Scenic Studio – Page 28 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 142 – Disaster Spectacles at Coney Island – The Jamestown Flood

The January 6, 1911 issue of the Brooklyn Eagle that noted the destruction of “Old Harley Merry’s Studio included destroyed contents included the completed scenery for “The Real Girl,” “Class,” the original models for “The Johnstown Flood,” “The Eruption of Mount Pelee,” “The Deluge” and twenty-two other similar productions.” I realized that these were well known attractions at Coney Island!

“The Jamestown Flood” attraction at Coney Island.

Visual spectacles thrilled early twentieth century crowds, allowing visitors an escape from their everyday lives. In addition to the standard amusement park attractions with exotic animals, freak shows, and carnival games were disaster attractions. Visitors would pay to witness emulations of the death and destruction caused by the Jamestown flood, the volcanic eruption of Mount Pelee, the San Francisco earthquake, the Galveston flood, the Fall of Pompeii, the naval battle of the Russo-Japanese War, the Boer War, the Fall of Adrianople, the War of the Worlds, the Battle of Merrimac. There were others that didn’t depict a specific event, but just capitalized on horrific situations titled “Fire and Flames,” “Fighting the Flames,” “Hell Gate,”” End of the World,” and others. These amusements put viewers in a front row seat to relive the death and destruction with vivid dioramas and elaborate technical productions.

“The Galveston Flood” attraction at Coney Island.

A postcard depicting a scene from “The Galveston Flood” attraction at Coney Island.

The Johnstown Flood show (1902-1905) was an attraction at Luna Park on Coney Island. It had initially made its success at the Pan-American Exposition in 1901, along with “Trip to the Moon.” Both attractions were transported to Coney Island.

The building from “The Johnstown Flood” attraction at the 1901 World Fair.

A poster from “The Johnstown Flood” attraction for the 1901 World Fair.

On May 31, 1889, a dam near Jamestown, Pennsylvania collapsed and flooded the valley with twenty million tons of water. There was virtually no escape as everything was destroyed in its path and 2,209 people lost their lives. An article from “Snap Shots on the Midway” advertised the Johnstown Flood attraction as “a scenograph, the logical evolution of the cyclorama, the diorama and the scenic theater, accomplishes the illusion, which is set on an ordinary stage and is in reality a performance in pantomime, where all the actors are what would be called in stage parlance, “properties.”

The Johnstown Flood show began with Memorial Day activities, a mere twenty-four hours before the disaster with an army processional crossing a little bridge in the bustling town. As day progressed and lights gradually appeared in residential windows as the stage darkened to dusk. Trains move across the line of vision as the moon gently ascended from the horizon. Night waned and sunrise broke forth on the morning of the disaster. As the hours passed, the wooden foundation of the dam wss undermined by the trickling of the waters from the rivulets feeding the lake of South Fork (fourteen miles away). An avalanche of water was launched down the Conemaugh valley, sweeping away five thousand inhabitants of Johnstown. The article continued, “An electric storm is made to burst in the stage picture before the arrival of the deluge, when the afternoon of May 31st, 1889, was innocent of water from the skies, but under cover of the darkness and in fitful gleam of vivid lightening the spectacular effect is heightened and is convincing. The cry of the talker: “‘The dam is burst!’ his relation of the wild ride of Johnny Baker, a ride between flood and a horse, between life and death, the loss of the horse and the death of the noble boy, comes with startling effect.

Memorabilia from “The Jamestown Flood” attraction at Coney Island.

Fire then breaks out in the debris about the stone bridge. Hundreds of dead and other hundreds of living are imprisoned there. They are burned to a crisp. The Catholic Church, the field hospital, also breaks into flames. The rescued perish there. Then the fire dies away and the scene darkens. The turn of a hand measures the time of the change coming with the light which shows Johnstown as it is today, rebuilt and flourishing.”

The Buffalo Times (May 4, 1901) issue published that the Johnstown Flood “scenograph” for the World’s Fair was created by the artist E. J. Austen. Austen was noted “the foremost cycloramic artist of the world” and assisted by a large staff of noted artists, chief among who were Charles A. Corwin, Frank C. Pepraud and Herbert V. Brown. In producing the marvelous mechanical effects, E. S. Shea of New York had a prominent part, being the “originator of many devices now being used in the prominent theaters of this and other countries.” Herbert A. Bradwell, the electrician also stood out at the head of his profession producing novel effects, many that had never been seen before. Bradwell, advertised as a specialist in illusions and a constructor of electric and scenic shows, was located at 28 Lexington Avenue, New York.

In 1906, “The Deluge” replaced the Johnstown flood in the same building. This attraction enacted the story of Noah and the flooding of the entire world. During the final 1908 season, changes were made to the finale include an earthquake and fire in addition to the flood.

“The Deluge” attraction at Coney Island.

Second scene from “The Deluge” attraction at Coney Island.

Fourth scene from “The Deluge” attraction at Coney Island.

To be continued…

Tales from a Scenic Artist and Scholar. Part 141-The Old Harley Merry Studio

Four months after Harley Merry’s death his old studio was destroyed by fire. I find this fascinating as the story reads like a mystery. The January 9 issue of the Brooklyn Daily Eagle reported a substantial loss for the current occupants.

It published, “The Harley Merry scenic studio in Franklin avenue, near Malbone street, in which the scenery for many of the greatest dramatic productions was painted, was destroyed by fire today. The entire contents of the building, including the completed scenery for one production and the partly finished scenery for another play, was lost. The building loss is estimated at $3,000, while the loss of the contents will amount to $10,000. The building and contents were uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27 Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the building at the time.

Stabile was in the cellar under the studio when he heard a noise which sounded like the drop of a heavy weight. He ran up to the second floor, and as he opened the door leading to the stairway a cloud of smoke burst into his face. He called for help and a policeman sent in an alarm. Batailion Chief O’Hare, who was in charge of the fire engine companies to arrive, feared that the fire would spread to the adjoining building, which are all of frame construction, and to the Consumers Brewery across the street, and he sent in a second alarm. Six engines and two truck companies were soon on the scene, but the fire was beyond control and their efforts were devoted to saving surrounding property.

The roof fell an hour after the fire was discovered. Ten foremen were in the building when the roof tottered and were warned by the call of Deputy Chief O’Hara. All escaped before the roof collapsed. The flammable nature of the contents and the high wind are given as causes for the building’s rapid destruction.

The building was originally used as a scenic studio by E. J. Britton, retired actor and scenic artist, who painted under the name of Harley Merry. After his death last September the building passed into the hands of his daughter Mrs. George Kennington. It has recently been rented as a studio to E. Van Ackerman and J. Katser.”

I wondered about the history of these recent renters, Ackerman and Katser.

Ackerman sounded familiar to me, so I checked my scenic artist database. I only found a very brief notation about P. Dodd Ackerman, so I started searching newspapers from the period. In 1897 E. Van Ackerman painted a new drop curtain for B. F. Keith’s Union Square Theatre, depicting a “handsome interior with a view of a drawing room and distant conservatory” (New York Times, Dec. 8, 1897, page 4). He also painted the scenery for “The Privateer” at the Star Theatre with P. Dodd Ackerman. In 1913, he designed “Mlle. Modiste” at the Globe Theatre.

