Category: Scenic Studio

Travels of a Scenic Artist and Scholar. Thomas G. Moses, Lemuel L. Graham and the Kansas City Scenic Co.

Copyright © 2020 by Wendy Waszut-Barrett

Lemuel Laken Graham. From “The Brooklyn Daily Times,” 29 Dec. 1914, page 12.

For quite a few years, I believed that the history of the Kansas City Scenic Co. was integrally linked to L. L. Graham. Lemuel Laken Graham was a friend, fellow scenic artist and one-time business partner of Thomas G. Moses. Moses credited Lem Graham with the founding a scenic studio in Kansas City sometime during 1884. I mistakenly believed this studio was Kansas City Scenic Co. Fortunately, I was able to connect several dots while preparing a series of documents for the Tabor Opera House in Leadville, Colorado; this venue boasts a 1902 Kansas City Scenic Co. collection.

In 1882, Moses and Graham established the scenic studio Moses & Graham. The partnership only lasted until 1884 when Graham moved from Chicago to Kansas City, founding another scenic studio – Graham & Davis. This partnership was also short-lived, lasting only two years, but Graham continued a studio under his own name, Lemuel L. Graham. In 1888, one of the artists in his employ was Benjamin F. Dunn, future president of the Kansas City Scenic Co. and childhood friend of later studio founder, John C. Bronaugh. Bronaugh was listed as a Butcher, working at 2018 Grand ave. and residing at 2006 Grand Ave that same year.

I have to wonder if Graham’s scenic studio was known as the “Kansas City Scenic Co.” but he never officially registered or advertised the business as such.

Back to 1882. In that year Moses recorded that when the theatre season closed, he left his position at Sosman & Landis to partner with Lem Graham, I am focusing on the life of Graham today.

Little is known of Graham’s early years, other than he was born in Michigan, about 1850, although some sources list his birth year as early as 1845. Like Fred Megan, Jesse Cox, and many other scenic artists, Graham began his theatrical career as a performer in a touring company. In 1888, “Industries of Kansas City: historical, descriptive, and statistical” included a section on Graham, reporting, “Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years.” This suggests that Graham’s first theatrical work was in 1863. Regardless of his start date, by 1870, an “L. L. Graham” was touring with J. A. Lord’s Chicago Dramatic Co. Graham played the role of Sir Charles Marlowe in “She Stoop’s To Conquer” that year. Starring Louis Lord, his company toured throughout Kansas. (“The Daily Commonwealth,” 7 Jan. 1870, page 2).  By the fall, Graham was performing in “Frou-Frou” alongside Mary Graham (The Leavenworth Times, 22 Nov. 1870, page 4). It is unclear whether Mary was a relation or his wife.

By 1871, the “Junction City Weekly Union” mentions Mr. L. L. Graham is a performer in “The Ticket-of-Leave-Man.” Advertised as a “modern play,” Graham was credited with personifying “Jem Dalton,” the tiger. The newspaper announced he “did it well,” adding, “He is a young man of talent, and we believe a true artiste” (4 Feb, 1871, page 3). Few things make me smile, as thinking of a future scenic artist and studio founder dressed up as a tiger.

In 1872, Graham again appeared with Louie Lord’s Dramatic Company in their production of “Our American Cousin” (Daily Commonwealth, 12 Jan. 1871, page 4), as well as a touring production entitled “Buffalo Bill.” This production is a little confusing, as it was advertised as a “Kansas romantic aboriginal spectacular specialty,” not really a spectacle featuring William Cody, the actual “Buffalo Bill” (Daily Commonwealth, 8 Dec. 1872, page 4). Something happens by the mid 1870s and 1880s, causing Graham to transition from a performer to a scenic artist. The 1888 publication, “Industries of Kansas City: historical, descriptive, and statistical” included a section on Graham, report, “His first experience in the school of art was had at McVickers’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans.”

On September 17, 1875, the “Times-Picayune” reported, “opening of the Amusement Season. – The Academy of Music, always first to open and last to close, has been entirely renovated, a new proscenium and ceiling put up, which is being decorated by Mr. L. L. Graham, the Academy’s scenic artist, who, by-the-by, showed us some fine specimens of his art during the last season, repainted all over, new carpets, and other modern improvements” (New Orleans, page 1).

Later that fall, the “New Orleans Republican” reported that L. L. Graham painted the drop curtain for Bidwell’s Academy of Music,“representing Tasso at the Court of Ferrara. Graham’s new drop was to be “unrolled for the first time” on Sunday October 10 of that year (October 16, 1875, page 1). By winter, Graham was mentioned again in connection with the Academy of Music’s scenic attributes: “The truly sublime piece of scenery in the transformation scene is the handiwork of Mr. L. L. Graham, the skillful artist, who gets up some very grand effects, and it riveted the gaze of the spellbound audience” (26 Dec. 1875, age 1).

By the beginning of 1876 the “Times-Picayune” reported, “ACADEMY OF MUSIC. –  To-night there will be a change of programme at this theatre in “Dead to the World” in which Mr. France will appear a Philip Warwick, Flip, a negro, and Aunt Hannah. The drama is described as “replete with thrilling effects, exciting situations, startling tableaux,” but no Indians. The play appears to have achieved a remarkable run of twelve weeks at the London Grecian Theatre, which would lead us to the conclusion that there is much merit in it. At all events the public will have the opportunity of judging to-night. The play will be ornaments with new scenery from the brush of Mr. L. L. Graham, whose handiwork has ere now received its need of popular applause.” (New Orleans, Jan 20, 1876, page 8). Graham remains associated with the Academy of Music during the 1870s before moving to Chicago and working with another well-known scenic artist, Henry C. Tryon. Both would later work at Sosman & Landis in the 1880s.

In 1876 Graham partnered with Tryon to deliver a new drop curtain and stock scenery to an opera house in South Bend, Indiana. An article in the “Southbend Tribune reported, “L. L. Graham of the academy of music in 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, 1876).  This seems to be a turning point, as Graham becomes increasingly connected with the Chicago theatre scene.

By 1881, he was working at the Academy of Music in Chicago. Enter Thomas G. Moses who is a young artists working at Sosman & Landis. In fact, Moses is the first employee that Joseph Sosman hires and the two go on the road, completing one project after another secured by Perry Landis. Between trips in Chicago, Moses looked for a second job as his finances are stretched thin after the birth of another child. Moses secured a part-time position with Graham at the Academy of Music. The two were painting for the Academy’s stock company, the same stock company that included Moses’ sister Illie who is an actress [Illinois Moses]. By the way, in 1882, Graham is listed as an artist residing at 230 West Washington in the Chicago Directory.  Graham was also listed as the scenic artist at the Standard Theatre in Chicago; this is before partnering with Moses to form the new scenic studio Moses & Graham. Of the partnership, Moses wrote, “We got together and I quit the firm after refusing a big salary – that is, for me.  Our first contract was at Kalamazoo, Michigan.  The Academy of Music.  We worked night and day.   I did all the foliage and I was astonished. On seeing my stuff set, to see how I improved.

The Academy of Music in Kalamazoo, Michigan, was a 1250-seat opera house located on South Rose Street. The venue was directly across from Bronson. John McCullough’s “Virginius” was the opening production at the venue. The theater owners wanted to make it a big affair, so they paid Graham and Moses “a good price” for special scenery to accompany the production.  Moses noted that they were all Roman scenes, recalling, “We spread ourselves and it was very pleasant work.” 

After Kalamazoo, Moses and Graham completed a project in Grand Rapids, Michigan for Redmond’s Opera House, also built in 1882. The venue was later known as the Grand Opera House. While in town, Moses recalled that Graham fell in love with the head waitress at his boarding house; the two later married on Nov. 20, 1884.  Her name was Elizabeth “Lizzie” West (b. 1860), and of her Moses wrote, “she proved to be a good wife and good mother.”  The Grahams celebrated the birth of two children, Rachel Elizabeth (b. 1892) and Revard Parker (b. 1895),

Now, this was at least the second marriage for Graham, if you read everything listed in the newspapers and between the lines, he was married a few times.  His first marriage ended in divorce during 1870, Chicago. We know this because the original divorce decree was destroyed during the Chicago fire. On April 17, 1884, the “Inter Ocean” reported, “Martha Elizabeth Graham of Cumberland, Maine, filed a petition in the Circuit Court yesterday for the restoration of a decree of divorce. The decree was rendered against her on Nov. 30, 1870, in the Circuit Court of Cook Country in favor of Lemuel L. Graham and was destroyed by the great Chicago fire.”  (page 8). That same year, a Lemuel L. Graham also severed marital ties to Nellie H. Graham, as reported in the “San Francisco Examiner.” On Oct. 28, 1884, “Judge Maguire has granted Nellie H. Graham a divorce from Lemuel L. Graham, willful neglect and desertion.” Interestingly, both of these events occurred the same year he eventually married Lizzie. By 1889, Lizzie was working as a seamstress.

