Scenic Studio – Page 3 – Drypigment.net

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 79 – Larry Larsen

In 1919, Thomas G. Moses wrote, “Larson quit us on October 24th.” He was referring to Larry. Unfortunately, both Moses and newspapers frequently misspelled Larry’s last name; it was actually Larsen. Larry P. Larsen began his career as a scenic artist in Chicago during the first decade of the Twentieth Century. Later in life, he founded his own studio and became extremely well-known as an architect and contractor, building more than 100 theaters across the country.

*Lawrence “Larry” P. Larsen (1892-1950)*

Lawrence “Larry” Peter Larsen was born in Copenhagen, Denmark, on May 25, 1892. He was the eldest son of eight children born to Louis V. Larsen (1862-1947) and Carrie M. Mortenson (1868-1959). The couple celebrated the birth of five children in Denmark, with three more arriving in the United States. The Larsen children included: Lawrence P. Larsen (b. 1892), Cora R. Larsen (b. 1893), Henry Larsen (b. 1896), Gertrude Larsen (b. 1898), Herbert R. Larsen (b. 1900), Arthur H. Larsen (b. 1904), Katherine Larsen (b. 1911) and Mayme C. Larsen (b. 1912).

The Louis and Carrie Larsen emigrated with five children to the United States in 1902, sailing from Hamburg, Germany, to New York. They arrived in the United States on April 22 of that year. At the time, Larry was only 12 yrs. old, but had already studied at the Royal Danish Academy of Fine Arts. After arriving in the United States, the Larsen’s briefly settled in Hancock, Michigan for two years. In 1904, they moved west to Oshkosh, Wisconsin. For geographical context, Oshkosh is located on the shores of Lake Winnebago. It is southwest of Green Bay and northwest of Milwaukee.

Larry did not come from a family with any theatrical connections or ambitions. After arriving in America, his father worked a variety of jobs that ranged from security guard to fireman. It remains unclear as to whether he supported his son’s artistic ambitions, but Larry ran away from home to pursue a career in art sometime between 1908 and 1910.

Larry was not listed as part of the Larsen household in Oshkosh for the 1910 US Federal census. I have yet to locate any listing for Larry that year, and it is likely because he was working on the road for Sosman & Landis. In later accounts, Larry explained that he ran away from home as there was no formal artistic training in Oshkosh at the time. He attended art school in Chicago, working as a scenic artist during the day and attending art classes in the evening. This was a common situation for many scenic artists who filtered through the Sosman & Landis shops at the time. After hours, scenic artists studied art, constantly attempting to improve their skills to advance through the ranks at the studio. Many hoped to make a name for themselves someday.

In 1913, Larry was listed as an artist in the Chicago Directory, living at 4615 Langley Ave. On May 10 of that year, he married his first wife, Marguerite Pottinger Muir (1895-1924). They were married in Chicago, the city where they likely met. Marguerite was the daughter of Jamill Pattinger and Howard A. Muir. At the time, Larry was 21 years old, and Marguerite was only 18 years old. The following year, the couple celebrated the birth of their first child. Jeanette M. Larsen was born on June 27, 1914,

In 1915, the Larsens moved from Chicago to New York where Larry continued to work as a scenic artist. That year the New York State census reported Larry and Marguerite living with their one-year-old daughter, Janet M., in Queens. By the next spring, a second child arrived. On April 14, 1916, the Larsen’s celebrated the birth of Lawrence Peter Larsen Jr. On Sept. 15, 1916, Chicago’s “Englewood Times” reported, “Mrs. Lawrence P. Larsen and her two little children who have been visiting her parents, Mr. and Mrs. H. A. Muir, of 6448 Champlain Ave. the past three months returned to their home in Brooklyn, N. Y., Tuesday” (page 1).

Meanwhile, Larsen spent a considerable amount of the time on the road, traveling across the country from one painting project to the next. It was during a stay in Texas that Larry became a naturalized citizen on May 25, 1917. At the time, he was working in Beaumont, Texas, temporarily residing at the Woodrow Hotel. The day after he was naturalized, Larry registered for the WWI Draft. Although his card was submitted in Jefferson County, Texas, on May 26, 1917, it was placed on file in Oshkosh, Wisconsin, by June 5, 1917. Larry’s Registration card noted his employers as United Scenery Studios and that he was employed “on road.” His physical appearance was described as medium height, stout build, blue eyes, and brown hair. Larry listed 721 Mt. Vernon, Oshkosh, as his permanent home address. The couple likely returned home while awaiting the birth of their third child Thomas P. Larsen that year.

In regard to Larry’s employer, the United Scenery Studios of New York…

During the fall of 1917, the United Scenery Studios was credited with decorating a variety of theaters, including the Orpheum Theaters in Topeka, Kansas, and Mexico, Missouri. On October 2, 1917, the “Mexico Ledger” of Mexico, Missouri, announced, “Improving the Orpheum. Stage Will be Made Into Conservatory of Charm” (page 1). The article continued, “Following the popular trend of decorating the space around a moving picture screen, Manager S. C. Thompson, of the Orpheum Theatre has L. P. Larson, G. F. Moody, his assistant, of the United Scenery Studios, of New York City, here building a conservatory set to surround the picture screen at the Orpheum. This setting will have large windows in it, behind which a subdued moonlight effect in lights will present a beautiful landscape. The top of the stage will represent a glass conservatory roof. The idea is a new and novel one and is being installed in the larger and more progressive theatres in this country.”

Larsen’s assistant was George Farnsworth Moody (1886-1944). Both Larsen and Moody moved to New York about the same time, c. 1913-1914. Moody’s marriage license to Hattie M. Dyment was registered in Manhattan, New York, and dated August 10, 1914. In 1917 Moody also listed his occupation as an “on road” with the United Scenery Co. on his 1917 WWI Draft Registration card. Moody later worked as an artist for the Kansas City Scenic Co. and the Great Western Stage Equipment Co. of Kansas City. Many of Moody’s designs are part of the Great Western Stage Equipment Co. at the University of Minnesota’s Performing Arts Archives.

*Design by G. F. Moody. Great Western Stage Equipment Co. Collection, Performing Arts Archives, University of Minnesota.*

There was another interesting article from 1917 that mentioned the United Scenery Studios in Topeka, Kansas in 1917. On Oct. 17, 1917, “The Topeka State Journal” reported, “Camouflage artists, wanted by the British in the French trenches, area working this week on the Orpheum stage transforming it into a thing of beauty and a joy forever, as the old saying goes.

A week from Monday Orpheum patrons will look upon a stage rivaling in beauty of decorations and movie stage in the country. It will picture a Japanese garden scene.

A land scape will appear on one side of the stage and a water scene on the other. Prior to the opening of the show, patrons will have an opportunity to look at the garden scene, as it would appear at daybreak, daytime and in the evening. Red lights will be flashed to depict daybreak, white lights, daytime, and blue lights evening. The canvas on which the pictures are thrown will be hidden by a heavy velvet curtain. There will be stone lanterns and Japanaise vases on the land side of the stage and the sacred mountains of Japan will appear in the background. The work is being done by the United Scenery Studios of New York” (page 6).

Although referred to as the United Scenery Studios of New York, the actual name of the firm was American Velvet Drops United Scenic Studios; an unfortunate mouthful that needed to be shortened. The company was managed by Ernest A. price and located in the Gaiety Theatre at 1547 Broadway in New York. The firm specialized in stage draperies, but also delivered painted scenery and ornamental décor.

Larsen was still working for the New York firm during the spring of 1918. On March 20, 1918, “The Salina Daily Union” included an article about the Palace Theatre in Salina, Kansas. The renovated venue represented a Japanese tea garden, complete with Japanese stone lamps, flower pots and painted dragons; similar to the theaters in Topeka. The article reported, “The velvet curtain parts and rises as the pictures come upon the screen. The theatre is certainly one of the most beautiful in the state of Kansas, and, according to Mr. L. P. Larsen of the United Scenery Studio of New York, this is the prettiest job they have done in Kansas and they have done several” (page 6). Sometime between in 1918, Larsen also began working for the New York Studios in Chicago. Keep in mind that New York Studios held a regional branch in Chicago and was considered the eastern affiliate of Sosman & Landis. Regardless of timing, Larsen permanently returned to Chicago where he became associated with the Universal Scenic Artist Studio.

Between 1918 and 1920, Larsen worked for New York Studios and then founded his own Chicago-based firm, Universal Scenic Studios, Inc. It gets a bit confusing from here on out due to the similarity and repetition of studio names. To start with, Universal Scenic Artist Studios is erroneously listed in newspaper articles as Universal Scenery Studios, and Universal Sceneries Studios. However, it is the same firm, as Larsen is often mentioned by name.

There was a second firm established in 1919 named the Universal Scenic Studio Co. The only different is Co. versus Inc. at the end. This firm was established by Boyd P. Joy and initially located in on East Tenth Street in Sioux Falls, South Dakota. Business offices for Boyd’s Universal Scenic Studio Co. later opened offices in Minneapolis, Minnesota and Milwaukee, Wisconsin.

In regard to Boyd’s endeavor, an interesting article was published in the “Argus-Leader” on March 22, 1919. It reported, “The Universal Scenic Studio of Sioux Falls, on East Tenth Street, under the direction of Boyd P. Joy, is providing for this section of the northwest products of the best experience of a man who was for a number of years connected with the best studios of New York and since coming west a few years ago has become one of the recognized leaders in scenic art production.” In later years, Boyd’s firm was often advertised as “Universal Scenic Studio, of Milwaukee” and “Universal Scenic Studios, of Minneapolis” whereas Larsen’s firm was advertised as “Universal Scenic Studios, of Chicago.”

Between 1917 and 1920 Larsen divided his time between Chicago and New York, although he was constantly on the road. Larsen’s fourth child, William Herbert Larsen, was born on May 15, 1918, in Chicago. This is likely when Larsen shifted from the United Scenery Studio of New York to New York Studios. His wife was now caring for four children and likely benefitted from remaining in the same city as her parents.

When Larsen went to briefly work for New York Studios, it was not in New York. New York Studios managed a branch office in Chicago, and were an eastern affiliate of Sosman & Landis. This is where Moses was temporarily working in 1918 and 1919. Moses and Larsen were not the only scenic artists hopping from one studio to the next. This was a tumultuous time for scenic artists and their employers. There were a series of disputes and settlements just prior to the United States’ entry into WWI. It created a perfect storm for suppliers and artisans in the theatre industry.

Two articles were published in the August 1918 issue of “Variety.” They painted a vivid picture of the struggles for scenic artists that summer. The first article was entitled, “No Studio Settlement.” The article reported, “The report that the scenic artists had won their fight against the studio operators and had returned was erroneous. There have been two committee meetings between artists and contractors, but the former were not empowered to settle even had the differences been adjusted. All the large studios are continuing with newly developed artists, and although running short-handed, are getting out some work. The contractors say they are ‘standing pat’ and that the scenic association’s men are working in smaller studios only. There was but one deflection from the contractor’s association, that being the Metropolitan Studio of Brooklyn, in which plant the men never walked out. While the fight is on the Dodge and Castle studio has shifted all work to the plant of the New York studio. New York Studio was where Moses and Larsen worked that year.

The second article in “Variety” during the summer of 1918 was entitled, “Scenic Artists Arbitrate.” The article reported, “The so-called ‘strike’ of the scenic artists, which lasted for five weeks was amicably adjusted last week and the ‘belligerents’ returned to work. While ‘strikers’ gained nothing in the matter of salary or hours in employment – returning under a somewhat less favorable basis than was offered then before the quit – they succeed in securing an Arbitration Committee to adjust any further disagreements. When they walked out the scene painters demanded that 44 hours constitute a week, double pay for overtime, such as nights, Sunday’s and holidays, and a minimum wage of $30 for assistants. All this was agreed to by the studio managers, but they objected to being limited to one assistant to every artist. Upon occasion they have found it expedient to employ as many as four assistants to one artist, often paying them more than minimum wage demanded. The walk-out was times for the busiest period of the year, but the studio managers merely did as much work themselves as they could and passed up the remainder.”

The entry of the United States into WWI also prompted many scenic artists to leave the private sector and work for the government. Others, such as Larsen, founded their own scenic studios. In the beginning, Larsen founded Universal Scenic Artist Studios in Chicago. He was listed as the art director and manager of the firm. After leaving New York Studios in 1919, Larsen remained in Chicago. The 1920 US Federal Census listed the Larsens living at 5617 Drexel Ave. The household included: Lawrence (27), Marguerite (24), Jeanette M. (5), Lawrence P. Jr. (3 yrs. 8 mts), William (1 yrs. 5 mths.), and Lawrence’s brother, Herbert R. Larsen (19 yrs.). Herbert was listed as an “artist’s helper” in the theatre industry.

By 1921, Universal Scenic Artists Studios was working with Universal Electric Stage Lighting Co. of New York. On Jan. 29, 1921, the “Lansing State Journal” of Lansing, Michigan, reported that Universal Scenic Artists Studios of Chicago delivered black velvet hangings trimmed with gold bullion for the Style Review at the Gladmer Theatre. The Universal Electric Stage Lighting Co. provided special electrical effects and scioticons for the show, with Sosman & Landis delivering the painted stage settings. As with many new scenic concerns, Universal Scenic Artist Studios started small, picking up whatever projects they could find, including fabric draperies for the stage.

*Listing in the Chicago Business Directory, 1921.*

On April 1922, Wisconsin’s “Kenosha News” reported, “Beautiful Scenery in Haresfoot Comedy. Scenery and equipment for the Wisconsin Haresfoot show, “Kitty Corner,” which is to appear at the Rhode Opera House, Tuesday evening, April 18, is being specially constructed for the production by the Universal Scenic Artist studio, Chicago, recognized leaders in scenic equipment” (page 9). The 1922 Chicago Central Business and Office Directory listed L. P. Larsen as the general manager and art director for Universal Scenic Artist Studio. Advertisements state that they were “Leaders in Scenic Equipment.” The firm was located in Suite 626 of the new State-Lake Building at 190 N. State. Other tenants in the building that year included the Orpheum Circuit Inc., Rapp & Rapp architects, B. F. Keith’s Vaudeville Exchange, Western Vaudeville Managers Association, Broadway Music Corporations, Advertising Art Bulletin Co. Signs, Lester Theatrical Costumes, and dozens of other managers in the entertainment industry.

*The State-Lake Building, pictured in the 1922 Chicago Business Directory.*

In 1922, Larry and Marguerite welcomed their fifth child into the world. On February 17, 1922, Howard Muir Larsen was born in Chicago. Marguerite, however, never seemed to recover and passed away two years later. Marguerite Muir Larsen died Feb 4, 1924 and was buried on Feb. 7 in Oakwood Cemetery. At the time, the Larsen’s home address was listed 6411 St. Lawrence Ave. On Feb. 8, 1924, Chicago’s “Suburbanite Economist” reported, “Mr. Marguerite Muir Larsen, wife of Lawrence P. Larsen, died at Englewood hospital on Monday morning, February 4, 1924. Mrs. Larsen was the daughter of Mr. and. Mrs. Howard A. Muir, residents of Englewood and Woodlawn. Funeral services were held at Cunningham’s chapel, 6237 Normal Blvd., on Thursday, at 2 O.M. Interment at Oakwood cemetery” (page 4).

For the next two years, Larsen struggled as a single parent, relying heavily upon his in-laws as his business continued to expand. On May 2, 1926, the “Joplin Sunday Globe” reported, “L. P. Larsen, general manager and art director of the United Studios, was in Joplin Friday…”(page 1). Larsen was spending an increasing amount of time in Missouri, completing one project after another, including the Gillioz Theatre in Springfield, Missouri. In June 1926, Larsen married Helen June Mingo (1901-1988). Helen worked as a secretary in Larsen’s office.

The 1920s posed a challenge to well-established scenic studios while offering opportunity to new firms. Theatre suppliers and manufacturers had to rapidly adapt to changing times, immediately responding to new expectations and technological innovations. Live entertainment began to promote drapery settings in lieu of painted scenes. In some ways, it benefited many new studio owners. The manufacture of drapery settings or abstract scenes required an entirely different skill set from their labor pool. This meant that majority of work once completed by highly-skilled scenic artists was replaced with projects that could be completed by their assistants. In some ways, scenic art became more of a scenic trade.

*Installation by ACME Studio of Chicago, a firm established by another former Sosman & Landis employee (Art Oberbeck).*

As noted above in the “Variety” article above, the ratio of one assistant per artist could be stretched to several assistants per artist. This allowed the master artist to supervise a team of less-experienced, and minimally-paid, individuals. In the end, studio owners were able to rake in larger profits by substituting the work of master painters with their less-experienced assistants. Scenic artists well-versed in painted illusion had to adapt, and quickly. Some set their sights on a much bigger prize – the whole theatre building. Such was the case when Larsen

founded his second firm, United Studios, Inc. Larsen became well-known as a designer and builder of atmospheric theaters. Years later, on April 31, 1927, the “Kenosha News” reported, “It is the only enterprise designing and executing theaters from the laying of the first steel and stone to the finished product completely equipped ready to present entertainment and receive patronage.” Larsen became well-known as a designer and builder of atmospheric theaters. His company advertised as “Creators and Builders of Theatres Complete.”

At the beginning of January 1927, Larsen opened his second firm, United Scenic Studios, Inc.

On Jan. 26, 1927, “The Capital Times” of Madison, Wisconsin, announced United Scenic Studios, Inc., Chicago, as a new Foreign Corporations (page 20), with a capital stock of $50; proportion represented in Wisconsin, $12,000; Wisconsin agent, B. W. Frampton, Kenosha, Wis.” Larsen made news that year and began an aggressive marketing campaign. On April 31, 1927, “The Kenosha News” pictures a portrait of Larsen in an article entitled, “Larson Bought First Suit from Laemmle, Now Builds Theatre” (pages 1 and 7). The article uses Larsen and Larson interchangeably; so, you can see how difficult it has been to track down Larry. Here is the article in its entirety:

“Larry Larsen, school boy of Oshkosh, was about to be confirmed and he was to have a new suit. He was told that it could have long pants and as he opened negotiations for its purchase with Carl Laemmle in his little Oshkosh clothing store it was one of the proudest moments in his life.

And now today as Larry Larson, master builder of theaters, puts the finishing touches on the splendid Kenosha Theater, he comes to another moment fraught with import and intimately associated with it the man of his earlier experience for he created and built the theater for Carl Laemmle, president of the Universal Pictures, Inc.

‘Our first transaction,’ says Larsen, ‘was a matter of fifteen dollars or so. Now our deals involve the exchange of millions but the same happy, kindly, honorable spirit dominates negotiations for ‘Uncle’ Carl Laemmle’s knows just one way of doing business.’

L. P. Larsen, president and general manager of the United Studios, Inc. of Chicago, a concern which designs and builds theaters complete, is a native of Copenhagen, Denmark, where he studied art in the Royal Academy. When he was a lad the family came to the United States, going directly to Oshkosh.

Young Larsen, his soul hungry for art tuition unavailable in his home town, ran away to Chicago where he studied by night and acted as a scenic artist by day. His rapid rise in the fields of decoration and architecture led him to form his own company in 1920, This is known as United Studios, Inc., a concern which stands unique and in a field of its own making. It is the only enterprise designing and executing theaters from the laying of the first steel and stone to the finished product completely equipped ready to present entertainment and receive patronage.

Built First Atmospheric Theater.

Mr. Larsen is particularly enthusiastic over the latest innovation of theatrical architecture, the atmospheric theater. It was he who built the first house of this type east of the Mississippi. The theater was erected at Worchester, Mass., and was considered one of the outstanding show places of the east, both from architectural and entertainment standpoints. The United Studios have since built similar places coast to coast.

Handsome theatrical structures, involving millions of dollars, are underway for Carl Laemmle at Racine and Sheboygan, states Larsen, and that being the case it prompts the builder to remark, ‘Isn’t life queer?’” This story would be retold dozens of times over the years with minimal variation to the storyline.

By 1927, Larsen had built several large theaters for Universal Chain Theatrical Enterprises, Inc., of New York, The Universal Chain owned and controlled more than 290 theaters throughout the United States and Foreign countries, with a seating capacity of 250,000 (The Sheboygan Press, 27 Dec. 1927, page 11).

Larsen’s reputation continued to grow, along with profits generated by the United Studios, Inc. in the late 1920s. On Aug. 6, 1927, “The Sheboygan Press” reported “The United Studios, Inc., which has the erection, completion and furnishing of theatres for the Milwaukee Theatre Circuit, now has under construction projects totaling approximately $2,300.000. These include the $1,000,000 theatre at Racine, the $700,000 theatre in Kenosha, and the $600,000 building in Sheboygan” (page 1). But all was no well with Larsen. On Aug. 27, 1927, the “Joplin Globe” announced “L. P. Larsen was admitted for medical treatment yesterday” (page 5).

Larsen also began to diversify and invest in other business opportunities, such as the Joplin Building Corporation. When the Universal Film Corporation announced plans for construction of a theater on the site, Larsen purchased the property for the purpose of erecting a combined hotel and theater building. He formed the Joplin Building Corporation. Larsen was noted as the president of the Joplin Building Corporation, incorporated for $200,000. (“Joplin Globe,” 29 Feb 1928, page 2). “L. P. Larsen of Chicago, president of United Studios, Inc.” was credited with the design for the 11-story hotel, advertised to be the “Highest building in the Ozarks.”

On Feb. 28, 1928, the “Freeport Journal-Standard” reported, “The United Studios are the builders of the new theatre and 100 room hotel to be constructed in Beloit, Wis. And have recently completed theatres in Racine, Kenosha and Sheboygan. Among other houses which the company have constructed are the Ambassador in Chicago, houses in Worchester, Mass. Springfield and Joplin, Mo., and Edison Park, Ill.” (page 6).

Larsen was also featured in “The Journal Times” of Racine, Wisconsin, on April 11, 1928 (page 33). The article was entitled “New Venetian Theater is Creation of Former Badger State Resident.” Here is the article in its entirety:

“The architectural beauty and stability, and the elaborate and carefully worked out details of the new Venetian were planned and executed under the direction of L. P. Larsen, president and general manager of United Studios, Inc., a concern which designs and builds theaters complete. He is an expert on atmospheric houses, of which the Venetian is a magnificent example.

Mr. Larsen, who is a native of Copenhagen, Denmark, where he studied art in the Royal Academy, came to the United States with his family, while he was still a lad, going directly to Oshkosh, Wis. Here, as a school boy he had his first dealings with Carl Laemmle, president of Universal Pictures, Inc., and Universal Chain Theatrical enterprises which owns and operates the Venetian Theater. Mr. Laemmle, then owned a small Oshkosh clothing store, and it was to him that young Larsen went on the eve of conformation to purchase his first ‘long pants.’

Mr. Larsen and Mr. Laemmle smile today when they look on the early deal which involved fifteen dollars, for today Mr. Larsen builds theaters all over the United States for the Universal company, and millions of dollars are exchanged by the two men in necessary transactions.

Early in life Mr., Larsen exhibited artistic tendencies and desired art education. Since there was none available in his home town he ran away to Chicago, where he ‘doubled in brass,’ acting as a scenic artist during the day, and going to art school at night. His successes in the field of art and decoration were so outstanding that he formed his own company in 1920, known as the United Studios, Inc. This concern is unique in that it is the only enterprise designing and executing theaters from laying of the first steel and stone, and the mixing of the first concrete, to the finished product, completely equipped and ready in every detail for patronage and presentation of entertainment.

Atmospheric theaters, of which the Venetian is a wonderful example, are close to Mr. Larsen’s heart, for he built the first theater of this type east of the Mississippi. Erected at Worchester, Mass., this theater was considered one of the showplaces of the east, both from an architectural and amusement standpoint. The United Studios have since built similar places from coast to coast.”

On July 10, 1928, the “Freeport Journal-Standard” reported, “The United Studios, Inc., finance, design, erect and equip theaters and have recently completed houses in Racine, Kenosha and Sheboygan, Wis., Chicago, Ill., Worchester, Mass., Springfield, Mo., and are now constructing a ten-story theatre and hotel in Joplin, Mo., and a new 100-room hotel in Beloit” (page 1).

On Nov. 15, 1929, “The Post-Crescent” of Appleton, Wisconsin, published a full-page advertisement for the opening of the New Fox Midwestco Theater, crediting “The United Studios of 14 W. Lake St., Chicago” with conceiving and executing the new theater building. The ad stated, “The New Fox Midwestco Theater created for Appleton by the United Studios, Inc. of Chicago. The United Studios, under the direction of L. P. Larsen have designed and built many of the country’s outstanding theatres. The new Fox is their latest achievement.” The ad also stated, “The following work was executed under the direction of the United Studios, Inc.: Architecture, Electrical Work and Equipment, Pain and Ornamental Plastering, Painting and Decorating, Sign and Marquee, Scenery and Rigging, Draperies, Lighting Fixtures, Carpets, Furniture, Switch Board and Border Lights, Opera Chairs, Organ, Booth Equipment, and Talking Equipment Installation.” Other projects for United Studios, inc. included Crystal Lake’s El Tovar theatre in Crystal Lake, Illinois. That year advertisements for United Studios, Inc. stated, “United Studios, Inc., builds massive structures of beauty and durability,” detailing that the were “Builder and Equippers of Theatres Complete” (“The Herald,” Crystal Lake, Illinois, 25 July 1929, page 9).

E. R. Nickel was listed as the superintendent of construction for the United Studios, Inc. during the remodeling of the New Van Der Vaart Theatre in Sheboygan (“The Sheboygan Press,” 31 Aug 1928, page 18). For other projects, Nickels was listed as the firm’s engineer (“Stevens Point Journal,” 23 July 1928, page 2). Nickel was also the president of the Valley Construction Co. of Oshkosh. An article about the New Van Der Vaart Theatre reported, “United Studios, Inc. whose artists drafted the plans for the remodeling and re-decorating program has under construction at the present time a combined hotel and theatre building in Joplin, Mo., which when completed $1,500,00, theatres in Crystal Lake, Ill, Delavan and Green Bay, Wis., South Bend, Ind. And Freeport, Ill. A large number of other big projects, such as the $1,000,000 theatre in Racine, the Sheboygan theatre, and numerous other theatrical and hotel properties have also been planned and constructed under supervision of the United Studios, Inc.” (page 18). That same year, Larsen, Nickels and pilot Max Bergham survived a plane crash near Marshfield shortly after takeoff. Larsen and Nickels had chartered a plane to take them to Chicago for a pressing business appointment. They were meeting with J. P. Adler, proprietor of the Adler and Trio theaters of Marshfield, Wisconsin. Miraculously, all three men survived (“Oshkosh Northwestern,” 8 Aug 1928, page 9).

On Sept. 29, 1929, the “Joplin Globe” included an article entitled “Theater Depends on Stock Sale” (page 21). The article concerned the proposed theatre at Fifth Street and Virginia avenue. “L. P. Larsen of Chicago, one of the promoters” explained there must be $50,000 to $60,000 worth of stock subscribed if the building was to be erected. “Larsen said the actual construction of the building would be begun when the stuck is subscribed.”

By 1930, L. P. Larsen was not only listed as president of United Studios, Inc., but also the president of J. N. Blumberg Theatrical Enterprises, Inc. Although N. J. Blumberg and his wife, Kate Silvers, were the original incorporators of N. J. Blumberg Theatrical Enterprises, Inc. Larsen gained control of the stock by November 1928. By 1930, Larsen, H. J. Mingo (Mrs. Larsen), E. R. Nickel and W. E. Roberts were the present stockholders of the corporation. Mrs. Larsen and Nickels were also principal stockholders in the United Studios (“The Sheboygan Press,” page 12).

1930 US Census listed the Larsens living at 844 Glencoe Ave. in Highland Park, Illinois; this was part of Deerfield Township. Larsen was listed as a contractor in the Theatre Building industry. In 1931, the Larry briefly relocated his family to Bakersfield, California, where he was listed in the City Directory: “Lawrence P. Larsen (Helen) h2200 D.” They soon returned to Missouri, where Larry worked in Joplin as an architect.

On April 29, 1932, the “Joplin Globe” reported “Theater Proposal at W. C. Explained” (page 3). The article concerned the approval and support given to plan of rebuilding Old Blake at $40,000. “Webb City, Mo.- April 28. – Approval and support were unanimously given to the proposal of rebuilding the Blake theaters, destroyed five weeks ago by fire, at a mass meeting at regular weekly scheduled session of the Chamber of Commerce today. The meeting as largely attended. The proposal was explained by Fletcher Hammond, manager of the ruined theater and L. P. Larsen, Joplin architect, who would build the new theater.”

In 1933 the Larsen’s moved from Joplin to Webb City, where Larry would remain until his passing in 1950.

Larry and Helen welcomed their only son, David, in 1936. Sadly, their marriage would end in divorce, with Larsen securing custody of his son David. Something happened to the couple between 1936 and 1943. By 1940, Helen ended up as a patient in the State Hospital, they briefly moved to her hometown of Cedar Rapids. The 1940 Us Federal Census listed Helen J. Larsen as a patient at the State Hospital in Washington, Missouri. She was one of many housewives who were listed as patients, ranging in all ages. The same census also listed Helen as part of the Larsen household, living at 125 N. Ball Street, Webb City. The report included the following household members at the time: Larry P (47 yrs.), Helen J. (38 yrs.), David (4 yrs.), William (21 yrs.), Howard (18 yrs.), Lawrence (23 yrs.), and Kathryn (21 yrs.). Kathryn was Larsen’s daughter-in-law, Larry Jr.’s first wife. Larry Sr. was listed as an architect, his son William as a mechanic in the building industry), and Larry Jr. as a manager in the theatre industry.

