husband was Frank Lawrence Pitney. Mary also had a son from her first marriage named Oliver Pitney.
Fitch Fulton passed away on Feb. 23, 1955 in Glendale, California and is buried at Mission Hills, Los Angeles, California. His obituary was published in the “Los Angeles Times” on Feb. 25, 1955. It announced:
“Fitch B. Fulton. Rosary for Fitch B. Fulton. 75, who died Wednesday at his home, 5128 Glenwood Ave., La Crecenta, will be recited at 8 p.m. Sunday at the Crippin Mortuary in Verdungo City. Requiem Mass will be celebrated at 10 a.m. Monday at the Holy Redeemer Church, Montrose. Interment will follow in San Fernando Mission Cemetery. Mr. Fulton, who first came to California in 1913, was a designer and artist. He leaves his widow Mary; a daughter Mrs. Krutchfield Ahair, Santa Barbara; a son, John P. Fulton, North Hollywood, and four grandchildren” (page 36).
His second wife Mary long out lived Fitch, passing away in 1995 at the age of 104. Mary was buried next to her husband in San Fernando Mission Cemetery. Fulton was one of the few not to be buried in the family plot in Beatrice.
Today, Fulton is primarily associated with one particular painting – his matte painting of Tara from “Gone With the Wind.” Measuring 36 inches by 31.5 inches, it was used under the films’ opening credits. In 2013, CBS reported on a Hollywood Memorabilia Auction, where Fulton’s painting was sold for $225,000. (https://www.cbsnews.com/pictures/hollywood-memorabilia-auction/). The 2010 sale price was $32,500: https://www.icollector.com/Original-Fitch-Fulton-master-painting-of-Tara-from-Gone-With-the-Wind_i10030554.
Fulton originally gifted the painting to his son, John P. Fulton, inscribing on the lower right corner, “To John from Dad.” His son John P. Fulton ended up in special effects for the motion picture industry, starting out as a cameraman. As previously mentioned, John P. Fulton was also active in the film industry. Much has been written about John’s contribution to cinematic effects. By the 1940s, John worked for Universal Pictures Corp. “The Wild and Wonderful World of John P. Fulton. A Look back at the magical creations and unforgettable visual effects of virtuoso special effects master John P. Fulton, A.S.C.”: http://nzpetesmatteshot.blogspot.com/2010/08/wild-and-wonderful-world-of-john.html. Sadly, John passed away only a decade after his father. In 1965, he contracted a rare infection while working on a film in Madrid, Spain (“The Battle of Britain”), and passed away in an English hospital.
To be continued…