Advertisement from Julius Cahn’s 1913 Theatrical Guide.

I then found an advertisement in 1913 of “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.” This suggested a split in the partnership, or possible death. The advertisement also noted that the studio was established in 1890. He advertised services for the painting and building of productions at 1576-1578-1580 Bushwick Avenue, Borough of Brooklyn, New York City. It also noted that Ackerman’s studio was only “Thirty Minutes from Broadway.” The “Ackerman Bros. Scenic Studio” had been at the same location, yet the advertisement in Gus Hill’s theatrical directory was from 1914, a year later. This was curious. Ackerman Bros. Scenic Studio, however, mentioned their production of Motion Picture Theatre Settings.

Advertisement in Gus Hill’s 1914 Theatrical Guide. Other pages in the publication noted that Hill absorbed Cahn’s publication.

As I examined the production history for both E. Van and P. Dodd, they primarily functioned as a scenic artist and scenic designer, respectively. I was more familiar with P. Dodd as he had numerous entries of designs in the Broadway Database (https://www.ibdb.com/), being listed as a designer for ninety-one productions from 1897-1939. His career really took off in 1908 and I had to wonder if his success as a scenic designer caused the two partners, possibly brothers, to briefly part ways. Obviously, their time apart was short-lived as E. Van Ackerman’s rental of Merry’s studio could have only been for a few months. Maybe the disaster and lack of insurance has caused E. Van and P. Dodd to partner again?

Comparatively to P. Dodd Ackerman, E. Van Ackerman had only two productions listed in the Broadway database – 1897 and 1927. That was a thirty- year separation and he had almost a non-existent paper trail for theatrical productions. Very little was published about E. Van Ackerman’s scenic art or designs, but in 1927 he designed the setting for “Tia Juana,” a melodrama at the Schubert Playhouse. The November 5 Morning News (Wilmington, Delaware) reported, “The Company is capable, the scenery elaborate, and there are no dull moments” (page 13). Ackerman’s design for the show was built by the Vail Scenic Construction Company.

In the Old Harley Merry Studio fire during 1911, the newspaper article noted, “The contents included the completed scenery for the production of “The Real Girl,” a musical comedy which is to be produced on Broadway within a few weeks, and also the partly finished canvas for the farcical comedy, “Class,” which also has a Broadway booking.” I have been unsuccessful in finding that either of these productions was finalized. The article also noted “The loss of these two sets is estimated between $6,000 and $7,000.” That would have been a heavy loss at the time.

I then read the last line of the article and experienced butterflies in my stomach. It read, “The studio contained the original models of the “Johnston Flood,” “The Eruption of Mount Pelee,” “The Deluge,” and twenty-two other similar productions.” I knew those productions! But they weren’t Broadway shows – they were disaster spectacles for Coney Island! Maybe E. Van Ackerman’s focus had been producing attractions for amusement parks. They could also have been Merry’s work left over from previous years; items that had not been cleared out of the studio before the renters arrived on site.

To be continued…

Tales from a Scenic Artist and Scholar. Part 140 – Merry and the Flatbush Studio

Harley Merry secured employment at the renovated Brooklyn Atheneum after being dismissed from the Brooklyn Theatre. Merry painted settings for the venue that included four sets – a parlor, kitchen, wood and garden scene. He also painted a new drop curtain with an Italian scene. The stage carpenter from the Academy of Music (Jonathan Newman) made the alterations to the original space from 1853. One noted improvement in the August 12, 1874, issue of The Brooklyn Daily Eagle (page 3) was that Mr. Newman introduced “a sliding beam, or derrick, which can be rolled in and out through the back wall of the building, near the roof, to the end of which a tackle is rigged sufficiently to hoist up from the ground a weight of several tons. This will obviate the necessity of carrying pianos, heavy baggage and other unwieldy objects up the front stairs, as has heretofore been necessary.”

The Brooklyn Atheneum where Harley Merry works after being dismissed from the Brooklyn Theater.

Merry also painted and performed for the Brooklyn Academy of Music (located at 176-194 Montague Street). He participated in a benefit of the Szegedin Fund at the Brooklyn Academy of Music in a production entitled, “Forty-Niners, or the Pioneer’s Daughter; A Tale of the Great Sierras.” Merry performed in the cast with Adelaide Roselle (Mrs. H. Merry), Josey Brittain (Merry’s daughter, Josephine), and T. W. Hanshaw (Merry’s travel companion to London in 1874). An advertisement noted, “The scenery will be entirely new, covering thirty thousand square feet of canvas, painted by Harley Merry (at his Flatbush Studio) and from sketches made by him in the Sierra Mountains.”

Harley Merry as both an actor and scenic artist for this production at the Brooklyn Academy of Music.

He had an extensive career painting for a variety of venues throughout New York and the eastern region. Here are a few highlights from his career during the late nineteenth century. In 1883, Merry primarily worked from his studio in Flatbush. There, he putting the finishing touches on the drop curtain that measured 27’ x 48’ for a Passion Play. The drop curtain composition was titled “Jerusalem is Holy, noted” in Hebrew characters on the frame. Gold-trimmed crimson draperies surrounded the composition. A second layer of blue draperies included a lily pattern to suggest the verse “Judah shall bloom like the lily.” The exotic composition depicted a seated priestess, sphinx, a tall censor of gold and blue marble, clouds of purplish smoke, papyrus, palm trees, and Egyptian harp, a Jewish psalter, Oriental horns, and an Egyptian scroll. Above, the angel of peace and cherubs ringing golden bells floated high above the cross. His painting was noted as a success.

In 1884 Harley Merry created the scenery for a new Romantic spectacle entitled, “The Devil’s Auction.”

In 1884 Merry created the scenery for a new Romantic spectacle entitled, “The Devil’s Auction” that was described as a “Dramatic Pantomine and Terpsichorean Artists” with the Grand English Ballet from the Alhambra, London. It Music Hall, the production for a cost of $20,000. Merry entered various partnerships over the years, including one with Henry E. Hoyt in 1888 to create scenery for the new comic opera, “The Queen’s Mate” at the Broadway Theatre.

“Getz, Merry & Reid” were credited with painting the scenery for Wm. J. Gilmore’s “The Twelve Temptations.”

The same year “Getz, Merry & Reid” was formed and were credited with painting the scenery for Wm. J. Gilmore’s “The Twelve Temptations.” This was extensively advertised as “a scenic, ballet, and pantomimic spectacle.” The settings included sixteen full stage pictures with a moving panorama that cost $35,000 to produce.