On March 18, 1941, the “Joplin Globe” announced “Architect to Speak Before W. C. [Webb City] Rotarians” (page 5). The article continued, “Webb City, Mo., March 17. – Larry Larsen, architect, will deliver the principal address at a meeting of the Rotary Club which will be held at 12:10 o’clock Wednesday in the Elks Club building. Following the meeting the members and their guests will be the guests of the Civic Theatre, where they will be shown “World in Flames.” The picture was a complete outline of the happenings and events of the world from 1929 up to the present crisis.” In many ways, it was the beginning of a personal crises for the Larsen family too.

The last listing for Larry and Helen as a couple was from 1942 – the Cedar Rapids, Iowa, City Directory. They briefly moved to Iowa for a year after Helen was released from the State Hospital. She was returning to her hometown and family. At the time, Larry was listed as a theatre operator in the Cedar Rapids Directory, living at 218 8^th Ave. SW. I doubt that Larry remained in Cedar Rapids for long, as he was too active that year in Webb City area that year. Helen would go on to live another 46 years after their divorce. On Nov. 21, 1988, the Cedar Rapids “Gazette” announced Helen’s passing, reporting, “87, died Sunday in the People’s Care Center at Independence after a long illness. She was born June 9, 1901, at Cedar Rapids. She married Lawrence P Larson [sic.] in June 1926. She was a graduate of Grant High School and was employed as a secretary for the L. P. Larson Designers and Builders of Chicago. Surviving are a son, David of East St. Louis, Ill; and two sisters, Mrs. Gladys Suchomel of Cedar Rapids and Mrs. Evelyn Hoffey of Iowa City. Services: 2:30 p.m. Tuesday, Jacobs-Kuba Funeral Home, by Rev. David Young. Burial: Linwood Cemetery. Friends may call at funeral home from 7 p.m. to 9 p.m. today and after 9 a.m. Tuesday” (page 14).

On Jan. 26, 1942, the “Joplin News-Herald” included a full-page spread on Larsen’s new theater, entitled, “New Civic Drive in Cafe” (page 6). The article reported, “The dreamer is Larry Larsen, artist and architect who erects buildings, not because of what they represent in potential earning power, but because they are beautiful to look at and be in, and make life a little more convenient and pleasant. Larsen came to this district in 1926 to plan a new theater in Joplin. His plans culminated in opening the Fox theaters in November, 1930.

But while he was working on the theater project, Larsen was doing something else. He was falling in love with this region as an ideal place to live. He knew he intended to give up the hurry and cold-blooded commercialism of the big cities and seek a more leisurely and less materialistic life in a smaller community, but he didn’t find just what he wanted until he reached the ‘gateway to the Ozarks.’ When he came here, he already had built 100 of the finest theaters in the nation. Even after closing the community for his home, he went out and erected 40 more show houses before returning to Webb City ‘for good,’ as he expresses it. Larsen’s first contribution to Webb City was the Civic theater, opened in November, 1932. That gave the city a show house with an atmosphere in keeping with that of the largest metropolitan centers – one so pleasant that many persons attend shows from all parts of the district. The Drive-In Café is a second step in a plan for a complete tourist center in Webb City. Next, Larsen expects to establish a hotel, or Mo-tel as he will call it, because it will be constructed especially for cross-country tourists or salesmen who travel in this district with their wives and wish complete garage and eating accommodations…Larsen is known throughout the United States, not only because of his playhouse construction, but also as the man who brought the first pair of suspenders from the man whom he later built so many theaters. Born in Copenhagen, Denmark, Larsen came to American when he was 9 years old. He left home when he was 14 to make his own way in the world and literally pulled himself up by his own bootstraps, earning by his own effort the tuition he needed to study art. Later he devoted his time to interior decorating and finally found expression for his talents in architecture. Larsen first met the man for whom he built the theaters when he was in Oshkosh, Wis. He was the late Carl Laemmle who founded Universal Film Corporation. At that time Laemmle was operating haberdashery and it was his store that Larsen went to buy his first pair of long trousers – with suspenders thrown in. Erection of the Fox Theater here in 1930 marked a step forward in playhouse design which to a great degree influenced all other theater construction in the district. At that time, with due respect to the old Hippodrome and Electric theaters, playhouses of Joplin and the district had not advanced with the motion picture industry. The industry had given the world ‘talkies,’ but show houses still were designed for the silent days. The Fox theaters was the first house built especially for sound motion pictures. It was the first really beautiful playhouse in the district. It set a pace and other theater operators throughout the district were encouraged to follow suit” (page 6).

On July 16, 1942, the “Joplin Globe” included an article entitled Webb City Business Men Will See Film” (page 10). The article noted, “The luncheon will be served promptly at noon at the Civic Drive-in Café. The group will then adjourn to view the picture as guests of L. P. Larsen, manager of the theater” Luncheon Chamber of Commerce meeting. That year, Larry Jr. was managing his father’s Civic Theatre in Webb City.

On May 30, 1943, the “Joplin Globe” announced “Six divorces were granted in circuit court today: Lawrence P. Larsen from Helen J. Larsen, with the custody of their child awarded to Larsen” (page 3). Larry remarried two days later. On June 1, 1943, he married Bird Necomis McKnight Brooks (1905-1970) in Webb City. Byrd had also worked as a secretary at Larsen’s firm. She was a divorcee, having previously married Fred A. Brooks in 1928. Byrd was a resident of Webb City and had been working as a secretary at the theatre corporation since 1940.

Despite WWII, business continued to thrive for Larsen in the 1940s. Tragedy struck the Larsen family, however, in 1947 when Larry’s father passed away. Louis Larsen’s obituary was published in “the Oshkosh Northwestern” on April 19, 1947 (page 4):

“Louis Larsen, 85, of 721 Mt. Vernon street, passed away this morning at 6:45 o’clock after an extended illness. He was born in Denmark, March 14, 1862, and settled at Hancock, Mich., in 1902. Since 1904 he had been a resident of Oshkosh. He was a member of Our Saviour’s Lutheran church and of the Danish brotherhood No. 9. Survivors included his wife Carried; three daughters, Mrs. Cora Morgan of Wenatchee, Wash., Mrs. Gertrude Pilcher of Salem, Ore. And Mrs. Katherine Steiger of Oshkosh; four sons, Lawrence of Webb City, Mo., Henry of Olympia, Wash., Arthur of Fond du Lac, and Herbert of Osh Kosh; 17 grandchildren and three great grandchildren.”

*Gravestone of Larry’s father, Louis V. Larsen, in Oshkosh, Wisconsin.*

Larry passed away less than three years later. On Feb. 18, 1950, he died from a cerebral hemorrhage. On Feb. 19, 1950, the “Neosha Daily Democrat” reported, “Well-Known Joplin Architect Succumbs. Joplin, Mo., Feb 18 – (UP) – L. P. Larsen, 57, widely known architect of the Missouri-Oklahoma-Kansas area, died today in a Joplin hospital. Larsen was a resident of Webb City, where he owned and operated two motion picture theaters, He was a native of Copenhagen, Denmark” (page 1).

Longer obituaries were published in local newspapers.

“Larry P. Larsen of Webb City Dies.

Owner of Civic Theater and Designer of More Than 100 Playhouses Succumbs Unexpectedly.

Webb City, Mo., Feb 18. – Larry P. Larsen, 57 years old, 119 North Ball street, died at 12:40 o’clock this afternoon in St. John’s hospital in Joplin. He had been ill three years, but was not hospitalized recently until about 11 o’clock this morning.

Mr. Larsen was born in Copenhagen, Denmark, and came to this country with his family when he was five years old. He had resided in Webb City for 17 years. He was a member of the Elks Lodge, War Dads, Chamber of Commerce and Presbyterian Church.

He was an architect and contractor, having built more than 100 theaters in all parts of the country. He designed and built the Fox Theater in Joplin and the Civic Theatre and Civic Drive-In restaurant in Webb City, which he owned, and the sanctuary of the Presbyterian church.

He is survived by his widow Byrd Larsen of the home; four sons, Larry P. Larsen, Jr., of Indiana, William H. Larsen of Kansas City, Mo., David Larsen of the home, and Howard Larsen of Webb City, a stepson, Fred Brooks of Stockton, Calif., one daughter, Mrs. Janet Hawk of Webb City, his mother Mrs. Louis Larsen of Oshkosh, Wis., three brothers, Henry Larsen of Washington, Arthur Larsen of Fond Du Lac, Wis., and Herbert Larsen of Oshkosh, three sisters Mrs. John Stiger of Oshkosh, Mrs. Ira Pricher of Salem, Ore., and Mrs. Cora Morgan of Washington, and three grandchildren.

Funeral arrangements are in charge of the Johnston-Arnce-Simpson mortuary.”

Larsen was buried in buried in Mount Hope Cemetery, Webb City.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 73 – Fred R. Megan

Fred R. Megan (1873-1946) was associated with the Sosman & Landis Co. from approximately 1924 until 1930. He was involved with the second iteration of the company, after the original firm, Sosman & Landis Scene Painting Co., was liquidated. In 1923, Megan and Thomas G. Moses (1856-1934) negotiated the purchase of the firm’s name. By 1924, Moses was listed as president of Sosman & Landis, with Megan listed as the secretary and treasurer. From a practical standpoint, Moses handled production, while Megan handled marketing and sales.

In 1926, Thomas G. Moses and Fred R. Megan, representing Sosman & Landis, were recognized for their contribution to the new Varsity Theatre in Evanston, Illinois (Wilmette). Of Moses and Megan, the “Wilmette Life” reported, “Noted Scenic Artist Create Variety Setting.

In keeping with the character of the work demanded by the builders of the Varsity Theatre, much stress was laid upon proper stage settings and scenic work. With this in mind, contract for the work was awarded to the Sosman & Landis Co. This company has been doing business since 1878 and many of its artists and mechanics have practically spent their lives in developing their art. Among the notables connected with this organization are Thomas G. Moses, president, and Fred R. Megan, secretary and treasurer” (Dec., 24, 1926, page 33).

*1926 advertisement placed by Thomas G. Moses and Fred R. Megan of Sosman & Landis.*

*Drop curtain by Sosman & Landis when the Varsity Theatre opened in 1926.*

The dilapidated interior of the Varsity Theatre was described on Dec. 24, 2015, at afterthefinalcurtain.net. Here is the link: https://afterthefinalcurtain.net/2015/12/24/varsity-theatre-evanston-il/

Additional information about Megan was included at the end of the article: “Fred R. Megan, secretary and treasurer of the Sosman & Landis Co., spent 30 years as director of art with the Kansas City Scenic Co. He severed this connection at the outbreak of the war and had charge of the building and equipment of the Liberty theaters in all cantonments, in this country.”

Moses and Megan first met during the 1890s, although the exact date and place remain a mystery. Their first meeting possibly occurred when Megan was touring with Barret & Barrett in 1897. By 1900, Megan was working for the Kansas City Scenic Co., a western affiliate of the Chicago-based Sosman & Landis. Since the 1880s, Sosman & Landis had operated several regional offices, as well as maintaining close ties with other strategically-located studios across the country. Affiliate studios subcontracted portions of larger projects to one another, or occasionally entire projects, during especially busy period in the year. For example, in 1902 the Kansas City Scenic Co. subcontracted a portion of a scenery collection destined for Colorado. This was a contract secured by Megan with the Elks Opera House in Leadville Colorado. Keep in mind that the founder of Kansas City Scenic was a former Sosman & Landis employee.

Megan’s early life and career have been incredibly difficult to track down. Much has to do with the separation of Megan’s parents, second marriages, and name changes.

Overall, Megan represents the many men who left midwestern farming communities and a tough living situation to make a name for themselves in the theatre industry. It has been fascinating to follow his journey from Knox County, Illinois, to Kansas City, Chicago and even Washington, D C.

Frederick “Fred” Rishell Megan was born on May 5, 1873 in Galesburg, Knox County, Illinois. For geographical context, Galesburg is about 190 miles southwest of Chicago and 50 miles due south of Moline, Illinois. Fred was the child of Rev. Dr. John W. Megan and Cornelia Wookey. Dr. Wookey was an Irish immigrant who settled in Knox County and married the daughter of a local farmer. It would be Cornelia’s mother and step-father who would raise Fred Megan on the farm in Truro Township. Truro is due east of Galesburg, also in Knox County, Illinois.

As an 8-yrs.-old, Cornelia Wookey emigrated from England and moved to Illinois, growing up in Truro Township. She married John Megan on June 18, 1871, in Knox County, but their marriage did not last long, and soon their son was left at his maternal grandmother’s farm. Both John and Cornelia moved away (in separate directions) and remarried, starting new lives elsewhere. The 1880 US Federal Census listed Fred Megan as the grandson of Hannah (Wookey) Reed and Andrew Reed (Hannah’s second husband). Hannah’s first husband, Stephen Wookey, passed away in 1860. Hannah and Stephen Wookey had celebrated the birth of six children. Although she would have another six children with Reed, all would die in infancy. So by the time Fred was living with his grandparents, Hanna and Rev. Andrew J. Reed, the couple was well-passed child-bearing age.

By 1880 Fred’s father relocated east and remarried. His second wife was Susan Parnally. The two were married in Grand Rapids, Michigan, on Sept. 1, 1879. At the time, Megan was listed as living in Fennville, Michigan, and Susan in Kalamazoo, Michigan. After the two married, they settled in Clyde, Michigan, and celebrated the birth of a daughter, Anna M. Megan, in 1883.

Fred’s mother also remarried by 1881. Just prior to her second marriage, she was going by her maiden name, Cornelia Wookey, and working as a school teacher in North Henderson, Mercer County, Illinois. North Henderson was approximately 20 miles northeast of Truro Township.

On June 1, 1881, Cornelia Wookey married Everett Eugene Markley in West Jersey Township, Stark County, Illinois. The couple would never celebrate the birth of their own biological children, but adopted a son almost two decades after they were wed. The 1910 US Federal Census listed Cornelia and Everett Markley raising their 2-yrs.-old adopted son, David E. Markley, in St. Louis, Missouri. Cornelia spent the remainder of her life in St. Louis, passing away in 1914. Everett Markley remarried and moved and west to Chickasaw, Oklahoma.

Fred’s biological father also moved west, eventually settling in Kansas where he continued to work as a physician. Interestingly, he also spread the gospel, later becoming the Rev. Dr. J. W. Megan. The travels of Dr. Megan, are quite easy to follow over the years. It does not appear that Fred reunited with his father out west until he was an adult.

Like many nineteenth-century physicians, Dr. Megan traveled for work, going from one town to the next, eventually On Feb. 28, 1889, the “Barton County Democrat” of Great Bend, Kansas, reported, “Dr. Megan of Lawton, Michigan, is in town and thinks of locating here” (page 4). Dr. Megan did relocate and was appointed a county physician. On April 18, 1889, the “Barton County Democrat” reported, that Dr J. W. Megan was appointed the physician for the 3^rd district at $76” (page 4). He did not last there long. On Sept. 5, 1889, the “Barton County Democrat” reported, “Dr. Megan moved to Little River, Kansas, this week, where he expects to follow his profession” (page 1). By October, 1889, Dr. Megan had left Great Bend. Over the next few years, Megan moved from one town to the next, living in Little River, Pawnee and Olsburg.

1894 became a turning point for Dr. Megan when he moved from Olsburg to Leonardville, Kansas. On October 18, 1894, the “Olsburg News-Letter” reported, “Dr. J. W. Megan expects to move to Leonardville after election and will practice medicine there as well as look after editorial duties of the Monitor.” By 1894, Dr. Megan and his son Frederick were living in Leonardville and running the newly established newspaper. In March 1894, Preston S. Loofbourrow moved his newspaper, “The Monitor” from Clay Center to Leonardville; he had started “The Monitor” in Clay Center Kansas. In March 1884 he shipped all of the newspaper equipment to Leonardville, 15 miles east. Here is a link to Loofbourrow: https://sites.google.com/site/leonardville66449/Home/leonardville—-yesterday/4-newspaper

*Lovely article about Loofbourrow and the Leonardville Monitor*.

*Leonardville along the Kansas Central RR.*

Loofbourrow published the first edition of the “Leonardville Monitor” on April 3, 1884. I am including an excerpt from an article written by Loofbourrow on Aug. 28, 1884, as gives a glimpse into the Megan’s life in Leonardville:

“Leonardville is situated on the Kansas Central railroad, a little north and west of the center of Riley County. It is nineteen miles east of Clay Center and one hundred and twenty-eight miles west from Leavenworth. There is no town of importance nearer than Clay Center on the west, and Garrison on the east is not likely to interfere in the least with the future growth and development of Leonardville. South, there are no trade centers nearer than Junction City and Manhattan, and north none nearer than Waterville and Blue Rapids. Hence it will be seen that there is a large scope of Country tributary to Leonardville, in which no rival town can successfully compete. The town is beautifully located on the high-rolling prairie, which recedes in graceful undulations as far as the eye can reach in all directions. This grand stretch of magnificent prairie is dotted here and there with artificial groves, with now and then a small stream of water meandering through a belt of timber, giving variety to the landscape as well as furnishing water and shelter for the LARGE HERDS OF STOCK that graze on the prairies, and also furnishing timber in limited quantities for fuel and the various purposes for which timber is indispensable.

“This whole region is under an advanced state of cultivation, and thickly dotted with well improved and highly productive farms that are from year to year yielding abundant crops of rye, wheat, oats and corn, under the tillage of the hardy, energetic farmers who came here twelve or fifteen years ago empty handed, and took possession of the wild domain, and with untiring energy and persistent toil subdued the soil, built up beautiful homes, and surrounded themselves with an abundance of the comforts and luxuries of life. All over these prairies, speckled in all directions, thousands of cattle feed, and thousands of hogs consume thousands upon thousands of bushels of the almost FABULOUS CORN CROP produced from year to year. Large herds of sheep also graze in various localities, and horses of the finest stock in the world, among them several imported stallions, are owned by the enterprising farmers of the surrounding country. The farmers who have subdued this fine region of country and brought it under such a high state of cultivation came here from all parts of the Union, and a large proportion from the other side of the Atlantic – Sweden, Germany, Great Britain, Wales and Ireland. They are all men of grit and courage or they never would have braved the dangers, privations and toil of pioneer life, nor could they ever have gained so signal a victory over the wild waste they have transformed into such a paradise of beauty, grandeur and plenty.

“This being the character of the men who have FOUGHT THEIR WAY UP, from nothing to opulence and plenty, what may we not expect from them in the future? May we not safely assume that the pluck, energy and tact that have brought about such grand results in so short a time from the wild prairies of the frontier, will in the future, from the fertile farms of northern Riley, with railroad facilities and home markets bring about a state of prosperity almost beyond the power of the mind at the present time to grasp. We feel assured that there is scarcely a limit to the possibilities of the future development and prosperity of this fertile and productive region, whose fame has hitherto been permitted to remain unheralded and unknown. Immense crops of rye, wheat, oats and corn will be produced from year to year, thousands and thousands of hogs and cattle will be raised, fatted and sold, and Leonardville will be the COMMERCIAL CENTER where all these vast products will be put upon the market. These products will increase from year to year as the country continues to improve, and the facilities for handling and storing them much increase in a like ratio. Not only will the products of the country increase, but as the facilities for handling them are increased and improved, the radius of tributary territory will be extended, so that in a few years, if the business men of the town are WIDE AWAKE and provide facilities adequate to conveniently receive, store and handle the products of the country, which will without doubt be the case, this live town will have grown to a busy, booming metropolis, with mills, elevators, ware-houses, manufactories, and all the various routine of trades and industries that go into the make-up of a live, progressive western city. This, to some, may seem an overdrawn picture; but it is not. It is all practical, possible and probably; in fact, with ordinary sagacity and business tact in the management of the business interests of the town, it is inevitable.

“LEONARDVILLE TOWNSITE was surveyed and platted in September, 1881. The site comprising a portion of the farms of Lucien Kilbourne, John Ford and Erpelding Bros. Erpelding Bros. and Mr. Kilbourne, donated the right of way through their farms, and each alternate lot; and Mr. Ford gave each alternate lot, to the Railroad company as a consideration for locating the town and surveying and platting the same, and recording the town plat, which they did in September, 1881, as above.”

The Leonardville Monitor was continuously published from April 1884 until March 1953, when it combined with the “Riley Regent” to become the “Monitor-Regent.” The “Monitor-Regent” later merged with “The Blue Valley News” (formerly the “Randolph Enterprise”), becoming “The Riley Countian,” and is still publishing under that name.

By the fall of 1894, the “Leonardville Monitor” had a new editing team – Dr. Megan and his son Fred R. Megan. On October 18, 1894, “The Leonardville Monitor” reported,

“Greeting.’

We appear for the first time upon the pages of the MONITOR, having taken charge of the paper Oct. 1^st. We come among you as strangers, but the warm reception in which we have been received by the good people of this city and country assures us that your hearts are with us, and we will try to make the MONITOR a power for good to the city and surrounding country, Having been in different parts of the state we have seen no place which present so many first class businessmen as Leonardville. And as to the farms and farmers in this part of Piley Co. they have no piers. The MONITOR will always be with you in everything that is to the building up of home industry and enterprise. Our motto is ‘To Honor God, Protect home and defend our country.’ F. R. Megan, Editor.”

On October 25, 1894, the “Clay County Star” reported, “’The Leonardville Monitor’ has changed hands, assuming editorial charge, F. R. Megan, and Dr. Megan & Son appear as publisher. From appearances they start in with an excellent patronage and will no doubt keep the paper up to its former high local standing.” By November 8, 1894, their newspaper was advertised as “a spicy 5-column quarto, neatly printed and is Republican in politics.” Father and son did not run the paper together for long. On Feb 28, 1895, “The Leonardville Monitor” reported, “Dissolution of Partnership. Notice is hereby given that the firm of Megan & Son has, by mutual consent, dissolved partnership. All accounts due the MONITOR, to receive proper credit, must be paid to Dr. J. W. Megan” (page 8).

*Frederick R. Megan, once editor of the Leonadrville Monitor.*

Fred left Leonardville and settled in Peoria, Illinois. The 1895 Peoria Directory listed Frederick R. Megan as an editor, living at McClure av. nr Knoxville rd.”

Back in Leonardville, by the Spring of 1895, Dr. J. W. Megan was listed as the sole Editor and Publisher of “The Monitor” in Leonardville (25 April 1895, page 4). He only lasted another six months though, and on October 3, 1895, “The Leonardville Monitor” reported, “Dr. Megan’s Lease of the Monitor having expired, he retires from the management with best wishes of the proprietors. The Doctor expects to remain in Leonardville in the practice of his profession” (page 8). Dr. Megan turned his sights on preaching. On Nov. 28, 1895, “The Leonardville Monitor” reported, “Dr. Megan preached a very interesting sermon, last Saturday evening, at the Swedish Baptist church” (page 4). His religious interests repeatedly made the local news.

On Feb. 5, 1896, “The Leonardville Monitor” reported, “Dr. Henry Morton moved his household goods to Leonardville Monday, having purchased the practice and good will of Dr. Megan, whom we under-stand has accepted the pastorate of a Baptist church, he being a preacher as well as a doctor. – Correspondent from Green in Clay Center Dispatch. It is true, Dr. H. B. Morton has located and moved his family to our city, but he did not purchase the practice of Dr. Megan, neither had Dr. Megan accepted the pastorate of the Baptist Church” (page 4). On Jan 9, 1896, “The Leonardville Monitor” reported, “Dr. Megan has been chosen as examiner for the K. L. S. to be instituted here soon” (page 6). He also began dabbling in the marketing industry for medicinal products and it is hard not to think of the proverbial “snake oil salesman.”

Dr. J. W. Megan was repeatedly quoted from 1895 -1909 for promoting the Pyramid Drug Co. of Albion, Michigan. On Aug. 22, 1895, (and July 25, 1895) his testimonial was published in “The Leonardville Monitor” – “If you are suffering with the Piles and want a sure relief, send to the Pyramid Drug Co., Albion, Michigan, for a box of Pyramid Pile curs, price 50 cents and $1 a box. I have used a box and can truly say that I have received more benefit than all the medicine I ever used in the past 23 years. Dr. Megan, Editor of the Monitor” (page 1). “Dr. J. W. Megan, Leonardville, KS, I have used a box of Pyramid Pile Curs and received more benefit and relief that from any remedy I have used in the past twenty-two years.(article entitled the Surgeon’s Knife. Once believed to be the only cure for Piles and Rectal Diseases. Fort Wayne Sentinel 11 Jan 1896 p 2). This was also published in 1895 (in Fort Wayne, IN, and Xenia Daily Gazette, of Xenia, Ohio). In 1899 it was still published (Indianapolis Sun 18 Nov 1899). Ads all over the country, Iowa, Indiana, Ohio, Illinois, Penn., Wisconsin, Mass., Minn, California, Washington, D. C. It looks like he became a Rev. Dr. J. W. Megan, as he was still promoting this remedy in 1908 (Word and Way, Kansas City, MO, 4 Nov 1909, page 11). He was noted as “Now Pastor Baptiste Church, Neodesha, KS” and that spring of 1909 “Pastor Baptist Church, Unionville, MO.”

By 1896, Fred Megan set out on his own and relocated to Kansas City (“The Topeka Daily Capital,” 9 April 1896, page 8). It is unclear what prompted the move and resulted in his career in theatre. The 1896 Kansas City Directory listed “Frederick R. Megan trav rms 1021 McGee”

The 1896 Kansas City Directory listed Megan as a traveling salesman, rooming at 1021 McGee. He was mentioned in local newspapers the following year, and associated with the opera house. On March 10, 1897, “The Kansas City Journal” reported “A Theatre Usher in Trouble. F. R. Megan, an usher at the Ninth Street opera house, was arraigned before Justice Walls yesterday, charged with obtaining money under false pretenses. He was at one time collector for the Travelers’ Accident and Sick Benefit Society, but was discharged. The company charges him with collecting weekly dues from persons who are insured with it and representing himself to be still in the employ of the company. He was arrested Monday night at the theater” (page 6). On March 12, 1897, “The Kansas City Times” reported, “Fred R. Megan Not Guilty. Justice Walls yesterday released Fred R. Megan, charged with fraudulently collecting money due an insurance company. The cashier of the company testified that Megan was authorized to make collections, though it was on complaint of the company’s superintendent that he had been arrested. Megan states he will bring suit for malicious prosecution. Megan is not, as was reported at the time of his arrest, ticket taker at the Ninth Street theater” (page 3).

Megan continued to be associated with the theater. On December 2, 1897, the “Leonardville Monitor” reported, “F. R. Megan who is well known here dropped in on the evening train on Thanksgiving. He is now traveling for the Barrett & Barrett Co., with headquarters in Kansas City. He informs us he will make this territory every sixty days” (page 8).

The 1898 Kansas City Directory listed “Frederick R. Megan trav b 1101 Wyandotte.” His permanent address was listed as Kansas City, but he continued to journey from one town to the next. On Feb 12, 1898, “The St. Joseph Herald” of St. Joseph, MO, reported, “Mrs. E. E. Markley of Peoria, Illinois writes to Mayor Vories for information regarding he son, Fred R. Megan, to whom she claims to have sent $5 by telegraph to St. Joseph, at his request. Megan is not known here” (page 5). This was Cornelia Jones Wookey Markley, Fred’s mom. To date, this is the only connection between Megan and his mother after he entered adulthood.

Megan married Thenia F. Jones (1874-1967), in Jackson, Missouri, on April 14, 1898, likely while Megan was touring. Their marriage license listed that they were united in wedlock by Pastor John W. Hancher at the Grand Avenue Methodist Episcopal Church in Kansas City, Missouri. Their marriage license was announced on April 15, 1898, in “The Kansas City Star” with their ages listed as 24 and 23 (page 8). Here is a little information about Megan’s wife and family.

Thenia was born on April 16, 1874 in Carrollton, Carroll County, Arkansas. She was the daughter of Milford H. Jones (b. 1839-1913) and Sarah H. Britton (b. 1844-1917); Thenia’s parents were married on Sept. 18, 1959 in Sparta, Monroe, WI. On July 3, 1913, the “Kansas City Star” reported, “Mayflower Descendent Dies Here. Milford Henry Jones, 74 years old, died at 6:10 o’clock last night at his home, 1514 Anderson Ave. He is survived by his widow, Mrs. Sarah Jones, and these daughters”: Mrs. Frederick Megan and Mrs. Alice Johnson, both of this city; Mrs. Jefferson Collins of Independence and Mrs. H. R. Stannard and Mrs. William Raymond, both of Springfield, Mo…Mr. Jones was born in Stockton, Chautauqua County, NY. He was a representative of old colonial families, being related to the Ames, Mallorys, Paynes and Putnams, and is a descendant of Thomas Rogers, who came over in the Mayflower.” Thenia Jones Megan is listed in the North America, Family Histories, 1500-2000, Daughters of the American Revolution. Lineage Book of the Charter Members of the DAR Vol 068 (#67204). She is listed as a descendant of Gideon Richmond, Stephen Scovel and Ebenezer Britton.

The couple remained in Kansas City. The 1899 Kansas City Directory listed “Frederick R. Megan sales r 807 Main.” In 1900, the Megans celebrated the birth of their only daughter, Anabel Thenia Megan. She was born on July 19, 1900, in Kansas City. The census that year, listed the small family of three renting a house on Cypress, with Fred continuing to travel the region as a salesman.

By 1901, Megan became actively associated with the Kansas City Scenic Co., and was listed in a series of articles about the firm. By now, he was listed in the Kansas City Directory as “Fred R Megan trav r 728 Cypress.

On Jun 13, 1901, the “Atchison Daily Globe” reported “Fred R. Megan [sic.] of the Kansas City Scenic company, was in town yesterday, with a view of getting the job of retouching the old scenery for the Atchison theatre.” On June 27, 1901, the “Downs Times” reported, “F. R. Megan, representing the Kansas City Scenic Co., was in town Monday and Mr. John Wolfert contracted with him for a complete scenic outfit for the opera house. The room will be refitted and put in fine condition, the whole, costing in the neighborhood of $500.”