Back to Moses & Graham in 1882… After completing scenery for the two opera houses in Kalamazoo and Grand Rapids, the pair traveled to Elgin. At this time, John H. Young also joined their team. Young would become one of the top Broadway designers in the first decade of the 20th century. Of  Young in 1882, Moses wrote, “He was then working as a candy concern, but was delighted to join us.”  Moses had previously worked with Young in Michigan during the 1870s. I have written extensively about Young, see past posts 140, 171-173, and 186.

Moses, Graham and Young next worked on a project in Racine, Wisconsin, where they painted scenery for the Black Opera House. By this point, Moses wrote, “Graham and I were doing much better now and we had two good jobs at the same time.  He was a regular Shylock, a good fellow and a hard worker, but altogether too close to please me.” I am not even going to hazard a guess to his comment, but the two soon split; Graham and Young departed for Hannibal, Missouri, leaving Moses alone to finish the Racine project.  

By 1883, Moses & Graham went after a project in Oshkosh, Wisconsin. Sosman & Landis were also competing for the same work. Of the encounter, Moses wrote, “I met Mr. Landis there.  I got the contract.  We rode to Chicago together and met Mr. Sosman on our arrival.  We were offered $45.00 a week.  I wired Graham at Burlington.  He answered $50.00 and extras.  We closed for that.  I had Oshkosh to finish, which I did and May 1st found Graham, Young and myself back on Clark Street at the Sosman and Landis Studio.” Graham remained at Sosman & Landis until 1884.

In 1884 Graham partnered with a “Mr. Davis” to establish a scenic studio in Kansas City, Missouri, named Graham & Davis (Sioux City Journal. 9 May 1885, page 3). According to the newspaper accounts, Davis married Cora in 1884. He only remained with the company for two years before withdrawing and moving to Chicago. He was listed in the 1887 Chicago Directory, living at 850 W. Madison and working as a scenic artist. I believe that this was the same William P. Davis (b. 1855), who later worked at the Chicago Auditorium and established the Twin City Scenic Co. in Minneapolis, Minnesota. Davis moved to Minnesota in 1894 and was listed in the St. Paul Directory as the scenic artist for the Grand Opera House. Interestingly, Davis first worked for Moses in Richmond, Indiana, during 1881; Will Davis was Moses’ assistant at the time, just before Moses partnered with Graham.  All three were working in Chicago for Sosman & Landis.

A little more about Graham after 1884 tomorrow.

To be continued…

Travels of a Scenic Artist and Scholar. Tom Moses and Fred Megan of Sosman & Landis.

Copyright © 2020 by Wendy Waszut-Barrett

I explored the life of Frederick R. Megan yesterday. Megan was a salesman for the Kansas City Scenic Co. during the early twentieth century, selling a large scenery collection to the Elks Opera House in Leadville during 1902.

Fred Megan and Thomas G. Moses later purchased the name “Sosman & Landis” after the company closed in 1923. That year Sosman & Landis partnered with Kansas City Scenic Co. to production scenery for productions in Olathe, Kansas. The two companies had worked together over the decades, sharing both artists and designs. One example of their working together was the 1902 scenery collection delivered to Leadville, Colorado.

Note that scenery is credited to both Sosman & Landis and Kansas City Scenic Co. From the “Olathe Mirror,” Olathe, Kansas, 22 Feb 1923, page 3.

On February 22, 1923, the “Olathe Mirror” reported “Let’s Go Peggy” was using scenery Sosman & Landis, Chicago, and Kansas City Scenic (page 3).  by On March 1, 1923, the “Johnson County Democrat” announced that the Olathe American Legion production, “The Play’s the Thing,” used the scenery for the was by both Sosman & Landis and Kansas City Scenic Co. (Olathe, Kansas page 1).They continued to run the firm successfully throughout the decade, delivering scenery to the Oakland Scottish Rite in 1927.

From the “Olathe Mirror,” Olathe, Kansas, 22 Feb 1923, page 3.

Today’s posts, jumps ahead of my “Tales of a Scenic Artists and Scholar” timeline, but is being included to provide some additional context for the Tabor Opera House history.

Situated on the shores of Lake Merritt, Oakland’s Scottish Rite was a staggering $1,500,000 project. The painting contract alone for Moses was worth $36,000 (Oakland Tribune, 4 June 1927, page 3). Although this seems an exorbitant, it is on par with what Tabor spent for his opera house in Denver in 1881. Today, these projects would require an estimated $18,000,000.

From the “Oakland Tribune,” 12 Dec 1927, page 17.

On Dec. 12, 1927, the “Oakland Tribune” published the article, “Stage Setting and Scenery are Artistic.” The article lists the major players, Moses and Megan of Sosman & Landis, as well as their collaborative endeavor with the Western Scenic Studio. Moses designed the scenery and Megan designed the stage machinery. Here is the article in its entirety as it contains such valuable information, especially in regard to the description of the counterweight system:

“In keeping with the magnificent beauty of the new Oakland Scottish Rite Temple is the stage scenery and equipment installed by Thomas G. Moses, representing the Sosman and Landis company of Chicago. The settings exemplify the degrees of Scottish Rite Masonry and portray an oriental splendor whose style ranges from the Egyptian to the Assyrian, Persian, Gothic, Grecian, Norman Gothic, Babylonian, ending in the land of the Druids of Stonehenge, England.

“Moses bears the reputation of being the most sought-after scenic artist in America. Not only is he known for his masterful production of elaborate scenery and stage settings, but his own hand wields the brush in the majority of his creations.

Thomas Gibbs Moses (1856-1934) pictured in the “Oakland Tribune,” 12 Dec, 1927, page 19.

“Into the stage settings for the Oakland Scottish Rite Temple he has put the knowledge and ability of over fifty years of scenic production work.

“The richness of the stage settings concurs with the art of the ancient courts of Cyrus, Darius and Solomon, through the motif of the scenery is to provide a harmonious background for the colorful robes used in the Scottish Rite degree work.

“The ideas of members conferring the degree were combined with those of the designer. Al painting was done at the new Tempe were the designs could be discussed with the Oakland Scottish Rite officials. The excellent result of the cooperation is apparent in the finished work. Earl Sudderth and Lenn Harris, local artists, aided Moses in the actual painting of the huge settings. [In 1925, Robert Earl Sudderth was listed as a scenic artist working at the Western Scenic Studio].

“The scenery for the Oakland Scottish Rite Temple is the largest Masonic scenery ever to be painted according to Moses. The drops on the stage measure thirty by fifty feet while the average drop for this type of work measure but twenty by thirty-six feet.

“The canvas employed in this work is a heavy six-ounce duck tied to an iron pipe instead of wood. Moses started several months ago painting a complete set of new designs using a large neutral cyclorama, forty feet high and one hundred and thirty feet long, This is used as a background for many of the sets [this is exactly what he delivered to Fort Scott, Kansas a few years earlier].

“A special set of rigging was installed for the operating of the stage scenery. The rigging was designed and planned by Ned [sic. Fred] R. Megan, also of the Sosman & Landis company. Special concentration was given the arrangement and construction of the rigging as the commodious stage of the Oakland Scottish Rite Temple allows thirty-five drops to be raised out of sight, This allows plenty of space for high sets, This is the first Scottish Rite Temple to have wall slots, in which counterweight arbors travel without interfering with the operators. In the old system the operator’s hands were in constant danger f being injured by the counterweight frames. Steel sheaves, with ball bearings, the best tiller rope cable, Cuban bolt hauling lines, irons arbors with counterweights constitute the rigging equipment. Iron pipe battens are used in place of the old style wooden battens. The materials for this rigging was furnished by Oakland foundries. Patterns were shipped from the east while additional ones were made here. Megan was aided in this work by L. A. Abrott, of the Western Scenic studios.”  Larry Abrott, owner of Western Scenic Studios, was a member of the Oakland Scottish Rite. In 1908, it was A. O. Sterling and Bart Marlone who opened Western Scenic Studio and Stage Equipment Co. in the Grand Opera House of Des Moines, Iowa. On July 4, 1908, “The Billboard” announced the opening of the firm, adding, “They have a well-equipped studio and are prepared to turn out good work in the shortest time possible. The write wishes them success” (Billboard, 4 July 1908, Vol. 20, page 11). By 1929, Western Scenic Studios offices were located at 1527 Jackson St., Oakland. In 1929, the Sosman & Landis offices were located at 416 S. Kedzie Ave. in Chicago.

Now this article is a pretty big deal, as I cannot think of a comparable one that describes the rigging with this level of detail, the comparison of the old standards and new installation.

Advertisement in conjunction with the opening of the Oakland Scottish Rite, published in the “Oakland Tribune,” 12 Dec, 1927, page 17.
The Oakland Scottish Rite with scenery by Thomas G. Moses of Sosman & Landis.

To be continued…

Travels of a Scenic Artist and Scholar. The Tabor Opera House in Leadville, Colorado. F. R. Megan and the 1902 Interior Settings at the Tabor Opera House.

Copyright © 2020 by Wendy Waszut-Barrett

Horace Tabor’s financial fall in the 1890s resulted in the sale of his two prized possessions, opera houses in Leadville and Denver.  The Tabor Opera House in Leadville briefly became known as the Weston Opera House before J. H. Herron purchased it. Herron immediately sold the property to the Benevolent and Protected Order of Elks who renovated it.  The fraternal organization began a massive building renovation in 1901. The $25,000 renovation by the Elks included a new stage with fly loft and enlargement of the auditorium. There were also many cosmetic changes made to the interior décor that included an elk’s head mounted on the proscenium wall. Gone was the original painted décor and characteristic of the 1870s theater.