By 1892 Merry was painting with John H. Young and creating a new scenery installation for the Columbia Theatre. Merry focused on the stock sets while John H. Young primarily the front curtain. An article in the Brooklyn Daily Eagle noted that the 2,000 electric lights illuminated the new stage (Feb 14, 1892, pg. 20). Merry again joined forces again with John H. Young in 1894, for James W. Harkins, Jr.’s “A Man Without a Country” at the American Theatre (New York Tribune, Sept 23, 1894, pg. 19). The creation of the scenery also involved Lafayette W. Seavey and Frank Rafter. In 1895, Harley Merry, Joseph Clare and E. P. Dodge created the settings for Springer & Welty’s revival production of “The Black Crook.”

In 1897 Harley Merry, John H. Young, Walter Burridge, Richard Marston and Homer Emens produced the scenery for Margaret Mather’s production of “Cymbeline.” An article in the Brooklyn Daily Eagle (September 28, page 7) commented that the group was noted as the “foremost scene painters of their time. They are artists and not mere grabbers after striking effects by cheap and easy means, and that in this instance they have presented a picture of the first century which is well worth seeing.”

Here is a detail from “Cymbeline” with scenery produced by Harley Merry, John H. Young, Walter Burridge, Richard Marston and Homer Emens.

In his later years, Merry became a collector of pictures and a “student of art,” residing at 949 Franklin Avenue. He passed away in 1911 and a September 3 issue of the New York Times reported, “Harley Merry, a well-known scenic artist and forty years ago the well-known actor, died yesterday at his home, Avenue Z and Ryder Avenue, Brooklyn, from causes due to old age.”

Merry’s wife passed a mere three years later. Her obituary was published in “The Sacramento Union” (No. 59, February 28, 1914). It noted, “Louise M. R. Brittain, widow of E. J. Brittain, known as Adelaide Roselle to theatre goers of a generation ago, who was the first woman of English birth to take out naturalization papers here died yesterday at the home of her daughter in Flushing, aged seventy years. Mrs. Brittain was leading woman with Edwin Booth, William H. Crane and John McCullough.” Her stage name was noted as Adelle Roselle Merry in The Sun (NY, NY), June 9, 1914 page 9.

Adele Roselle is credited as one of the talented singers.

To be continued…

Tales from a Scenic Artist and Scholar. Part 137 – There’s No Business Like Show Business (Ernest Albert)

After Albert, Grover & Burridge closed their studio in 1894, Ernest Albert returned to New York where he opened up his own shop – Albert Studios. By 1896, he moved to New Rochelle and continued an active scenic art career, producing stage designs for Booth & Barrett, Helena Modjeska, Edward H. Sothern, Julia Marlowe, William H. Crane, Nat C. Goodwin, Maxine Elliot, Fanny Davenport, Ethel Barrymore, Minnie Maddern Fiske, Klaw & Erlanger, and for Charles Frohman.

Ernest Albert (1857-1946). Newspaper clipping in Thomas G. Moses scrapbook. Sosman & Landis collection, Harry Ransom Center, University of Texas, Austin.

He was a prolific artist who designed 113 shows for Broadway between 1895 and 1919. New York venues included the Fifth Street Theatre, Casino Theatre, New York Theatre, Greenwich Village Theatre, Cort Theatre, Booth Theatre, Globe Theatre, Hippodrome Theatre, 44th Street Theatre, New Amsterdam Theatre, Grand Opera House, Longacre Theatre, Knickerbocker Theatre, Moulin Rouge, Astor Theatre, Jardin de Paris, Maxine Elliot’s Theatre, Weber’s Music Hall, Herald Square Theatre, West End Theatre, Broadway Theatre, Wllack’s Theatre, American Theatre, Liberty Theatre, Bijou Theatre, Hudson Theatre, American Theatre, Liberty Theatre, Majestic Theatre, Murray Hill Theatre, Thalia Theatre, Academy of Music, Weber and Field’s Broadway Music Hall, Berkeley Lyceum Theatre, Manhattan Theatre, Lyric Theatre, Victoria Theatre, Harlem Theatre, Criterion Theatre, Daly’s Theatre, Hoyt’s Theatre, and Theatre Republic. He also created the scenery for Ziegfield Follies productions in 1911,1912, and 1913. At one point, Albert had eight productions running simultaneously with scenery that he had designed and painted. Some of his more famous designs include “Ben Hur,” “Kismet,” and “Herod.”

Scene from “Klaw & Erlanger’s stupendous production, Gen. Lew Wallace’s ‘Ben Hur’ produced at the Broadway Theatre, New York, Nov. 29th 1899” as pictured in Julius Cahn’s Theatrical Guide 1900-1901.

In a 1913 issue of “The New York Dramatic Mirror, ” Albert explained his own design process for the stage in an interview with Arthur Edwin Krows. He began a design after receiving “a commission for a scenic investiture in a play. ” The artist was first called into a meeting with the manger and author. He noted that the author usually knew what he wanted and would make a simple sketch “with some angles to represent the walls of a room perhaps, leaving open spaces for windows and doors, and if his artistic education has developed since his previous play, with some queer marks to represent tables and chairs.” Albert continued, “So the artist receives his instruction, act by act, for four or five acts.” He also added that it helped if the artist actually read the entire play manuscript as the author might overlook important details. This was not standard for the artist to read the play, but Albert insisted on it.

After the initial discussions, the artist would refer to his extensive library of clippings, plates and descriptions of every conceivable thing that was relevant to supply the correct details. As an example, he explained spending six months researching the particulars of “Ben Hur” stating, “When the production went on, I knew the exact height of every arch and gateway in Jerusalem.”

Souvenir program for “Ben-Hur” with designs by Ernest Albert.

Albert then explained that the artist made first sketches of the scene and then a half-inch scale model. The prevailing colors for the each setting were determined, specifically “the general tone of the act for which the set is used.” The completed model would be submitted to the manager and author for final approval. Adjustments were not made to the model, but careful notes were taken and filed away for the actual construction.

It was at this point that the carpenter was sent for to begin construction of the frames for various settings. He would take special care so that they could be readily handled when the set was struck for transportation, especially if the show went on the road. All scenery must be constructed to fit in a railroad car. Once the frames were constructed, the canvas was stretched over and sent to the paint studio. Typically, flats were designed to be folded, with the painted surface inward.

Albert explained that an artist’s function did not cease until the scenery was all installed and the lighting arrangements completed. He commented, “Lighting is within his province, just as groupings are in a measure. An unexpected orange light on violet, for instance, will produce a russet brown that will make everything look dirty. It is true that in the days of gas lighting much softer effects were possible, but I will sacrifice all of the advantages of mellow light for safety. I am a crank on fire regulation. It was very dangerous in the old days with the exposed rows of hot gas lights. It used to be amusing too, to see lights go out every once in a while when an actor would accidentally step on a soft gas pipe. Anyway, we are now avoiding many of the hard qualities of the electric light by greater use of ambers, straw colors, and pinks.” Wow. The artist controlled the lighting and this was still Albert’s standard practice in 1913.

Two years later, he designed a winter scene for the New York Hippodrome’s ice skating ballet under director Charles Dillingham. The painted composition was titled “Flirting at the Saint Moritz” and measured 243’ x 70’ for the attraction “Hip-Hip Hooray.”