On June 27, 1901, the “Rooks County Journal” of Stockton, Kansas, reported, “F. R. Megan, of Kansas City, spent Saturday in the city soliciting advertising to place on the new drop curtain which he will place in the opera house. We were told he sold Mr. Bigge about $300 worth of theatre supplies of various kinds.”

By August of that year, Megan supervised the scenic installation at the new opera house in Waxahachie, Texas. On August 24, 1901, the Waxahachie Daily Light reported, “Putting up the Scenery. The new opera house will be equipped with the most elegant line of stage scenery to be seen in this part of the state. The scenery was painted by the Kansas City Scenic Company, and every piece shows the artistic touch of a master’s brush. This part of the stage equipment will include nearly every set of scenery used in the production of any attraction coming to this section. There are twelve sets, including parlor, prison, kitchen, forest and palace scenes. Mr. F. R. Megan, representing the Kansas City Scenic Company, is here this week putting the scenery together and setting it up.”

Still representing the Kansas City Scenic Co. in 1902, Megan sold scenery to theaters in Fort Scott, Everest, and Columbus, Kansas. On March 13, 1902, the “Everest Enterprise” reported, “Fred R. Megan, representing the Kansas City Scenic Co., was in the city the first of the week and perfected arrangements for the placing of the scenery in the new opera house.” Megan was also in charge of the scenery installation at the Davidson Theatre in Fort Scott, Kansas. On October 2, 1902, the “Fort Scott Weekly Tribune” reported, “F. R. Megan, representing the Kansas City Scenic Co., was here and superintended the putting in of the scenery last night. His company installed the new equipment. There are fifteen different settings, eight interior and seven exterior settings…Of the different settings the Gothic interior and the exterior rocky pass and the woods and garden are considered the prettiest and present the most perfect effect. The trees stand out well and there is much about the scenery that is to be admired.”

He travelled across the country with an electrified model theatre. He brought the studio display room to potential clients; clients who were unable to make the journey to a large metropolitan studio. For those who could afford the journey, studios offered display rooms with miniature theaters and cabinets filled with scenic designs.

On June 4, 1902, Megan transported his miniature stage to clients in Fort Scott, Kansas. The Fort Daily Tribune reported, “Mr. Megan, representing the Kansas City Scenic Co., was in the city last week displaying his samples of scenery to Harry C. Ernich of the Davidson, with a view of getting the contract to refit the theatre. He carried a nice line in miniature form and from it he built a small stage, showing the comparative size of the various settings.”

On June 5, 1902, “The Fort Scott Republican” described the model in detail in an article entitled “New Scenery for the Davidson:”

“F. R. Megan, representing the Kansas City Scenic Co, was in the city on Tuesday evening and was in consultation with Manager Harry C. Enrich of the Davidson theater, Mr. Megan had with him and for the benefit of Mr. Enrich, exhibited a miniature theater brilliantly lighted with electric lights, furnished by wires in the opera house. The little theater represented an entire opera house, including stage, wings and a full set of scenery and the balcony, the dress circle and gallery. It was one of the neatest models of a big thing ever exhibited in Fort Scott, and was highly appreciated by Mr. Enrich. Mr. Enrich will go to Kansas City next week for the purpose of

engaging a full set of scenery for the Davidson, and the samples which he saw the other evening give him a full idea of just what he wants.”

A few days after exhibiting his miniature stage in Fort Scott, Megan journeyed to Columbus, Kansas. In Columbus, he again set up the electrified model for opera house representatives. In regard to his visit, the Columbus Courier reported, “Fred R. Megan, representing the Kansas City Scenic Co., is in the city today with a full line of sample scenery. He sold a good-sized order to the LaRue Investment Co., for the opera house.”

On July 18, 1902, “The Herald Democrat” of Leadville, Colorado, announced “Contracts for Theatre. Elks Opera House to be rebuilt and refurnished at Once.” The article reported, “The first sixty feet extending from the front towards the rear will be rearranged for store rooms on the first floor and an elegant new plate glass front will be put on. Over this, the second floor will be the new club rooms to be occupied by the Elks and which are to be finished and improved in the very latest style and thoroughly modern. On the next floor, third, will be an immense lodge room which will be built expressly for lodge purposes and consequently will be right up to date, introducing many innovations which will be the most acceptable to lodge members. The furnishings of both the lodge and club rooms will be taken up at a later date and will mean an additional expense to that already named and the board announces that they will be fixed in a style that will credit not only to the Elks but to the city of Leadville. But it is the theatre part of the building where interest will center among the general public and here the plans show an improvement that seems like jumping from the dark into fairyland. A spacious theatre with stage large enough to hold the most massive scenery carried by any of the traveling companies. Starting from the wall crossing the center at sixty feet the theatre will be extended back to the alley a further distance of thirty-two feet, giving the theatre a depth of all told about 100 feet with a width of sixty feet. The stage will be built entirely new and will be thirty-four feet deep, sixty feet wide and fifty feet high. The curtain opening will be thirty-two feet wide and twenty-four feet high. The present height of the old stage is only twenty-four feet all told. The parquet and dress circle will be on the ground floor and above will be the balcony which will be divided so that the rear portion will be used as the gallery portion. The theatre will comfortably seat a thousand people. It will be entirely refurnished throughout. Just as great care has been exercised by the directors in securing the new scenery and new curtain for the theatre. Mr. F. R. Megan of the Kansas City Scenic company, spent the past two days in showing the board the newest effects in scenery and last evening he was given an order for $2,000 worth of new scenery including a very handsome drop curtain, an India scene that is most charming to the eye. The new drop scenes include a parlor, horizon, woods, garden, rocky pass, street, bed chamber, kitchen and prison scenes. The floor to be used for the stage will be one that can be used for dancing purposes and when the stage is cleared it will be large enough to hold hundreds of dancers. The news that the Elks are going ahead with their opera house goes to show that their faith in the stability of Leadville has never wavered and is certainly a most creditable stroke of enterprise by this well known organization” (page 8).

His visit to Colorado that year was fortuitous, as the studio completed multiple contracts in the western region over the next decade, including West’s Theatre in Trinidad, Colorado. Megan’s association with the Kansas City Scenic Co. was listed in the “Kansas City Directory” in 1903, two full years after he became associated with the firm. Other contracts secured by Megan for the Kansas City Scenic Co., included the Walters Hall in Robinson, Kansas; the Opera House in Perry, Iowa; and the Baker Grand in Natchez, Mississippi.

On August 26, 1903, the “Perry Daily Chief” of Perry, Iowa, reported, “Opera House will have fine drop curtain. Mr. F. R. Megan, of Kansas City was in Perry this week representing the Kansas City Scenic Co., which concern will paint the scenery for the new opera house. The directors selected the richest design of drop curtain that he had to offer, and it is indeed a beauty. They also selected about eleven hundred dollars’ worth of scenery all told, including interiors, wood, garden, landscape, street scenes, etc. When the choice of the scenery was made it was found that there was a deficit of four hundred dollars in the appropriation that had been set apart for the item of scenery and in order to procure the full amount that had been chosen, it was decided to put on an ad curtain and sell a limited number of ads. The main house curtain will be raised when the orchestra begins its overture and display this curtain in seven hours time $375 worth of space on the ad curtain was sold by Monday. $25 worth have been sold since and there are yet three spaces which can be taken by any parties who have not been sold to. It is probable that there will be no spaces for sale in a day or two. There are eighteen men at work now on the building and the work is progressing rapidly. The front rooms on the main floor are plastered and the plasters are now at work in the front rooms upstairs. It looks now as though the building will be complete even before the contract time, Oct. 15^th” (page 3).

Megan continued to travel with his model, and successfully land scenery contracts. On April 1, 1904, “Greensburg Daily News” of Greensburg, Indiana, reported, “First Exhibition of Grover Theatre. A Miniature Theatre with drop curtains, scenery and all stage paraphernalia, was on exhibition in Grover & Bonner’s store today. It showed in inches what a theatre should show in feet, but in every respect was perfect. The display was in charge of F. R. Megan, agent for the Kansas City Scenic Company and had all stage setting, drop curtains and plans of working as in a real theatre. It was a unique and splendid way of showing their wares. This same company has made a map of the U.S. for exhibition at St. Louis fair, that is forty by sixty feet in size” (page 2).

1906 projects attributed to Megan and the Kansas City Scenic Co., included opera houses in Mankato, Kansas and Lead, South Dakota. On October 8, 1906, the “Lead Daily Call” reported “Fred R. Megan, who has the work of painting the scenery and the decorations was an arrival on the Burlington last evening. He comes from Kansas City, and is an artist in his line, one of the best in the country. He will begin just so soon as the carpenters give him room, which will be in a day or so, to erect his staging and make other preparations for doing the work of adornment.”

On June 20, 1907, “The Weekly Herald” of Amarillo, Texas, mentioned Megan in an article entitled, “New Opera House Scenery.” The article continued, “Deal Completed for Stage Equipment and Curtain. Through the representative, F. R. Megan, Manager Henry Elliott, of the Amarillo Opera House company yesterday completed a contract with the Kansas City Scenic company for the curtains and stage equipment for Amarillo’s new opera house. According to Mr. Megan, the equipment ordered for the new opera house will be better than that of many houses in larger cities of the Southwest and will compare favorably with the equipment in any theater in the state. A big asbestos safety curtain will be swung on automatic rollers so as to completely cover the stage opening. This curtain will be arranged to be dropped in an instant at any time so as to effectually stop the progress of fire from either side. The asbestos curtain will. Be finished in high class scenic work and will be free from advertising of any kind. The drop curtain for use during the performance will be immediately behind the asbestos curtain. Of the scenery there are a number of complete sets all arranged to be operated from the fly loft above the stage. Settings and properties accompanying the scenes will be operated from the wings. The contract for the company calls for fall delivery and the equipment will be ready for installation as soon as the builders leave the stage part of the building” (page 7).

In 1908, Megan represented the Kansas City Scenic Company in Gasden, Alabama. He secured the scenery contract for the Hayden-Pake Theatre. On March 31, 1908, “The Gasden Times” reported, “W. H. Megan, representing the Kansas City Scenic Co, will arrive in Gasden tomorrow at noon and tomorrow night at the library auditorium he will place on exhibit models of scenery for the opera house. Mr. Megan comes here at the instance of the Hayden-Park Theatre company, who are building the new opera house. They desire that he public have some say in the matter of selecting the scenery to be used in Gasden and will appreciate any suggestions made. A miniature stage with drawings and models will be on display and all the people of Gasden are invited” (page 1). On April 2, 1908, “The Gasden Times” reported, “Exquisite scenery for Opera House. A small but thoroughly representative number of men and women gathered at the library auditorium last night and selected the principal scenery to be used n the new opera house. E. R. Meegan, representing the Kansas City Scenic Co., conducted an exhibit of scenes by using a miniature theater which was completely equipped with stage appliances. Numerous models and designs were shown, and selection was made by an expression of approval from the majority. There was never a wide difference of opinion and as a result the new theatre will have some of the most exquisite scenery to be found in any playhouse in the south. The drop, the advertising and the asbestos curtains were shown. Street scenes, gardens, parlors and woodlands were selected from a large number of models shown and it was really a treat to see the beautiful specimens of scenic art which Mr. Meegan had on exhibition. One thing certain, the patrons of Gasden’s opera house will not have to look at any hideous or inappropriate scenery. Indeed, every bit of the interior will be restful and pleasing to the eye. The color scheme is red, but there are harmonious decorations which make the whole an exquisite bit of art.”

Although the articles mentioned W. H. Megan and E. R. Meegan, it was really F. R. Megan whom they were referring to at the time. On Sept. 26, 1908, the “Gasden Times” reported, “F. R. Megan, representing the Kansas City Scenic Co., arrived this morning to hang scenery at the Hayden Park theatre. Mr. Megan thinks he will complete the work by midnights tonight.”

Megan was also responsible for scenery delivered to the Busby Theatre in McAlester, Oklahoma, during the first part of 1908. On Feb. 10, 1908, the “McAlester Daily News” reported, “Putting in Theatre Scenery. F. R. Megan of the Kansas City Scenic company arrived Sunday and has a force of eight men at work putting in the scenery at the Busby theatre. The scenery is rich and high class in every respect and the interior of the theatre will be a thing of beauty.” On Feb. 12, 1908, the “McAlester Daily News” reported, “The theater has the very finest and most complete set of scenery made by the Kansas City Scenic Co. The large asbestos curtain, which runs in steel frames, contains as a center piece a beautiful farm scene. This curtain, with counterweights, weighs 1,600 pounds. The drop curtain is a very fine piece of work, Roy Busby, seated upon Colonel William Busby’s thoroughbred Kentucky saddle horse, both natural as life, are shown in the center of the curtain. Among the drop curtains are street scene, olio, full palace setting, wood scene, garden, horizon, parlor setting, fancy interior, plain chamber, kitchen, prison and numerous set pieces, such as trees, balustrades, mantels, houses, rocks and borders. All of the pieces are quickly and easily moved by accurately balanced counterweights.” (page 1).

Megan continued to represent the Kansas City Scenic Co., with his name popping up in newspapers across the country. On July 6, 1909, the “Washington Citizen” of Washington, Missouri, reported, “Fred Megan of Kansas City was in Washington and secured he contract to paint the scenery on the Calving Theatre curtain for $250.” On Nov. 16, 1911, the “Hutchinson News” of Hutchinson, Kansas, reported, “May Buy Stage Fittings. Representative Conferring with Purchasing Committee. F. R. Megan, representing the Kansas City Scenic furnishings company, is at the high school this afternoon with the purchasing committee of the board of education and it is more than likely some action will be taken by the committee in regard to buying stage fittings for the high school auditorium stage before the afternoon is over. The committee was given power to act at the last meeting of the board.”

In 1915, Megan was still listed in the “Kansas City Directory” as a salesman at the “K C Scenic Co,” living at 306 Gladstone Blvd. On July 15, 1915, the “Kansas City Times” reported, “Mrs. Frederick Megan and daughter, Miss Anabel Megan, 306 Gladstone Boulevard, are in St. Louis, guests of Mrs. James Francis Murphy, 5339 Maple Ave. Mr. and Mrs. Murphy were formerly of Kansas City” (page 18). This was one year after Megan’s mother passed away in that same city.

Interestingly, the 1916 Kansas City Directory listed “Frederick R. Megan (Interstate Chemical Co) 2709 E 15^th r 4136 Warwick boul.” Megan was branching out and dabbling in other industry products. However, he was still working with the Kansas City Scenic Co.

On May 23, 1916, the “Galveston Daily News” reported, “Scenery for Auditorium will soon be installed. F. R. Megan low bidder, is here to close contract. Will include interior and exterior, woods and castle scene and an asbestos curtain. F. R. Megan of the Kansas City Scenic Company, Kansas City, the successful bidder for the scenery for Galveston’s new city auditorium arrived yesterday and is at the Galvez. Mr. Megan’s firm was the low bidder for the work, submitting an estimate of approximately $4,000. The bids are in the hands of the committee for tabulation and report, and city commissioner H. O. Sappington said the contract with Mr. Megan’s firm probably will be signed within a day or so. ‘Our bid is for a full set of modern scenery,’ said Mr. Megan last night. ‘It will include an interior and exterior, a wood scene and a palace, both fully fitted. The asbestos curtain we propose to place measures 39×55 feet, covering the entire width of the 36×52 stage. It is the third largest curtain in the United States, the largest being the Hippodrome, New York. The curtain is the one that has been approved by the national boards of underwriters and is composed of 98 per cent pure asbestos. It will be hung on a ball-bearing shaft, known as the Sheaves patent, a ball-bearing cable track that will allow the lowering of the curtain with the slightest pressure. It can be handled easily with a thumb and finger. According to the present plans, the curtain will form the background for the picture that will be very characteristic of Galveston, a picture of the pirate, LaFetie, with one of the prizes that be brought to Treasure Island in the early days. Mr. Megan said that the scenery would just about fill a good-sized freight car, and that he hopes to get started on the installation within a short time. ‘The scenery should be installed by July 3,’ said City Commissioner Sappington last night, ‘and I am much in favor of holding some kind of formal opening during the Cotton Carnival and Exposition to show the people of the state what we have here in the way of a municipal building.’ Mr. Megan said he is much impressed with the new city auditorium. ‘I have inspected municipal buildings in all parts of the country,’ he said last night, ‘and I would not know where to turn to find a finer building than the Galveston Auditorium” (page 10).

The 1917 Kansas City Directory again listed Frederick R. Megan as “salesman K C Scenic Co r 4136 Warwick boul.” That same year, the Kansas City Scenic Co. offices moved from Grand Avenue to Harrison Avenue in Kansas City. On April 19, 1917, the Olathe Mirror reported, “Ben Dunn of Kansas City was here Thursday visiting old timers. Ben is not so old himself but was born and raised in this county and knows all the old timers. He and John Bronaugh, formerly of the county are the proprietors of the Kansas City Scenic Company. They recently sold their 76 feet at Twenty-fourth and Grand for $76,000 – $1,000 per foot. The property cost them $5,000 several years ago. They have moved their plant to Twenty-fourth and Harrison. Other Johnson County people employed with them are Geo. Bronaugh and Fred Hunt – both are in the cabinet department. Until Fred’s eyesight failed, he was one of their best painters. Leo Miloan studied with them but is now working elsewhere. It is said he has great talent.”

Megan continued to work for the Kansas City Scenic Co. in the capacity of scenic artist, installation supervisor and salesman, representing the Kansas City Scenic Co. until 1918. That year, the Kansas City Directory listed “Fredk R. Megan” as sales for K C Scenic Co., living at 4136 Warwick Blvd. The last record of his involvement with the firm is listed in his WWI draft registration card. The card still listed Megan’s occupation as a traveling salesman for the Kansas City Scenic Co., located at 24th and Harrison Streets in Kansas City, Missouri. His physical appearance was listed as tall with medium build, blue eyes and grey hair; he was 45 yrs. old.

By the end of 1918, Megan began working for the United States Government in their Liberty Theater Division. He was appointed to the Liberty Theatre office in Washington as Supervisor of Maintenance and Construction. On Dec. 22, 1918, the “Oakland Tribune” reported, “Mr. Allen Minnix, who has been in charge of the construction and maintenance work of the Liberty Theater Division has resigned, effective December 1. Minnix is a construction engineer and is building large numbers of residences and apartment properties in Washington. F. R. Megan takes over Mr. Minnix’ work in the Liberty Theater Division” (page 43). Keep in mind that many scenic artists began working for the government on painting projects during WWI, especially at Liberty Theaters and in the newly established camouflage trade. Many theatre technicians, artists and salesmen continued their government service in the post-war years, finding greater job security that in the private sector. The 1920 US Federal Census listed Megan as Government Supervisor in Washington D. C. Megan, his wife, and daughter were living at 3321 16^th street in Washington, D.C. This was their second residence, as they still kept a second home in Kansas City, Missouri.

Between 1921 and 1922, Megan relocated to Baltimore Maryland. In 1922, Megan was listed in the Baltimore, MD, City Directory as the president of the Liberty Amusement Co, residing at 1800 N. Charles in Baltimore, MD. With his wife, Thenia F. Megan. It was at this time that Megan and Thomas G. Moses began negotiating the purchase of the Sosman & Landis name. Megan moved to Chicago. By the end of 1923, Moses wrote: “On December 26th, Megan and I met Sosman and Landis Company at Richard’s office and paid our first installment for the name and good will of Sosman and Landis Company, which we now own and will operate, but for a while we will have to use our names of Moses and Megan, until the old company can liquidate. We will then get a new charter.”

Megan drummed up business in 1923 while he and Moses waited to officially claim the name of Sosman & Landis. Although Moses made a name for himself over the decades, his designs and painting were integrally linked to the Sosman & Landis brand. It is not surprising that Moses believed that he needed the Sosman & Landis name to continue.

While Megan was on the road, Moses made models for new projects and painted scenery. This is how Sosman & Landis started and had successfully operated from 1877 until Landis’ passing in 1905; Landis was on the road and Sosman in the studio. This is also how Kansas City Scenic Co. functioned, with J. V. Bronaugh on the road and B. F. Dunn painting scenery.

Moses & Megan initially leased the old Fabric Studio in Chicago then moved their offices to 6715 Sheridan Road. By 1924, Megan continued work as a traveling salesman, representing Sosman & Landis, while being listed as vice-president and treasurer for the company. Moses and Megan continued to work together on projects for the next few years, including the Scottish Rite Temple theatre in Oakland, California. As project loads increased for each studio, additional staff members were added, with more salesmen on the road and more scenic artists painting projects. Moses and Megan continued working together throughout the 1920s. However, the large staff of artists associated with the earlier iteration of Sosman & Moses never returned. Moses and a few assistants completed contracts secured by Megan. In a pinch, Megan would don his overalls and pick up a brush to complete the project. By 1924, Moses wrote, “Megan on the road most of the time makes the studio work so much harder for me, especially when I want to paint more.”

When Megan relocated to Chicago in 1923, his daughter stayed behind in Baltimore for a year. The 1923 Baltimore Directory only listed Anabel Megan. At the time, she was a student, living in the Walbert apartments. On August 19, 1923, “The Kansas Star” reported, “Mr. and Mrs. Frederic Rishell Megan announce the marriage of their daughter, Anabel, to Mr. Edmund Rivers Harris, jr., Saturday, August 4, at Christ Episcopal church in Baltimore. Mr. and Mrs. Harris will be at home after September 15 at 716 East North Avenue, Baltimore. The wedding never took place. On October 1, 1925, “The Kansas City Times” announced, Miss Anabel Megan, daughter of Mr. and Mrs. Fred Megan of Chicago, formerly of Kansas City, is visiting her aunt, Mrs. Alice M. Johnson” (page 3). Anabel later married John F. Randolph, a gasoline station owner in Chicago, Illinois. On Feb. 25, 1926, the “”Chicago Tribune” included a picture of Anabel with the caption “Mrs. John Francis Randolph, noting “Mr. and Mrs. Frederick Rischell Megan, formerly Kansas City, Mo., and Washington, D. C., announce the marriage of their daughter Anabel Thenia, to John Francis Randolph, of Chicago. Mr. and Mrs. Randolph are at home at 7301 Sheridan Rd.” This was the same year that Moses and Megan delivered scenery to the Varsity Theatre.

Megan continued to work for Sosman & Landis. However, his name appeared less frequently in headlines. On Feb 22, 1928, the “Brownsville Herald” of Brownsville, Texas, reported, “To Get Scenery. HARLINGEN. Feb. 22. – Installation of theatrical scenery in the high school auditorium here is to begin within the near future, according to F. R. Megan, representative of the Sosman & Landis Scenic company of Chicago, who has been awarded the contract for the work” (page 16). On March 5, 1928, “The Brownsville Herald” reported, “Mysterious Shooting. EDINBURG, March 5.- Police here Monday continued an investigation begun Sunday night into reports of a mysterious shot fired near the junior college auditorium Sunday night. Robert McBridge and F. R. Megan, workmen, narrowly escaped being hit by the hail of shot.”

*Fred R. Megan listed as Secretary and Treasure of Sosman & Landis Co., 1927.*

Even after Moses sold his shares of Sosman & Landis, effectively ending his relationship with the firm, Megan plugged continued as a salesman and artist. However, he also became associated with other firm’s too. On September 25, 1930, the “Altoona Mirror” described the interesting features of Jaffa temple’s beautiful new mosque for the Shriners in Altoona. It was a 1500-seat hall. The article reported, “The Gable Company supplied the equipment for the big stage of the auditorium, and it was installed under the direction of the firm’s special artist, Frederick Meagan [sic.]. One of the features of the equipment is the big asbestos drop curtain, weighing 900 pounds. It bears a painting that is in keeping with the organization and entitled “The City of Jaffa” and is very artistically done. It and the other furnishings were supplied through the Sosman & Landis company of Chicago and include stage sets, drops, lights and everything necessary to the modern stage. Mr. Meagan [sic.] directed the furnishing of the stages in the Shriner’s mosques in Cleveland, Chicago and other cities” (page 348).

In 1933, Megan was still listed as the Sosman & Landis branch manager (in Chicago), residing at 819 Dobson in the Evanston, Illinois, Directory. Moses passed away the following year at the age of seventy-eight years old. At the time Megan was only sixty-one years old. This did not stop Megan, but his projects continued to dwindle in the 1930s.

Megan eventually relocated to Altoona, Pennsylvania, where he continued to secure a variety of painting projects. Megan was still associated with the last iteration of Sosman & Landis in 1943. On May 6, 1943, the “Connellsville Daily Courier” reported the winning bid for maintenance work on the school buildings during the summer (page 3). The article reported, “Bids were received for maintenance work, including roof repair, caulking on windows, plastering and painting. The contract for all went to the Sosman & Landis Company, F. R. Megan owner, Johnstown.” On June 16, 1943, the “Connellsville Daily Courier” of Connellsville, Pennsylvania, reported, “A contract for painting the fire escape of Second Ward School was awarded to F. R. Megan” (page 3). The last mention that I have located about Megan was his presence at the Bellwood Lion’s Club in Altoona on Feb. 22, 1945 (Altoona Mirror, 24 Feb 1945, p 10).

Megan passed away only three years later, on April 16, 1946. At the time, his occupation was listed as that of “paint contractor.” The immediate cause of death was listed as coronary artery heart due to disease.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 72 – David H. Hunt

David H. Hunt was associated with Sosman & Landis from approximately 1894 until 1923. He encouraged the firm’s founders, Joseph Sosman and Perry Landis, to diversify their interests, expanding into the field of theatrical management in the 1890s. By 1894 he was managing Sosman, Landis & Hunt. Later in 1910, Hunt moved to New York to establish New York Studios, an eastern affiliate of Sosman & Landis. Hunt is quite an elusive character. I have tracked his life in both historical records and newspaper accounts, but am still left with many more questions than answers. His story is complex, and a little shady at times. As with other Sosman & Landis employees, I am going to start with his parents, Patrick and Anna Ella Hunt.

Patrick Hunt was born in March 1851 in Ireland. He purportedly emigrated to the United States as a child during the 1860s, likely between 1861 and 1863. By 1869 he was living in Detroit, Michigan, and married a woman named Anna (b. 1848). I have yet to locate any official immigration records or marriage certificate for the couple. This means, I have no idea what Anna’s maiden name was or when she traveled from Ireland to America in 1863, marrying Patrick five years later.

In September 1869, the young couple celebrated the birth of their first child, David Henry Hunt. Anna would go on to have eight more pregnancies, with three children surviving to adulthood by 1900. The couple’s only surviving children were David Henry Hunt (b. 1869), James Joseph Hunt (b. 1881), and Francis John Hunt (b. 1886). The Hunt Family lived in Detroit from 1870-1900.

The 1870 US Federal Census listed Patrick, “Annie”, and their infant son, David, as living in Detroit. At the time, Patrick’s occupation was simply listed as “laborer.” He would later secure employment with the railroad in Detroit as a switchman. The 1900 Census listed Patrick, Anna, and their three adult sons all living at home, their residence listed as 151 18^th Street in Detroit. They had lived at this address since the mid-1880s. Between 1900 and 1910, all of the boys moved out, leaving Anna and Patrick alone, still residing at the same address, now known as 151 Porter Street.

I have yet to discover how David H. Hunt became involved in the theatre business, or exactly when he was introduced to Sosman and Landis. 1886 Detroit Directory listed David H. Hunt as a cashier at W. P. Rend & Co., boarding at 151 18th. [W. P. Rend & Co. is the name of a coal company located west of Benton about five miles.] The 1887 Detroit Directory again listed David H. Hunt as a clerk at W. P. Rend & Co., boarding at his parents’ home at 151 18^th. Between 1888-1889 I have yet to locate any information about Hunt, but in 1890 and 1891 Hunt was working as a clerk at Fletcher, Jenks & Co., again boarding at 151 18^th. [Fletcher, Jenks & Co. was a gun and rifle manufacturer].

*1891 catalogue recently posted for sale on eBay.*

*1891 Fletcher, Jenks & Co. envelope recently posted for sale on eBay.*

This means that sometime between 1891 and 1893, Hunt became associated with Sosman & Landis. It is during this same period that Sosman & Landis begin diversify and invest in other business endeavors. The mid 1890s were a time of transition for Sosman & Landis, and the began setting their sights beyond the theatre supply industry. By 1893, Sosman & Landis were listed as theatrical managers for two electric scenic theatres on the rooftop of the Masonic Temple. That same year, Hunt was visiting Chicago and associated with the theatre industry. On June 4, 1893, the “Detroit Free Press,” reported that Hunt was managing a benefit performance, “Caste” at the St. Boniface and Jesuit churches new auditorium (page 15). On June 20, 1893, the “Detroit Free Press” reported that the production featured Harry C. Barton of the Warde-James combination, Una Abel of the Rhea Company, Henry Wilkinson, Mrs. T Kennedy and W. H. Powers Jr. of the Nora Machree Company, and both Adelaide Cushman and John P. Barrett of the Glen-da-Lough Company. This was not a show that simply featured local amateurs. The article also commented on Hunt’s managerial role, stating “Manager David H. Hunt has returned from Chicago where he made arrangements for special scenery to be used throughout, and promises excellent staging.” Within the next year, Hunt convinced Sosman & Landis to invest in a new theatrical management form – Sosman, Landis & Hunt, and takes charge of the Pike Opera House in Cincinnati, Ohio. Thus was a well-respected venue with long history.