The 1902 scenery collection delivered to the Tabor Opera House included at least six interior sets: two center door fancies, two plain interiors, a prison, and a Baronial Hall. Over the years, I have encountered dozens of examples of interior settings, especially in social halls and smaller venues. However, I have never encountered any on such an elaborate setting as at the Tabor Opera House. Not all interior sets at the Tabor Opera House are of the same quality, being produced by two different studios. The green gothic interior and yellow center door fancy are some of the best scenic art examples that I have encountered to date. They are products of Sosman & Landis, a firm subcontracted by Kansas City Scenic Co. in 1902.

1902 setting at the Tabor Opera House painted at the Sosman & Landis studio in Chicago, subcontractor of the Kansas City Scenic Co.
1902 setting at the Tabor Opera House painted at the Sosman & Landis studio in Chicago, subcontractor of the Kansas City Scenic Co.

Both firms shared work and artists over the years, but in was F. R. Megan, the Kansas City Scenic Co. salesman, who secured the Leadville contract.

Kansas City Scenic postcard.

I am going to start F. R. Megan. Frederick Rishel

[sometimes noted as Richell]

Megan was born in Galesburg, Illinois on May 5, 1873. His father was Dr. John W. Megan, an Irish immigrant, and his mother was Cornelia Wookey, a native of New York; they were married in 1871 in Knox, Illinois. [I have to admit, reading “Cornelia Wookey” makes it difficult not to think about “Star Wars”].

The first mention of Frederick R. Megan is in an 1896 Kansas City Directory; his listing notes “trvlg” [traveling] and rmg [rooming] at 1021 McGee. In 1897 Megan was performing and touring with the Barrett & Barrett Company (“Leonardville Monitor,” Leonardville, Kansas, 2 Dec. 1897, page 8). By 1900 the US Census lists Megan’s wife as Thenia Jones, born in Carroll, Arkansas around 1877. The couple was married in Jackson, Missouri, on April 14, 1898, likely while Megan was touring. The transition from performance to technical theater is not a great leap, as many 19th century touring companies required their performers to complete backstage tasks, including scene painting. Jesse Cox is only one example of a performer who ended up enjoying a successful career as a scenic artist.

On July 19, 1900, Fred and Thenia Megan celebrated the birth of their daughter, Anabel L. Megan; all were living in Kansas City, Missouri.

Megan continued to appear in the Kansas City Directory until 1918, with his first listing as Kansas City scenic Co. salesman in 1903. However, we know that he was already with the company in 1901, as newspapers published his association with the firm.

From “The Kansas City Catholic,” 6 July 1892, page 2.

In 1903, however, Megan established his residence at 507 Monroe, where he would continue to reside from for over a decade before moving to 4136 Warwick Boulevard. Although he continued to be listed as a traveling salesman for the Kansas City Scenic Studio Co. by 1920, Megan was listed as Government Supervisor. Many scenic artists worked for the government on painting projects during WWI, especially in regard to the development of camouflage painting. The 1920 US Census listed Megan and his wife Thenia as living a 16th Street in Washington, D.C., although Kansas City Directories still included their entry. 

Megan’s 1918 WWI draft registration card describes him as tall and medium build, with blue eyes and grey hair. He was 45 years old at the time. On his draft card Megan listed his occupation as traveling salesman for the Kansas City Scenic Co,, located at 24th and Harrison Streets in Kansas City, Missouri.

And then there is Megan’s connection to Thomas G. Moses. After the death of Joseph S. Sosman in 1915, Sosman & Landis stockholders elected Moses company president. He was a gifted artist and charming salesman, but was not intricately connected to the same theatre and Masonic networks as his predecessor. The company started to slip, losing projects to smaller companies with the necessary connections. In the post-WWI years, Moses began to realize that Sosman & Landis would not survive. By 1923, Moses wrote, “On our return to Chicago we had a little chat with Fred Megan about buying into the company and getting Hoyland and Lemle out. D.S. Hunt is also bobbing about for the lease of the studio.”  It is this connection with Megan that has always peaked my interest.  Megan was the consummate salesman, having entered the studio scene early in his career. The opera house in Leadville was one of his first big projects for Kansas City Scenic Co. that brought in Sosman *& Landis as a subcontractor.

In 1923, Megan and Moses teamed up and leased the old Fabric Studio in Chicago while they waited to purchased the Sosman & Landis name. By 1924, Megan was on the road most of the time, with Moses making models in his studio and painting scenery. This is how Sosman & Landis had most successfully operated since the beginning- with Landis on the road and Sosman in the studio. Now Megan was on the road and Moses was in the studio. Moses  and Megan would close the contract for the Salt Lake Consistory scenery [Scottish Rite] during 1926. They would also deliver scenery to the Oakland Scottish Rite in 1927 under the name of “Sosman & Landis.” Moses and Megan continued working together until 1931. In 1933, Megan was listed as the Sosman & Landis manager in Chicago, residing at 819 Dobson in the Evanston, Illinois, Directory.

At the time of Megan’s passing on April 16, 1946, his “usual occupation” was listed as that of a “paint contractor.” At the time of his death, he was married to Edith Wilkson and was living in La Joya, Texas. The cause of his death was a heart attack.

To be continued…

Tales from a Scenic Artist and Scholar. Part 890 – Philadelphia’s Globe Theatre, 1914

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Got an early start on the Globe Theatre, Philadelphia, for New York Studios.”

Two years earlier, Moses wrote that he also painted a New York studios set for “a new theatre in Philadelphia, the Globe.” New York Studios was the eastern affiliate of Sosman & Landis, founded and run by a one-time employee David H. Hunt. Hunt was a theatrical manager, as well as scenic studio founder. In the 1890s he convinced Sosman and Landis to establish the theatrical management firm of Sosman, Landis & Hunt.  By 1910, Hunt convinced Sosman to invest in New York Studios, run by Hunt and his second wife, Adelaide.

In 1914, the “Philadelphia Inquirer” reported, “New Globe Theatre to Open Tomorrow” (May 31, 1914,  page 25). Located on the corner of Market and Juniper Streets, the seating capacity of the Globe Theatre was 2000, with a stage, “equipped with every modern improvement in the line of gridiron, lighting devices, scene shifting apparatus.”  The article noted that the stage also had a clearance of 30 by 50 feet, noting that the Globe Theatre was “located in the shadow of City Hall and in the heart of the business section.” It provided “a suitable place for those who, with business finished still have an hour or two to while away recreation before taking a train for home” (31 May, 1914, page 9). Of the theater, “The Globe stage is large enough to accommodate the most pretentious of vaudeville acts and the acoustic properties are such that in every nook and corner of the building the audience will have no difficulty in hearing as well as seeing all that is transpiring on the stage. A competent orchestra under the direction of Charles Kitch, formerly of the Metropolitan Opera House, has been engaged and the orchestral effects will be supplemented by a $15,000 pipe organ.”

The new Globe Theatre featured vaudeville acts and motion pictures from 11:30AM until 11:30 PM daily.  “Continuous vaudeville” was to prevail at the Globe; with two complete shows every day. Prices for the matinees were 10, 20 and 30 cents, with loges and boxes at 50 cents.

From the “Evening Public Ledger” (Philadelphia, PA) 14 April 1915, page 9.

To be continued…

Tales from a Scenic Artist and Scholar. John Z. Wood, Scenic Artist (1846-1919)

Copyright © 2018 by Wendy Waszut-Barrett

For the past few weeks, I have been posting some of the scenic art designs by John Z. Wood; designs that he completed for the Twin City Scenic Co of Minneapolis, MN. Here is the fascinating tale of this primarily unknown artist. His artistic gifts were extraordinary and his life has been all but forgotten.

Designs by John Z. Wood in the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota. These designs are available online at https://
umedia.lib.umn.edu/
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Detail fo design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.
Design by John Z. Wood for the Twin City Scenic Co. of Minneapolis, Minnesota.

John Z. Wood was born in England and moved to London, Ontario as a small child. His family moved again when he was eleven years old, taking up permanent residence in Rochester, New York. Wood enlisted in the 1st Battalion of the New York National Guards, Light Artillery, on August 2, 1864 and served until his discharged on Nov. 22 of that same year. Returning to Rochester after the Civil War, Wood initially worked as a decorative painter at Lang’s Children Carriage Factory and then as a sign painter for Frank Van Doorn.

In the late 1860s, Wood joined a local art club called the Goose Grease Club, attending informal gatherings at the studio of William Lockhart in Rochester’s Palmer building. By the 1870s, Wood had opened his own private studio at the Baker building, sharing the space with Lockhart. Seth C. Jones later joined their studio. During this same time he also worked for the Mensin, Rahn, and Stecher Lithographic Co., later known as Stecher Lithographic Co. , known for its beautiful fruit crate labels and nurserymen crates. After becoming a fairly well- ecognized artist, Wood worked as an instructor for the Mechanics Institute in Rochester.