Ernest Albert’s design for “Hip-Hip-Hooray” at the Hippodrome.

Interior view of the Hippodrome, New York.

Albert was the founder and the first president of the Allied Artists of America (1914-1920). By 1916, he moved to New Canaan, Connecticut, where he began to focus on fine art. His stage design output began to gradually decline. In terms of fine art, Albert initially specialized in autumnal and winter scenes, later focusing on still life subjects. He held exhibitions across the country in New York City, San Francisco, Chicago, and Los Angeles. Albert’s fine art credentials are quite impressive. He belonged to New York’s Salmagundi Club, the Player’s Club, the Paint and Clay Club, the Silvermine Guild of Artists (New Rochelle), the Connecticut Academy of Fine Arts (Lyme, Conn.), the National Academy of Design, the American Watercolor Society, the National Arts Club, and the Grand Central Galleries. He also belonged to the Chicago Art Association and the Chicago Society of Fine Artists, where he served as President.

Winter Sunset by Ernest Albert, date unknown.

The Day’s End by Ernest Albert, date unknown.

Winding Winter Stream by Ernest Albert, 1935.

Albert’s first wife Annie passed away in 1925, but he found love again and married Lissa Bell Walker two years later. He died in New Canaan, Connecticut, at the home of his daughter and is buried in Lakeview Cemetery (New Canaan).

To be continued…

Tales from a Scenic Artist and Scholar. Part 136 – “Supremacy of the Sun” and Ernest Albert

Thomas G. Moses partnered with a variety of scenic artists throughout the duration of his career from 1873 to 1934, including Ernest Albert. As with Walter Burridge, both artists first worked for Harley Merry at the Park and Union Square Theatres in New York. Much of what is known of Albert comes from an article in the New York Dramatic Mirror, Vol. LXX (Nov. 19, 1913). He explained in 1913 that he had avoided many interviews due to “frequent misquoting and misrepresentation.”

Ernest Albert Brown (1857-1946). Changed his name to Ernest Albert in 1882. Image from scrapbook of Thomas G. Moses, currently held in the Harry Ransom Center, University of Texas, with the Sosman & Landis collection.

Ernest Albert Brown (1857-1946) was born to Daniel Webster and Harriet Dunn (Smith) Brown in Brooklyn, New York. His father was a member of a clothing merchants firm, Whitman & Brown in New York City and Albert attended public schools. He later entered the Brooklyn Institute of Design, winning an award in 1873. During his time at the Institute, he also worked as a newspaper illustrator and later began painting for the theatre.

Albert started working for Harley Merry 1877, seven years after Burridge worked for Merry. In 1879 he painted the settings for the Wilcox Opera House in West Meriden, Connecticut and began to spread his wings a bit. By 1880, he was working as a scenic artist and art director at Pope’s Theater in St. Louis with his work attracting much attention. This became the springboard for Albert’s career and, like many of his contemporaries, he began to travel throughout the country, producing scenery for a variety of locales in St. Louis, Philadelphia, Chicago, and Boston.

Albert married Annie Elizabeth Bagwell (daughter of Edwin Bagwell of Brooklyn) on June 6, 1881 and officially changed his name to Ernest Albert the following year. They had four children: Ruby Frances, Elsie (M. Rodney Gibson); Edith Dorothy (m. Thaddeus A. V. Du Flon) and Ernest Albert. When first married, Albert worked in St. Louis and formed a partnership with Thomas C. Noxon and Patrick J. Toomey Noxon. Noxon & Toomey had started a studio in 1869. Noxon, Albert & Toomey expanded and ran studios in St. Louis, Missouri, Chicago, Illinois & Cedar Rapids, Iowa.

The partnership dissolved in 1885 and Albert moved to Chicago, furnishing the settings for Thomas W. Keene’s production of “Hamlet” at the new Chicago Opera. Between 1885 and 1890, he mounted Shakespearean productions for Edwin Booth and Lawrence Barrett that included “Julius Ceasar,” “The Merchant of Venice” and Midsummer Night’s Dream.” The Sunday, April 8, 1888, issue of the Inter Ocean newspaper noted “Noxon, Albert & Toomey have just completed the curtain for the Warder Grand Opera House in Kansas City. Their frames at the Haymarket are now burdened with the scenery for Booth & Barrett production of The Merchant of Venice for the next season.

Albert also created a transformation scene for “Babes in the Wood,” a Christmas Pantomime from Drury Lane Theatre in London, called “The Supremacy of the Sun.” The Chicago Tribune (Nov. 9, 1890, pg. 36) noted the producers of the scenery as Messrs. W. Telbin, T. E. Ryan, W. Perkins, E. J. Banks (all of London), Herr Kautsky (of the Imperial Opera-House, Vienna), John Buss and Ernest Albert of Chicago. On page 34 of the Sunday, Nov. 26, 1890 issue, the Chicago Tribune describes’ Albert’s transformation scene in great detail under the heading “It Appeals to the Eye. Babes in the Wood must be judged chiefly as spectacle.”

The Christmas pantomime ran at the Chicago Auditorium where Albert worked as the resident scenic artist. It presented “a series of magnificent stage pictures, testing for the first time the multitude of resources of the great stage, pictures sumptuous in quality, carefully toned in color, and singularly graceful in effect.” It continued to note that “These pictures have a certain marked advantage over any efforts of the painter’s brush; where his colors are stationary these are winged.” The final transformation scene, called “Supremacy of the Sun” was divided into five parts: Spirit of Snow, Ice Bound, Home of the North Wind, A Summer Idyll, and The Radiant Realm of the Sun God.

The transformation scene is described in great detail:

“The Supremacy of the Sun is proved by the disappearance of Arctic ice under its smile and the creation of a flowery golden world. Gradually through shifting scenes and lights the silver changes to gold, the cold greens and blues to warmer tones. A polar bear appears garlanded and driven by fairy-like children. Cupids descend from the golden skies, figures of nymphs and graces from below, and beyond a sunburst formed by the shimmer of brilliant lights on fluttering gold-leaf and pendent moving threads of gold. In the midst of this splendor rises a gay butterfly, and out of its wings the radiant Sun God himself, clad in shining garments and crowned with electric lights. In the meantime golden fans in the foreground have risen and collapsed, disclosing flowery groups of figures. The reducing curtain has disappeared, lending the full curve of the arch as a frame for the brilliant picture, whose gorgeous colors are shaded from the golden frieze down to the soft reds at the base. The color scheme of this last tableau is an effective completion of the house, the ivory and gold arches dotted with lights leading down with exquisite harmony to the stage indescribably radiant with iridescent gold and flowery colors. Ernest Albert, the talented scenic artist, is to be congratulated upon the beauty of this work. Certain of its effects would be unattainable on a stage of less elaborate mechanism.”