Over the course of three years, Hunt transitioned from a clerk at Fletcher, Jenks & Co. in Detroit, to a theatre manager in Cincinnati, Ohio. Keep in mind, that at this time Sosman and Landis also helped found the American Reflector & Lighting Company, each becoming an officer at the new firm. By 1894, their scenic studio had also delivered painted settings to 4000 stages across the country and their catalogues featured American Reflector & Lighting Company equipment. Their hands were full. Maybe this meant they let their guard down and started taking too many risks. Yet, I am still amazed that a young clerk from Detroit could convince two successful businessmen from Chicago to invest in a theatrical management firm, especially one run by an individual with virtually no experience in the theatre industry. By the age of twenty-five, Hunt was managing the Pike Opera House and would soon also manage the Grand Opera House in Indianapolis, Indiana.

*Back of 1894 Sosman & Landis catalogue.*

Sosman, Landis & Hunt primarily managed big vaudeville theaters, while also establishing touring stock companies. In addition to large houses, and touring shows, the firm also leased four summer theaters, located in both Atlantic City and Asbury Park.

During this time, Hunt continued to list his permanent residence in Detroit with his parents. The 1896 Detroit Directory listed David H. Hunt as a manager, still boarding at 151 18^th. By the late 1890s, Hunt began keeping a separate room in Cincinnati.

Although he worked in Cincinnati, the 1897 the Detroit Directory listed David H. Hunt as a “travel agent,” still living with his parents. 1897 was a year of transition for Hunt, he became increasingly associated with Cincinnati’s Pike Opera House. That year he led the remodeling and redecorating the Pike Theater in Cincinnati, representing an early project for Sosman, Landis & Hunt. The firm hired Chicago theatric architect Sidney R. Lovell for the renovation. Lovell was J. M. Wood’s business partner (Link to my post on Wood & Lowell: https://drypigment.net2019/01/09/tales-from-a-scenic-artist-and-scholar-part-610-theatre-architects-col-j-w-wood-and-sidney-lovell/). The Pike Opera House project was just prior to Wood’s work on the Temple Theatre in Detroit, another Sosman & Landis project.

On Dec. 13, 1897, the “Cincinnati Enquirer” reported, “Combination. The Pike to Have Both Legitimate and Vaudeville.” (page 7). The article continued, “It has been definitely determined by the management of the Pike to make a partial change to the characters of its entertainments an to install a stock company for the production of standard plays in connection with first-class vaudeville.

“Yes, it is true,” said Manager D. H. Hunt. Then approached in regard to the subject last night by an Enquirer representative. “Negotiations have been completed, and the contracts will be signed on Monday or Tuesday. I do not exactly know the date upon which the company will give its initial performance, but that also will be settled within a few days. It must not be supposed that vaudeville will be abandoned entirely. The management believes that there is a large number of theatre-goers in Cincinnati who will never tire of more refined type of vaudeville, and not to overlook the class of pleasure-seekers altogether, we will continue to have a number of first-class vaudeville acts each week in connection with the stock company’s productions.”

“It is true that Mrs. John D. Hopkins, of Chicago, will manage the company?” was asked. “No,” Mr. Hunt said, “that is a mistake. Mr. Hopkins will not be interested in stock company or the theatre in any way whatever. The leading man and manager of the stock company will be James Neil, a well-known and capable actor, and previous to that with William H. Crane. He will bring with him practically the same company that he had in St. Paul and Minneapolis last summer, and I do not hesitate to say that as a stock company it has no superior in the country. The character of the plays will be such standard productions as “The Charity Ball,” “held by the Enemy,” “Aristocracy,” “Diplomacy,” “Jim the Penman,” and other social and melodramatic play of that class, and, although this will be an expensive innovation, you may say that the management will not advance. The process of admission, but, in some sections of the house, may find it possible to lower them.” This move of the management of the Pike was foreshadowed some weeks since. Connected with it were rumors that the house would be remodeled, but this Mr. Hunt denies. The truth is that vaudeville has been overdone in Cincinnati. There is not enough so-called high-class or star materials to keep the Pike supplied. The syndicates are in a measure responsible for this condition of affairs, to say nothing of the return of many of the stars to the legitimate. This new arrangement will give the management the desired opportunity to weed out the light-weight materials”

On September 18, 1898, “The Cincinnati Enquirer” reported, “Manager D. H. Hunt of the Pike Opera House, is expected to arrive here tom-morrow to look after the advance work and pave the way for the regular opening of that theatre next Sunday with the popular Neill Stock Company in “Mr. Barnes of New York.” The members of the company are expected to arrive about Wednesday or Thursday of this week and several rehearsals of the play have been called, although they are almost unnecessary, owning to the play having been produced this summer by the company during the Minneapolis engagement. Sosman & Landis, the Chicago firm that controls the Pike, will also put a stock company in at the Grand Opera House, Indianapolis, to be managed by Mr. J. J. Murdock, formerly stage manager at the Pike. This enterprising firm has surrendered its lease upon the Masonic Temple Roof Garden, in Chicago, which it has operated successfully for the past several seasons, and contemplates building a new theatre in the Windy City which can be operated as a summer roof garden and then be enclosed as a perfect music hall for vaudeville performances. The promoters have not selected a site, but they announce that when completed the new theatre will be the finest of its kind in the West” (page 17).

In 1899, the “Chicago Inter Ocean” reported, “David H. Hunt of Cincinnati, a member of the firm of Sosman, Landis & Hunt, the well-known theatrical managers, says: “Chicago can’t compare with New York as a theatrical town” (16 July 1899, page 14). Another article, entitled “How the Stock System Pays” was published in the “Los Angeles Herald” that year. It provided a little more insight into Hunt’s roll at Sosman, Landis & Hunt. Hunt was interviewed and explained the success of the stock company. He was quoted:

“The growth of the stock company idea in the west would surprise you easterners,” said David H. Hunt, of Sosman, Landis & Hunt, the other day. “I have charge of the Pike opera house In Cincinnati, and we are making more money with a stock company than we did when the house was given over to vaudeville and variety was the society fad. A haphazard stock venture will not succeed, but properly managed the scheme is a huge success, and the companies are now so plentiful that it has become a matter of difficulty to obtain players who are not only willing but capable of doing leading stock work. The lesser people are not hard to get hold of, for there will always be an excess of players, but to get good names to head the company is constantly becoming more difficult because of the advance of the idea. We have a big company, and not only get good plays, but we try to give for seventy-five cents as good a production as is provided by a visiting company for double the money. We have two scene painters and two assistants always at work, and we never use a rag of scenery for more than one play.”

The two scene painter were Thomas G. Moses and Fred McGreer, both Sosman & Landis employees at the time. McGreer is Sosman & Landis Employee No. 13. Here is the link: https://drypigment.net2021/04/10/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-13-fred-mcgreer/] Although Moses moved onto other projects, eventually leaving Sosman & Landis in 1900 to found Moses & Hamilton, McGreer remained on site as the scenic artist at the Pike Opera House until 1900.

The 1899 “Los Angeles Herald” article continued, “We give the property man money enough to hire really good furniture and we have as good a stage manager as we can get, for we very early awoke to the fact that we could save money on this department of the work. A competent man will get all there is that is good in an actor, while an incompetent one will spoil a good player. Then we have found that we must spend a little money in royalties. It is a nice thing to have the old plays to fall back on, but a season which lists a succession of ‘East Lynne’ and ‘A Celebrated Case,’ with ‘Leah’ and similar plays to follow, will not be a remunerative one in the west, and we find that by laying out four or five hundred dollars for the use for one week of a play like ‘The Prisoner of Zenda,’ we cannot only get back the money we pay out, but enough more to make it worth our while to get the best. Of course, there is the constant study to be urged against the stock system, but to offset this, there is the avoidance of the discomforts of travel and to be able to settle down in a flat for a season instead of alternating between the one night stands and the sleeping cars, is a sufficient attraction too many to offset the fact that they will have to get up a new play each week instead of one or two for the season.”

Manager D. H. Hunt was also associated with the Grand Opera House in Indianapolis at this time. On September 9, 1899, “The Indianapolis News” published an article entitled, “The Grand Stock Company” (page 32). Here is the article in its entirety as it provides some context for the scope of production produced by the stock company at this time:

“From now until the opening of the Grand Stock Company’s season, Monday, September 18, the members of that organization will be kept busy rehearsing ‘Jim, the Penman,’ the play with which the season begins. Manager D. H. Hunt and the entire company have arrived from New York, where they have already had some days of rehearsal under the direction of the new stage manager. Mr. Waiter Jewett Craven. Mr. Hunt, in a letter a few days ago, said that the company, was already well up in the play, so that the coming week will be devoted to the work of putting the final polish to the various parts. Miss Shannon will, of course, be seen again as Mrs. Ralston, wife of the skillful forger; the other parts are not yet fully announced though it is pretty certain Geoffrey Stein, the successor to the parts played last year by Mr. Sheldon, will play Baron Hardfelt. Geoffrey Stein, who is to do the character work this season, is a capable actor. He has been a member of the Frawley Stock Company, the Schubert Stock Company, and other good companies of this character. Before settling down to stock work he was with Marie Wainwright one season; was in the original New York production of Joseph Arthur’s ‘The Cherry Pickers,’ and played other important engagements. It can be seen how his acting impressed the critics from the following quotation form the Rochester Standard’s review of “Sweet Lavender,” when played by the Schubert Stock Company: ‘Geoffrey Stein, as Richard Phenyl, the bibulous barrister, easily carried off the honors of the production. The impersonation of the lovable old vagabond was in his hands quaintly forcible. He fully conceived the tenderness which underlies its drollery and made a teardrop follow the ripple of laughter. While in Washington with the Frawley Stock Company, the Washington Capitol, referring to Mr. Stein’s appearance in “The Wife,’ said: ‘Geoffrey Stein, as Silas Truman, scored another hit, You must watch this young actor’s career. He has great talent, and moreover. Is a hard student. I predict great things for him.” Numerous other newspaper notices of his work give him high praise.

Among the plays to be produced by the stock company during the present season are ‘The Dancing Girl,’ ‘Men and Women,’ ‘Lord Chumley,’ ‘Alabama,’ ‘Held by the Enemy,’ ‘The Crust of Society,’ ‘Brother John,’ ‘His Wife’s Father,’ ‘Sweet Lavender,’ ‘Saints and Sinners,’ ‘ Young Mrs. Winthrop,’ ‘The Butterflies’ and other successes. A few of the most popular plays seen last season may be given again.”

On Nov. 6, 1899, “The Indianapolis Journal,” reported, “Manager D. H. Hunt, of the Pike and the Grand Stock companies, is back from a trip to New York, and will arrive here this afternoon to see the opening production of “The Charity Ball,” to-night, While in New York, he secured some strong plays for the Grand Stock company, among them “Madam sans Gene” and “The Masqueraders” (page 3). In 1899, Hunt was certainly a mover and shaker, zipping from one town to the next. It was this same year that a young actress named Angela Dolores was part of the Pike’s stock company. Both Dolores and Hunt were lodging at the Burnet House in Cincinnati. Hunt had been a fixture at the boarding house since 1897, when it was first listed as his residence in the Cincinnati Directory. Both would continue to live at the boarding house util their marriage.

Despite a positive outlook, Hunt soon made a misstep that would cause the eventual closure of Sosman, Landis and Hunt. On April 6, 1900, the “New York Times” reported that Manager David H. Hunt was one of the gentlemen interested in the production of the Jeanette Gilder’s version of “Quo Vadis” (page 2). In New York, “Sosman, Landis & Hunt” later produced Gilder’s “Quo Vadis,” but ignored a few of the contractual stipulations. On Nov. 19, 1902, the “New York Times” published and article entitled, “Miss Gilder Goes to Law” (page 1). The problem was that Sosman, Landis & Hunt failed to produce Gilder’s version of ” Quo Vadis ” for five weeks each in two years at their various theatres, including the Pike Theatre Opera House. A series of lawsuits were filed against Sosman, Landis & Hunt around this time. Hunt didn’t quite follow the rules laid out in various contracts, and both actors and authors contended that the firm violated agreements and took their cases to court. To date, this was the only negative press that I have ever uncovered about Sosman & Landis, and it must have been quite embarrassing. The immediate solution was to remove their association with the theatrical management and solely credit Hunt. “David H. Hunt’s Pike Theater company” is soon advertised in the papers. Sosman and Landis may have remained investors, but their names were no longer linked to the Pike. It was as if Sosman, Landis & Hunt never existed. Interestingly, in 1901, various newspaper articles indicated that Hunt’s stock company had been in existence for nearly seven years, during which time it had played over 250 different plays and had appeared in almost 2,400 performances. Sosman & Landis were not mentioned at all.

On April 15, 1901, the “Detroit Free Press” described Manager David H. Hunt in an article about the Pike Stock Company’s production of “Charity Ball.” The article reported, “The organizer and manager of this enterprise is David H. Hunt, a young man whose ideals are high and whose mental attitude toward the theater is not merely sordid. By this it is not meant that his work is entirely altruistic. There is a necessary commercial side of art, and Mr. Hunt knows that in order to continue along the lines he has followed since the beginning of his managerial career the support that comes only through the box office is essential. But he also knows that while he is a frankly confessed merchant of theatrical wares, it behooves him to offer the best, and to present them in an attractive manner. The public is well enough acquainted with his way of doing business to feel justified in expecting another season of honorable achievement on his part. It is quite within the limits of conservatism to say that the re-advent of his company is a distinct public gain, for it may fairly be assured that what is known as the popular-price theater can boast no better balanced combination of players than the cast that Mr. Hunt gave us last evening.”

On March 30, 1902, the “Cincinnati Commercial” reported, “The Pike Theatre Company’s season in Cincinnati will close next Saturday evening. On the following day, the organization will open in Detroit for the summer. During its engagement the company will put on its most successful productions, four car-loads of scenery, for which will be carried North with it. Those who will be included in the organization will be Messrs. Douglas, Farren, Waldron, Maher, Everham, Reynolds, Hall, Hackett and Witte, Misses Collier, Dolores, Melville, McCaul and Roland, Manager David H. Hunt, Business Manager A. C. Robinson, Scenic Artist Slipper, Master Carpenter Eckert and several assistants” (page 46).

The Pike Opera Company also began to travel with its own scenic artist. Hunt’s marketing of the company was quite something. Just as McGreer’s work for the Pike had made headlines from 1898-1900,his replacement did the same.

On May 26, 1901, the “Detroit Free Press” published an article entitled, “The Illusion of Scenery” (page 44). The article interviewed the Pike Stock Company scenic artist, a man known as Mr. Slipper. The article reported:

“People are just commencing to realize that good plays are frequently as dependent upon good scenery as good actors,” said Scenic Artist Slipper, of the Pike Company, “and it is certainly true that a play without the embellishment of scenery even though it be of the most meager and unpretentious sort, would be a burlesque upon the modern methods of management. We are told that Shakespeare’s plays were first produced without scenery, but we are not informed they were great success, except as lectures or monologues of rare literary merit. The success of the drama depends upon the illusion it creates; acting is an illusion – that, is, it excites the auditor to tears over a situation which does not exist, or moves to mirth with an incident that is purely imaginary. So, too, is scenery an illusion. We show you a landscape in a production at the Lyceum which seems to the spectator in front to stretch away for miles, whereas it is but a few rods distance from the eye and perhaps no more than three feet away from the house, or the shrubbery, or the forest which seems so near you. Thus, if the actor deceives your ear with a cry which seems to have it in tones all the attributes of heart-felt sorrow and tragedy, the artist deceives the eye by producing an impression simply by a few touches of the brush and the proper combination of colors something akin to that produced by the hand of nature herself, as revealed in the far-stretching landscape, or as is shown in the more artificial work of the man as applied to the architecture and the furnishing of apartments.”

1902 was not without tragedy, however. The newspaper article about Slipper may have been strategically released to distract local audiences from the fire at the Pike. On March 30, 1902, Hunt made news when there was a fire started in the basement and destroyed much of the auditorium. At the time, the Pike stock company was playing its closing week in Cincinnati. The story made news across the country, yet Hunt managed to feature himself in a positive light, despite the tragedy.

On April 1, 1902,Racine, Wisconsin’s “Racine Journal” reported on the fire at the Pike Opera House on March 30 (page 8). The article reported, “The matinee performance was in progress before a crowd that filled all the seats and most of the standing room when flames were discovered. The fire started in the basement. The theater is on the second floor, with two stairways leading to the fourth. There is also a stairway from the stage leading to Backer alley in the rear. The curtain had been raised for the first act of “Sag Harbor” by the Pike Stock company and the play had been in progress about ten minutes, when the portieres between the corridors and the north aisle were seen to be ablaze. With great presence of mind Manager D. H. Hunt addressed the crowd in an effort to quiet their fears, and his staff, quickly taking positions about the auditorium began to direct the general movement toward the exits. The burning portieres were snatched from their hangings and quickly trampled underfoot. This prevented the immediate spread of the fire withing the theater, but did not materially lessen the danger, for the smoke by this time was pouring up from the lower floor, where the flames had gained great headway…(there is much more, page 8).” The “Democrat and Chronicle” of Rochester, on March 31, 1902, (page 1) reported, “The only thing burned in the auditorium was a portier. Scenery stored in the lower part of the building was damaged to the extent of $10,000. Members of the company saved all their costumes and baggage…Thirty six years ago the Pike building of the same site was destroyed by fire. The damage to-day was between $20,000 and $60,000” (page 1). Despite the loss, plans for the company to begin its summer season in Detroit continued (“Inter Ocean,” 31 March 1902, page 3).

Hunt continued to make headlines despite the tragedy, toting his past successes in a series of article aimed at building up his own reputation. On 13 Sept. 1902, “The Evening Star” of Washington, D. C. reported, “Stock was a new thing when Mr. David H. Hunt decided that vaudeville was not a success at his Cincinnati theater, and installed the first stock company there since the famous old days when Davenport, McCullough and other old-time stars had appeared with the ante-bellum stock companies in the smoky city. Mr. Hunt was a young man, his company contained players who were themselves little known, and with the development that followed hard work and success the organization was brought to a standard of perfection. Mr. Hunt early decided that pecuniary success would only result from artistic success. He set about obtaining good plays and good players, with the result that people in Cincinnati accord the Pike Theater Company both consideration and affection. For several years the company played entirely in Cincinnati, then tried Minneapolis and St. Paul for spring engagements, next added Detroit to their list of cities and now adds Washington, New York and Baltimore” (page 22).

Despite the law suits and fire, Hunt continued to make good press for himself. In 1903, Hunt married Miss Angela Dolores, an actress with the Pike Theatre Co. That year, his birthplace was listed as Pennsylvania, her father Spanish, and her mother Irish.

*Article picturing Manager David H. Hunt and Miss Angela Dolores, 1903.*

Their relationship and impending marriage were published on May 21, in the “Detroit Free Press” (page 12). In 1903, Hunt was known as “ D. H. Hunt, manager of the Pike Theatre Company…a well-known theatrical gentleman from Detroit.” On March 21, 1902, the “Detroit Free Press” described Hunt as “a Detroit man and widely known in the theatrical profession of the middle west as a hustling manager” (page 12). The last line of the article noted, “In line with this announcement is another which concerns a former member of the Pike stock company. This is Miss Angela McCaull, who was leading ingenue last year. She is the daughter of the late Co. McCaull and is to be married to Lionel Barrymore, now making a hit in the character part with his uncle John Drew in ‘The Mummy and the Humming Bird.’ Miss McCaull also very popular in Detroit.”

[image of couple}

The article noted that their romance sprung up while she was under his management, with her forte being dramatic roles. It also suggested that Dolores had been living with a sister in New York for quite some time, with Hunt trying to keep their relationship secret. Not quite, as both Hunt and Dolores had been listed in the Cincinnati Directory from 1899-1902 as living in the Burnet House. On March 21, 1902, the “Detroit Free Press” described Hunt as “a Detroit man and widely known for his theatrical profession of the middle west as a hustling manager” (“Detroit Free Press,” 21 May 1903, page 12). Dolores continued to perform under her maiden name.

In 1905, the couple celebrated the birth of their daughter, Anna. It is around this time that the Hunts move Chicago and Hunt resumes his position at the Sosman & Landis scenic studio. In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” Hunt remains in the Windy City and soon lands the management position at the Grand Opera House. Of this endeavor, “Inter Ocean,” reported, “David H. Hunt who has considerable experience in this particular branch of amusement business, will assume active management, and he has made definite arrangements with important Eastern managers whereby he will offer their successes at popular prices” (19 August 1906, page 26).

On Aug. 26, 1906, the “Decatur Daily Review” announced “Chicago to Have Stock Company” (page 20). The article continued, “For the past few months persistent rumors have connected the Chicago Opera House with stock company organizations. No statement was ever made by the management until the past week, when an authorized announcement proclaims that a dramatic stock company will take possession on Sept. 9. David H. Hunt, who has had a world-wide experience in this line of entertainment will assume active management of the new policy. He has completed some arrangements with large eastern producers whereby Chicago will receive the benefit of all the important dramatic offerings at popular prices. Mr. Hunt when seen at the opera house stated, ‘It is our purpose to assemble an organization of dramatic stars at the Chicago Opera House with a view to presenting standard offerings at popular prices. There is a great demand for a stock company of strength in the loop district, and we aim to provide one unequaled anywhere. The original scenic and costume display will be used with the original manuscript, and I will put on a new offering every Sunday evening. We shall play seven evening performances and present bargain matinees on Sunday, Tuesday, Thursday and Saturday afternoons, charging prices ranging up to 50 cents for the best seats. I am not ready to announce any more plans in detail relating to the company or the list of attractions. I expect to offer Mrs. Leffingwell’s Boots for the initial play.”

In 1907, Hunt was again at the scene of another fire, this time at the Chicago Grand Opera House. On June 29, 1907, the “Chicago Tribune” reported that there was a small fire after a projector exploded (page 3). The article interviewed Hunt who again minimized the danger and damager:
“There was no panic except a slight alarm among those in the gallery,” said Manager D. H. Hunt. “The lights were turned on at once after the explosion. This is a standing order for our employees, for the fuses often blow out and if the theatre were left in darkness at such times alarm would develop and alarm would develop among the audience. The operator was burned slightly on his right hand, but no one else was hurt” (page 3). And this pretty much ended his association with the opera by 1908.

On April 12, 1908, the Minneapolis “Star Tribune” announced, “Variety prints a statement to the effect that D. H. Hunt has been engaged to head the producing department to be inaugurated by the Orpheum Circuit company. Mr. Hunt, who is now manager of the Chicago Opera House, is not unknown in Minneapolis, where he managed the Pike Stock company through three summer season, a fact recalled by the engagement of his wife, Angeles Dolores, at the Orpheum last week” (page 25).

And yet this endeavor didn’t quite pan out either. His wife returned to the stage and Hunt began functioning as her manager. The touring production included William Duvre and Harry English (“Cincinnati Enquirer,” 30 August 1908, page 26). For the next few years, newspaper article repeatedly report that her tour remained under the personal direction of Hunt, promoting his wife as the “best known stock leading lady” (“Fort Wayne Daily News,” 16 Feb 1911, page 5). Despite his interest in theatrical management, Hunt remains associated with the Sosman & Landis studio. The 1910 Census listed a David H. Hunt’s occupation as a “manager” in the “studio” industry. At the time, his household included his 30 yrs. old wife and 6 yrs. old daughter, all living at 1128 E 43^rd Street. He was managing the Sosman & Landis studio, primarily working in the office.

In 1910, tensions were high between Moses and Hunt, a feud that escalated to a peak when Sosman left on a 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio. Hunt was the company secretary and treasurer, whereas Moses was responsible for the design, construction and installation of all projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and assessed the studio’s state of affairs, Moses wrote, “I heard some reports as to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled.” Moses took a little time of and then returned to the studio, writing, “I arrived June 25th. Sosman had his doubts as to my coming back.” About this same time, Hunt sets his sights on the eastern seaboard and another business venture, again partially funded by Sosman. Smart move, as it was beginning to appear that Chicago was not big enough for both Moses and Hunt.

New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.

To establish the New York Studios in 1910, Hunt relocated his family to New York. This move also instigated a name change for his wife. Her stage name was Angela Dolores, but “Angela” was her middle name. Adelaide was her first name. By 1919, Adelaide A. Hunt was listed as president of New York Studios, with Edward Morange as Vice-President and David H. Hunt as treasurer, still supplying theatrical goods. Office locations varied between 29^th, 39th and 95th Streets. This meant a large pool for artists to draw upon for any project that came along. Many Sosman & Landis scenic artists had worked for New York Studios over the years, including John H. Young, William F. Hamilton, Victor Higgins, William Smart, Art Rider, Al Dutheridge, John Hanny, and Otto Schroeder, just to name a few. Hunt’s establishment of New York Studios is the beginning to the eventual demise of Sosman & Landis. Keep in mind that Sosman was a scenic artist; Hunt was not. Based on Moses’ description of Hunt and newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid scheme, hoping for maximum returns with minimal investments; it is all based on the underlings beneath him doing the work. Hunt relied heavily on the main studio in Chicago as a support network for both labor and materials.

Between 1910 and 1912, Hunt and New York Studios were repeatedly mentioned in newspaper articles across the country. One particular article concerned an electrical apparatus that enabled a single individual to handle sixty-five drops. Hunt was part of a group interviewed about the stage innovation. At the time of the interview, Hunt was chumming around with Martin Beck (manager of the Orpheum Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New York booking offices). Hunt was a genius at social networking and always falling in with the right crowd. I am including an excerpt from the interview. On Dec. 18, 1910, the “Lincoln Star” quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical appliance which makes it possible for one man to handle sixty-five drops. It operates everything from the stage curtain to the back, gives absolute fire protection and does the work of an average of twenty stagehands. One man can operate it. It looks good to me, and if further tests prove it as successful as the indications are here, we will install in all the Orpheum Theatres. ‘The apparatus for handling drops, consisting of ropes and counterweights, has been the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum house. ‘Mr. Bailey has perfected, the first invention, bringing the stage mechanism up to date. It has been a field neglected by inventors.’ To add a little context, on Feb 18, 1911, the “Wilkes-Barre Times Leader,” reported, “Theatrical men and others in Denver have organized a $500,000 corporation to manufacture a mechanical device, which, it claimed, will reduce the number of stage hands needed in a theatre by three-fourths, at least. The new corporation is called the Bailey Fly Rail Machine Company. It is incorporated under the laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the inventor of the device. He worked on it several years before he announced that it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W. Considine and other vaudeville managers, met in Denver and saw a demonstration of the apparatus. They appeared to be highly pleased with it. The names of A. C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft appear at the prime movers in the matter of incorporation. Mr. Bancroft is an attorney. The device is operated by electricity (page 11). Other than patents, the stage carpenter and company seem to have vanished into thin air, as did Hunt’s association with the endeavor. However, the two article add credence to the previously-mentioned Minneapolis “Star Tribune” from 1908 that reported, “Variety prints a statement to the effect that D. H. Hunt has been engaged to head the producing department to be inaugurated by the Orpheum Circuit company” (page 25). Throughout the durations of his career, Hunt continued to juggle a series of projects.

From 1912-1914, David H. Hunt was listed as a manager in the New York City Directory, working at 1001 Times building. His was still splitting his time between Chicago and New York. In 1912, Thomas G. Moses wrote, “Sosman left for the south on a vacation. My work doubles. We are doing a lot of work for the New York Studios – not much profit in it for us, as Hunt seems to think we should be satisfied with a small profit. I have made a number of designs for him which I am pleased to do as long as we get the work.”

By 1915, David H. Hunt was listed in the New York City Directory was listed as the manager of New York Studios, while lodging at the Great Northern Hotel. It was this same year that Joseph Sosman passed away and the Sosman & Landis Board of Directors elected Thomas G. Moses president of the Co. Moses’ role as president for the firm effectively changing the dynamic with New York Studios. No more were special arrangements in terms of regional jurisdictions and non-compete agreements.

By 1917, the New York Studios was incorporated, and the New York City Directory listed the business location as 1475 Broadway. Hunt was still listed as manager of the firm. It was a difficult time, the a world war raging and the demand for painted theatre scenery declining.

Unfortunately, on September 1, 1918, Moses resigned as president at Sosman & Landis and began working for Hunt at New York Studios. Unfortunately, his brief departure provided and opening for Hunt at Sosman & Landis. Moses really should have known better by this point in his career. By this point in his career. Moses really should have known better. Leaving was a mistake, and by the end of 1918, Moses wrote, “I am afraid that I will not be satisfied with my new deal.” Part of the problem was Moses’ trying to secure a suitable studio space. Nothing was satisfactory, so Moses began looking for other work in warmer climates.

During the fall of 1918 Moses hoped to line up a few projects in California and possibly move there, writing, “If I could only get a financial settlement with Sosman and Landis Company, we would go to California this winter.” Needless to say, he remained in Chicago for the winter. His New York Studios projects ended up being built and painted in the Peltz & Carsen shops. Of the experience, Moses wrote, “…rather hard to do in the Peltz and Carsen Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor. The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.” Yet, Moses continued to look for a better space that spring, writing, “We looked at several buildings for a studio, but none seemed right to fill the bill. The only way to get one and have it right is to build one.”

By summertime 1919, Moses wrote, “A new contract was entered into between the Chicago Studios [Sosman & Landis main studio in Chicago] and myself for one year. I hope it will prove to be a paying one in which I participate in the profits and a raise in salary, which means my old salary of $100.00 and a bonus.” Moses had returned to Sosman & Landis, but now Hunt was solely in charge and Moses was working on contract. Over the years, Hunt caused many of Moses co-workers and friend’s to leave the studio, starting with John H. Young. There was not even a brief honeymoon period after Moses return and soon he wrote, “We have lost John Hanny and Otto Schroeder, our two best men. They do not want to stay with Hunt. He is such an awful fault finder. Larson quit us on October 24th, and Hunt insisted on my doing everything…”

The exodus of scenic artists from Sosman & Landis including five men who left to open a completing firm known as Service Studios. With competitors who intimately new the bidding and manufacture of scenery, it soon became apparent that Sosman & Landis would fold. Talk of closure began and a liquidation of assets was planned. However, issues began when both Moses and Hunt considered themselves “heir apparent” to the Sosman & Landis legacy.