By 1872, Wood helped found the Rochester Sketch Club along with James Hogarth Dennis (1839-1914), J. Guernsey Mitchell (1854-1921), James Somerville (1849-1905), Harvey Ellis (1852-1904), and William Lockhart (1846-1881). Wood, however, was the instigator, organizer and promoter of the group. Within five years, club became the Rochester Art Club. In 1874, the Rochester Academy of Art, also emerged as an offshoot of the Rochester Sketch Club. The Rochester Art Club incorporated in 1882, with Wood not only serving as Treasurer (1877-1882), but also Vice President (1889-1891) and President (1894). In 1883, a newspaper review described Wood’s contribution to the Rochester Art Club. Of his oil painting depicting two boys fishing, the review commented, “It gives him opportunity to apply his knowledge of anatomical drawing and his skill in producing excellent color effects. It is one of Mr. Wood’s best productions” (Democrat and Chronicle, 20 May 1883, page 4).

For the Club’s educational oferings, a room was secured at the Rochester Savings Bank Building. This became their headquarters with a small faculty consisting of Horatio Walker (water color), James H. Dennis (oil), John Z. Wood (drawing), Harvey Ellis (composition), and Ida C. Taylor (painting).  By 1890, the Rochester City Directory  listed Wood as a designer.

However, in 1892 the Directory listed John Z. Wood as “removed to Chicago, Ill.” That year, Wood traveled to the Chicago World Fair with fellow artist James Somerville. Life was on the up and up, and it was around this time that Wood became a member of New York’s Salmagundi Club, the same fine art group that Thomas G. Moses joined in 1904. Their paths possibly crossed during the turn-of-the-century in either Chicago or New York.

The first mention of John Z. Wood as a scenic artist, however, is in 1889.  That year, he and Dennis Flood painted scenery for the H. R. Jacobs Opera House in Syracuse, New York. It was quite a lucrative contract and Flood would later be noted as Wood’s “life-time friend.” Newspaper articles noted that the pair painted not only a 25’ x 28’ drop curtain, but also the stock scenery. The drop curtain depicted an elaborate conservatory with a tropical garden view in the distance. Spending several weeks on site, they painted remaining stock sets that included a palace exterior, a fancy interior, a dark wood exterior, a classical garden, a rocky pass, a mountain landscape, a pastoral landscape, and a lakeside exterior. He dabbled in the theater while continuing to work as a fine artist, designer and art instructor, saving up what money he could.

Despite his success in fine art and some early theatre designs, Wood’s career hit a major obstacle in 1896 that resulted in a substantial financial loss. Wood had a financially devastating incident that involved his stepson Howard C. Tuttle, one that ended in family betrayal and subsequent financial ruin. Wood had known his stepson since he was born on Nov. 12, 1874. In 1875, Wood lived with the Tuttles; boarding with Charles, Nellie (Evalyn) and their newborn son Howard. It was short lived as Charles left Nellie, married his mistress Rosalie Graves and celebrated the birth of his second child Lillian that same year. Nellie and Howard C. moved in with her parents, Horace C. and Esther Rose; her father was a painter. Interestingly, Wood was now a boarder at the Rose home. Wood eventually married Nellie by 1886 and helped raise her son.

On July 30, 1896, Rochester’s “Democrat and Chronicle” reported, “Bad Predicament of a Young Man.  Horace C. Tuttle Spent the Money of His Parents.  His Arrest Followed.  The Man Represented to Them That He Wanted the Money to Engage in Business in New York – Taken on a Minor Charge” (page 9). Tuttle was arrested at Batavia on a charge of skipping a board bill and that’s when the truth came out about his financial antics.  The article reported that “Young Tuttle’s” home was at No. 17 Chestnut Street with his stepfather, John Z. Wood, who is an artist with a studio in the Reynold’s Arcade.”  In short, Tuttle became dissatisfied with “his small salary and the hard work he had to do” at Miler’s Piano Store and made up his mind to do business on a larger scale.  He unfolded to his stepfather and his mother the outlines of a plan that he said would make him speedily rich, telling his parents that he had been engaged as a traveling salesman with Newby & Evans, piano dealers in New York city, and that it would take some money to get started.  The cash was forthcoming and the young man departed for New York in high glee. He soon pretended to be a member of the firm, getting his foster parent to furnish even more money.  You can already see how this ends; the son doesn’t visit home, the parents get worried and contact his supposed employer, only to learn that their son doesn’t work there at all. In the end, the Tuttles lost $4,000, today’s equivalent $110,000.00 today.

This event was like let the instigator that prompted Wood to seek employment at theaters. At that time, being a scenic artist was a very lucrative profession, if one was good and fast. The substantial amount that one could make producing a variety of painted scenes was indicated in the business records of Thomas G. Moses. A good scenic artist was making today’s equivalent of 175,000-200,000 dollars a year.

In 1898, Wood was actively working as a scenic artist and painting scenery alongside Gates & Morange at the New Baker Theatre in New York City. He produced all of the exterior scenery for the venue, while Gates & Morange completed the borders, trips, and other specialty drops. Wood soon became an itinerant scenic artist and followed the work as theatres continued to spring up in the western United States and Canada. In 1901, the Rochester City Directory listed Wood as a “scenic painter.” By 1906, he also helped organize an association of Rochester painters known as the Picture Painters’ Club (Democrat and Chronicle, 15 Feb. 1901, page 8). The club was designed solely for working artists, similar to Chicago’s Palette and Chisel Club.

Wood began traveling throughout the country and working as a scenic artist for various theaters. He travels brought him to Winnipeg, Minneapolis, and Los Angeles. However, by 1907, Wood left Rochester, although the city directory continued to list him as a scenic artist there. For the 1908-1909 season, Wood was listed as the staff scenic artist at the Winnipeg Theatre.  Winnipeg was the northern terminus of the railway and provided an excellent opportunity for Wood to work. It also connected him to the Twin Cities in Minnesota. After painting for the Winnipeg Theatre, Wood journey to Minneapolis, Minnesota, and painted scenery for a variety of venues. Another Rochester Art Club founder, Harvey Ellis, had settled in the St. Paul, Minnesota, during 1886, working throughout the region for seven years before returning to Rochester.  Some of Ellis’ designs include the Mabel Tainter Memorial Building in Menomonie, Wisconsin, and Pillsbury Hall, at the University of Minnesota campus in Minneapolis (East Bank). 

It was in Minneapolis that Wood worked for the Twin City Scenic Company. Several of Wood’s designs for drop curtains are currently part of the Twin City Scenic Co. Collection, Performing Arts Archives at the University of Minnesota Libraries. The backs of some designs include the name Robert J. Mork, a salesman for the Twin City Scenic Co. A few of Wood’s paintings also have competitive scenic studio stamps and markings on the backs, such as the Great Western Stage Equipment Co.

By 1911, Wood was again living in the Rochester, with the Directory listing him as a “scene painter.”

In 1917 he was “recognized as a scenic painter for the Masonic Temple and other theaters in the city” (Rochester Art Club history records). His work was for the new 1917 Masonic Temple building that included a theatre on the third floor.

Only two years after his return to Rochester, Wood was reported as suffering from “cardio vascular renal” at the Sellwood hospital in Portland, Oregon, as reported by the “Oregon Daily Journal.” However, this would not be a contributing factor to his death two years later. In 1919, Wood’s name would appear in the newspaper one final time when he was involved in a motor vehicle accident. On November 13, 1919, George C. Newel caused the death of John Z. Wood, residing at No. 144 South Ave. Wood was hit by Newell’s automobile when crossing the street. The court ruled against Newell as he was driving too fast and unable to stop in time. Wood was only 72 years old.

The Rochester Art Club records that Wood was “known for his sense of humor, ability at mimicry, and telling a good story.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 862: Spencer J. Cox, Contractor and Stage Carpenter

Copyright © 2019 by Wendy Waszut-Barrett

James Cox established the first scenic studio in Estherville, not his younger brother Jesse. James was the proprietor of Cox Scenic Company throughout the first decade of the twentieth century.  A 1902 ad lists the Jesse Cox Scenic Co., but that advertisement was placed in a Minnesota newspaper. The Estherville scenic company was eventually associated with his Jesse Cox, and subsequently named the Jesse Cox Scenic Company.

Both James and Jesse were scenic artists, with James later primarily focusing on architecture later in his career. The boys’ father was credited with doing all of the carpentry work for the scenic studio.

Spencer J. Cox was born on July 1, 1847 in Mansfield, New York to James Cox and Aphia Webster. He married Julia Anne Hollenbeck (b. 1852) on August 15, 1870, in Grundy, Illinois. Julia was a fraternal twin and daughter of Justus Hollenbeck.  Jesse Cox’s birth name was also Justus, named after his maternal grandfather. Julia’s obituary noted, “To this union eight children were born: Mae, James, Ellry, Jesse, Viola, George, Spencer, and Chauncy Lee. I have not found any information about the girls or Spencer Jr. The couple’s five sons were James Cox (b. 1873), Justus Cox (b. 1878), George L. (b. 1882), Spencer Jr. (b 1884) and Chancy L. (b. 1888). In 1891, the couple moved from Seneca, Illinois, to Estherville, Iowa. After a prolonged illness, Julia passed away on February 4, 1919. Census records note that in 1921 Spencer remarried, with his second wife being Octavia DeVinney (nee. Octavia Turner).