It was soon after this performance that the new studio of Albert, Grover & Burridge would be constructed with its twenty paint frames and display a display theatre to light completed scenes. The last line of the above article “certain effects would be unattainable on a stage of less elaborate mechanism” was one of the incentives for this innovate scenic studio and their subsequent participation in the Beckwith Memorial Theatre. The state-of-the art mechanism at the Chicago Civic Auditorium changed everything and set a new standard for scenic artists and stage machinists.

To be continued…

Tales from a Scenic Artist and Scholar. Part 135 – And I’ll Keep on Changing Partners (Walter Burridge)

Horace Lewis recalled a visit with Burridge in 1900 writing, “every object, from his devoted wife to the pictures upon the walls, and his den in the garret, is indicative of the genial, most modest nature and simple poetry of the man who finds his greatest wealth within that home.” Burridge was well liked by many, including Thomas G. Moses. Despite the ups and downs of their business relationships, this friendship lasted for decades.

In Chicago, scenic artists constantly swapped partners and painting positions. One might think that this would have caused strained relations in the workplace, but work was plentiful and life was good. Regardless of where they were employed, scenic artists also continued to escape with each other on numerous sketching trips across the country. After two failed business partnerships (Burridge, Moses & Louderbeck and the Albert, Grover & Burridge), Burridge started one more partnership that it may also have been short-lived. They painted “An American Heiress,” “New Blood,” and the new McVicker’s drop curtain that depicted the World’s Fair Court of Honor.

Burridge later received a solo commission to make sketches for Margaret Mahler’s production of “Cymbeline,” travelling to London for historical research. His accuracy for many of the notable scenes received praise. I wonder if the quality of his work eclipsed those around him, to the degree that maintaining any successful business relationship was difficult. He was obviously a strong personality, visionary and leader. These traits may have become challenging for any business partner.

By 1900 we know that Burridge was the Chicago’s Auditorium scenic artist. He was also engaged by Henry W. Savage to prepare the scenes for the Castle Square Opera Company at the Studebaker Music Hall.

Studebaker Music Hall, 1898. Chicago, Illinois.

Interior of Studebaker Music Hall, 1898. Chicago, Illinois.

Studebaker Hall had opened September 29, 1898 and was primarily used for popular music, meetings and plays. It was noted as exceptionally beautiful and acoustically superior. Originally, it had an arched proscenium like the neighboring Chicago Auditorium Theatre with 34 box seats across three levels. In its early days it was used for light opera by the Castle Square Company of Boston.

We also know that Burridge designed the scenery for the premiere of “The Wizard of Oz” at the Chicago Opera House. This production later moved to the Majestic Theatre in New York. A show with a tornado scene, the glittering Emerald City, a lovely all-girl poppy field and more! In looking at pictures of the original scenery used at the Grand Opera and Majestic, you can see some metallic foil strips glittering on the drops.

Original design from “The Wizard of Oz” by Walter Burridge depicting metallic foils strips used on scenery.

It reminded me of the foliage scene and metallic foils that I had encountered at the Wichita Scottish Rite during 2015 and the St. Louis Scottish Rite during 2017. Although both were used for Scottish Rite degree work, the designs were possibly intended for another non-Masonic venue.

Metallic strips on St. Louis Scottish Rite scenery. Photograph by Wendy Waszut-Barrett, 2017.

Metallic strips on Wichita Scottish Rite scenery. Photograph by Wendy Waszut-Barrett, 2017.

The original “Wizard of Oz” program notes are as follows:

Act I
Scene 1: A Kansas Farm (Painted by Fred Gibson from designs by Walter Burridge)
Scene 2: The Country of the Muchkins (Painted by Herbert Martin from designs by Walter Burridge)
Scene 3: A Road through the Forest (Designed by Walter Burridge, painted by Fred Gibson)
Scene 4: The Poppy Field (Painted by Walter Burridge)

Postcard depicting the original scene for “The Wizard of Oz.”

Scene 5: (Transformation) The Poppy Field in Winter (Painted by Walter Burridge)

Poppy fields with snow from original setting in “The Wizard of Oz.”

Act II
Scene 1: The Gates of the Emerald City (Designed by Walter Burridge, painted by Daniels Scenic Co.)

Original design by Walter Burridge for the Gates of the Emerald City setting for “the Wizard of Oz.”

Scene 2L Courtyard of the Wizard’s Palace (Painted by Walter Burridge)

Program from the Grand Opera House, listing Walter Burridge as designer.

This program and others are available online at the Chicago Public Library site. Here is the link: http://cdm16818.contentdm.oclc.org/…/Grand%20Ope…/mode/exact

Interestingly, images of a toy theatre model based on the 1903 production have recently posted online. Although it is not quite there stylistically, the compositions give you a sense of what Majestic audiences might have experienced. Here is the link: http://theozenthusiast.blogspot.com/

Poppy fields setting. Recent model that depicts the 1903 production (designed by Walter Burridge) for “The Wizard of Oz.”

Recent model that depicts the 1903 production (designed by Walter Burridge) for “The Wizard of Oz.”

Emerald City setting. Recent model that depicts the 1903 production (designed by Walter Burridge) for “The Wizard of Oz.”

Snow on poppy fields setting – transformation scene designed by Walter Burridge for “The Wizard of Oz.”

Burridge tragically died during a trip to Albuquerque, New Mexico ten years later, in 1913. He was visiting the area to make sketches for the upcoming 1915 Panama-Pacific Exposition. His funeral was at Grace Episcopal Church in Oak Park, Illinois. He is buried at the Forest Home Cemetery in a family plot that contains his wife Jane Anne (1860-1938) and son Walter C. (1886-1916). Jane Burridge lost both her husband and son in only three short years of each other.

To be continued…

Tales from a Scenic Artist and Scholar. Part 134 – “The Finest Theatre in America” by Albert, Grover & Burridge

The Beckwith Memorial Theatre of Dowagiac, Michigan, was built in 1892 for the cost of one hundred thousand dollars. Today’s equivalent would be $2,588,925.36! Albert, Grover & Burridge directed the plan and installation of all stage fittings, the wall decorations of the auditorium and painted décor throughout the entire building. This was a major extravagance for a small town that numbered less than seven thousand people.

Beckwith Memorial Theatre, architectural drawings.

Roger E. Greeley’s “Best of Robert Ingersoll, Immortal Infidel: Selections of His Writings and Speeches” (1977), includes a tribute delivered by Ingersoll to the beloved memory of Philo D. Beckwith. Greeley became intrigued with the history of Beckwith and his theater, a structure advertised as “the finest theatre in America.” I can see why as I am now fascinated with the story and the building too.

Beckwith Memorial Theatre, proscenium boxes and edge of drop curtain created by Oliver Grover.

Beckwith Memoial Theatre was a sizable house that had a capacity to seat 700. There were 499 overstuffed mohair chairs with 170 in the balcony. For the grand opening, thirty-six hanging drops could be combined in various combinations for seventy-six set possibilities. These settings were all painted by Albert, Grover & Burridge. The size made me think of early installations for Southern Jurisdiction degree productions.

Beckwith Memorial Theatre. Note fly gallery and paint bridge.