Here is where it starts to get interesting, although a little bit complicated. In 1923, Sosman & Landis began to close its doors and liquidate all assets. The liquidation would continue into the beginning of 1924. Although Moses continued to paint for the firm during 1923, he also partnered with Fred R. Megan. The two planned to purchase the Sosman & Landis name and start a second iteration of the company. Until Sosman & Landis was completely liquidated, however, Moses and Megan could not officially begin their new business venture under the Sosman & Landis name. Therefore, they temporarily conducted business as “Moses & Megan.”

While waiting to secure the Sosman & Landis name, Moses recorded that they leased the “old Fabric Studio,” adding that they plenty of work in sight, but intended to “hustle for more.” This meant that they rented the fabric studio in the Sosman & Landis shop on S. Clinton street. They were simply biding their time until the liquidation process was completed. Other plans were brewing with Hunt as he silently backed the establishment of a new firm called The Chicago Studios. By 1922, officers of The Chicago Studio on file with the State of Illinois were A. A. Hunt of 328 N. 39^th St, New York, New York, and Frank Cain of 139 N. Clark St., Chicago. A. A. Hunt was Hunt’s wife, Adelaide Angela Dolores Hunt. In 1922, Chicago Studios was located at 15 W. 20th St. Cain stared as a paint foreman, paint manager, and moved to sales by 1920.

So in 1924, after Sosman & Landis was completely closed, Chicago Studios moved into the old Sosman & Landis building at 417-419 South Clinton St. During the liquidation of Sosman & Landis assets, studio contents were purchased by Charles L. Hoyland and William Lemle of the Hoyland-Lemle Company. This made sense, as Hoyland-Lemle had leased the South Clinton space for over a year.

During 1923, Moses also mentioned trying to get Hoyland and Lemle “out” as he and Megan wanted to rent the space, continuing the second iteration of Sosman & Landis at the same address. There was also a third entity wanting to rent the space – The Chicago Studios. At the time, Moses wrote “D.S. Hunt is also bobbing about for the lease of the studio.” This is not surprising. Keep in mind that Hunt was part of the negotiations that requested Moses wait until the company was liquidated before he officially started working under the Sosman & Landis name. He also tried to get Moses on board with his own endeavor; asking him to stay in the studio.

Moses wrote, “Hunt wants me to remain in the studio, but I can’t see it.” In hindsight, this meant that Hunt wanted Moses to work for Chicago Studios and not pursue purchasing the Sosman & Landis name. If Moses and Megan opened a new “Sosman & Landis Company” they would directly compete with Chicago Studios. Otherwise, Hunt retained control over both Chicago and New York.

In short, Moses and Hunt were seeking to acquire the Sosman & Landis legacy. Each was planning to use their institutional memory of the company to succeed in landing future projects. It was never a fair contest. By the fall of 1923, The Chicago Studios began advertising that they were continuing Sosman & Landis under a new name. The Chicago Studios sent out letters and estimates, courting past Sosman & Landis clients, well in advance of the studio final liquidation. This made the announcement of any new iteration of Sosman & Landis appear fraudulent and weak.

Moses & Megan immediately disputed the information circulated by The Chicago Studios, sending out letters of their own, but it was too late. Moses’ letters tried to explain that firm had not closed, just moved to a new, and better, location.

On November 13, 1923, Moses and Megan sent out a series of letters. One still existed in the office archives at the Salina Scottish Rite in 2010. There was a stamp at the top of the Sosman & Landis letterhead in red ink: “MOVED Executive Offices. Now located at 6751 Sheridan Road.”

*One of the many letters sent out by Moses in 1923.*

In the letter, Moses and Megan wrote:

“Dear Sir:

It has recently some to our attention that a certain studio is advertising our old customers that they have bought the Sosman & Landis Company and are now operating same, combining it with their original company. We wish to assure you this is not a fact and that our original organization is intact, but our studio has been moved to better quarters.”

This was likely the beginning to every client, before taking on something personal. For the Salina Scottish Rite, the letter continued:

“Mr. Thomas G. Moses, our Art Director would like the opportunity of meeting with your scenery committee to submit our designs and specifications covering your requirements. You will perhaps recall that we were favored with your original scenery order, working through the M. C. Lilley Co, and therefore, it is not necessary for us to give you any reference to our ability and quality of our workmanship.”

In the end it was impossible to make the address change look good. Keep in mind that the main studio on Clinton Street had remained the official Sosman & Landis address for over thirty years. It’s reputation as being the best scenic studio in North America had been toted for years. This created a very awkward situation, as there is no way to state leaving the Sosman & Landis “home” to a better location. The studio was well known as one of the best in the country. It cast a negative light on all potential business dealings. In short, it looked like they were downsizing due to lack of work. Moses never stood a chance to win in the long run.

Now let’s backtrack to the Hunts in New York and the beginning of the 1920s. The 1920 census listed that David, Angela and Anna Hunt were still living in Chicago, now at Oakwood Blvd. Hunt was listed as a commercial salesman in the Scenic Studio industry. And yet, there was an identical Hunt family listed in New York directories at the time, suggesting that they were keeping two residences. By 1922, A. A. Hunt was listed as an officer for The Chicago Studio, with her residence at 328 N. 39th St., New York, NY.

In 1924, Moses purchases the Sosman & Landis name. Meanwhile, David H. Hunt ran both New York Studios and Chicago Studios; it just doesn’t appear that way on paper. The Hunts permanent residence remained in New York, and by 1925, the Hunts were living in Plandome, Nassau County, New York. And this is where everything gets a little weird. At this point, Adelaide A. Hunt’s birth year is listed as 1891. At age fifteen, Anna has moved out, and the household now includes their 4-yrs. old daughter Patricia. A son, David H. Hunt Hr., is born the following year, and by 1930, the Hunt household in Plendome includes David, Adelaide, Patricia and David Jr. By now, the family also has a live-in servant named Jennie Crosswell who is 23 yrs. old.

In regard to New York Studios, the firm was still placing advertisements in 1927. That year, one ad in the “Scenic Artist” still listed the firm as the eastern affiliate of Sosman & Landis. It was as if Moses and Hunt were connected as magnets and realized that the firms were stronger when associated with one another despite their differences. I often things of the statement, “keep your friends close and your enemies closer” when considering the long-term association of Moses and Hunt.

Moses passed away in 1934, with Hunt following only two years later. On Feb. 4, 1936, “The Miami Herald” reported, “David Hunt, 67, interior decorator, died in his home, 1515 Pennsylvania avenue, Miami Beach. He was a visitor from Long Island and leaves the widow, Mrs. Adelaide Hunt. His body was sent yesterday by the W. H. Combs Funeral Home to Brooklyn, N. Y.” (page 29).

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 71 – John Hanny

John Hanny was a scenic artist at Sosman & Landis from 1906 until 1919. In 1920, Hanny and four other former Sosman & Landis employees formed Service Studios. Before his passing in 1984, Hanny shared some of his memories about Sosman & Landis with Dr. John R. Rothgeb, a professor at the University of Texas, Austin. The University considers Dr. Rothgeb a founding faculty member of the scene design program at the University of Texas Department of Theatre and Dance. He was also an inaugural member of U.S.I.T.T. (United States Institute for Theatre Technology). Unfortunately, Dr. Rothgeb passed away on Dec. 3, 1986, and never had the opportunity to share his conversations or written correspondence with Hanny. Much of his research formed the John R. Rothgeb papers in the Harry Ransom Center.

I planned a visit to the Harry Ransom center during the fall of 2016. On October 27, I slowly sifted through materials sent from John Hanny in the late 1970s and early 1980s. One letter penned by Hanny on October 8, 1979, was in response to a request for a biography. Although Hanny wrote many letters and sent a variety of materials, this one was special. I am including as much of Hanny’s original letter when possible, filling out his details along the way. I want to honor Hanny’s legacy as best I can. After all, I feel like he left a trail of bread crumbs about Sosman & Landis for me to follow; it’s the least that I can do. I’ll start with the opening paragraph of the five-page letter:

“Dear John,

Thank you for being so patient! Your request for a bit of biography surprised and stunned me. My first thought was – what can I contribute to a biography? That only applies to someone of distinction, etc. However on second thought it is only a record of one’s activities, life style, saint or sinner, accomplishments, if any, important or not. With this thought in mind I will submit the following facts. If there is anything of merit you can use, please feel free to do so. On separate sheets I have listed the variety of work in which I have been involved – but handled by contractors.”

At the bottom of the first page, Hanny wrote, “I like music – especially orchestral. I like painting both oils and water colors. I enjoy subtle humor, good mystery stories and western movies. I enjoy good friends.” Dr. Rothgeb had become a friend. The two visited in person, by telephone and written correspondence until Hanny’s passing in 1984.

Of his personal life, Hanny wrote very little, but his story started:

“1890 Place and date of birth – Fort Madison, Iowa, Dec. 31, 1890.”

Hanny left a gap from his birth until 1906, when he was 16 yrs. old and started at Sosman & Landis. To date, I have located dozens of genealogical records about his relatives, all littered with misspellings and incorrect dates. Hopefully this post will help several family trees connect with one another. His family history needs to be posted somewhere, especially as he left this world without any direct descendants to tell his story.

As with past biographies, I am going to start with Hanny’s family history and early life, sharing the stories of his parents and grandparents. This information helps set the stage for Hanny’s later life and career.

John Hanny was the only son of William Rudolph Hanny (1861-1900) and Catharine Reichert (1867-1964). Both William Rudolph Hanny and his father, Heinrich Rudolph Hanny, went by their middle name – Rudolph. I am going to start with John Hanny’s grandfather, Heinrich Rudolph Hanny, a German immigrant who came to America at the age of 20. Heinrich was born in Karlsruhe, Baden, Deutschland, in 1834. After emigrating to the United States in 1854 he married Philomena Willem (1840-1868) on June 8, 1857 at St. John’s Church in Burlington, Iowa (This is the Church of St. John the Baptist Catholic Church). Much of the following information was taken from the Willem family bible as submitted to ancestry.com by a descendant. However, everything they entered correlates with other historic records. Philomena’s parents were listed as Ignatius Fay Willem (1792-1875) and Marianna Dietrich (1798-1878). Her parents and many siblings were born in Alsace, France. In later census reports, Philomena’s birthplace was also listed as France. Keep in mind that the areas of Alsace and Lorraine are on the French/German border, and depending upon the decade census reports reflect whether individuals listed their birthplace as France or Germany.

It remains unclear as to when the Willem’s family emigrated to the United States, but it was during the 1840s. Philomena’s older brother, Matthias Willem, was the first to arrive in Iowa, approximately 1844. The rest of the Willem family followed five years later in 1849. The 1856 Iowa State census listed all of the Willem’s living at the home of Matthias Willem (1829-1901), who was employed at a “bar house” in Burlington, a profession that her husband (William Rudolph Hanny) would also go into. At the time, Philomena was 16 yrs. old; she would marry William Rudolph Hanny the following year.

In 1858, the William Rudolph and Philomena Hanny celebrated the birth of their first child, Mary A. Hanny in Burlington. Mary A. was named after her maternal grandmother, Mary A Willem. The young couple remained in the Burlington area for at least two years. The 1860 Census reported the couple living in Burlington, Iowa, with their 2 yrs. old daughter Mary. At the time, Heinrich listed as a saloon keeper.

Sometime between 1860 and 1861, the Hannys moved from Burlington, Iowa, to Beardstown, Illinois, where they celebrated the birth of their second child, William “Rudolph” Hanny (John Hanny’s father). Then there is seven-year gap where I have yet to discover the family’s whereabouts. Philomena passed away on May 9, 1868, and was buried at St. John the Baptist Church in Burlington on May 11, possibly in or near the Willem family plot. She was only 28 years old at the time, leaving a 10-yrs.-old daughter and 7 yrs. old son. It is very likely that the Hanny’s returned to Burlington, where the extended Willem family helped care for the children.

Mary A. Hanny was married in Burlington, Iowa. On Feb. 6, 1877, she married John Herman Ebbesmeier at St. John the Baptist Church in Burlington. By 1880 Mary and her husband were living in West Point, Lee County, Iowa, where Ebbesmeier worked as a section boss for the railroad. By 1885, the Iowa State Census listed Rudolph Hanny living with the Ebbesmeiers at 6^th street in Fort Madison, Iowa. They were all living in the home Catherine Ebbesmeier. The household also included Herman and Mary’s children: Kate Ebbesmeier (5), William Ebbesmeier (3) and Philomena Ebbesmeier (1).

[Cyanotype by Henry P. Bosse, 1885. The J. Paul Getty Museum. Here is the link to the image: https://www.getty.edu/art/collection/objects/164570/henry-p-bosse-fort-madison-iowa-american-1885/

By 1889, William Rudolph was living on his own and had moved to Quincy, Illinois. There he boarded at Fletcher’s Tremont House and worked in the saloon next door, known as “The Cabinet.” The Cabinet was two years old, having first had opened in 1887. On Dec. 13, 1887, “The News” reported, “Messrs. E. G. Bauer & Co. opened their new place, ‘The Cabinet,’ to-day, on Hampshire street. One door east of the Tremont House. It is one of the most handsomely fitted up places in the city and they are popular with all. Stop this. Evening and see their new place” (page 4). By 1891, the Quincy Directory listed “Rudolph Hanny” as the proprietor of The Cabinet Sample Room, and living at 210 N. 4^th Street.

1889 Picture of Fletcher’s Tremont House. Here is the link: http://www.idaillinois.org/digital/collection/qpl/id/620/rec/4

Here is link to photograph of Tremont Hotel: http://www.idaillinois.org/digital/collection/qpl/id/621/rec/5

Between his arrival in Quincy and his lease of The Cabinet, William “Rudolph” Hanny married Catherine “Kate” Reichert. The two celebrated the birth of John Hanny on Dec. 31, 1890. However, John was not born in Quincy, he was born in Fort Madison, Iowa, that year; likely at the Ebbesmeier’s home. For geographical context, Fort Madison was just up the Mississippi River from Quincy.

John’s maternal family, the Reicherts, were living in Beardstown, Illinois; the same town where William Rudolph Hanny was born and buried. Kate Hanny’s parents were Fred J. Reichert (1836-1924) and Catherine Anna Derohn/Rohn (1840-1911). The Reichert’s haled from Darmstadt, Germany; a city near Frankfurt. Her father emigrated to the United States as a young man, between 1852-1854. Her mother emigrated to the United States in 1841 as an infant. Her parents were married in Cass County, Illinois, on April 4, 1860, and farmed near Beardstown. Kate was named after her mother, and one of seven children born to the couple. Her siblings were Mary A. Reichert, Louisa H. Reichert, Anna M. Reichert, Matilda “Tillie” Reichert, Fred Reichert and Nellie Reichert.

Life was looking good in 1891 for the Hanny’s as they settled into life along the Mississippi. Rudolph was elected Financial Secretary of the Quincy Liquor Dealers’ Association and began planning for Quincy to host annual meeting of the Illinois State Liquor Dealers’ Protective association. The convention, planned for the summer of 1892” was anticipated to bring over 1,000 members to Quincy for 4-5 days.”

Business was looking up, and on July 24, 1892, the “Quincy Daily Herald” reported, “Harry Pool has accepted a position with Rudolph Hanny, at the Cabinet” (page 5).

At the beginning of 1893, the “Quincy Daily Herald” announced that Rudolph was elected financial secretary for Saloon Keepers Protective and Benevolent association (Feb 4, 1893, page 5).

Then tragedy struck when his sister became gravely ill. On March 31, 1893, the “Quincy Daily Herald” reported, “Rudolph Hanny left for Rock Island on Wednesday on telegraph information that his sister was not expected to live” (page 5). On April 14, 1893, the “Quincy Daily Herald”
reported, “Mrs. Rudolph Hanny is expected sometime to-day or to-morrow, accompanied by her husband’s sister, Mrs., Ebbesmeier, who has been seriously sick. She is recovering and will convalesce in Quincy.” (page 5). A few days later the two arrived in Quincy. On April 19, 1893, the “Quincy Daily Journal” reported, “Mrs. Rudolph Hanny and her sister-in-law, Mrs. Ebbesmeier, arrived from Ft. Madison last evening. Mrs. Ebbesmeier has been very sick and still is weak, but with change of scene down here will doubtless soon pick up and be herself again” (page 4). This was Mary A. Hanny Ebbesmeier (1858-1893). [ancestry.com shows that a Catherine “Katie” Ebbesmeier was the daughter of John Herman Ebbesmeier (1854-?)and Mary A. Hanny (1858-1893). In 1880 she was living in West Point, Lee, Iowa and her brother William Rudolph Ebbesmeier (1882-1967) was born in West Point two years later; Katie Ebbesmeier (daughter, Rudolph’s niece) lived in Ft. Madison in 1895; Katie lived in Burlington, Iowa in 1897 where she passed away on Jan. 18.

Mary A. Ebbesmeier died on April 29, 1893.

On April 30, 1893, the “Quincy Daily Herald” reported:

“MORTUARY.

Several Deaths Reported in the City Yesterday.

Mary A., wife of Herman Ebbesmeier, of Fort Madison, died at the home of her brother, Mr. Rudolph Hanny, No. 715 North Seventh street, at 1 o’clock yesterday morning of consumption, after an illness of fifteen weeks. She was born at Burlington and there spent her girlhood days and the days of her young womanhood and married Mr. Ebbesmeier. Afterwards, she removed with her husband to Fort Madison, and that city was her home until three weeks ago, when she came to Quincy in hope that at the home of her only brother, she might find improvement of health. At her death she was 35 years and 1 month of age and leaves besides her husband five bright children to mourn the loss of the best of wives and dearest of mothers. The children are Katie, William, Philomena, Joseph and John. Her mother’s sister, Mrs. C. Work, of Burlington, has been here during Mrs. Ebbesmeier’s sickness attending her. Those who knew her here and her friends at Burlington and Fort Madison sincerely mourn the death of this estimable lady.” (page 2). Mary was buried at Saint Boniface Cemetery in Quincy, Adams County, Illinois.

By that fall, an announcement in the “Quincy Daily Herald” on Sept. 16, 1893, gave a little more background about Rudolph’s youth in Fort Madison. “Frank Helling, the leading grocer and saloon keeper of Ft. Madison, was here yesterday, visiting his friend Rudolph Hanny. Sixteen years ago Hanny and Helling, boys then, clerked together in the store of Helling’s uncle and they have been fast friends ever since” (page 5).

Rudolph’s father had worked as a successful saloon keeper. Rudolph’s close friend Frank Helling worked as a saloon keeper. The luck did not last for Rudolph in Quincy. On March 17, 1894, the “Quincy Daily Herald” reported, “The Cabinet Closes. The Saloon shut tight under a mortgage for $739. Late yesterday afternoon Mrs. Mary Hagenbuch, mother of Will Hagenbuch, the cigarmaker, closed Rudolph Hanny’s Cabinet Saloon, 517 Hampshire, foreclosing a mortgage on the fixtures for $732.90. The Wahl Brewing Co. have an attachment against stock for $610, but neither they nor Mrs. Hagenbuch will realize the value of their claims” (page 4). On March 28, 1894, the “Quincy Morning Whig” announced, “Sold at Auction. The stock and fixtures of the Cabinet saloon, located just east of the Tremont house, was sold at auction yesterday under a chattel mortgage given by Rudolph Hanny to Mary A. Hangenbruch [sic.]. The outfit was sold to John Ryan on his bid of $725.” (page 3). Two weeks later Rudolph resigned as the financial secretary of the Saloonkeeper’s Association. By November of 1894, Rudolph was sued by Wahl Brewing Co. and lost.

By 1897, the Hanny Family relocated to Chicago where Rudolph was listed as a painter in the City Directory, living at 170 Townsend. In 1898, Rudolph was listed as a trunk maker, now living at 405 N. Wells. He would remain at this address until 1900. That year, the census listed that the Hanny’s were living at the same address on Wells. Their household included Tillie Schukraft (b. 1869), Louise Schukraft (b. 1899), Nellie Sage (25, b. 1874) and Henry Dackerman (30, b. 1870). Nellie Sage was actually Nellie Reichert Sage (later Nellie Duker), Kate’s youngest sister.

“Tillie” Schukraft was actually Mathilda Reichert Schukraft, Catharine Reichert Hanny’s sister. Both Tillie and Nellie worked at a laundry while their sister Kate watched the kids at home. She was recently married when the census was taken, having married John F. Schukraft on June 15, 1900. Tillie had met the Schukrafts in Quincy, before she moved to Springfield, and later Chicago. On Aug. 22, 1894, the “Quincy Daily Herald,” reported “A surprise and farewell party was given in honor of Miss Tillie Reichert at the residence of H. G. Schukraft [sic. this is John G. Schukraft, her future father-in-law], 615 Oak street, last evening…Miss Reichert leaves for Springfield in a few days to accept the position of a forelady in a laundry. She has been a resident of Quincy for two years and has become a very popular lady” (page 1). On June 15, 1898, Mathilda “Tillie” Reichert (1869-1943) married John F. Schukraft (1869-1908) in the church study at Holy Trinity Evangelical Church in Chicago; they were issued a marriage license on the same day (The Inter Ocean, 16 June, 1898, page 10). They two had already celebrated the birth of their daughter Louise in March 1899.

This was the living situation in 1900 when John Hanny’s father passed away. He was attending school and living with his two aunts, a young cousin, and a boarder. His parents had been married for ten years and he was nine years old. Withing then next six years his life would drastically change, yet he would continue living in Chicago. His mother remarried, his step father adopted him, and he begin working at Sosman & Landis as a paint boy. On Jan. 10, 1905, Kate Hanny married John Roedder in Chicago. Like the rest of Hanny’s family, Roedder was a German who emigrated to the United States (1881). Roedeer was a shoe salesman.

In Hanny’s 1979 letter to Dr. Rothgeb, he wrote:

“1906. Hired by Tom Moses (Sosman & Landis – age 16 years at $6 a week. Attended night classes Art Institute two nights a week under Albert Fleury.” Hanny was following the pattern as most of the boys who worked at Sosman & Landis. When he wasn’t working in the studio, he was taking art classes or going on sketching trips; anything to improve his skill set.Albert François Fleury was a French emigrant from Le Havre who settled in Chicago by 1888 where he was commissioned to decorate Chicago’s new Auditorium Building. By 1907, Fleury was one of the founders to establish the Chicago Water Color Club. There is a lovely post about Fleury at Chicagology (https://chicagology.com/goldenage/albertfleury/). It includes an article written by Fleury for “Brush and Pencil,” Vol. 6, No. 6 (September 1900) and an article written about Fleury by Maude I. G. Oliver. By the way, I have written about Oliver in the past, here is a link to my post: https://drypigment.net2020/01/01/tales-from-a-scenic-artist-and-scholar-part-888-palette-chisel-club-1914/

In 1904, Oliver wrote, “It is with unusual pride that Chicago alludes to her resident French artist, Mr. Albert Fleury, who finds his inspiration in the city’s apparent ugliness, and who, through the medium of an exceptionally sensitive touch, has happily recorded beauties and even poetry itself, which native artists have failed to discover. Mr. Fleury is preeminently the painter of Chicago; but it is Chicago idealized which animates his brush. He knows just how to appropriate a telling composition from amongst some bits of smoke begrimed architecture or mud-besmeared streets, to select an effective arrangement of an imposing- looking warehouse, held as a firm, skillful note in juxtaposition with the proverbially “dirty Chicago River.” The commercial life of the river, showing its airy drawbridges, its solid embankments, its busy little tugboats, together with its groups of sailing craft, enhanced, as they are, by the commanding dignity of their fine old masts, is a favorite theme for this appreciative artist. He loves also to employ the material of a crowded thoroughfare, depicting its surging, teeming, metropolitan spirit by well- considered masses of restless humanity, cleverly balanced by the unique feature of the notorious Chicago ‘skyscraper.’”

Screen shot from Chicagology. Here is the link: (https://chicagology.com/goldenage/albertfleury/).

John Hanny could not have picked a better individual to study with, especially one who was so well connected with the scene painters in Chicago. By 1910, he was still living with his mother and step-father. The 1910 census listed Hanny as a scenic artist working on his own account, boarding with John Roedder and Catherine Hanny Roedder. In his 1979 letter to Dr. Rothgeb, Hanny wrote:

“1912. In six years my salary increased from $6 a week to Journeyman pay – $35. Came up the line by painting tormentors and grand drapery borders, AD curtains – lettering excepted, surroundings for Front Curtains, Streets, and Olios, etc. Later completed Front Curtains surroundings and picture – figures excepted.” For a little financial perspective, $6 in 1906 is the monetary equivalent of $185 in 2022. $35 in 1912 is the monetary equivalent of approximately $1000 in 2022. This is a substantial pay increase for a young man, providing the much-needed discretionary income for artistic study.

Although Hanny continued to work at Sosman & Landis, he also began picking up work at other studios. By 1917, he listed Peltz-Carsen as his employer on his WWI Draft Registration card. At the time, Peltz-Carsen was located at 1507 N. Clark Street in Chicago, with Hanny was living at 920 Buena Ave. I have written about Herman M. Peltz and Robert Carsen in the past; here is a link to one of the posts: https://drypigment.net2020/05/31/tales-from-a-scenic-artist-and-scholar-part-1007-peltz-and-carsen-studio-1918/

In 1918, Sosman & Landis subcontracted some construction work for frames to Peltz and Carsen Studio. It would make sense that Peltz and Carsen, in turn, hired some of the scenic artists at Sosman & Landis for other projects. Hanny was also working for David H. Hunt, head of Sosman & Landis’ eastern affiliate New York Studios. My guess is that Hanny’s work outside fueled any dissatisfaction that he had with Sosman & Landis at the time. There was trouble brewing at Sosman & Landis, with many of the employees not particularly happy with their work situation. Troubles began when Thomas G. Moses resigned as President of Sosman & Landis to work for New York Studios during the fall of 1918. He wrote, “September 1st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service. I joined the New York Studios and expect to get a studio and an office to do business.” This must have signaled the end for his fellow scenic artists at the firm.

*Advertisement from “The Player,” Feb. 23, 1912.*

In 1919, Moses wrote, “We have lost John Hanny and Otto Schroeder, our two best men. They do not want to stay with Hunt. He is such an awful fault finder.”

The 1920 Census listed John Hanny as still living with his parents, noted as the adopted son of John Roedder. They were still living on Buena Ave. Roedder was listed as a commercial salesman in the shoe industry, and Hanny as an artist in the scenic studio industry. However, on Jan. 16, 1920, John married Ella May Tillou (1891-1958) in Chicago. He began a new life and started a new business the same year.

In Hanny’s 1979 letter to Dr. Rothgeb, Hanny wrote:

“I stayed with Sosman & Landis until 1920 when four other men and myself decided to go it on our own and formed Service Studios. We remolded – with borrowed money, a Jewel Tea Co. barn of 18 horse stalls into a Studio of five 24’x48’ – and one 24’ x 38’ paint frames, plus floor space of 50’x50’- This was the best equipped studio in Chicago – Sosman & Landis excepted. We rented several frames to Hoylund and Lemle company on which to paint their Ad curtains.

*Back of a rendering showing John Hanny Stamp and Service Studios stamp.*

*Back of photograph in sales book, showing both Service Studios and Acme Studios stamps. Private Collection.*

Service Studios was initially located at the corner of State and 20th street in Chicago in a building that was previously known as the Marshall Field Store. The firm soon moved to 2919 W. Van Buren and set up an impressive space after when the Marshall Field estate sold the building. On June 26, 1921, the “Chicago Tribune” reported: “Old Time Marshall Field Store Building is Sold. The Marshall Field estate has sold the southwest corner of State and 20th. 155×120, to L. R. Warshawsky, for $75,000. After the Chicago Fire Marshal Field & Co., then Field, Leiter & Co., used part of the property for their retail store for some time. Later they used it for wholesale purposes. It is now used for a scenic studio by the Chicago Service Studios. The property is improved with a four story building contains eight stores and eighteen flats with a two story building on the rear. Mr. Warshawsky intends to make extensive alterations and will use a portion for his automobile accessory business. S. C. Iverson of Hubbard, Porter & Brother, represented both parties” (June 26, 1921, page 26). The scenic studio in the old Marshall Field Store, must have been a temporary situation as the new studio was prepared in 1920.

In 1924, the Hoyland-Lemle business address was listed as 6751 Sheridan Road in Chicago, the address as William Lemle’s residence (certified List of Domestic and Foreign Corporations for the year 1924). Hoyland and Lemle would continue to rent frames after Service Studios closed in 1926.

In his 1979 letter to Dr. Rothgeb, Hanny wrote:

“When we sold out to Art Oberbeck in 1926, he agreed to continue renting frames to Hoylund & Lemle Co. I mention this because after my trip to Oklahoma City – my record show that I was on the Hoylund-Lemle staff as third man 48 weeks during the following two years when extra help was needed.” By 1926, the demand for painted scenery was beginning to wane and the firm was struggling. Service Studios sold out to Art Oberbeck of ACME Studios. Oberbeck had also started as a young artist at Sosman & Landis, two years before Hanny in 1904. In 1926 Oberbeck moved ACME Studios from 36 West Randolph Street to the Service Studios at Van Buren and Sacramento Street (2919 W. Van Buren).