At the time of Spencer’s death, his occupation was listed as a retired contractor. Spencer was also the last surviving member of the Vandenberg Post, G.A.R. The Grand Army of the Republic (G.A.R.) was founded in 1866, joining veterans of the Union Army, Navy, Marines, and the U.S. Revenue Cutter Service. Organized into hundreds of local posts across the country, it was America’s first veteran’s association. The organization’s founding principles were “Fraternity, Charity, and Loyalty.” By 1890, the GAR boasted a membership of 490,000 veterans, such as Cox who served in the Union Army (Co. F., 53rd Illinois Infantry). Spencer enlisted with his brother Patrick.

Grand Army of the Republic

On March 28, 1933, the Estherville Daily News reported, “S. J. COX LAST OF CIVIL WAR VETERANS DIES” (page 1).  The article also provided some interesting context for the Cox studio.


“Is Given Full Military Honors at Burial Today — Legion in Charge
S. J. Cox, last surviving member of Vandenberg Post, G. A. R. has answered his last reveille. He passed away early Sunday morning [26 March 1933] peacefully, closing his eyes on a long and useful lifetime. Mr. Cox would have been 86 years old on July 1. He was born in Cattaraugus County, New York State, and went to Illinois as a child with his parents. It was in 1891 when Mr. Cox came to Estherville as a contractor and builder. He was associated with his oldest son James for a number of years and later with Jesse Cox in the scenic studio, doing all the carpenter work for the stage scenery, which has been shipped by this studio all over the United States.
Entered Union Army at Sixteen. Mr. Cox was proud of his service in the Union army during the last years of the Civil war. He enlisted in Co. F. 53rd Illinois Infantry, in 1863, and served until the close of the war. He became a member of the Vandenberg post here, and was always ready and willing to take part in all patriotic observances. It was his wish that he be buried with military honors and that he wear to his last resting place the regalia he had worn on so many occasions. Mr. Cox while in failing health was up and about until a comparatively short time ago and took part in the last services for all his comrades in the local Civil war veterans’ post, and insisted on carrying the flag of his country for which he had fought so valiantly. Always happy to talk of his war experiences Mr. Cox could hold a listener enthralled for hours telling of his narrow escapes during the battles in which to took part. He marched with Sherman’s army to the sea, and took part in many of the engagements from Chattanooga to Savannah. Mr. Cox is survived by four sons Jesse of Estherville, George of Des Moines, Spencer of Ames and Chauncey Lee of Indianapolis, Ind. James Cox preceded his father in death and their mother died in 1918. Mr. Cox was later married to Mrs. Octavia De Vinney of Lansing, Mich., who survives. There is also one brother Charles of Arroyo, Calif. and one sister, Mrs. Mayme Colgrove of Wilmington, Ill., left to mourn his passing.”

The details of the funeral service were published:
“Burial Today. Flags in Estherville will float at half mast today in honor of Mr. Cox. Funeral services which will be held at one-thirty from the home on East Roberts street and at two o’clock from the Methodist Episcopal church will be in charge of Rev. W. A. Winterstein. Maurice Doyle Post American Legion and the American Legion Auxiliary unit will attend in a body.
A color escort will attend the services at the home and the Legion men will accompany the remains from the church to its burial place in Oak Hill cemetery where the salute will be given by the firing squad and taps blown. Pall bearers will be Dan Howard, C. J. Mathiesen, R. H. Green, Geo. Lyman, Vance Noe and John Lilley.”

A little more information about Cox was reported in the “Vindicator and Republican” (Estherville, Iowa, March 26, 1933). The obituary notice included a brief history about Spencer Cox original published on May 28, 1913.


“S.J. Cox enlisted at Ottawa, Ill., April 15, 1864, in Company F, Fifty-third Illinois Infantry. He was mustered out of service August 28, 1865. His company engaged in their first battle at Bentonville, N.C., and they saw service from that time on. They were with Sherman at Atlanta and fought in the many desperate battles around that city. They had one hundred days of almost constant fighting from Chattanooga, Tennessee, to Atlanta. At Kenesau Mountain, the battle of the Twenty-eight, and at Janesboro they saw some of the hardest service of the war. There were three members of this post that took part in the hard fought battle of Janesboro. From Atlanta Mr. Cox went with Sherman’s army to the sea and was with him to the end of the war. During the entire time in service Mr. Cox kept a record of the distance he walked and it is most surprising to think that a man could walk 3000 miles as Mr. Cox did. After the close of the war Mr. Cox went to Seneca, Ill., to live. He remained there about thirty years and moved to Estherville twenty-one years ago. Mr. Cox is a very energetic man for his age but has always been very hard of hearing since he came out of the service.”


To be continued…

Tales from a Scenic Artist and Scholar. Part 861 – James S. Cox, Scenic Artist and Architect

Copyright © 2019 by Wendy Waszut-Barrett

There were two Cox families working in theater during the late-nineteenth and early-twentieth centuries. Each included scenic artists, carpenters, and architects.

The Cox scenic art family in New Orleans included Frank, Eugene and Clark. Thomas G. Moses knew and worked with theatrical architect Tignal Franklin “Frank” Cox (1854–1940) during the 1890s. The three Cox brothers operated a scenic and fresco business known as Cox Bros. in New Orleans. It was also referred to as “Frank Cox’s Studio at New Orleans,” with Frank being the eldest and most experienced, leading the firm.  Thomas G. Moses and Frank were close friends and colleagues. Frank Cox’s studio had quite a large staff by 1891 and was located in the Grand Opera House.  Frank withdrew from the partnership in 1896, but the partnership continued to operate under the same name of Cox Bros., despite Frank’s public declamation that the firm was dissolved.  Eugene and Clark published a rebuttal, wanting to make it “thoroughly understood” that they would continue to operate the scenic and fresco business under the name Cox Bros. 

Frank Cox
Eugene Cox
Clark Cox

The Estherville Cox family is quite confusing all on their own. Four sons were born to Spencer and Julia in Estherville, three of whom were scenic artists, James S, Jesse M. and Chancy L. However, it was James who first entered the theatrical profession, going from scenic artist and manager to theatre architect and theatrical publisher. Their mother was a seamstress and their father was a carpenter. It was James, however, who was the enterprising instigator and founder of the Cox Scenic Company that became the Jesse Cox Scenic Co. after James’ passing in 1915.

James Spencer Cox was born in Feb. 19, 1873, in Brookville, Illinois.  In 1880, the US Census listed James living with his parents, Spencer and Julia, as well as his 2-year-old brother Justus. Justus would later become the famed Jesse Cox.

James’ artistic ambitions appeared flourished during 1892. He was teaching while working as a scenic artists and decorative painter. The “Estherville Daily News” reported, “James Cox is organizing a class of oil painters, and would be pleased to hear from all those wishing to take lesson. See specimen of work at Klopp’s drug store”  (14 Jan. 1892, page 13). That same year, the “Estherville Daily News” noted, “James Cox is painting some good looking scenery for the opera house” (21 April 1892, page 5). At the time, James was painting scenery for Stivers’ Opera House in Estherville. Cox would later design Lough’s Opera House in Estherville. By 1896, Julius Cahn’s Official Theatrical Guide listed James S. Cox as the manager and the recommended printer for necessary billposters. Cox managed the venue until 1899, when F. H. Rhodes took over as manager. Lough’s stage had a proscenium opening that measured 28 feet wide by 18 feet high. The depth of the stage was 28 feet from footlights to back wall. The stage to the rigging loft was 19 feet and the grooves could be taken up flush with the gallery.

Finally, James received the job of frescoing some of the rooms of Hotel Orleans at Spirit Lake the same year he worked as a scenic artist (Estherville Daily News, 16 June 1892, page 13). He was also playing gigs as a musician at this time with the Emmetsburg band; one was for the Palo Alto county fair (Estherville Daily News, 24 Sept. 1891, page 5).

His professional career also followed in his father’s footsteps, working as a contractor and builder and then architect and superintendent. He designed many buildings in Estherville, including the Lough Opera House (Estherville Daily News 13 Sep. 1894 page 5).  It was in the Lough Opera House that his younger brother Jesse first performed as an actor.

From the “Estherville Daily News,” 27 Sept 1899, page 10

The two brothers partnered on various business ventures in the 1890s. In a way, older brother James paved the wave for younger brother Jesse’s theatrical endeavors. In the mid-1890s, Jesse primarily worked as an actor or musician, but by the end of the decade he began focusing on scenic art. As James was working as a scenic artist in 1892, it was possible that Jesse learned much of his craft under his brother’s tutelage. 1896 Jesse was performing with the Trousdale Specialty Co. in Estherville (Estherville Daily News, 3 Sept. 1896, page 5). Cox was associated with this same troupe four decades later. As late as 1933, he was credited with still providing new scenery and settings for every play (Sioux City Journal, 22 Jan. 1933, page 11).