Beckwith Memorial Theatre, sectional drawing of proscenium.

Beckwith was an interesting character, beginning his career as a manufacturer of an agricultural implement that improved the round seed drill. He then focused on the mass-production of cast iron wood-burning stoves and furnaces, founding the company Round Oak Stove. His business prospered and so did the town. Beckwith desired to construct a grand theatre for his bustling town. Unfortunately, he never lived to complete his dream and died unexpectedly in 1889. His family decided to complete his vision and build a fine theatre for his memorial, sparing no expense. Greely stumbled across a front-page story in the Dowagiac “Republican” from January 18, 1893. The article’s heading proclaimed: “The Beckwith memorial Theatre Building. The finest theater in America.” As I read the article, I thought of that Rick Boychuk emailed to me concerning the Crump Theatre. This article was intended to make its way to you, Rick.

Let’s start with an excerpt from the “Republican” article:

“It is the fitting and arrangement of the stage in the Beckwith Memorial Theatre, that the greatest care has been exercised to obtain the best possible results, and a great degree of success has been obtained. To go into technicalities and the use of stage terms would not be perhaps intelligible to our readers generally, so we will note only the main points. The stage is fifty by thirty-eight feet. Up to the gridiron, from which is suspended by an elaborate system of lines and pulleys all of the stage settings it is possible to use in the form of drop curtains, is fifty feet, allowing ample room for hoisting out of sight a whole screen in a few seconds, and allowing rapid changing of scenes so necessary to the continuing of the action of a play and effects are made possible that were unknown in the old days of sliding flats. To those acquainted with and interested in things theatrical and matters pertaining to proper stage fitting we think it is sufficient guarantee of the success of the stage to say that Albert, Grover & Burridge, of Chicago, had the direction of the stage fittings and the wall decorations of the auditorium and the entire building. Ernest Albert, of A., G., & B., under whose direction the art glass, colorings, the selection of draperies, and the furnishings of the theater were made, had succeeded admirably in producing the most beautiful and harmonious whole.”

The author credits all of the original designs used in the decoration to J. Frederick Scott and the drop-curtain to Oliver Dennet Grover, both of Albert, Grover & Burridge. Does this mean that Scott designed the building murals or the actual scenery? It remained unclear to me. Grover’s drop curtain was described as “a dream of loveliness. It was monumental in character with male and female figures and cupids representing the different elements of drama, in a Grecian landscape, where splendid temples set amid cypress and acacia backed up by the faint lines of distant hills from the background.” The image was published in volume fifteen of “Building Age” (Jan. 1893, page 267-271).

Beckwith Memorial Theatre drop curtain by Oliver Grover.

I also stumbled across another interesting statement about the Beckwith Memorial Theatre scenery in “W.A. Norton’s Directory of Dowagiac, Cassopolis and La Grange, Pokagon, Silver Creek and Wayne Townships” (1899). On page 159, the author writes, “The scenery is designed for the cyclorama effect which has been found so effective, and which was first used in the Auditorium in Chicago. By this arrangement a scene can be set as a street or garden by simply moving the scenes which are profiled on both sides and top, anywhere desired. Every set of scenery is a finished piece of art. It is, after the latest fashion, lashed together with ropes and is capable of being made into seventy-five distinct stage dressings.”

Beckwith Memorial Theatre. Painted setting created by Albert, Grover & Burridge.

Scenes that are “profiled on both sides and tops” would be the leg drops. The cut opening would designate the street or garden scene with information painted on the leg drops. The various combinations of leg and backdrops would create incredible variety for potential stage compositions, all easily lowered to the stage floor for instant configurations. This was just like the new scenery for Scottish Rite theatres. There was no longer the complicated and noisy transitions of flats sliding in their respective grooves.

Norton’s Directory discusses the electric lighting for the stag, writing, “The problem of electric lighting of theatres has been solved in this house, by the use of a large switch-board, I which there are twenty-five levers, and nine powerful resistence coils. The lighting of the stage itself is exceptionally complete, four hundred electric lamps in three colors being utilized for this purpose.” Wow. Beckwith may be a significant “missing link” in the evolution of stage design, counterweight systems and lighting. This places Albert, Grover, & Burridge on the cutting edge of innovation and I couldn’t help thinking of the Electric Theatre spectacle title “A Day in the Alps” at the Columbian Exposition. This scenic spectacle utilized 250 electric incandescent lamps that were operated in full view of the audience with thirty-six switches controlling red, white, and blue lamps.

Albert, Grover, and Burridge were all close friends to Thomas Gibbs Moses. Numerous sketching trips were planned to capture lovely landscapes and improve their skills. In 1890, Albert and Burridge called on Moses as they were all in Pueblo, Colorado, at the same time. Moses was there for work and Albert and Burridge were on a sketching trip. Could they have discussed the Chicago Auditorium’s new scenery, the creation of an innovative painting studio, or any of potential technology waiting to be marketed to a variety of clients? There were so many ideas waiting to be explored and implemented across the country

The Beckwith Memorial Theatre stopped featuring staged entertainment in 1928. The building was demolished in 1966.

To be continued…

Tales from a Scenic Artist and Scholar. Part 133 – Albert, Grover & Burridge

Walter Burridge went on to form another partnership after leaving Burridge, Moses & Louderback. I have pieced together much of the story surrounding Burridge from bits of information I gathered from Thomas G. Moses’ typed manuscript, the John R. Rothgeb papers at the University Texas, some architectural books, and a few newspaper articles. The most valuable source was discovered online -a publication titled “The Coming of Age” (Vol. 3-4, 1900) by Benjamin Orange Flower and Anna Cyrene Porter Reifsnider. There is a section called “The Development of Scenic Art, and Its Relation to the Drama.” One of their stories focused on Walter Wilcox Burridge (1857-1913).

At an early age, Burridge apprenticed himself to Mr. Baylis, a sign painter from Hoboken, New Jersey. He soon engaged in scenic painting for New York theaters after Fred Chippendale introduced him to George Tyrrel, Gabriel Harrison and Harley Merry at the old Park Theatre in Brooklyn. By 1870, he was working full-time at Merry’s Brooklyn Studio; he was thirteen. From Brooklyn, Burridge accompanied Merry to Chicago and Philadelphia. It was under Merry’s wing that young Burridge received the much encouragement to become a successful scenic artist. It seems that the successful scenic artists all had mentors who took a great interest in shaping the career of a young apprentice.

Merry was the first President of the Protective Alliance of Scenic Painters of America, organized in 1895. At one point, Merry was called away from the studio, leaving Burridge to complete a backdrop that depicted a great waterfall. This was a pivotal point in his early career as it gave him the opportunity to prove his worth. From the onset, he showed an aptitude for a variety of scene painting projects. His talent and magnetic personality pulled people to him and soon he had numerous supporters, including the actress Mrs. John Drew.