Hanny had gone to work for Oklahoma City Scenic Co. after selling Service Studios. Aldo known as Oklahoma Scenic Co., the firm had been around for quite some time. Already in 1903,the firm was being managed by a Mr. Patterson, who was also construction theaters for the Southwestern Circuit (Daily Democrat, Anadarko, OK, 7 Feb 1903, page 4). Times were changing and scenic artists began to scramble for work by the mid-1920s. Of this change, Hanny wrote, “About this time it was becoming evident that scene painting, as such, was on its way out. Almost every artist automatically was becoming a free lancer, picking up odd jobs perhaps a day or two here and there – “touch ups” and the like.”

In an undated letter to Dr. Rothgeb, Hanny wrote:

“After the Depression of 1929 which lasted about five years, conditions were extremely bad. Studios disappeared, many artists had to find other kinds of jobs. I was not spared in this but was very fortunate to get on staff of the Ravinia Park Grand Opera. They put operas during the summer month with stars form the New York Metropolitan Opera Company. During the summers of 1928-29-30-31 I put in some 50 weeks. With open time on my hands I became interested in oil painting. I joined a sketch class led by Mr. Frank Peyraud and also took some private instruction from him from time to time. Mr. Peyraud was referred to as the Dean of Landscape painters of Illinois and as lived near Ravinia Park and got much of his subject materials in and around Skokie he took his classes there to sketch. Skokie was at that that time natural open country and beautiful trees.”

[I have written about Frank C. Peyraud quite a bit; he was Sosman & Landis Employee No. 11. Here is the link to my post about him: https://drypigment.net2021/04/08/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-11-frank-c-peyraud/ ]

*Frank Peyraud in 1946. Here is the link to the image: https://paletteandchisel.wordpress.com/2012/02/03/frank-peyraud-1858-1948/*

In an undated later letter written to John Rothgeb, Hanny wrote, “The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musicals, etc., if any, were being produced in New York and Hollywood. At this point all of the studios disappeared but the scene painters just couldn’t disappear and had to become free lancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay. Most of the following years were really tough and 1929 proved to be a big change in our business. In purpose, in design, paint and other materials.” The 1930 Census listed John and Ella Hanny living at 901 Cornelia in Chicago. He listed his occupation as a scenic artist in the “Scenery” industry. Ella was still working for the telephone company.

As with many scenic artists at this time, the poured a lot of energy into their easel art. By the mid-1930s, Hanny was associated with several fine art groups and exhibiting throughout the area. In 1936, Hanny exhibited an oil painting with the Business Men’s Art Club of Chicago. On Feb, 27, 1936, the “Chicago Tribune” reported, “’Late Summer,’ by John Hanny is rich in color with a suggestion of Peyraud in its composition and quality” (page 15). At another Business Men’s Art Club event entitled the “Art for Art’s Sake Exhibition” Hanny’s “At Ease” was mentioned as a picture of merit (“Chicago Tribune,” 10 Mar 1937, page 19). That same year, Hanny’s oil painting “Drying the Nets” was featured at the third formal opening and tea of Northwest Art League, Inc. The exhibition was held at the Edgewater Beach Hotel (“Chicago Tribune,” 21 Nov 1937, page 32).

For some, their financial situation improved as the economy slowly crept back. In an undated letter to Dr. Rothgeb, Hanny wrote:

“As the economy improved – work was to be had on industrial exhibits, Home shows and Auto shows, etc. These were contracted for by such firms as Bromels Detroit, Dramaturgy Cleveland, Wildings Chicago and a few others. These were not scenic studios but rather combinations of carpenters and machine shops equipped to turn out booths, revolving turn tables, electrical effects and so on. The biggest change to us painters was our paints, Luminal Casein was pretty well established as a very practical and useful medium so, it, and show card color was the norm. So – no more ‘dry’ colors – no more soup bowls or hot size and of course no more paint frames. Drops, if any, were painted on the floor. The house painter’s sash brushes came into use and many of the former ‘tools’ such as snappers, and center-poles and others were no longer needed. The folding 2 ft. brass bound rule gave way to the yards stick.”

Just as life began to improve for the Hanny family, another disaster struck. Hanny’s step-father passed away at the beginning of 1938, three days shy of his thirty-third wedding anniversary. Roedder’s obituary published in the “Chicago Tribune” on Jan. 8, 1938, announced, “ROEDDER – John Roedder, Jan. 7, of 3000 Sheridan road, beloved husband of Kate, father of John. Services at Rosehill chapel Monday at 2:30 p.m. Remains at chapel, 3419 N. Clark street” (page 14). Hanny’s mother, Kate Reichert Hanny Roedder, went to love with her sister Louis Reichert Thomas at North Sheridan Rd, In Chicago. His mother would live for another two decades.

Hanny continued to work in his easel art between scenic jobs. On May 5, 1940, the “Chicago Tribune” reported, “Nine north side artists are among those exhibiting this month at the Club Women’s Bureau at Mandel Brother’s department store”; Hanny was one of them (page 126). He also began to share his artistic knowledge with other aspiring fine artists.

On June 2, 1940, the “Chicago Tribune” reported, “North Shore Art Guild. Members will meet at 1:15 o’clock this afternoon in the Webster hotel, 2159 Lincoln Park West. John Hanny, artist, will demonstrate the art of landscape painting” (page 37).

By the fall of 1940, Hanny was finally beginning to win awards and advance in fine art organizations. On Nov. 20, 1940, the “Chicago Tribune” reported, “The gold medal for the best work in oil was given to ‘Wet Snow, Michigan Avenue,’ by John Hanny” at The All-Illinois Society of the Fine Arts exhibit in the Stevens Hotel. That same year, Hanny was listed as the second vice president of the North Shore Art Guild in 1940 (“Chicago Tribune,” 8 Dec 1940, page 120). The next year he was the first president of the Guild (“Chicago Tribune,” 2 Nov. 1941, page 21).

In 1941, Hanny exhibited with the “Spare Time Painters Open Loop Exhibit.” On March 16, 1941, the “Chicago Tribune” described the group as “A little cluster of men who’d rather spend spare time setting down tranquil sunsets, smiling faces, and the vibrant sea on canvas than playing poker, golfing, or gulping highballs had their big day yesterday, Fourteen of them, members of the Business Men’s Art club, opened an exhibit in the club of women’s bureau at Mandel Brothers of water colors and oils which they created after office hours” (page 21). The article noted that John Hanny was a scenic designer.

Hanny’s WWII Draft Registration Card from 1942 listed his address as 901 Cornelia, Chicago, Illinois. His mother, Mrs. Kate Roedder of 2550 Leland, Chicago, was listed as the person who would always know where he lived. Odd that he did not list his wife Ella.

During the war, Hanny continued to exhibit his easel art. On April 25, 1943, the “Chicago Tribune” mentioned Hanny as one of the artists whose work was exhibited with the North Shore Art guild in the club women’s bureau: “A clever work is seen in ‘Victory Tableau’ by John Hanny” (page 67). In addition to fine art, Hanny made a name for himself as a mural painter in the region. In 1947, Hanny painted the murals in the new Terrace Roo of the Italian Village, designed by George Bonaguide, in Madison, Wisconsin (Wisconsin State Journal, 24 Jan. 1947, page 8). John Hanny was described as a “well-known mural painter” who “came from Chicago to do the walls.” Hanny painted a series of Italian murals. The article described, “At one end is a panorama of the city of Florence, while on the sides are views of the Villa Carlotta at Lago di Como, Pallanza from Isola Bella Lago Maggiore, and the front entrance to the Pallanza.” For historical context, The Italian Village restaurant was started in 1947 at 651 State St. by Mateo Lombardino, who immigrated from Sicily in 1921. When Dean Martin and Frank Sinatra would perform in Madison, they often ate at Italian Village, as did other well-known singers such as Vic Damone and Liza Minnelli. Here is a fun article about the restaurant:

After the war ended, Hanny became associated with the Amphitheatre of Louisville, Kentucky, where he worked with Technical Director Rollo Wayne. On July 8, 1949, “The Courier-Journal” of Louisville, mentioned Hanny’s work at the Amphitheatre in Louisville (page 54). It reported, “One of his crew is painter John Hanny who worked on the original “Song of Norway” set in Los Angeles. Hanny explained that ‘Norway’ was one of four productions put out every spring by the Curan studio, playing for two weeks in San Francisco and two weeks in Los Angeles, “Nobody had any idea we had such a terrific hit on our hands at that time,” Hanny said, over a table of paint cans at the Stanford studio-hangar yesterday. “But Lee Schubert came out to California and took the show to New York. Then it really made history. Handy said that the Louisville sets resemble quite closely the Hollywood originals. He has been an Amphitheatre painter for the past four seasons. He was working with technical director Rollo Wayne. The article noted, “Wayne used the first revolving stage ever seen in America when in 1926 he designed sets for Lee Schubert’s “Pinafore”. At the Amphitheatre, Wayne uses revolving stages which he explains, “give a chance for greater originality and speed up scene shifts.”

Hanny remained with the venue for quite some time. In 1955, Hanny was the scene designer for the Louisville Park Theatrical Association’s production of “South Pacific” at the Iroquois Amphitheatre in Louisville (Courier-Journal, 9 Aug 1955, page 15). On June 19, 1955, Hanny was mentioned in an article about the scenery for the Amphitheatre published in Louisville’s “Courier-Journal.” The article was entitled “Green Does Scenery Job,” with Hanny being noted as the scenic artist who “creates the design of the whole structure.” Dexter Green was also noted as having been associated with the Amphitheatre since 1838 – “In fact, scenery has been the trade of the Green family since 1887. The business has been handed down over the years and has become the special profession of Dexter Green, local craftsman who resides at 731 Harrison Ave, Clarksville, Ind.” I only included this information about Rollo Peters and Dexter Green, as hopefully this will assist someone else’s research. Many of Hanny’s sketches, technical drawings, and photographs from his Amphitheatre days are now part of the John Rothgeb papers at the Harry Ransom Center, University of Texas, Austin. Hanny sent a variety of his work to Rothgeb before his passing in 1984.

*Some of John Hanny’s work in the Rothgeb Papers at the Harry Ransom Center.*

By 1958, Hanny suffered the loss of his wife. On March 18, 1958, the “Chicago Tribune” published Ella’s obituary: “HANNY – Ella May Hanny, 901 Cornelia avenue, March 16, 1958, beloved wife of John Hanny; sister of Carl; W. Tillou and Marion E. Walker. At chapel, 2121 W. 95^th street, where services will be held Wednesday, March 19 at 1 p.m. Interment Rosehill, Member of Telephone Pioneers of America” (page 22). His mother died six years later, on Nov. 2, 1964.

During this time, Hanny continued to work for a variety of television stations. In his 1979 letter to Dr. Rothgeb, Hanny wrote:

“I answered some 15 of these calls between 1934 and 1965. In between, filling in at the T.V. studios – ABC – NBC – CBS and Mutual part time until 1957 when I was employed steady at CBS for three years, Due to company policy regarding age at 65 retirement and pension considerations, I was taken off permanent payroll and retired- (fired) in 1960 at the age of 70. However I put in a lot of time there after that being called when a second man was needed and always to take over while #1 man was on vacation. With the above work and what I did for General Exhibits I was kept in the ring until 1972. By that time I was 82 years old and my last salary check came from General Exhibits in 1972.

1972. I had to get all the above data from a notebook in which I listed all my earnings for income tax purpose, and I must say I found jobs I had long forgotten and am amazed at the number of projects I got involved with. There are even more. I do hope I haven’t bored you with so much detail but in relating my activities I found it difficult to separate then from the history of the business itself. Perhaps some of this will serve to round out your own research.

1979. As we take note of how scene painting has contributed and maintained the aesthetic quality of the Drama through the years, we should regret that it must lean so heavily on the commercial for survival. As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful. No doubt you have finished your shows by now. I hope they have come out the way you wanted. Will be glad to hear.

Most sincerely, John Hanny October 24, 1979”

On May 14, 1984, the “Chicago Tribune” published Hanny’s obituary: “John Hanny. Services for John Hanny, 93, a retired scenic artist, will be at 10 a.m. Monday in chapel at 430 E. Roosevelt Rd., Wheaton. Mr. Hanny of Wheaton died Thursday in a nursing home in the suburb. There were no immediate survivors” (page 29).

It was very brief and gave no inkling of his theatrical contributions. I have to wonder who wrote it, if it was his nephew Bruce William Walker, a retired naval officer, who cared for him later in life. The last correspondence between Dr. Rothgeb and John Hanny was managed by Walker. Unfortunately, Walker passed away a decade ago. Here is a link to Hanny’s nephew’s obituary: https://www.legacy.com/us/obituaries/dailyherald/name/william-walker-obituary?id=25627526

I am going to end this post with one last undated letter written by Hanny to Dr. Rothgeb:

“Dear John,

As usual I must say ‘sorry to be late,’ but I am slowing up somewhat and I hope you will be patient with me. Your inquiries of your last letter of Nov. 1 are important and related to the great change in the painting and production of stage scenery from the early 1900s to the early 1930s. This era has gone forever and as most of the old timers have passed on, it may just be possible that I am the only one around to record it.”

Hanny’s contribution is priceless, as he left far more than just a few written memories. He left sketches, technical drawings, photographs and detailed accounts of scenic art practices the Sosman & Landis studio from 1906-1919. We have Dr. Rothgeb to thank for his persistence in helping Hanny reminisce about his early career in Chicago. Of particular interest are Hanny’s drawings of scenic tools and palette arrangement. Both Hanny and Rothgeb left a theatrical legacy that will be valued for generations to come. Here is a lovely article about John R. Rothgeb published in ENCORE Fall 2013 (The University of Texas at Austin Department of Theatre and Dance Alumni Newsletter): https://issuu.com/uttad/docs/encore_fall2013_v6

Here are some of Hanny’s drawings, sent to Dr. Rothgeb before his passing.

*Sketch by John Hanny showing scenic art tools at Sosman & Landis.*

*Sketch by John Hanny showing a scenic artist’s palette at Sosman & Landis Studio.*

*Painting by John Hanny, gifted to Dr. John Rothgeb and now at the Harry Ransom Center.*

Painted detail. *Painting by John Hanny, gifted to Dr. John Rothgeb and now at the Harry Ransom Center.*

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 69 – L. R. McNeal

L. R. McNeal was purportedly a scenic artist who worked at the Sosman & Landis Scene Painting Studio during the early twentieth-century. His previous work for the firm mentioned in a 1916 newspaper article.

In 1916, McNeal was contracted to paint scenery for Walter Savidge (1866-1949) in Wayne, Nebraska. Savidge ran an amusement company that toured small towns in Nebraska.

On April 20, 1916, the “Wayne News” of Wayne, Nebraska announced, “Scenic Artist Arrives” (page 6). The article reported, “Walter Savidge has secured the services of the well-known scenic artist, L. R. McNeal, who arrived in this city on Tuesday from Chicago. Shortly after his arrival Mr. McNeal started painting the scenery for the production of Graustark and before leaving Wayne will complete the entire scenic equipment for each of the six plays that will be presented by the Savidge Dramatic Players during the coming season. Mr. Savidge has been fortunate in securing Mr. McNeal who has been connected with some of the largest scenic studios in this country, including The Lee Lash Studio of New York and The Sosman & Landis Studio, Chicago.” This story was also published in “The Nebraska Democrat” on April 20, 1916 (page 6).

*Walter Savidge Amusement Co. letterhead, c. 1916.*

McNeal’s scenic contribution was again mentioned at the Summer Carnival in Ainsworth, Nebraska that summer. The event ran from June 28 to July 1 that year. The Walter Savidge Amusement company performed their productions in a tent. On June 23, 1916, “The Ainsworth Star-Journal” reported that the company was using a “new water-proof canvas theatre.” Again, the new scenery by “well known artist L. R. McNeal” was mentioned in the article. McNeal was still mentioned that fall when the Walter Savidge Amusement Company was featured at the Tri-State Fair and Carnival in Crawford, Nebraska, that fall. On September, 8, 1916, the “Crawford Tribune” reported, “The Walter Savidge Amusement Company opens a five-day engagement in Crawford on Tuesday, September 19^th. In presenting his company this season, Mr. Savidge feels safe in the assertation that he has the strongest aggregation of attractions that he has ever carried. Especially does this apply to the Savidge dramatic players, who will appear in their new waterproof canvas theatre. Mr. Savidge has devoted much time and care to the selection of both plays and players. His company will include Miss Katherina Dale, an old favorite of this territory, who has been engaged as leading lady. Mr. A. C. Wilson has been retained as stage director and will have entire charge of each production. Fritz Adams and Miss May Wilson, two favorite players have been retained. Among the new members may be mentioned O. TR. Prather, Dick Elliot, Marvin Landrum, Edwin Henderson, Miss Marie Hardwick and Miss Anna Nielson.

The plays presented this season constitute the most pretentious repertoire ever opened by a tented attraction and will include Graustark, a romantic play in five parts from t eh novel by George Barr McCutcheon, dramatized by Grace Hayward; The Call of the Cumberlands from the popular novel of the same name by Charles Neville Buck, stage version by Hugo Kock; The Printer of Udell’s from the novel by Harold Bell Wright, dramatized by Mr. Wright and Elsbery W. Reynolds; the Belle of Richmond, a beautiful play of the old south, by popular actor author Sidney S. Toler. On the Board, a play of Mexican border life by the late Myron Leffingwelt, one of the most successful and prolific modern playwrights; The Girl of the Mountain, a well written play by W. C. Herman, who has just scored a great success in the larger cities with his latest play Any Man’s Sister, The only comedy offered during this engagement will be The Prince of Liars, which was written for laughing purposes only by James J. Runnion. Each of the above plays will receive a complete scenic production, the scenery having been designed and painted by the well known artist, L. R. McNeal. Among the new carnival features are: The African Ostrich Farm, Oriental Museum of Reptiles, and the Birds of All Nations. The Ferris wheel and the Merry-go-round will be in operation during the day and evening and free band concerts and feature free acts will be presented both afternoons and evenings” (page 1).

The Nebraska State Historical Society included a Walter Savidge Amusement Co. Collection in its manuscripts division (RG1667.AM). The collections contents date from 1899-1970, with the majority of records and photographs dating from 1910 to 1931. Here is the link to the collection’s description: https://nebraskahistory.pastperfectonline.com/archive/773D6CEE-F0B8-482E-AA29-979449914441

Here is the “Scope and Content Note” for the collection:

“The records of the Walter Savidge Amusement Company have been arranged into three series: 1) Ledgers, 1910-1920; 2) Printed matter and 3) Miscellaneous.

Series 1: Ledgers, 1910-1920, consists of employee salary records. Employees received wages, and a bonus if they stayed with the show for the entire season. End of season entries include the signature of the employee, signifying that they had received full payment. Some records have notes regarding work performed: “band,” “canvas,” “snakes,” etc. Several ledgers contained loose bills, receipts, and a few items of business correspondence which have been placed in envelopes at the beginning of each volume.

Series 2: Printed matter, 1899-1970. contains four “mail and route lists” for the company, Mabel’s piano lesson book, and articles about the company. Series 3 contains miscellaneous items, including the obituary of Walter Savidge.

Here is the description of the contents:

Series 1 – Ledgers, 1910-1920

Box 1
Volume

1. 1910

2. 1911-12

3. 1912

4. 1913

5. 1914

6. 1915 [& envelope]

7. 1915-1916 [& envelope]

Box 2
Volume

8. 1916 [& envelope]

9. 1918 [& envelope]

10. 1920

Series 2 – Printed matter

Box 2
Folder 1

Route and Mail Lists, 1927-1929, 1931
“A Graded Course of Studies and Pieces for the Piano-Forte,” 1899
Clippings

Series 3 – Miscellaneous

Box 2
Folder

1. Miscellaneous

Series 4 – Photographs (transferred to photo collection: RG1667.PH)

Group 1: Midway Shows & Acts
Group 2: Bands & Musicians
Group 3: Rides & Midway
Group 4: Guernsey Dam area
Group 5: Storm Damage
Group 6: Groups and individuals
Group 7: Women
Group 8: Custer State Park

History Nebraska also included a “Background Note” for the collection:

“Walter T. Savidge was born in Deloit, Nebraska in 1886. As a child in Humphrey, Nebraska, he tried to imitate the stunts of the aerialists he saw at the circus (walking a tightrope between the family barn and a shed, for example). When he was 16, Walter left home to perform tricks at fairs and picnics, and by the age of 20 [ca. 1906], he had formed the Savidge Brothers Amusement Company with his brother, Arthur, who performed under the stage name of Elwin Strong. In 1911 he married Mabel Griffith, whom he had met while he was performing at the fair in Wayne, Nebraska a few years previously. Sometime between the 1914 and 1915 seasons, management disagreements with his brother led Walter to start his own company, the Walter Savidge Amusement Co., using $500.00 as capital. The show grew from a single boxcar load to a 20 car private pullman train carrying 125 employees, concession stands, tents and equipment. The Company traveled a circuit of Nebraska and Midwest towns with the Savidge Players, who performed popular dramatic productions from New York and Chicago in a specially made tent theater, as the main attraction. Outside the big tent were rides, sideshows, and animals. Walter and Mabel Savidge traveled the circuit for 35 seasons, until the Company began to feel the effects of competition from movies and radio. In 1941 they sold the show and retired to Wayne. Walter T. Savidge died in Wayne, Nebraska on September 20, 1949.”

It is possible that this collection provides more information on L. R. McNeal. To date, I remain unsuccessful in tracking down any information about this “well known scenic artist” or his affiliation with any scenic studio. It makes me wonder if “L. R.” are the initials for his first and middle name, or if it was simply a typo republished in a few newspaper articles that summer. That being said, it is possible that McNeal worked as a paint boy, and had yet to reach the full status of scenic artist at either studio.

In fact, I have only located one other scenic artist with the last name of McNeal from this period. In 1917, there was a 22-yrs.-old scenic artist/electrician who perished after a July 4^th fireworks accident (holding fireworks that exploded). Hugh Marshall McNeal worked as a scenic artist and electrician at the Gladmer Theatre in Lansing, Michigan. His horrific death was described in the “Lansing State Journal” on July 6, 1917 (page 1). It is unlikely that this was the same McNeal hired by Savidge in 1916.

If more information comes to light about L. R. McNeal, I will update this post.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 67 – William Grabach

William Grabach worked with Sosman & Landis in 1897. He would maintain a relationship with the firm over the years, after all the scenic art world was quite small then.

William Grabach. Fromthe Oregon Daily Journal 23 March 1913, page 43.

This is one long post, but it is a VERY intriguing story. This is the life that should be made into a movie. Lots and lots and lots of drama, almost to an unbelievable point. Regardless, his story is certainly worth telling.

Exploring the life and career of Grabach is like trying to figure out a Rubik cube. You come close to solving the puzzle, only to realize that one square is still out of place. Part of the difficulty is that there were quite a few individuals named William Grabach running about the same time. This is always a nightmare, as you have to backtrack all of the information, correlating parents, siblings, birth year, location, etc. To make matters worse, there were a few William Grabachs living in the same area. This is the problem with very large families because of multiple individuals who may share the same name. Just because you pick the perfect name for your child doesn’t mean that your sibling won’t pick the same name.

William came from quite a large family. He was the son of Augustus Grabach (1818-1860) and Maria “Mary” Elisabeth Setzler (1821-1903), born on July 20, 1856, in Fremont, Ohio. To date, I have successfully identified the following Grabach children:

John Grabach (1843-1924)

Henry Grabach (1844-

Johan F. Grabach (1845-before 1860)

Anna G. Grobach (1846-before 1860)

Augustus Grabach Jr. (1847-1869)

George Grabach (1850-1927)

Elizabeth Grabach (1850-?)

Catherine “Katie” Elizabeth Grabach Loeffler (1851-1926)

Philip Grabach (1853-1927)

William M. Grabach (1856-1913)

Charles A. Grabach (1858-1909)

Between 1850 and 1860, the Grabachs moved south from Rice Township in Sandusky County. In Ohio to Adams Township in Seneca County. This was not a huge move, and their journey passed through the larger city of Fremont. We are only talking about a 15-mile trek. The Grabach family would remain in this area for quite some time. To help you imagine this area, Fremont is approximately 35 miles southeast of Toledo, Ohio.

On March 16, 1860, Augustus Grabach Sr. passed away from fever. At the time of his passing, his occupation was listed as a Master Mason. That same year, his son John was also listed as a masonic apprentice. John’s younger brother August Jr. would also follow in his father’s footsteps, becoming a brick mason and general contractor when first employed.

Augustus Sr.’s passing meant that his widow Elizabeth was left alone with several young children to cloth and feed. Each child was pushed out of the nest as soon as they could earn a living, one right after another. The first to leave was Henry Grabach; keep his name in mind as he is a major character throughout the story. Henry Grabach moved to Fremont and began working as a confectionary store in 1860. He would continue to help out over the years, offering work and a place to stay for his younger siblings over the years. He would also help out with his nieces and nephews, always coming to the rescue. He was part of the family’s foundation in Clyde, Ohio.

The Grabach Family. Photograph posted to www.ancestry.com. Charles Grabach (left) and William Grabach (right) are in the back row.

In the midst of mourning the loss of Augustus Grabach, shots were fired on Fort Sumter the next spring, and the United States entered a Civil War. Although too young to fight in the Civil War, three of William’s brothers joined the Union: John, Augustus Jr. and Henry. They all came home, and picked up their lives where they left off. William did not leave home until he was fourteen years old. In 1870, he went to work for his brother Henry.

By 1870, Henry Grabach was employed as a boot and shoe manufacturer, working for his older brother Henry. Years later, a newspaper article about William Grabach would note, “He did not like the farm, nor the shoe business, in which he was engaged with a brother in Northern Ohio.” In 1870, Henry Grabach’s household included his young wife, two infant children, younger brother William, and another female (likely a family helper). They were all listed as living in Green Creek, Ohio. Green Creek was a 2 ½ hr. walk north of the Grabach family home in Adams Township.

By 1876, Henry and William Grabach were working in Clyde, Ohio. This was only a one-hour walk from Green Creek, but the family soon moved to Clyde. In 1877, Henry advertised in the “The Clyde Sentinel” – “Grabach is the man to buy your boots and shoes of” (The Clyde Sentinel, 25 May 1877, page 8).

William Grabach began his painting career in Clyde, possibly first making signs for his brother’s store or other local businesses. Installing a new sign made news! On April 20, 1877, “The Clyde Sentinel” announced, “Grabach has some new signs”.

In Clyde, Henry Grabach briefly partnered with John Joseph to establish the short-lived firm of Joseph & Grabach. By 1879, the partnership ended, with Henry opening H. Grabach’s store. Advertisements placed in “The Clyde Sentinel” directed, “Boots, shoes, slippers, hats and caps, coming by the dray load every day for H. Grabach. Clyde has never had such a full assortment. Go and see them” (May 9, 1879, page 5). Henry Grabach went on to enjoy quite a successful career as a well-known boot and shoe maker. In 1881, he even held a patent for a show improvement. Here is the link to the patent: https://patentimages.storage.googleapis.com/2e/c5/37/6b63b239d47541/US244588.pdf

*Henry Grabach Shoe Store advertisement from “The Clyde Enterprise,” April 30, 1891, page 1.*

Unlike his brother Henry, William was not passionate about shoeing the public, and began to focus on painting. He did not stay in town for long, and headed west for Illinois. By 1880, however, his easel art made news in Springfield, Illinois. The earliest mention that I have located to date about Grabach’s art career is from 1880. On July 22, 1880, “The Clyde Enterprise” reported, “Many of our citizens will remember Mr. Wm. Grabach, who spent some time here a few months ago with his brother Mr. H. Grabach. He is an accomplished oil painter and artist, though the only work we know of his having done here was frescoing and ornamental painting in Masonic Hall.” The article included an excerpt describing Grabach’s oil painting: “In Springfield (Ill.) Daily Post on July 12^th, we find the following complimentary mention of a portrait in oil executed by Mr. Grabach:-

“A BEAUTIFUL PAINTING.- In the window of Mr. Frank Simmons’ book and stationary store, on South Sixth street, there is an oil painting that is attracting much attention from passers-by. It is the likeness of the little son of Mr. and Mrs. George Henly of this city, executed by Mr. William Grabach. It is certainly a very fin piece of work, and is a good sample of the ability of the artist” (page 3).

By the mid-1880s was working as a painter. Like many artists at the time, he also worked as a decorative painter and fresco artists. He partnered with his younger brother Charles to establish the painting firm of Wm. Grabach and Brother. They were listed in both the 1886 and 1887 Clyde Directories. The two are even listed in the biographical dictionary entitled “Artists in Ohio, 1787-1900.” Here is their listing in the publication: https://www.google.com/books/edition/Artists_in_Ohio_1787_1900/ZdICm_W8xKwC?hl=en&gbpv=1&dq=%22William+Grabach%22&pg=PA346&printsec=frontcover

Charles did not remain in the painting business, and soon returned to farming. Later on, his obituary notice would state that Charles, “spent most of his life on farms in Adams and Thompson townships in Seneca county, south of Clyde”(“The Clyde Enterprise on March 11, 1909, page 4).

On March 1, 1881, William Grabach married his first wife, Margaret J. Watterson, in Sangamon, Illinois (Springfield County Court records). Their marriage was also recorded in church records held by Roman Catholic Diocese of Springfield Sacramental Records. Watterson was listed as a Catholic and Grabach the Congregationalist. The groom’s parents were listed as August Grabach and Elizab. Setzler. Watterson’s parents were listed as Johann Watterson and Anastatia Haffermann.