By 1895, James married Ada Grace Cavin (b. 1874). By 1910, James listed his occupation as an architect and Ada listed her occupation as a news reporter, likely a correspondent for the Opera House Reporter.

In 1897, the “Estherville Daily News” reported “James and Jesse Cox, who have been absent for some time with the Vitascope company, returned home Tuesday evening” (4 March 1897, page 21). Following the premiere of the Vitascope company in April 1896, Raff & Gammon’s Vitascope Co. began marketing the new product. In a sense, they worked as sales agents for the Edison Manufacturing Co. The Vitascope Co. did not last for long, its demise credited to several factors. For more information about this aspect, see “An Illustrated History of the Early Cinema;” here is the link: http://cinemathequefroncaise.com/Chapter2-1/CHAPTER_02_SOURCE_01.html

By 1898, James started a new business venture with his brother Jesse – the Opera House Reporter. By 1904 it was published by the James S. Cox & Co. of Estherville. Interestingly, there is a photograph of their newspaper shop included in the publication “Esther’s Town” by Deemer Lee. Keep in mind that all during the Vitascope adventure and the establishment of the Opera House Reporter, Jesse was still performing in vaudeville. Between 1898 and 1899, Jesse was part of Noble’s Theatre Co. (Estherville Daily News, 6 July 1899, page 21). The “Des Moines Register” reported, “Estherville, Iowa, has a theatrical journal called “The Opera House Reporter.” It is published by James S. Cox & Co., and has been in existence for several years. Its object is to provide a medium for the theatrical managers in the smaller towns in the northwest to air their views and vent their feelings, and judging from reports sent in, it fills an urgent need. Managers in small towns have particular cause for grievance over indiscriminate cancellation of contracts by traveling companies. This and other evils are treated with great candor, as the following communications to the “Opera House Reporter” will show”(6 Jan. 1904, page 5). A series of acts were described in great detail.

Interior of the Opera House Reporter included in “Esther’s Town” by Deemer Lee.

On Jan. 12 1906, “The Gazette” reported, “James S. Cox of Estherville, manager of the Cox Scenic studio, was here yesterday, putting in some new scenery at the C. S. P. S. hall. Mr. Cox is one of the largest makers of scenery in the west, giving employment in his studio at Estherville to nine scenic painters. There is a bare possibility that Mr. Cox may be induced to come to Cedar Rapids with his studio” (page 3). On Nov. 3, 1906, “The Courier” reported, “James S. Cox, representing the Cox Scenic company, of Estherville, is in the city today figuring on the scenic work for the new opera house. Mr. Cox says he may conclude to locate in Waterloo. E is well pleased with the city and believes it will prove a more advantageous business location than his present place of business. Waterloo is jut now the Mecca of opera house men, promoters, outfitters and architects, and there is something doing nearly all the time” (Waterloo, Iowa, page 5). By 1914, the “Iowa State Gazetteer and Business Directory 1914-1915” listed Jesse Cox as the proprietor of the Jesse Cox Scenic Company and James S. Cox as architect. Only James was listed in the 1912 directory.

On March 6, 1907, “The Gazette” noted, “James S. Cox of Estherville, editor of the Opera House Reporter, and proprietor of one of the largest scenic studios in the state, is here on business today” (Cedar Rapids, Iowa, 6 March 1907, page 2). James was still running both the Reporter and scenic studio. In 1910, the paper changed hands. The “Sioux City Journal” published, “Estherville, Iowa, Jan 10 – Special: The Opera House Reporter, a weekly theatrical journal, owned and published here by James S. Cox and company has been sold to Will H. Bruno, an actor, who has taken possession. Mr. Cox began the publication of the Reporter in Estherville fourteen years ago. Mr. Cox will remain in Estherville” (11 Jan 1912, page 4). “The Gazette” explained, “Mr. Cox began the publication of the Reporter in Estherville fourteen years ago next month, and has built up the paper from a little four page journal to its present size from twenty to thirty pages, with a circulation all over the United States and part of Canada. Mr. Cox will remain in Estherville as a theater architect, and will manage the Cox Scenic company. Mr. Bruno is a man well known in the theatrical world, having played in some of the largest companies on the road, and for the last four years has been with the Bruno attractions. He will move to Estherville and continue the publication of the journal at that place” (Cedar Rapids, Iowa, 13 Jan 1912, page 8).

James died in Estherville on July 29, 1915, predeceasing his parents and brothers. 

On August 7, 1915, newspapers reported the passing of James Cox (The Gazette, Cedar Rapids, Iowa, page 6).

Here is the notice:

“ESTHERVILLE ARCHITECT DIES AFTER LONG ILLNESS

Estherville, Iowa, Aug. 7 – After suffering from cancer of the stomach for over a year during which time he was treated by specialists at Rochester, Minn., Chicago and New York City, James Cox died at his home here last Thursday and was buried Sunday. Mr. Cox had been actively engaged in the building trade since youth and had won recognition as one of the best architects in the northwest. He had more than twenty public buildings, mostly schools under construction at different points in the state. For several years he was also engaged in the publishing business and was the founder of the Opera House Reporter, one of the leading theatrical magazines in the country, and was also associated with his brother in the Jesse Cox scenic studio. Practically all of the best business blocks and residences in Estherville were designed by Mr. Cox.”

James S. Cox is buried in Estherville’s Oak Hill Cemetery. After James’ death, Ada remarried Jesse Allen Easter, also of Estherville. She was 42 years old at the time. The couple was married on June 25, 1917, in Sibley, Iowa.

To be continued…

Tales from a Scenic Artist and Scholar. Part 860 – The Jesse Cox Scenic Co. of Estherville, Iowa

Copyright © 2019 by Wendy Waszut-Barrett

The history of the Cox Studio fits within the 1913 timeframe pertaining to Sosman & Landis scenic artist and studio vice-president, Thomas G. Moses (1856-1934). That year, the Jesse Cox Scenic Company was destroyed by fire. This was the first of two studio disasters, with the second occurring in 1936 when a tornado razed the building.

On March 8, 1913,  Des Moines Register reported, “Estherville, Ia., March 7 – Special! Fire destroyed the Jesse Cox scenic studio in twenty-five minutes. The blizzard from the northwest made the efforts of firemen unavailing. The loss in 2,000 with no insurance. Mr. Cox will rebuild at once. Mr. Cox has a national reputation as a scene painter” (page 12). By that fall, the studio was up and running again. The “Gazette” reported, “An interesting place to visit is the Jesse Cox scenic studio, where several artists are employed at painting scenery for opera houses and traveling theatrical companies and whose work goes into nearly every state in the union” (Cedar Rapids, Iowa, 15 Nov, 1913, page 7).

In 1916, the Jesse Cox Scenic Co. published and distributed a new sales catalogue. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin. I had the opportunity to photograph the copy a few years ago while doing some research and tucked it away until now.

1916 catalog by the Jesse Cox Scenic Company. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin.
1916 catalog by the Jesse Cox Scenic Company. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin.
1916 catalog by the Jesse Cox Scenic Company. A Xerox copy remains part of the John H. Rothgeb papers at the Harry Ransom Center, University of Texas – Austin.
Design by J. Cox at the Theatre Museum in Mt. Pleasant, Iowa.

The illustrated 1916 catalogue lists Cox’s second studio location in Estherville, located at 1221 East Roberts Street. A letter from the Estherville State Bank is included in the catalogue and notes that Cox’s firm has “trustworthy and honorable,” having been a client for 18 years. This means that Cox established a studio in Estherville during 1898. In 1898 Cox was also touring as a musician and comedian with the Noble Theatre Co. That spring, the Estherville Daily News reported, “Jesse Cox is here this week with the Noble Theatre Company. He is the same old Jes and his many friends here are anxious to give him the glad hand. The company has an excellent band and Jes, as baritone player, is in his element” (April 20, 1899, page 25). By the summer of 1899 “Jes” adds another feather in his cap and the Estherville Daily News reported, “During his vacation Jesse Cox is busily engaged at the opera house painting twelve complete sets of scenery for the Noble Theatre Co. He will join the company again July 29 at Cedar Rapids, Iowa” (20 July 1899, page 21).

As far as the Cox studio, it was a family affair. Brothers Jesse and James both worked as scenic artists, with James also working as an architect and owner/editor of the Opera House Reporter. James had even designed the Lough Opera House, credited as the location for the Cox’s first studio. Their younger brother George R. Cox (b. 1881) worked as a salesman for the firm in the beginning before striking out on his own (Estherville Daily News, 10, Nov. 1941, page 1). Finally, their father Spencer constructed much of the scenery over the years. His carpentry expertise brought a much-needed skill to the endeavor. Even Jesse’s son, Eugene, would also become a scenic artist for the firm.

By 1902, they firm expanded their scope, advertising in Minneapolis, Minnesota, newspapers for “a good pictorial sign writer” (The Minneapolis Journal, 6 Sept. 1902, page 13).