Burridge did considerable work at the Arch, Broad, and Walnut Street Theaters in Philadelphia. Later, through the strong recommendation of scenic artist Russell Smith, he was called to the Academy of Music, in Baltimore, to execute some scenery for that venue. After Baltimore, Burridge returned to Philadelphia and then went to New York City where he accepted an engagement under J. H. Haverly. It is interesting to note that Burridge worked at many of Haverly’s theaters from New York to California, including the Fifth Avenue, Fourteenth Street, Niblos’ Garden, Broad Street, and Chestnut Street theaters. By 1876, Burridge was working with Phil Goatcher at the Chestnut Theatre in Philadelphia. The historic house was then “famed for the magnificence with which it mounted its attractions.” There, he painted the “Siege of Paris” for the Centennial and later produced the “Battle of Gettysburg.” It seemed that Burridge was always in the right place at the right time.

He moved to Chicago in 1882, settling in suburban La Grange with his wife and securing work at the Bijou and 14^th Street Theatres. Burridge was also under contract with John A. Havlin from 1882 to 1885 at the Grand Theatre. He then worked at the Standard Theatre painting scenery for the opera “Santenella.” For six years, Burridge was the scenic artist at the Grand Opera House and at McVicker’s Theatre. He had been Lou Malmsha’s replacement.

By 1890, Burridge went on sketching trips with Ernest Albert (1857-1946), Oliver Dennett Grover (1861-1927), and Thomas G. Moses (1856-1934). They were all around the same age and accomplished artists. These outings must have been an absolute delight for all involved. Early in 1891, the three formed “Albert, Grover & Burridge, Scenic and Decorative Painters” located at the Studio Building, 3127 State Street, Chicago. Much of the information about this business venture was published in “Chicago and its Resources Twenty Years After, 1871-1891: A Commercial History Showing the Progress and Growth of Two Decades from the Great Fire to the Present Time.” The publication described their establishment as a marked departure from previous studios as they implemented advancements in the methods of mounting and presenting stage plays.

Advertisement for Albert, Grover & Burridge posted in the Dramatic Mirror, 1892.

The new studio of Albert, Grover & Burridge in Chicago, 1892.

They leased the old Casino building on State Street, just south of 31^st street. The publication described the three scenic artists and their particular artistic strengths. Albert as a designer of modern interiors who “is most happy either in the rendering of correct architecture, or when depicting fabrics or soft and consistent color schemes.” The article described Grover as “known throughout the entire art world as an academician and figure painter of high rank – a strong draughtsman and colorist.” Burridge was further noted as “being strong in exteriors and admittedly the foremost foliage painter in the country.” All areas of scenic art were covered!

The article goes on to explain where the three men had previously been employed: Albert was the scenic artist for the Chicago Auditorium, Burridge was at the Grand Opera House and McVicker’s, and Grover held a professorship at the Art Institute and was also the chairman on one of the World’s Fair committees.

It was a perfect formula for success. This had to have been one incredibly talented and well-connected team. Albert, Grover & Burridge did a considerable amount of business for the World’s Columbian exposition of 1893, including the “Volcano of Kilauea.” The firm accepted an engagement to paint a cyclorama picture of the great volcano and sent Burridge to the Hawaiian Islands to make a faithful reproduction of the natural phenomenon. The final composition measured 54’ x 412.’ So successful was the exhibit that it was a major attraction at the Mid-winter Fair in Sacramento. Chicago had six panorama companies in 1893 and six panorama rotundas.

Postcard depicting the work of Walter Burridge, 1908, sent from Burridge to Thomas G. Moses. John R. Rothgeb Papers, Harry Ransom Center, University of Texas, Austin. Photograph of image by Wendy Waszut-Barrett, 2016.

Image of another cyclorama created for the 1893 Mid-Winter Fair in California. This was based on the success of Burridge’s attraction at the World Fair. Image from “Gems of the World’s Fair,” Collection of Wendy Waszut-Barrett.

Albert, Grover & Burridge had a studio with over 12,000 square feet of working area, and another 2,500 square feet devoted to storage and sewing rooms. They had twenty paint frames, ranging from 56 by 35 feet to 30 by 20 feet. The article noted another interesting fact about their studio, stating, “The studio is so large that it permits the artists to introduce a novel feature in the art of painting scenery, which has been in their thoughts for some years. That is after a scene is painted, it can be hung, set and lighted in an open space the full size of any stage in the country, so that a manager can not only inspect it as an entirety, and thus suggest alterations, but he can bring his company to the studio and rehearse with the new scenery.” This information is earth shattering as this shows that scenic studios went well beyond the mere painting of backdrops – they were the visionaries who combined painted illusion, lighting innovations, and stage mechanics. They remained at the forefront of technological advancements, integrating old techniques with new technology.

Unfortunately for Albert, Grover & Burridge, their business venture went bankrupt in two years.

To be continued…

Tales from a Scenic Artist and Scholar. Part 132- Burridge, Moses & Louderback at the Columbia Theatre

Burridge, Moses & Louderback started in 1887. Later, Moses would form a second partnership with Will Hamilton. Moses & Hamilton would work in New York City from 1900 until 1904. Moses would eventually return to Chicago and the Sosman & Landis studios for good, becoming the company’s second and final President.

Burridge, Moses, & Louderback was short-lived, only from 1887 to 1888. However, it provided Moses with an opportunity for his reputation to skyrocket in not only the Chicago area but also throughout the country. The company’s offices were located at 22 Chamber of Commerce in Chicago, Illinois. This was on the corner of Clark and Division Streets.

Burridge, Moses & Louderback advertisement.

Advertisements listed Louderback as the business manager and very little is known of him as a scenic artist. He was well-respected owner of an auction house with fine art galleries. The firm carried a variety of high-end fine products in the Chicago area, including Turkish rugs. It made a great deal of sense for Louderback & Co. to host the first Scene Painters’ Show in 1885. This would have been a well-known and popular venue to promote the works of this eccentric group of individuals and sponsor the scenic art community. Their sales galleries were located at 215 Wabasha Avenue.

Burridge, Moses & Louderback painted at the Columbia Theatre under the management of J. M. Hill. Located at the corner of Dearborn and Monroe Streets, the building was seventy feet wide with a depth of one hundred and ninety feet. It rose up six stories high and was surmounted by a pyramidal tower. The total seating capacity of the entire house was two thousand with a stage of seventy by fifty-four feet.

Article listing Burridge, Moses & Louderback as scenic artists.

The original theater was opened by Mr. Haverly on September 12, 1881, and he continued as the proprietor until June, 1883, when financial reverses caused him to re-lease the property to Charles H. McConnell. McConnell made changes to the front of the building and in the lighting and ventilating facilities, but the chief attraction became the art galleries, which were added during the summer of 1884. The art galleries were Mr. McConnell’s pet project and became a popular feature with a notable collection. These art apartments were further embellished with cabinets, mantels, bronzes, Bohemian-glass, settees, decorative screens, marble pedestals, bronze busts, Egyptian lamps, and many other items of fine décor.

Photograph of the Columbia Theater, Chicago, Illinois.