The young couple celebrated the birth of their first child that fall. Margaret “Maggie” May Grabach was born on Sept. 15, 1881. She was baptized a month later on Nov, 20, at the Catholic church of St. Pater and Paul. Baptism records from the Roma Catholic Diocese of Springfield list “Gulielmus Grabach” and “Margar. Watterson” as her parents. For the record, the “Gulielmus” is Latin for “William.” Maggie May was listed in church records as “Margaretha Maria Grabach.” Years later, her marriage records would list state her mother’s name as Maggie Harrison; this was an error. I managed to track down William’s wife in the 1860 US Federal Census. At the time, she was listed as the 5-yrs. old daughter of John (48 yrs.) and Ann (46 yrs.) Watterson; the youngest of their seven children living at home in Harlem, Winnebago County, Ill. William and Maggie celebrated the birth of three children: Maggie May (b. 1881), William Jr. (b. 1883) and Paul (b. 1886).

William Grabach continued to work as a scenic artist and ornamental painter. He was listed as an artist in the 1883 and 1884 Springfield directory, living at 295 English Ave. Although he was listed in the directory, his family moved back to Clyde, Ohio, in 1883. In Clyde, William Jr. and Paul were born. This was when William Sr. began painting with his younger brother Charles. The firm of “William Grabach and Brother” was listed in the 1886 and 1887 Clyde City Directory. The Grabachs continued to live in Clyde for the next few years, with William continuing to secure projects throughout the region.

William purportedly remarried his second wife in 1888. They may have hooked up that year, but William did not leave his first wife until the fall of 1891; and that is a whole other bit of drama that I will cover in a few paragraphs.

His second wife was Nancy Anna “Nannie” McKay (1856-1902). I have yet to find any official marriage record, but I have located her gravestone in Denver, Colorado. The 1900 US Federal Census provides a little information about Nancy, including a birthdate of May 1856. This information matches the inscription on her gravestone and other historical records that I have encountered. Nancy was Born in New Castle, Delaware, the daughter of George and Elizabeth McKay. By 1900, the census listed that the two had been married twelve years and were living with their son Paul in West Omaha, Nebraska. At the time Paul Gustav Grabach was 16 yrs. old, with his birthdate listed as Feb. 1884.

Grabach was still in Clyde in 1889. On Jan. 10, 1889, “The Clyde Enterprise” reported, “Mr. Wm. Grabach, scenic and fresco painter is in Findlay doing the frescoing of an elegant new church edifice there, erected by the United Brethren” (page 3). Grabach also began accepting an increasing number of projects in Michigan that year. On August 29, 1889, “The Clyde Enterprise” included an excerpt from the Three Rivers Mich., Herald – “The fresco social at the Lutheran church Wednesday evening was well attended. Prof. Graubaugh [sic.], explained to the audience in a most satisfactory manner the significance of the 14 beautiful fresco designs which decorate the ceiling” (page 1). The article went onto describe the significance of the murals.

Some of the difficulty is that the spelling of Grabach’s last name is very inconsistent. Variations in spelling include Grauback, Graugbaugh, Graybach and Grayback. He begins to cast his net wide for work. As with other scenic artists of his generation, staying put in a small town will not pay the bills. Painting was a lucrative business, but only if one was willing to travel. The profession demands that artists spend incredibly long period away from their family and home.

This is what happened to Grabach by the late 1880s. He began accepting bigger, and bigger projects, which meant extended absences from Clyde, Ohio. Thomas G. Moses encountered this when he tried to stay in his hometown of Sterling, Illinois. Work necessitated establishing a permanent residence in large metropolitan area, one that was well-connected to other regions of the country by rail.

In 1890, Grabach won the contract for decorating the new congregational church in Kalamazoo, Michigan. On Feb 20, 1890, “The Clyde Enterprise” reported “Kalamazoo, Mich., Gazette, Feb. 19^th: “The bids for the decorating of the interior of the new Congregational church were opened yesterday. Those submitting bids were Coover & Son, of Ft. Wayne, Jno. C. W. Rhode, of Chicago, Wm. Grabach of Clyde, O., and one other Chicago firm. The bid of Mr. Grabach at $1,000 was accepted. The design is a very handsome one and his work here and elsewhere is a guarantee that it will be first class. The work of plastering the interior is progressing rapidly and the work of decorating will be begun as soon as material can be obtained. Clyde talent always gets to the front.” (page 3). This is the project that brought him to Michigan, where he continued to accept work for some time. In 1891, William Grabach was listed briefly listed as a painter in the Detroit City Directory, living at 82 Abbott. This was a common practice when scenic artists accepted a long-term project. He was not listed in either the 1890 or 1892 directory, he was still living in Detroit in 1892. Likely Grabach was focused on another matter – the abduction of his two young sons.

The story was published in “The Clyde Enterprise” on June 16, 1892 (page 3). The article was entitled, “Got His Children Back.” First published in the “Cleveland Leader,” the article reported, “Two small boys, who, it is claimed were abducted from home by a Roman Catholic priest, and placed in St. Vincent’s Orphan Asylum in this city, were restored to their father yesterday afternoon, by an order from Judge Solders, of the Common Please Court. The lads are Willie M. F. Graybach, eight years old, and Paul G. D. Graybach, six years old. Their father is William Graybach, a scenic artist formerly of this city, and now a resident of Detroit. He painted the curtain and scenery in the Lyceum Theater of this city.” The article also explained the end of Grabach’s first marriage: “The father of the boys told an interesting story to the court. He said that he and his wife separated while living in this city last November. They were married in Springfield, Illinois, in 1881. They lived happily until they moved to Clyde, O., a few years ago. Soon after going there his wife suddenly became a Roman Catholic through the influence of the priest of that parish. Graybach was a strong Protestant. There was discord in the family immediately, and it continued to increase after they moved to this city a year ago. They parted November 16 last year. Graybach told the court that he agreed to provide a comfortable living for his wife an allow her to keep the children, provided she did not send them to a Roman Catholic Sunday School. His wife promised to obey his wishes, he said., Graybach went to Detroit, where he was employed, and his wife went to Clyde with the boys and a little girl, ten years old. Mrs. Graybach’s mind became affected on account of her devotion to the church and she was placed in the Asylum for the Insane of Toledo, early in May. Graybach placed the children in care of his mother on a pleasant farm near Green Spring. He returned to Detroit, but was hastily summoned back upon information that his children had disappeared. They had been left in the care of a neighbor by their grandmother while she went to the village. A stranger called and said he had been sent to take the children home. It was learned afterwards that they were taken to the residence of Rev. Mr. Moran, pastor of the Roman Catholic Church at Clyde, upon his orders, by a man named H. Gibbons. They were kept in the priest’s house overnight, and the two boys were then taken to this city and placed in charge of Mother St. Joseph, lady superior at St. Vincent’s Male Orphan Asylum. Three sons of Mrs. Graybach, by a former husband, learned that their stepbrothers had been taken to Rev. Mr. Moran’s residence and went there and demanded the children. They were ordered away and were refused any information about them. Mr. Graybach has been working on the case ever since. He succeeded in locating the boys at St. Vincent’s Asylum yesterday, and secured the writ of habeas corpus.”

In the end, Grabach was granted full custody of his two sons. The article continued, “The boys ran to their father’s arms and threw their arms about his neck and cried, “Papa, papa, they won’t take us away any more, will they?” The eldest boy said to those around him that he didn’t like to live at the Orphan Asylum and was very happy because his father found him. They are unusually bright boys and good looking. Mr. Graybach said that he would immediately take measures to secure his daughter. He has learned that she is in the care of a Roman Catholic in Toledo and expects to obtain possession of her today.

When asked as to the correctness of the above from the Leader, Rev. T. F. Moran stated to the ENTERPRISE that it is chiefly fiction. In the first place he says Mrs. Graybach was born and raised a Catholic, that she was a Catholic when Graybach married her, and that he himself frequently accompanied her to Catholic church without objection until a few years ago he failed to secure the job of frescoing the new church, since which time he has been very bitter against the church; that Mrs. Graybach always desired her children to be raised Catholics, and frequently expressed that desire; that the children were shamefully abandoned and neglected by their father and their other driven insane by his outrageous conduct; that Mr. Gibbons, who is accused of abducting the children, had in reality been previously appointed the legal guardian by due process of law, and was authorized by law to place them where he saw fit; and that the whole matter was done openly and above board, solely for the good of the children.

Henry Graybach, uncle of the children, says he believes the appointment of Mr. Gibbons as guardian was secured by collusion and political influence of Fr. Moran over the Probate Judge; he says the father is the legal guardian of the children, and was ready and offered to support them; that he himself had taken charge of them at the request of their father, had clothed them and was sending them to public schools in the country from the residence of their grandmother, from whence they were kidnapped and carried away to Catholic school in Cleveland; and that whatever has been the shortcomings of the father in the case, and without upholding his outrageous treatment of the mother and children, he considers the action of the Catholics and the alleged guardian and the Probate Judge as unwarranted and even more reprehensible than the meanness of the father. The case is not yet ended, and further developments are awaited with interest.”

On June 30, 1892, “The Clyde Enterprise” republished an article from the “Toledo Blade” that involved Grabach’s daughter Maggie. In an article entitled “The Romance of a Child,” the story painted a very different picture of Grabach. “A very interesting case involving the custody of a little girl 10 years of age, was tried before Judge Millard yesterday afternoon and this morning. It was brought pout by a writ of habeas corpus instituted by William Graybach, a scenic artist, who at present lives in Detroit, to obtain the custody of his 10-year-old daughter, Maggie Graybach. The facts of the case show that Graybach formerly lived in Clyde, where he married a widow, Mrs. Walton [sic.], who already had several children. The child involved in the case is the issue of the second marriage, however. The evidence in the case goes to show that Graybach deserted his wife and family at Clyde and went to Detroit, neither leaving them means of sustenance or word as to where he had gone. The little girl also testified that while she lived with her father, she did not get enough to eat of have sufficient clothing. After he left, she went first to Father Moran’s house, who was a Catholic priest at Clyde, and afterwards to live with her aunt, Mrs. Walton. After a while, the mother, Mrs. Graybach, became insane and was taken to the asylum in Cleveland, and the little girl was kept by her aunt. H. G. Gibbons, of Clyde, was appointed her guardian. Since that time Graybach has come back from Detroit, and asked for custody of his daughter, which was refused to him. He says that he left his wife because she gave all her attention to the Catholic church, and told her that he would go back to support her if she left the church. The little girl, when asked, said that she preferred to live with her aunt.

The friends of Mrs. Walton, the aunt, claim that the mother’s insanity was caused by Graybach’s desertion, and say that he is not a fit man to have charge of children. Graybach, on the contrary, says that he earns $50 a week, and can support her, and that he objects to having her brought up in the Catholic church.

It was rumored that an anti-Catholic society was helping Grayback push the case, but B. F. Reno, his attorney, denied that, and said that the society had nothing to do with it. During the trial of the case yesterday an effort was made by a constable in Clyde to arrest Graybach on the charge of abuse and desertion of family. Judge Millard would not permit it, however, and Capt. Egbert Doville went on to Graybach’s bond to appear in the case at Clyde. The case is complicated, and is exciting a good deal of interest.

The conclusion to the case was published in “The Clyde Enterprise” on July 7, 1892 (page 3): In the matter of Graybach’s daughter, the custody of the child was given to her father, though she desired to remain with her aunt. When the case against Graybach for neglecting and deserting his family was called he failed to appear, having taken the little girl and left the city.”

By 1894, William, his three children and second wife moved west to Nebraska – four states away. In Omaha, he became associated with Boyd’s Opera House. This association was first mentioned while visiting his older brother John in Grand Island, Nebraska.

On Feb 14, 1894, “The Grand Island Daily Independent” reported, “Mr. Wm. Grabach, a brother to John Grabach who runs the Koehler Cigar and News stand is in the city for a week visit. He is a scenic artist and has quite a reputation among western artists, making his headquarters at the Boyd in Omaha. This is the first time the two brothers have met in ten years and they are thoroughly enjoying the event” (page 4). Brother John had also gone through some pretty horrific times. In 1875, his second wife made newspapers across the country; she tortured her step-daughter to death. It occurred after a miscarriage and she claimed to have been possessed by the devil. I cannot image the horror of losing a child that way. Members of the Grabach family continued to make headlines over the years; bizarre stories that make you just shake your head in amazement. Yes, I have included quite a few beyond theatre projects, hence the length of this post.

From 1895-1901, William Grabach was listed in the Omaha City Directory. He consistently worked as a scenic artist in the region and was making quite a name for himself. Here is the listing:

1895 scenic artist, Boyd’s Theater.

1896 scenic artist, Creighton Theatre, 1817 Davenport

1897 scenic artist, Creighton Theatre, r. 203 S 24^th.

1898 artist, r 203 S 24^th.

1899 scenic artist, Benson Place.

1900 scenic artist, Boyd’s Theater.

1901 scenic artist, b. Barker.

His painting work was varied, with multiple projects making headlines throughout the region. Here are a few newspaper articles describing some of the projects:

On April 27, 1895, “The Excelsior” in Omaha reported, “The contract for painting the scenery of the Creighton Theatre has been let to Grabach, and Omaha artist, whose studio is in Boyd’s theatre. Fisher & Lawrie will design the scenes in conjunction with Grabach and some excellent work is promised. The first story of the new theatre has been reached and work is progressing rapidly. From all indications theatre will be completed by the date set by the managers for the opening” (page 2).

On August 24, 1895, “The Courier” in Lincoln, Nebraska described Grabach’s drop curtain in detail: “A drop curtain from the pen of William Grabach is perhaps the most striking single object in sight. Departing from the usual custom, the artist has produced the shocking daub which too often stares theatre audiences in the face and harrows up their artistic souls, but a representation of drapery, sever in disposition and in tone harmonious with the dominant tints of the interior. This curtain, the somber beauty of which will grow upon the public, is reinforced by another, a massive structure of sheet iron, braced and rivets, and so accurately balanced that a minimum of force rightly directed will move it in its appointed channel. By means of this ponderous wall of metal an impervious barrier may be instantly set up between a fire on either side of the footlights and the other regions of the theatre; and the entire construction of the building, both in point of materials employed and in respect to the number and convenience of exits provided in all parts, has been wrought out to the end for assuming absolute safety, so fare as might be, to audiences and players” (page 7). I have several photographs of Grabach’s work in my theatre collection. Here is one that shows his skill at drapery painting.

*Drop curtain painted by William Grabach when his studio was in Omaha, Nebraska. The venue is unknown at this time.*

*Signature on drop curtain painted by William Grabach when his studio was in Omaha, Nebraska. The venue is unknown at this time.*

On Nov. 1, 1896, the “Omaha Daily Bee” reported “William Grabach, who has been working on the scenery of a new opera house at Lexington, Neb., for several weeks returned home last night” (page 8).

Grabach was credited as the scenic artist at both Omaha’s Creighton Theatre and Boyd Theater in “Julius Cahn’s Official Theatrical Guide” from 1887. At the Creighton, delivered scenery for a production of “Not Guilty” performed by the Woodward Theatre Co. in 1896. An article in the “Omaha Daily Bee” reported, “Tonight they will present the five-act comedy, “Not Guilty,” with special scenery by Grabach” (August 3, page 2).

In 1896, Grabach was also credited with designing and painting a parade float for the Feast of Olympia, given by the Knights of Ak-Sar-Ben that fall in Omaha (“The Excelsior,” 11 April 1896, page 7). Parade floats and other public spectacles were profitable work; the projects eagerly sought after by many scenic artists.

In 1897, Grabach was the President of the National Alliance of Theater Stage Employes. Using that title in a letter to “The Omaha Evening Bee” on June 1, 1897, he wrote:

“Mr. Fritz Wirth. Appreciating your kindness in tendering to us the services of Miss Lynwood for our benefit to be given at Boyd’s theater tonight, we hereby send you a complimentary box for the performance, with many thanks for past favors.

Wm. Grabach

Pres. of the National Alliance of Theater Stage Emp.”

At the beginning of 1897, Grabach attended a Central Labor Union meeting in Omaha. On Jan. 21, 1897, “The Omaha Evening Bee” reported “The exposition matter came up by the reading of a written request from G. M. Hitchcock, asking the privilege of addressed the union on matters bearing upon the exposition. The request was granted, and Mr. Hitchcock appeared before the union, in the capacity of a private citizen, asking the organization to postpone action on its grievance for the present.

President Easton replies to Mr. Hitchcock and said that the laboring interest are up in arms, and are determined that the experience of the labor interests in Atlanta and Philadelphia shall not be repeated in Omaha. He said organized labor would proceed on the theory of “patronizing home industry,” and would insist the home labor be recognized. The president said he did not speak as the representative of the Central Labor Union, but was voicing his own sentiments.

William Grabach of the theatrical employes’ union, supported the sentiment expressed by Easton, and said the laboring interests of Omaha could take care of the matter without “the aid of consent” of any outside labor.”(page 8).

By the mid-1890s, Grabach also became associated with various political activities and the Silver Republicans. After the collapse of the silver market and severe depression in 1893, there was a demand to pass legislation favorable to silver. Heading the political effort was a group of men known as the Silver Republicans. Their attempts and speeches to promote the silver cause ultimately failed. In many cases they were ostracized, yet the party continued into the twentieth century. On July 3, 1900, “The Grand Daily Press” of Grand Island, Nebraska, reported “3 carloads of silver republicans leave Omaha over the Burlington at 10:45 this evening for the national silver republican convention which meets at Kansas City, July 4. The cars are models of beauty, just from the shops. The Douglas county delegates have secured a handsome banner 6×8 containing portraits of Bryan and Towne, painted with a shield representing the national government and surrounded by golden rod, Nebraska’s favorite flower. The work is done in milk distemper color by William Grabach, scenic artist”(page 4). Since the mid-1890s, Grabach had supported the Silver Republican cause in Omaha, attending a variety of meetings and often making the paper. He was also involved with the labor movement in Omaha, cited in a variety of newspapers by the late 1890s; often associated with some conflict or speech at a meeting.

In 1897, Grabach was also credited with the scenery and stage effects for the Woodward Theatre Co. and their extended engagement at the Creighton Theatre in Omaha (“Omaha Daily Bee” 4 July 1897, page 4). Their production was “Wife for Wife” and the “Omaha Daily Bee” reported, “Mr. Grabach has charge of the scenic effects, which will be elaborate.” On Dec. 18, 1897 the Overland Theatre opened in Nebraska City. In 1904, “Julius Cahn’s Official Theatrical Directory” credited the scenery for the stage to “Sosman & Landis and William Grabach, scenic artists.” To date, this is the only definitive connection that I have located linking Grabach with Sosman & Landis. The drop curtain dramatized the 1864 Overland stagecoach attack by Cheyenne Indians in the valley of Little Blue (http://cinematreasures.org/theaters/63839).

Grabach continued to live in Omaha at 203 24th St., frequently leaving town for extended to period to complete one project after another. In 1898, Grabach spent three months in Junction City, Kansas, painting over 150 pieces for the new opera house (Junction City Weekly Union, 12 Aug 1898, page 2). He was becoming a significant artist in the region, doing quite well for himself. When a family reunion was held in Clyde that year, he returned a success.

In 1898 the Grabach family held a family reunion. On Dec. 29, 1898, “The Clyde Enterprise” described the event in an article on page 3:

“The Grabach family have been holding a family reunion here during the past few days, and among those in attendance are John Grabach and his little daughter Mary of Grand Island, Neb., Philip Grabach, of Eureka Springs, Ark., Jacob Sheets and husband, of Tiffin, George Grabach and family, of Republic, Charles Grabach, of Colby, and Henry, of Clyde. The gathering has been in honor of their mother, Mrs. Elizabeth Grabach, who resides with a grandson on her farm south of Clyde. Another son, Will Grabach, of Omaha, has been expected but has not yet arrived, and another sister, Elizabeth Leffler, of Ogden, Ill., has been detained by illness. It will be seen that the family is badly scattered. The members seldom get together, which makes the occasional reunions all the more pleasurable. John Grabach, the oldest of the boys, was a member of the Third Ohio Cavalry with his brother Henry, and with O. M. Mallernee and J. M. Kelsey. In the fight around Atlanta, where half the regiment was lost, John stopped to care for Lieut. Garfield, who was afterwards captured and sent to Andersonville, where he was confined for four months after his term expired. He had a wonderful soldier record, and has since had a great deal of trouble, sickness and death in the family, but he is the youngest looking Grabach in the family today, excepting the ladies, of course.”

His children were six years older, but did not return with him. Completely understandable. Now ages, twelve, fourteen and eighteen, they were settled in the Midwest and planning their own futures. The next summer, the eldest of William’s children was married. On June 23, 1899, his daughter Maggie May Grabach married John L. Glazier in Glenwood Mills County, Iowa. His daughter would go on to make a name for herself as a vaudeville actress.

On Nov. 16, 1899, the “Fremont Tri-Weekly Tribune” reported, “William Grabach of Omaha, is in the city painting new sets of scenery for the Love opera house. Mr. Grabach is well known to the profession, having painted a big percentage of scenery now in Nebraska theaters.” (page 4). He was also working in Junction City, Kansas that year and painted photographic backings. On April 21, 1899, the “Junction City Weekly Union” reported, “Photographer Street has received the new scenery for his gallery painted by Artist Wm. Grabach of Omaha. The several pieces were designed last year when Mr. Grabach was in the city” (page 4).

In 1899, Grabach was credited with scenery for the Mirror Theatre in Des Moines, Iowa. In an article entitled, “The Art of Scene Painting,” Grabach described his painting process in detail:

“Few theatregoers know anything of the manufacture of scenery that plays such an important part in the staging of productions. Water scenes, wood scenes and interiors are viewed night after night, but no thought is given to the man who created these canvases, Scene painting is a branch of art that exerts greater influence on the public as a while than almost any other form of art, but its influence is subtle. If a wood scene is good, it is not noticed. On the other hand, if it is very bad it detracts from the actor’s art and is commented on by everyone from the dress circle to the top gallery.

Nearly everybody pretends to know something of oil painting and water colors, yet scene painting is water colors on a large scale, and scarcely anybody known of the materials and methods of the scene painter. William Grabach, a veteran scene painter from Omaha, who came to Des Moines last week for the purpose of completing the scenery in the Mirror Theatre prior to the opening of that playhouse by Frank Daniels, permitted a representative of the Capitol to climb up on the high bridge he occupies in the loft of the Mirror stage and explained to him the process of painting a wood scene. The bridge is thirty feet above the floor of the stage and extends the full length of the stage. The canvas is nailed on a wooden frame and so suspended from the ceiling that it can be raised and lowered at will. The scenic artist’s palette is a table six feet long and three feet wide, covered with oil cloth. On this palette are sixteen crocks filled with crude pigments mixed with water; no oil is used in scenic painting. Besides the colors necessary for the work is a crock filled with a thin glue mixed with water. This glue is a fixative and is mixed with the colors, as they are used to keep them from running or rubbing off. The brushes used vary from the size of a lead pencil to the size of those used in whitewashing and are all shapes.

While Mr. Grabach explained the mixing of the colors, he dipped a wide brush in dark blue paint and put the coloring on the oil cloth palette; then he dipped the same brush in the glue crock and worked the glue in with the blue coloring. Beginning at the top of the scene, worked the glue in with the blue color- he made light strokes with the brush and explained that those were the leaves in the shade. The next color to be applies was a light green, which gave the effects of leaves in the light and stood out more prominently than the dark ones put on previously. Occasionally, yellow spots were mixed with the spots of blue and green to give the effect of light seen between the leaves.

When asked to explain how he began the work on the painting, he said:

“The trees in the scene and the main branches were first sketched with charcoal. Then the sketching was corrected, and the chief lines were inked in to insure against any error in proportion. Next the dark coloring, representing the foliage far in the shade, was put on. Then came the painting in of the tree trunks and branches. The foliage less shaded was put on next and I gradually worked in the details until I came to this finishing work, the putting on of the leaves that are to stand out prominently and the correcting of details necessary to make the effort correct as to perspective. All the large yellow spots will be cut out to admit light from the rear and give an airy effect. An invisible netting will be put on the back to hold it in shape and prevent fraying where the holes are cut. Of course there will be no netting over the wide yellow space at the bottom, between the two main tree trunks, as that is left for an entrance.’

Replying to the question asked whether he knew exactly what the result of his work would be when he started the scene, Mr. Grabach said:

“No; the work goes by inspiration to a certain degree. We are asked to do a landscape, a street scene, or an interior, and we sketch in the main objects, but when the work of painting is begun, the plan is frequently changed, and the result is that new ideas continually creep into the scene and we never paint two curtains that area exactly alike. We have to work for effects, and as a man grows more experienced, he learns the bold strokes that will liven up the scene and bring it out. Our work is impressionistic: it is unlike bill painting in that we have to work for bold effects and cannot while away our time on details. A man who is accustomed to doing oil painting is always a failure in his first attempts at scene painting. His work looks flat as a distance, although it may stand close inspection.

In reply to the question, “How long does it take to paint a curtain?” Mr. Grabach said, “That depends largely on the speed of a painter and the class of the work. This scenery I am at work on is 24 feet by 21 feet. I began work on it this morning and am so near done that I will complete it before midnight. Of course, I have worked very hard because the house has to be opened soon, and ordinarily, I do not do nearly so much in a day.”

Mr. Grabach worked at the world’s fair and in New York with scene painters of all nationalities and he says that English and American scene painters excel all others, both in excellence of their work and in speed. German. French, and Italian scene painters spread their canvas on the floor and walk on them while they paint with brushed that have handles as long as those used in brooms. European scene painters are very slow, too, and fail to acquire the striking effects that Americans accomplish so successfully” (page 5). Another article was published in 1913, describing his Portland Studio and the scenery manufacturing process then too. That article will be included near a little further down.

At the beginning of 1900 Grabach painted scenery for the new opera house in Norfolk and the Hein opera house. On Jan. 5, 1900, “The Madison Star” of Madison, Nebraska, reported, “William Grabach of Omaha, who did the scene painting for the Hein Opera House, will also paint the scenery for the new opera house at Norfolk” (page 5).

In 1900, Grabach painted scenery for the Parmele Theatre in Plattsmouth, Nebraska. Located on Main Street and 6^th, he was credited at the scenic artist for the venue. Last fall, I acquired a photograph of the drop curtain when purchasing a small set salesman samples from his Pacific Coast Scenic Studio.

*Drop curtain painted by William Grabach for the Parmele Theatre in Plattsmouth, Nebraska, 1897. This is also a signed piece.*

The back of the drop curtain photograph states: “Christian Crusade int. tapestry at the theatre (Plattsmouth). The photograph was taken by Leedy & Co., photographers in Plattsmouth, Nebraska. The drop curtain was signed on the front , “Wm. Grabach, P.X.T. Omaha, Nebraska.” Or PXI? On October 30, 1900, the “Semi-Weekly News Herald” of Plattsmouth≤ Nebraska” included a lengthy article on the new Parmele Theatre on page 4. The article described Grabach’s drop curtain depicting the Christian Crusade: “The drop curtain, which is certainly an artistic piece of work, represents a scene of the twelfth century, during the occupation of Jerusalem by the Christian Crusaders. It is the work of William Grabach of Omaha, his having also painted the other beautiful scenery belonging to the theatre.” Here is a link to the entire article: https://nebnewspapers.unl.edu/lccn/2016270204/1900-10-30/ed-1/seq-4/print/image_661x817_from_0,206_to_6715,8502/

By the spring of 1900, the Grabachs were living in Papillion, Nebraska at this time. Papillion is due south of Omaha, just between Chalco and Bellevue. On May 24, 1900, “The Papillion Times” reported, “As shown by the county records, James W. Carr last week transferred to Nancy McKay Grabach block 32 in Beadle’s 1^st addition to Papillion, in consideration of $1,000 and farmland in South Dakota. It is familiarly known as the old Beadle property. The Grabach family will take possession some time during the summer. Mr. Grabach is a scenic artist” (page 1). Despite the move, Grabach continued to keep his scenic studio in Boyd’s Opera House. However, he continued to travel across the country as a scenic artist, going from one venue to the next.

At the beginning of 1901, Grabach was credited with a new drop curtains and fancy stage, or parlor setting, for Pierce’s Opera House in Salina, Kansas and the new opera house in Junction City (The Salina Semi-Weekly Journal, 10 Jan. 1902, page 6). On his work, the “Salina Daily Republican Journal” reported, “The curtain is an advertising piece bearing the cards of prominent business houses and in the center is a reproduction of the scene of the entrance of Oak Dale park” (5 Feb 1902, page 1). It was in Junction City where Grabach set up a temporary studio to complete the two projects. The article reported, “Mr. Grabach is an artist of ability and has painted scenery for some of the best theaters in the country.” He also designed photographic backings for Mr. Streeter. The following year, he shipped the paintings to Streeter.

On March 14, 1901, “The Papillion Times” reported, “Wm. Grabach, the scenic artist, has submitted to the manager of Daley’s theatre, of New York City, specifications for the scenery and stage settings for the plays. “Prisoner of Zenda” and “Rupert Hentzaw.” If Mr. Grabach gets this job he will go to New York and personally superintend the setting of the stage for the first play. The manager of the theatre said that the models made by Mr. Grabach and sent to him are the best he has ever seen. The models are made on the scale of one-half inch to the foot. Mr. Grabach has his studio in Boyd’s Theatre at Omaha but expects to build a studio here sometime” (page 1). On May 31, 1901, “The Junction City Weekly Union” reported, When Harry Curry was in Omaha last week he had to visit with Wm. Grabach, the scenic artist who painted the handsome drop curtain and scenery for the Junction City opera house and who designed the color scheme throughout the house. Mr. Grabach is at present working on special scenery to be used in New York in a big production of ‘The Prisoner of Zenda’” (page 4).

On Nov. 29, 1901, “The Junction City Weekly Union” reported, “Wm. Grabach, the Omaha artist who painted scenery for the opera house, is in the city again. He will do some special work for the house, including a handsome advertising drop curtain.(page 2). While in Junction City, Grabach’s daughter even paid a visit (The Junction City Sentinel, 6 Dec. 1901, page 1).