In 1907, the firm contemplated a move. The Des Moines Tribune reported, “Coming to Des Moines – Fred Buchanan is the authority for the statement that the Jesse Cox Co., of Estherville, will move to this city soon. They expect to erect a large studio for painting stage scenery, in addition to the continuing their theatrical publication, The Stage Reporter (14 Dec. 1907, page 8). The Evening Times Republican added Every opera house manager in the state will be interested in the statement that the Opera House reporter, the leading exponent of the theatrical profession in the west, will soon be moved to Des Moines from Estherville. At the same time, it is said, the big scenic studio of Cox & Company will be moved to the state capital. Some years ago, Jesse Cox & Company, or Estherville, commenced the publication of a small paper devoted to the interests of the opera house managers of the west. The new paper made a hit almost instantaneously, and has grown quite rapidly in recent years in both scope and usefulness. Messrs. Cox have at the same time built up a bog business in painting scenery for theatrical companies and many of the theatres of the west have been equipped from this studio. It is said that the Reporter as well as the studio have outgrown their present quarters and that the managers of both enterprises are seeking the facilities that a larger city will offer them and at the same time keep in touch with the constituency in the west and northwest” (Marshalltown, Iowa, 18 Dec, 1907, page 2). It is unclear whether the move ever took place, but five years later, they were in the same location.

In 1912, the Jesse Cox Scenic Co. was located in Estherville, Iowa. The next year the studio was destroyed by fire. But that didn’t stop the Cox brothers and they rebuilt.

By 1916, the 1916 Jesse Cox Scenic Company catalogue notes, “For over sixteen years we have made a specialty of equipping theatres and road shows with high grade and artistic scenery.” This places the establishment of the company in 1900. Of their work, they catalogue states, “We furnish everything complete to equip your stage or show and everything in the line of special sets and practical, knock down set stuff.  We furnish proscenium fronts for small theaters for less money than your local contractor can build them and they give an added attractiveness to your stage that cannot be obtained otherwise. These proscenium fronts are built to fit your building from wall to wall and from stage floor to ceiling, so no fitting is required in installing them in your theatre. They are durable and add much to the beauty of your theatre. In this catalogue we make no attempts to show a full line f our designs, but we have on hand hundreds of designs and photos of different scenes and will be pleased to mail you designs of any particular scene r setting you may require, or if necessary will make you a sketch in colors to meet your individual requirements.”

The catalogue also noted that the Jesse Cox Scenic Co. was the “only studio in Iowa designed and built exclusively for scene painting,” adding, ”Our studio is thoroughly equipped for turning out high grade work promptly and our artists are all men with years of experience in scenic work.

At this time, scenic studios began popping up all across the country.  Not everyone delivered quality work, and this fact was addressed in the 1916 catalogue. Under the heading “Cheap Work,” the catalogue noted:

“IF YOU ARE A LIVE ONE you don’t use the cheapest film service for your picture show, you don’t book the cheapest vaudeville acts regardless of ability, you aim to get QUATITY [sic.] at a price you can afford to pay. CHEAP SCENERY will just as surely disgust your patrons as cheap films or vaudeville. We give you QUALITY ALWAYS at the lowest possible price consistent with work that we can ABSOLUTELY GUARANTEE to please you. GET THE BEST at a price you can AFFORD TO PAY.”  Earlier in the catalogue, the firm advertised, “OUR GUARANTEE – We guarantee you prompt and efficient service and ABSOLUTE SATISFACTION in both workmanship and materials or your money back.” 

Copy of a tag posted on a set of wood wings at the Theatre Museum in Mt. Pleasant, Iowa.

To be continued…

Tales from a Scenic Artist and Scholar. Part 859 – Jesse Cox, Scenic Artist

Copyright © 2019 by Wendy Waszut-Barrett

Much has been written about Jesse Cox, the scenic artist purported to be the inventor of the Diamond Dye process for scenery. Cox’s obituary even credits the artist as the “originator of commercial dye painted scenery for theatrical productions.” His obituary details Cox’s process that involved mixing dye with warm water, making it “possible for scenery to be much lighter in weight and transported more conveniently.” I highly doubt that Cox was the first scenic artist to use commercial dyes on scenery, especially when looking at his birthdate and timeline. However, I do believe that he popularized the process, if only through sheer self-promotion.

Jesse Cox sitting in one of his sets. Image from Michael Kramme’s “Palimpset” article “Opera House Illusions: Jesse Cox and Theatrical Scenery” (Vol. 71, No. 4, pages 154-172).
Jesse Cox. Image from Michael Kramme’s “Palimpset” article “Opera House Illusions: Jesse Cox and Theatrical Scenery” (Vol. 71, No. 4, pages 154-172).

There is also no question that the Diamond Dye manufacturers would have been thrilled to have Cox as a poster boy for their company, however there is no clear evidence that suggests Cox was the inventor of the process. Even the Jesse Cox Scenic Company’s early twentieth-century catalogue makes no mention of their specializing in dye scenery or Cox’s reputation as the inventor of this unique scene painting process.  I have to wonder when the Diamond Dye process of painting scenery became specifically associated with this artist, as the earliest mention that I have uncovered to date is 1936. To all indications, Cox’s story was shared at a time when he was reflecting on his own history, and contributions to the world of scenic art. I am reminded of the erroneous credit given to Lee Lash for his invention of the ad drop. Over time, facts blur and history is carefully shaped by those who gain the most from its telling.

Here is a little background about Cox that was included in his 1961 obituary:

Jesse Matthew Cox was born on March 3, 1878, in Seneca, Illinois, the son of Mr. and Mrs. Spencer Cox. One of five sons born to the couple. His eldest brother was James, and his younger brothers were George, Chauncy and Spencer Jr. The family moved to Estherville in 1891. At the time, Jesse was at the age of 13 years old. Initially, he worked for his father, but soon became interested within the next three years, going on the road as an actor at the age of 16.  He initially toured with the [Warren G.] Noble Dramatic Shows of Chariton.  As many young performers involved with touring productions at the time, Cox also performed as a musician and assisted in other technical duties. It was while on tour that Cox became interested in scene painting, likely out of the company’s necessity for additional settings. There is no indication that he became a scenic artist by going through any traditional training or apprenticeship program.

After touring, Cox worked as an itinerant artist in Chicago, Minneapolis and St. Paul, spending several seasons in the Twin Cities. It is reported that Cox returned to Estherville to settle down, painting “great quantities of scenery” there and shipping much of it to California and Texas. Local newspapers cite that his return to Estherville coincided with the decline of demand for road shows. In Estherville, Cox started a scene painting studio in the old Lough opera house, the same venue where he once worked as a prop boy before going on the road with Noble. Cox had little luck with studio locations throughout the duration of his career, as the first was destroyed by fire and the second razed by a tornado. Cox’s third studio was located at 606 N. 12th St. There he worked with his son Robert, primarily making scenery for theaters and high schools, but also completed many sign painting projects. The firm’s business gradually expanded to include neon signs. His company continually diversified as the demand for painted scenery continued to decline. This was the case with most scenic studios that survived the Great Depression. In regard to neon signs produced by the studio, in 1942 the Estherville Daily News announced, “The Jesse Cox studio has been busy the past week building the first complete neon sign to be fabricated in Estherville” (22 Sept 1942, page 1). The sign was made for the Hossack Motor Company.

Cox’s scenic art and performance career was supplemented with entertainment news. He and his brother George established and edited the Opera House Reporter, an entertainment industry trade paper, from 1898 to 1907. In the greater scheme of things the establishment of the publication coincides with his development of the Diamond Dye process and touring on the road. The dates just don’t add up when compared to newspaper accounts. The Opera House Reporter included a variety of information, such as office reports from theaters and general theatre advertisements. The Cox brothers are also credited with running the first movie projector in the state of Iowa. They were quite an innovative and busy pair.

Of his personal life, Cox was twice married, first to Mabel Gerberick and second to Carrie Beaty in 1939.

Cox died at the age of 83, a longtime businessman and member of the Estherville City Council. His health was failing for some time, with his passing being attributed to the “complications of advanced age.” Cox was an active member with the Knights of Pythias and the Benevolent and Protective Order of Elks.  His assumed high offices in each fraternity, with achieving the Elk’s rank of Exalted Ruler.

Cox’s professional and personal memorabilia are on display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. Even his accordion is on display. The museum’s library includes an article written in 1990 by Michael Kramme for Palimpset, a publication advertised as Iowa’s popular history magazine (Winter issue). His article “Opera House Illusions: Jesse Cox and Theatrical Scenery” was included in Vol. 71, No. 4 (pages 154-172). Kramme credits Cox as “the inventor of a system of painting theatrical scenery that revolutionized the industry.” Unfortunately Kramme gives no specific technical information or dates to support this statement. Again, I question the legitimacy of Cox’s claim to fame as the inventor of the dye system of painting scenery.