On February 2, 1885, a stock company was organized, and Mr. McConnell sold out a large interest in the theater. The same day, Mr. McConnell transferred the theater to the Columbia Theater Company, incorporated with a capital stock of $200,000, of which, J. M. Hill was president and manager; J. S. McConnell, treasurer and acting manager; and C. H. McConnell, secretary. The change of name from Haverly’s to the Columbia Theater occurred at the close of the Irving engagement, Miss Ellen Terry, the actress, having had the honor of re-christening it.

When Burridge, Moses, & Louderback were working at the Columbia Theatre, publications show that the Chief Stage Engineer was Ohn Leigh. M. B. Olmsted was the Electrician. H. B. Branum was in charge of Properties. Unfortunately, the theatre only lasted until March 30, 1900, when the building was destroyed by a fire. Only five people were injured as the fire broke out during a cast rehearsal and not a performance.

The work of Burridge, Moses & Louderback during 1887 included “Gypsy Baron” for the Conried and Hermann Opera Company, 2 panoramas for Joe Murphy for “Donah,” and 2 complete productions of “Kerry Gow.” They also stocked the Grand Opera House in Columbus, Ohio and Foster’s Opera House in Des Moines, Iowa. In New York City, Moses notes that they produced the scenery for opera of “Dorothy” (Dorothea?) for the Duff Co at the Standard Theatre. Their contribution was the act one scene in County Kent, England. Finally, at the Chicago Grand Opera, the studio painted Steele MacKaye’s “A Noble Rogue” in 1888.

During these two busy years, Burridge, Moses & Louderback stocked six theatres with all of the necessary scenery – no small task. Incidentally, Ralph J. Terwilliger worked with them as their paint boy. He would later become the founder and first president of the North-West Side Commercial Association.

Ralph Terwilliger, paint boy to Moses, Burridge & Louderback. From Thomas G. Moses’ scrapbook, Sosman & Landis collection at the Harry Ransom Center.

In November of 1888, Burridge pulled out of the studio because he and Louderback couldn’t agree on the running of the business. Louderback came from a “managing art” background while Burridge came from a “creating art” background. From the records, it appears that Moses was the referee between the two, trying desperately to make the studio successful and appease these two “larger than life” personalities. He was unsuccessful.

To be continued…

Tales from a Scenic Artist and Scholar. Part 131 – The Scene Painters’ Show

Thomas G. Moses began working for Sosman & Landis in 1880. During his first decade at the studio, Moses continued to drift away and migrate toward other people, projects and partnerships. He was the proverbial “soaring star” and Sosman & Landis were could not entice him enough to solely work in their studio. By 1885, Moses formed a partnership with Walter Burridge and Mr. Louderback.

*Advertisement clipping from John R. Rothgeb Paper at the Harry Ransom Center, University of Texas – Austin. Photograph by Wendy Waszut-Barrett, 2016.*

All three had participated in the October 12, 1885, Scene Painter’s Show in Chicago.

There was an article written by John Moran for the “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85) about the Scene Painters’ Show. The magazine noted that “The American Art Union, a society of American Artists, including representations of all the different schools of art, has been organized ‘for the general advancement of the Fine Arts, and for promoting and facilitating a greater knowledge and love thereof on the part of the public.” The Board of Control for 1884-1885 included D. Hentington (Pres), T. W. Wood (Vice President), E. Wood Perry, Jr. (Secy.), Frederick Dielman (Treasurer), W. H. Beard, Albert Bierstadt, Harry Chase, Harry Farrer, Eastman Johnson, Jervis McEntee, T. Moran, and Walter Shirlaw. This was a BIG deal!

*Cover of “The Art Union” from October 1885 that included the Scene Painters’ Show review. Image from online source.*

“The Scene Painters’ Show. Chicago, October 12^th, 1885

The first Exhibition of Water Colors by American Scenic Artists has been open free to the public for some weeks past, in this city, and the eighty-four examples hung on the walls of Messrs. Louderback & Co.’s galleries include some praiseworthy and valuable works. Such a collection proves that the broad pictorial treatment requisite for adequate stage effect does not incapacitate a man for the finer and more delicate manipulation essential to good aquarelles, and shows, moreover, a healthy progressive spirit among scenic artists. The name of Matt. Morgan has long been gratefully familiar to us, and he is represented by diverse and facile contributions. “Alone in the Forest Shade” (1), shows lumbermen with their load descending a wild ravine flanked on either side by towering pines. The feeling of solitude and gloom is forcibly conveyed and the tree forms and foliage broadly yet carefully handled. “The Lost Comrade” (27), and “Waiting for Death” (14), are strong and weird aspects of prairies life, the former representing a horseman, lasso in hand, who has come upon the skeletons of a horse and rider among the pampas grass, and the latter a bull calf standing over the moribund body of a cow, striving with futile bellow to keep advancing wolves at bay. A nude figure, “The New Slave” (71), standing expectantly against a rich low-toned drapery, is exquisite in drawing and color and charmingly beautiful in suggestion. Mr. Walter Burridge runs the gamut of landscape figure and decoration and is good in all! His “Spring” (9), “Autumn Leaves” (39), and “Old Mill” (49), are deftly washed-in landscapes, true to nature and aerial in quality, while “My Assistant” (16), a study of behind the scenes life, and a “Ninety Minute Sketch” (83), of his friend Mr. Ernest Albert, show character and a nice sense of texture. Mr. Ernest Albert’s “Winter Twilight” (12), is full of sentiment of the season and excellent in composition, and his “October Morning” (31), “moonrise” (40), “Sunset” (79), and “Autumn” (80), are severally individual as transcripts and prove his mastery over the vehicle he uses. “A Decorative Flower Piece” (84), by the same artist, groups of roses, pansies and forget-me-nots in a most artistic and harmonious manner. “Nobody’s Claim, Col.” (65) and “Near Racine, Wis.” (76) By Mr. Thomas G. Moses, are among his best examples and are freely treated and with fidelity to locale character and sky effects. Mr. Albert Operti gives us some reminiscences of his Lapland tour in 1884, which are realistic and worthy, and Mr. J. Hendricks Young, “A Busy Day on Chicago River” (38), which together with the local bits by Mr. Moses, Mr. C. E. Petford and Mr. Burridge, is of historical value as it is skillfully painted. “Rats, you Terrier” (59), by the same hand, is a “snappy” and bright treatment of a dog’s head and fully catches the spirit of the English. Mr. Henry C. Tryon’s “Source of the Au Sable” (34), powerfully conveys a sense of somberness and grandeur, and though ample in detail loses nothing of the vastness and breadth which such a landscape motion calls for. Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, Chas. Ritter, H. Buhler and John Howell Wilson, whose “Country Road” (76” is especially fresh, verdurous and bright. It is to be hoped that this is only the forerunner of many like exhibitions and it marks a decided growth in the national art spirit.

This wasn’t just a group of artists linked by a common style or profession – this was statement made by a closely-knit community of passionate individuals. They shared their work, their lives and their passion for painting.

To be continued…