The earliest mention that I encountered in my research describing Cox’s dye process is in an article from the Estherville Enterprise on 9 Sept. 1936 (page 2).  The article reports, “There is a very interesting story connected with the [Jesse Cox Scenic Studio]. Jesse Cox, the owner and operator, when a very young man was a trouper with Nobles’ Stock company for seven years. While following the road and assisting in handling massive curtains, Mr. Cox conceived the idea of painting scenery with diamond dyes. These could be folded and packed in a trunk and were much easier to carry. During the summer of 1899 Mr. Noble sent Mr. Cox to Estherville on pay and in the old low opera house, the young man designed and painted the first diamond dye scenery, now popular the world over. Later Mr. Cox closed with the Noble Company and started the business of scenery painting. He has shipped scenery to every state in the Union and from New York City to San Francisco can be found scenery labeled in the corner, The Jesse Cox Scenic Studio, Estherville, Iowa. The largest scene Mr. Cox ever panted was 24 x 150 feet for the Robinson Bro. Circus. Many of the largest traveling companies have used Mr. Cox’s scenery but the outstanding feature is the fact that he conceived the idea of diamond dye scenery which is now used extensively throughout the world.”

My research does not suggest that Diamond Dyes were that extensively used for scenery production in the United States at the time.

What I found interesting, however, is that the 1900 census lists Cox’s profession as “actor” and not “artist” or “scene painter,” as was the case with other scenic artists at the time. By 1900, he was editing the Opera House Reporter and supposedly running a scenic studio, as well as working in other cities throughout the Midwest.

In Kramme’s article he describes, “Cox developed and patented a process of painting scenery with heated dye rather than paint.” However, some of his scenery on display at the Theatre Museum is clearly painted with dry pigment and his paint table has pots of dry pigment too. In terms of a patent, there is a Jesse Cox that designed a hay knife. There are quite a few “Jesse Cox” individuals living at the same time in the United States. Kramme goes on to explain, “His technique remained a trade secret. But the result, vivid color that would not peel, crack, or rub off, was shared nation-wide as owners of opera houses and managers of acting companies bought lavish sets of scenery.” I am perplexed that his use of Diamond Dyes on cotton sheeting would require any trade secret. The preparation for dyes in scene painting is pretty consistent.  Furthermore, aniline dyes had been around for a while and were widely used in the theatre industry for variety of effects. By the 1860s chemical aniline dyes were readily available. The process for preparing dye to use in scenic art is not like dying yarn or clothing fabrics where different mordants baths shift final color results when fixing the dye.

Jesse Cox’s paint table with containers of dry pigment. Image from Michael Kramme’s “Palimpset” article “Opera House Illusions: Jesse Cox and Theatrical Scenery” (Vol. 71, No. 4, pages 154-172).

I also have to point out an alternative to dye in theatrical scenery. When applied properly, and in thin coats, dry pigments result in vivid colors that will not peel, crack or rub off. The English practice of glazing scenery results in lightweight and foldable scenery. See past posts that distinguish between the two schools of scenic art that were established in the United States. When using thin coats of dry pigment, the fabric remains pliable. I known this first hand because the scenery that I transported to Europe this summer in my luggage was folded and crushed during transport without any harm to the painted composition or permanent wrinkles.  The only problem is when dry pigment is applied in thick coats or with strong size water. Thick coats of paint also make scenery heavy to transport.

Keep in mind that there are historic scenes well over a hundred years old whose colors remain stable and can easily be folded without irreparable damage. It all depends on the application coat and strength of the binder at time of manufacture and subsequent environmental conditions. The biggest threat for scenery painted with dry pigment and diluted hide glue remains water damage and high humidity, ultimately causing the breakdown of the binder and reactivating the paint. This causes as much damage as poor preparation of colors or size during the initial painting of each scene. Not every scenic artist or potboy thoroughly understood the preparation of paint or binder. In many instances, corners were cut, and the life expectancy of the scene was ephemeral at best. I always think of the Demotivator © poster defining the word mediocrity: “It takes a lot less time and most people won’t notice the difference until it’s too late.”

From https://despair.com/collections/demotivators

To be continued…

Tales from a Scenic Artist and Scholar. Part 858: Jesse Cox and the Diamond Dye Process

Copyright © 2019 by Wendy Waszut-Barrett

It seems an appropriate time to explore the history of the scenic artist who some consider the inventor of the diamond dye process for scenery. Now is a good opportunity to unwrap Jesse Cox’s purported contribution to theatre history and his scenic art process. 

In 1983, Mrs. Neil Schaffner, curator of the Museum of Repertoire Americana in Mt. Pleasant, Iowa, wrote a letter to Dr. John Rothgeb at the University of Texas. In his request for information about the scenic artist Jesse Cox, she wrote the following:

“In answer will say, am happy to furnish some information Re – Jesse Cox, Scenic Artist, some say the ‘Inventor f a Diamond Dye Process for painting Stage Scenery,’ head of the Jesse Cox Scenic Studio in Estherville, beginning in the 1890s.  This museum is proud of the donation of Jesse Cox’s Paint Bench, bowls, etc. used in the diamond dye process, plus framed paintings, which he then transferred to the canvas drops as well as much documentary materials. A most unique display. The above was donated by his son, Robert Cox, of Estherville.”

Jesse Cox display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.
Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.
Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.

On my way to USITT in St. Louis, I made a point of stopping by the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa. The unique display of Cox’s paint table, dry pigment, dyes, glue warmer and painting tools is certainly worth the trip. The docent who led my private tour during their off season, was a wealth of information about tent shows, but really did not understand Cox’s artifacts or the scenic art painting process. The big talking point, however, was that Cox invented dye painting on scenery.

The paint on display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa, is dry pigment. There are some containers of dye in his paint trunk and a Diamond Dye cabinet on the wall.

I was intrigued that someone would “invent” a scenic art process so late in the game (turn of the twentieth century), so decided to do a little research. Lets start out with Diamond Dyes.

Diamond Dye, part of Wells, Richardson & Co. of Burlington, Vt., boasted a national presence by the 1880s. In 1885, a chromolithograph advertisement promised that Diamond Dyes “have no equal” and were the simplest, strongest and fastest; “a child could use them.” Wells, Richardson & Co distributed sample cards and “full directions for dyeing all kinds of goods, color photographs, &c., and making inks, wood stains, bluing &c., &c., sent free by the proprietor.” That this dye product would not be considered for theatrical scenery during this same time is unrealistic.

Part of the Jesse Cox display at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.

So what makes a product indispensable, especially one that expresses such versatility? Availability.  In 1915, The Practical Druggist included the article reported, “Diamond Dyes are unquestionably staple goods for druggists” in the article “The Druggists Look Forward to the Publication of a new ‘Diamond Dye Annual and Direction Book.’”

The article continues:

“For more than thirty-five years no drug store could claim a complete stock unless it carries a full supply of Diamond Dyes. These famous household necessities hold certain year-in-and-year-out profits for retail druggists. Each year the makers of Diamond Dyes, Wells & Richardson Company of Burlington, Vt. publish a book – ‘The Diamond Dye Annual and Direction Book.’ ‘The Diamond Dye Annual and Direction Book’ is handsomely printed on a good grade of paper; illustrations are by competent artists, and the book is written by a corps of experts on the subject of dyeing.  Probably one of the most valuable features of ‘The Diamond Dye Annual’ is the testimony of a great many women who have used Diamond Dyes with complete success every year. Some clever women discover new uses to which Diamond Dyes may be put. The makers of Diamond Dyes quickly seize upon these suggestions and spread the news to women throughout the country. This they do by using big advertising space in magazines, newspapers and through ‘The Diamond Dye Annual and Direction Book.’”

Any enterprising scenic artist who discovered an affordable alternative to dry pigment, such as Diamond Dyes, would be an immediate benefit to both the company and himself. This new use accentuated the versatility of Wells, Richardson & Company’s signature product.

The article concludes with, “The success of the Wells & Richardson Company, which began in a very small way and grew to mammoth proportions through steady, consistent, heavy advertising, holds a lesson for every retail druggist in the country. No better object lesson of the truth of the saying, ‘It pays to advertise,” could be found that the phenomenal sale of Diamond Dyes.’ The general manager of the Wells & Richardson Company, Mr. George M. Besett, recently said in an interview: ‘We are making and selling a household necessity. There is no woman in the country – no matter how large her bank account – who can afford to discard clothes merely because their color has gone out of fashion or because they no longer please her.’ 

I think of the many high school theatre students that are provided latex paint – because it is readily available from lumber stores and perceived as cheaper (no exorbitant shipping fees). Similarly, at the turn of the twentieth century, Diamond Dyes were readily available at local drug stores because they were manufactured for a different purpose, like latex paint for residential uses.  Just as there is a distinct difference between backdrops created with residential latex paint and those created with dry pigment or scenic paint, so was there a different between drops created with created with dye and those created with scenic paint. Then, just as now, the majority of the audience members could not tell the difference. 

The color palette of dyes is remarkably similar to the dry pigment palette, or any fine art palette.

Regardless of whether Cox was the first scenic artist to use Diamond Dye for a theatrical scenery or whether he just popularized it, the process was ideal for touring vaudeville acts and tent shows.  Unless the production was dependent on scenic illusion, the Diamond Dye process to paint scenery was brilliant.  Again, the dye product was readily available in many small towns and the process facilitated the easier transportation of lightweight scenery.

Tomorrow I will look at the individual credited with creating the Diamond Dye process for scenery – Jesse Cox.

Jesse Cox

To be continued…