On Dec. 20, 1901, “The Junction City Weekly Union” reported:

“The New Ad. Curtain.

The new act-drop or ad. Curtain just painted by William Grabach, the scenic painter, of Omaha, was used at the opera house last night for the first time. In the center of the curtain is a beautiful autumn scene at the junction of the Smoky Hill and Republican Rivers. The scene is true to nature and in itself speaks well of the artistic ability of the painter. This center piece is surrounded by advertisements of the leading firms of the city. The lettering, arrangement and display of each ‘card’ could not be better. The curtain is the finest of its kind in the state and the talented artist may well feel proud of his work.”

Between 1901 and 1902, Grabach’s world would fall apart, again. It began during the summer of 1901. On August 1, 1901, the “Papillion Times” announced, “Mrs. William Grabach is among the sick ones” (page 1). Despite an ill wife at home, Grabach continued to work and travel throughout the region, heading to Kansas City for an extended project that fall. On Nov. 21, 1901, “The Papillion Times” announced, “Wm. Grabach, the scenic artist, is in Kansas City painting some scenery for one of the theatres at that place” (page 1). On May 8, 1902, “The Papillon Times” reported, “Wm. Grabach returned to Papillion Tuesday evening. He had been in Kansas City several months painting scenery for one of the theaters at that place. Mrs. Grabach remained in Papillion during her husband’s absence. She is in very poor health and Mr. Grabach will take her to Colorado or some other western state where she can spend a year in the mountains” (page 1). On May 29, 1902, the “Papillion Times” reported, “Mr. and Mrs. William Grabach left Papillion for the west last week. Their destination is Denver, but they are making several stops on the way there. Their first stop is for a few days in Grand Island, then at North Platte, from which they will go to the western part of the state and spend several days and then go on to Denver. Mrs. Grabach’s health is very poor, and it is for this reason that the trip is being made, and her Papillion friends sincerely hope that she will be able to return to Papillion next year fully restored to health” (page 1).

They visited North Platte for a week. On June 6, 1902, “The North Platte Semi-Weekly Tribune” reported, “Mr. and Mrs. Grabach of Omaha, who had been in town a week, went to Denver yesterday” (page 1).

They temporarily moved west, but she did not last long after reaching Denver. Nancy Grabach died on June 26, 1902, and was buried at Fairmont Cemetery in Denver. “Nancy McKay Grabach 1856-1902” is on her gravestone. On July 3, 1902, the “Papillion Times” reported, “A postal card addressed to Mrs. John Dugan, was received last evening, announcing the death of Mrs. Wm. Grabach, at Denver, Thursday afternoon. About a month ago Mr. Grabach started for the mountains with his wife thinking perhaps the change would be beneficial to her disease, consumption, from which she had been very bad all winter and spring, but Providence ruled otherwise. Thursday she was taken with hemorrhage of the lungs and died very suddenly. Her many friends in Papillion will be sorry to hear of her death and extend their sympathy to the bereaved husband and relatives.”

*Gravestone of William Grabach’s second wife, Nancy Ann “Nannie” McKay Grabach.*

On July 10, 1902, an order of hearing for the estate of Mrs. Grabach occurred and was published in the “Papillion Times” a week later on July 17, 1902. A probate notice to Nancy McKay Grabach’s creditors was posted in the “Papillion Times” on September 25, 1902. William Grabach was appointed administrator of the estate. In 1904, William Grabach, administrator of Nancy McKay Grabach’s estate, sold her property in Papillion (Papillion Times 7 July 1904, page 7). Grabach stayed in Denver where he continued to work at the Broadway Theatre.

On October 9, 1902, “The Papillion Times” reported, “James Gatewood has rented the Grabach property in North Papillion and he and his family will occupy the place as their home” (page 1). On September 25, 1902, “The Papillion Times” reported, “Wm. Grabach arrived in town yesterday morning from Denver, where he has been since last spring, employed at the Broadway theatre. He tells us he has been very busy all summer as he made new scenery and stage settings for the theatre every week. He has a contract with the above theatre for next summer. As a scenic artist Mr. Grabach has a reputation throughout the United States. He came here to look after his Papillion property and some business matters, but will leave soon for Grand Island, where he has some work to do in an opera house” (page 1). On October 9, 1902, the ”Papillion Times” also reported, “Wm. Grabach, the scenic artist, departed last Tuesday for Minneapolis, Minn., where he has an engagement with a stock company until next spring” (page 1).

On July 20, 1903, William Grabach was married to Romelia M. Burton Hayes in St. Joseph, Michigan. At the time, Romelia was 42 yrs. old and living in Benton Harbor, Michigan. In Berrien County marriage records, Romelia mother was listed as Margarie. No other information was provided about her parents. Again, his last name was spelled Grayback. This was the same person, with his parents matching past records, despite misspellings. He was listed as an artist, currently residing in Chicago. This also coincides with a Sosman & Landis collection, that puts Grabach in the right place to coincide with the Portland Scottish Rite project.

Some family genealogies suggest that Romelia M. Burton Hayes went by the nickname of “Emma.” I am not quite convinced. The 1910 US Federal Census listed Emma Grabach as William’s wife for 15 years, making their marriage 1885, the year after Paul Grabach’s birth. This is perplexing, unless he was a bigamist; and that factor would put the accusations of his daughter-in-law’s bigamy in perspective (that story is coming up later). It could also explain when he left his first wife in 1891 and moved to Detroit.

He continued to travel throughout the region and on Nov. 4, 1902, was mentioned in the “Minneapolis Journal.” “The Two Orphans” was playing at the Orpheum. The article ended with, “Like all of the Ferris productions ‘The Two Orphans’ has been elaborately staged. The scene painter of this organization, William Grabach, has done much to contribute to its success” (page 4). It was about this time that Grabach reconnects with Sosman & Landis. Part of me wonders if he was a represented the company as a western sales representative, focusing on the region west of Omaha.

The connection at this time between Sosman & Landis and Grabach is the Portland Scottish Rite. Between 1902 and 1903, Sosman & Landis delivered scenery and stage machinery to the Scottish Rite Theatre in Portland, Oregon. The grand opening of the Portland Scottish Rite occurred on May 19, 1903. Scenic artist and later president of Sosman & Landis, Thomas G. Moses recorded that he supervised the manufacture scenery for the Portland Scottish Rite. However, he was also running his own firm at the time in New York – Moses & Hamilton (1901-1904). This did not mean that his association with the Chicago-based firm completely ended during this period. However, in later years, Grabach also delivered some stage settings to the Portland Scottish Rite. It is also possible that Sosman & Landis subcontracted a portion of later work to former-employee Grabach. This was a standard practice as many former employers operated regional branches for Sosman & Landis, always being careful to never compete and share a small percentage of the profits with the firm.

In 1904, Grabach painted the drop curtain for the New Grand Theater in Sioux City, Iowa. On Sept. 6, 1904, the “Sioux City Journal” reported, “There were cheers when the drop curtain rose on the performance of the evening…The drop curtain was painted by William Grabach, Omaha” (page 5). By 1904, Grabach was also credited with the scenery for the New Theatre in Missouri Valley, Iowa, and the Huntington Theatre in Huntington, West Virginia.

Between 1904 and 1905 Grabach and Otto Schossling ran the firm Grabach, Schossling Co, Theatrical Scenic Artists, in Chicago. They advertised in the 1904-1905 Julius Cahn’s Official Theatrical Guide.” They were the proprietors and manufacturers of NOFLAME, the “only solution having the official approval of Chicago” stating that “Ninety-five percent of all scenery used in Chicago since the Iroquois fire has been fire-proofed with our solution. They were located on 125 South Clark Street in Chicago.” Grabach & Schossling were located in suite 76 at 125 Clark were listed in the 1904 Chicago Business Directory in the Artists section.

*1904 Ad placed by Grabach, Schossling Co. in 1904.*

By 1905, Grabach relocated to Portland, Oregon where he initially worked at the Belasco Theatre before opening Grabach’s Pacific Coast Scenic Co. in 1906. Both Grabach and Schossling had previously worked in Belasco’s scenic art department, New York. Schossling would leave a few years after that and head in the opposition direction, to Massachusetts. On July 20, 1908, the “Daily Kennebec Journal in Augusta Maine (page 10) reported, “Frank Munsey has resigned his position as scenic artist at the Lakewood Theater on account of poor health and with his son has returned home in Salem, Mass. He is succeeded by Otto Schossling of Chicago, The latter will paint the new drop curtain before the season closes. On Aug 15, 1908, the “Chicago Tribune” reported, “Mr. Marvin will make his headquarters at the College theater, with Otto Schossling, at one time at the head of Mr. Belasco’s scenic art department, in charge” (page 8).

The story of William Grabach’s move to Portland was published in “The Clyde Enterprise” on October 23, 1913 (page 8).

“Mr. Grabach was brought to Portland in 1905 by Belasco & Mayer when those theatrical managers bought and opened the Belasco Theater, afterward known as the Portland and later as the Heilig. Belasco & Mayer secured the services of Mr. Grabach to paint the scenery for the big productions which the form as making at the stock house. When they abandoned this field of operations, Mr. Grabach, enamored of the climate of Portland, decided to remain and opened Grabach’s Pacific Coast Scenic Studio, which occupies a large plant in South Portland.”

*William Grabach’s Pacific Coast Studio. Back of a sales sample.*

Grabach, Emma and all three children ended up in Portland for a while. Even two of his brothers relocated to the city. The 1906 Portland Directory listed Wm. Grabach, manager Pacific Coast Scenic Co. His studio was located and 43 14^th N, and the Grabach’s lived at 488 Washington. By 1910, Grabach was living with all three of his adult children. Two of the three children were working in the theater industry. His eldest daughter Maggie, now known as Marie Glazier, was touring the vaudeville circuit. His son Paul was the only one who really followed his father into backstage work. Paul first appeared in the Portland Directory in 1909, listed as a fly man at the Star Theatre, boarding with his father. Over the next few years, Paul worked as a stage hand at both the Portland Theatre and People’s Theatre. He also continued to work for his father at Grabach’s Pacific Coast Inc. After his father’s passing, Paul briefly worked as a stage hand at the Orpheum Theatre in Portland. He later went on to work at the Alhambra Theatre in New York City in 1918, yet eventually settled in Los Angeles. At the time of his passing in 1946, Paul’s occupation was listed as a stage mechanic in the show industry. He is buried at Calvary Cemetery in Norwalk, LA County, CA.

All of the children made headlines throughout the duration of their lives.

On May 16, 1901, “The Papillion Times” reported “Paul G. D. Grabach, the fifteen-year-old son of Mr. and Mrs. William Grabach of Papillion, has been enlisted as an apprentice in the United States navy, to serve until he is twenty-one years of age. As the government demands the very best boys physically and mentally as well as those of good habits and character, Paul Grabach has reached a place in the eyes of the people that not many boys of his year will ever reach. THE TIMES congratulates not only Paul but his parents as well” (page 1). He later made news when his ship exploded. On July 27, 1905, “The Clyde Enterprise” reported, “Paul Grabach, son of William Grabach, the artist, and nephew of Henry and George Grabach of this city was a member if the crew of the U.S. ship Bennington, whose boiler exploded at San Diego, Cal. Last Friday. Young Grabach seemed to have escaped as his name was not given among the list of the dead.” (page 3). On July 27, 1905, “The Papillion Times” published a picture of Paul Grabach in navy uniform with the caption, “Paul G. Grabach on Board the United States Gunboat Bennington, Blown Up. Paul G. Grabach was a seaman on the ill-fated U. S. Gunboat Bennington, but who escaped injury, is a former Papillion boy, having lived here up to about three years ago, when he enlisted in the navy. Paul is a son of Mr. and Mrs. Wm. Grabach and is at present about nineteen years of age. He attended school here for a number of years and has many warm friends in this vicinity. His mother died two years ago and besides his father, who resides in San Francisco, there are a living brother and sister. The explosion on the Bennington occurred in San Diego, California, harbor, last Friday morning at 10:30 o’clock and was due to a defective boiler, The total casualty list is as follows: Fifty-five identified dead, four unidentified dead, forty-six wounded and one missing” (page 8). Paul also sent a letter to Mrs. Ida Schoregge, the mother of Albert “Allie” H. Schoregge who was not so lucky and passed away after the explosion. His heartfelt letter made the “New Ulm Review” of New Ulm, Minnesota, on August 16, 1905. In his letter, Paul wrote, “My mother shed tears over his body, for she thought as much of him as she does of her own sons. I shall never forget him. It chokes me to think of him. We could never do enough for one another. I do not wish to tell you how we found him as it would only tend to make you feel bad. It was a pitiable sight to see so many buried at one time.”

*William Grabach’s son, Paul G. D. Grabach. 1905.*

His older brother William was the polar opposite. By 1910, William Jr. and his wife Edna were also living with the extended Grabach family in Portland. William Grabach, Jr. had married Edna Myrtle Hopkins on January 8, 1906, in Pueblo, Colorado. I wonder how they met…

William “Willie” Grabach Jr., had been making the papers since his childhood, although it was never his own doing but the work of someone else. There seems to have been a little black cloud that followed junior wherever he went. Already in 1896, he filed a complaint against Charles “Sloppy” Smith for an unpaid loan to buy fireworks. They were both juveniles when the story was published in the new. On July 8, 1896, the case was published in the “Omaha Daily Bee” stating, “The complaint in the case was Willie Grabach, who alleged that he gave Smith 25 cents with which to buy fireworks on the Fourth of July and that Smith never returned after his fingers touched the quarter” (page 8).

In 1906, his wife Edna was accused of bigamy in newspapers across the country. This story is really quite fascinating, and I don’t know how much to really believe at this point.

On March 6, 1906, “The Leavenworth Times” reported that William’s wife Edan was facing with bigamy charges (page 3). In an article entitled “Bride of a Day Held on Bigamy Charge” the subheading stated, “Man Appears After Ceremony and Claims Her.” This is one of the more interesting side stories that I have encountered, so I am including the entire article.

“Trinidad, Colo., March 5. – Married less than twenty-four hours to Ulmont Humphreys, of Trinidad, Miss Edna Hopkins left him for William Grabach, who, she admitted to Humphreys, is also her husband, and now she is in the county jail and Grabach is in the city jail, held for investigation.

The story is one of the strangest in the police annals of Trinidad, and a true explanation of all connected with it has not been made. What motive the woman could. Have had in marrying Humphreys when she was already married, is too deep for the officers. She declined to talk when arrested last night, and Grabach makes no statement other than she is his wife.

Humphreys, who is a well-known young man employed by the Santa Fe road, is perhaps more astounded by the strange events than anyone else. Humphreys and the woman, who is known to him as Edna Hopkins, were married Monday night at the parsonage of the Baptist church by Rev. B. F. Lawlor. They went immediately to the groom’s house, and there a number of Humphrey’s friends called there, and a small celebration of the event was held.

Humphreys says that he has known the woman for five years, and during most of that time has been courting her. She formerly lived in Trinidad, and has been coming back to the city at intervals and working here. At one time she worked at Humphrey’s home. About five days ago she returned to Trinidad after a lengthy absence, and Humphreys set about the preparations, which culminated in the ceremonies Monday night, Yesterday afternoon, Humphreys says a man introduced himself as William Forbes and said that Mrs. Humphreys was his wife. Mrs. Humphreys admitted in Humphreys presence, that the statement was true. She told Humphreys that she had disappointed him, and upon the demand of the newcomer she went away with him.

Humphreys asked the man if he had a marriage certificate or anything else to prove his statements, and the man replied that he had not. He reiterated , however, that she is his wife and that ‘he would die fighting for her.” The story was also picked up by the “Fort Worth Star Telegram” on Feb. 27 1906, with a slightly different tone and the title “Girl Bigamist Decries Fate. Says She Likes Her First Husband Best” (page 2). The article started with the line “I think I would rather have Grabach,” said Edna Hopkins-Grabach-Humphreys, resting her chin in her hand in a meditative manner as she sat perched upon her cot in the woman’s department of the county jail this afternoon.” The article continued, “Grabach gave me money so I could send out and get stuff, and he is trying now to get bonds,” continued the girl who must answer at the next term of the district court and charge of bigamy.

“He was good to me most of the time, and I think I like him better than I do Humphreys.”

What to do with the girl bigamist is a question which is becoming more puzzling to the officers every day. That she is guilty of bigamy there is little doubt, despite her plea of not guilty. The penalty of bigamy is a penitentiary sentence, but officers have no desire to send her to the penitentiary. Many of them do not believe that she is responsible for what she did, although she is by no means insane.

William Grabach, the first husband of the woman, is making an effort to secure bond for his wife. He is not allowed to see her, but she stands by the bars of her cell window all day and raps on the glass when he appears and smiles sweetly at him.

“It is all the fault of John Forbes, who lived at our house, boarding there when we were first married, “said the girl bigamist. “Mr. Grabach used to get drunk and threaten to knock my head off, but he never hurt me, nor ever tried, and was only joshing. I knew that he did not mean it, but it made Johnny awfully mad, for he could not bear to see a woman abused. He advised me to go away, and I did not know any place to go but Trinidad. I have known Humphries for four years and was engaged to him before I married Grabach. I asked Johnny if I ought to tell people here that I was married, but he said it wasn’t necessary, and to use my maiden name.

“I didn’t know it was a crime to get married again. My mother is dead and maybe my father too, because I haven’t seen him in two years. I just never heard anybody said it was a crime, and I didn’t know it.”

Mrs. Grabach is short and plump, with large, eloquent brown eyes, and would be considered good looking anywhere.”

In 1918, William Grabach Jr.’s physical appearance was described on his WWI Draft, describing medium height, stout build, blue hair and dark brown eyes. The sight in his left eye was gone and he was employed as working as an assistant cook in Index, Washington. He was still married to Edna.

Shortly after this scandal, Grabach expanded his Fraternal connections. William Grabach Sr. joined the Ancient and Accepted Scottish Rite of Freemasonry, becoming a 32^nd degree Mason on June 11, 1907. The following year, he joined the Al Kader Shrine on January 18, 1908. This was also his shoe-in for future work. Purportedly he had been raised a Master Mason in Minneapolis, but this just doesn’t make sense when looking at his timeline, and I have to wonder if it were the same Will Grabach or another.

*Studio stencil on a scene at the Portland Scottish Rite.*

By the spring of 1909, William began expanding his operations. In March 1909, Grabach rented out his old studio. The ad listed, “FOR RENT – 2 floors 50×50 each, suitable for manufactory or as storage, long time lease, reasonable rate. Call or address Wm. Grabach, Front and Sheridan St. On October 15, 1909, “the Oregon Daily Journal” announced, “Scenic Studio Co. is Incorporated” (page 2). The announcement stated, “William Grabach, Samuel Kingdon and Warren D. Kingdon have incorporated Grabach’s Pacific Coast Scenic Studio, with a capital stock of $25,000.” In 1909, Grabach’s studio was located at 383 ½ 5th St.

A few years later, his new studio was featured in a lengthy article. On Feb. 15, 1913, the “The Post-Crescent” of Appleton, Wisconsin published an article of Grabach’s painting process for the upcoming Panama Exposition. (page 4):

“The following is a part of an interview with a rising artist, William Grabach of Portland, Oregon, who is painting a picture one mile long for the panama exposition:

“We started on our tour of the studio – and believe me, it is some tour. We went down, down, down step stairs until we reached the ground floor which opens out into the gulch. Everything is pretty and green there, and you would think you are in a country far from the meddling crowd. A wagon road leads up to the door, and by tit a lumber mill. This floor of the studio is a small mill in itself. There are rip saws, planning machines, shapers, and a dozen other appliances whose names and uses I do not know. Here the rough lumber is dressed, shaped and prepared for use in the carpenter shop on the floor above where frames are put together, fireplaces made, and other stage effects are worked out, When the frames are made, they are covered with canvas, and receive a coat of priming, Then away with them to the next floor above – to the studio proper, where we find the artists at work – one being Mr. Grabach’s son, who is married, alas! Here the painting is done; and of interest is the table on rollers, with dozens of pans filled with colors – a very large palette, indeed! Instead of climbing up and down (as painters do who paint your house) to reach the high and low places on the immense drop curtains, the curtains and scenery on which they work is raised and lowered by weights and pulleys.

“On this same floor is a large rehearsal hall, which has all the rigging loft, fly gallery, lights, and in fact everything exactly like a stage of a theatre. Here the ‘sets’ can be placed, the drop curtains raised and lowered, and the productions given so that the artists can see how the whole scenery will appear at the theatre. You see how the rough lumber goes in the ground floor, and comes out at the main entrance a palace, a woodland, or an Iceland scene.

“This is really the best equipped scenic studio on the Coast,” Mr. Grabach was telling me. I have been in them all, and I know. This is an absolutely ideal spot for a studio. I guess this is the only scenic studio ever built by the artist himself for seldom is an artist able to finance his plans. It is only possible when he has a co-operative wife who is in reality the master commercial mind of the firm.”

“There is nothing you can think of that you cannot see and sketch from this window,” We looked out through one of the many big windows in the studio. Before us the beautiful East Side, the mountains, the fields, church spires, beautiful homes, ships on the river, bridges, mansions, and cottages,

“Isn’t it beautiful?” he continued with a sweep of his artistic hand toward the panoramic view. “When we can’t do the thing we wish to do, we come to the window and see how God did it, and get inspiration from that.”

“From the rehearsal hall. We went to the sanctum, where Mr. Grabach makes the beautiful water color sketches of scenes and settings. Here are many valuable volumes on costumes, architecture, and the stage, and is where I found the model theaters, many of them, and perfect in every detail. One feels a great desire to draw little paper actors and give a penny performance as they do in childhood land.

“Mr. Grabach’s parents were Iowa farmers. He did not like the farm, nor the shoe business, in which he was engaged with a brother in Northern Ohio [Henry Grabach in Clyde, Ohio, c. 1879; Henry Grabach even held an 1881 patent for an improvement in shoes https://patentimages.storage.googleapis.com/2e/c5/37/6b63b239d47541/US244588.pdf]. The shoe business did not fit.

“I had ambition to become an artist,” said Mr. Grabach, “and attended the Cincinnati School of Art. Then I worked with famous celebrities in the scenic world like Burrage [sic. Burridge], Albert, Vochland [sic. Volland], and others. I always desired to be an artist, but the scenic part of it worked itself out when I found I was best suited for that kind of work.”

“When you receive an order, it is left entirely to you, regarding the design and color?” I asked.

“They tell me what it’s to be used for, and how, and then I work the rest and very often make models which I submit.”

“Oregon has the most wonderful scenery in the world,” he concluded enthusiastically.”

Meanwhile, his daughter was also making a hit on the vaudeville stage. Marie Glazier was pictured in “The Oregon Daily Journal” on February 12, 1911 (page 33). Glazier was performing with Arthur Dunn in “The Messenger Boy.” The article reported, “Miss Glazier is well known in Portland, having been raised here in the very shadow of the footlights, as her father is William Grabach, the scenic artist. Miss Glazier appeared in prima donna rolls in several leading musical comedies, prior to her entrance to vaudeville two seasons ago. Since that time she has appeared with Mr. Dunn, who also abandoned the musical comedy world. Mr. Dunn starred in the New York production of “The Chaperons” and other large offerings before joining forces with Miss Glazier.” Marie Grabach Glazier outlived both of her brothers passing away on Sept. 2, 1947 in Los Angeles and is buried at Inglewood Park Cemetery in Inglewood, LA County, CA. Her husband John Leo Glazier (1873- 1939) was an insurance salesman.

Both daughter and father’s careers were soaring at the same time.

*William Grabach’s daughter, Marie Glazier, vaudeville actress.*

At the end of 1911, Grabach painted a drop curtain for the Grants Pass Opera House, constructed by H. C. Kinney at a cost of $9,000 in 1907, The 700-seat theatre included a stage measuring 50-feet wide, 50-feet high and 40-feet deep. On January 21, 1912, “The Oregon Daily Journal” reported, “The drop curtain was painted by William Grabach of Portland and represents a scene on the Rogue River near the city, with the green and never barren hills in the distance” (page 31).

In 1912, Grabach’s studio delivered scenery for a production entitled “Call of the Wild” at the Orpheum Theatre in Oakland, California. On September 12, 1912, the “Oakland Tribune” in California reported, “new scenery for the production was painted by William Grabach in his Portland Studio.” Grabach delivered scenery for “Call of the Wild” starring Miss Rea Mitchell and Scott Law in 1912 (“Oakland Tribune, 2 Sept. 1912, page 16). His career was soaring, but would be snuffed out at the age of 57 yrs. old. Just a few months before his passing. Grabach again made headlines; this time in a good way.

On March 23, 1913, Grabach’s portrait was included “The Oregon Daily Journal” with the caption, “William Grabach, who painted the 600-foot scene of the Pacific Highway, which was exhibited at the [Portland Auto] show” (page 43).

That same year, William and his son battled over a purported promissory note in Justice Bell’s court. On April 24, 1913, “The Oregon Daily Journal” described how Grabach’s son accused his father of not paying a promissory note.

William Grabach died on Oct. 2, 1913. His death certificate filed, with the state of Oregon, listed his birthdate as July 20, 1857, contesting previous census reports and other historical records. It is wrong, which also meant that his gravestone was wrong; Emma did not know the full history of her husband or was in the depths of mourning. Williams’ father was listed as “not known” and only the first name of his mother was given on the certificate.

On October 4, 1913, his obituary was published in “The Oregonian” on page 9:

“SCENIC PAINTER IS DEAD
William Grabach Succumbs to Paralysis, Aged 56 Years.
A victim of paralysis, William Grabach, a noted scenic painter, died at his home in this city Thursday. Mr. Grabach was 56 years old. He came to Portland in 1905 to paint scenery for Belasco & Mayer when they opened the Belasco Theater, afterward known as the Portland and the Hellig. When they abandoned his field, Mr. Grabach remained and opened the Pacific Coast Scenic Studio, which occupies a large plant in South Portland. Sr. Grabach is survived by his widow, a son and a daughter, who is on the stage. Funeral services will be held at 12:30 P.M. Sunday at the Scottish Rite Cathedral by the Masonic Blue Lodge.” He is buried at River View Cemetery, Portland, Multnomah County, Oregon, Sec. 105, Lot 114, grave 1.

*William Grabach. Published in “The Clyde Enterprise,” Oct. 23, 1913, page 8.*

His funeral was held at the Scottish Rite Cathedral, located at Morrison and Lownsdale, on October 5, 1913 (The Oregon Daily Journal, 5 Oct 1913, page 15).

On October 10, 1913, “The Oregon Daily Journal” reported, “Estate Artist of Weel [sic.] Known Artist is Probated. The will of William Grabach, who died October 2, was filed with the county clerk yesterday for probate. The value of the estate is not given, but the principal property listed is his photographic studio, which was known as Grabach’s Pacific Coast Scenic Studio. His wife, Emma Grabach, is named executor, and in addition two sons and a daughter survive.”

Despite his passing, Grabach’s Pacific Coast Scenic Co. continued to thrive.

In 1914, the firm delivered scenery to the new National theatre, at Park, West Park and Stark Streets. On Nov. 1, 1914, an article describing the new venue included a studio advertisement in “The Oregon Daily Journal” on page 45. “Scenery for the New National Theatre was painted and installed by Grobach’s [sic.] Pacific Coast Scenic Studio, Front and Sheridan St. Phone a-5452. The Largest Scenic Studio in the World.” From 1916 to 1917. Emma was listed in the Portland Directory as the president of the firm, and then there was a change in command.

*Emma Grabach’s listing as president of Grabach Pacific Coast Scenic Stuido, Inc. in the Portland City Directory.*

On March 4, 1917 (page 57), the firm advertised “SCENIC STUDIOS Pacific Coast Scenic Studio, Miller & Misner, Props., 632 Front St., Main 4853.” This was Ernest Miller, and he will have his own post. For now, some of his scenic art legacy is still housed in Twin Falls, Idaho.

*Pacific Coast Scenic Studio with drop credited to Ernest Miller, 1920. Photograph by Greg Marsters.*

Painted detail. Pacific Coast Scenic Studio with drop credited to Ernest Miller, 1920. Photograph by Greg Marsters.

In 1918, Emma was still living at 632 Front, but not listed as part of the firm. However, she was working as a seamstress for the company in 1920. William Grabach Sr.’s wife Emma remarried after his passing, becoming Emma Dillon. Her passing was published in “The Oregonian” on May 15, 1930 (page 21): “DILLON – Emma, aged 72 years, late of 4354 63d St. S.E., beloved wife of W. F. Dillon; also survived by one stepdaughter, Marie Glazier of Hollywood, Cal.; one stepson, Paul Grabach of Los Angeles, Cal.; also survived by one niece, Florence Woolery. Funeral services will be held Thursday, May 15, at 2 P.M. at the Chapel of Jacobson Co., Foster rd. at 91st St., under auspices of Myrtle chapter, O.E.S. Interment Riverview cemetery.”

In 1913, Grabach had said that his wife was “the master commercial mind” of his scenic studio.

William Grabach and the Pacific Coast Studios have popped onto my radar several times in the past few years. Most recently, I acquired some of the firm’s installation photographs. In 2020, Eric D. Hanson brought an Abe Book listing to my attention. It was a small collection of ten salesman sample photographs of painted backdrops. It was advertised as “ten salesman sample mounted photographs of painted backdrops and tableaux for stage productions, the Scottish Rite Freemasons, and Knights Templar in Portland, Oregon in the early 20th Century.”

The description of the collection noted,

“Ten mounted silver gelatin photographs, sized from 6.25 x 8.25 in. and 5.75 x 8 in. up to 7.5 x 9.75 in. mounted on studio boards in gray, some w/ embossed borders in blind, others in brown, sized from 10 x 12 in. up to 11 x 14 in., 3 w/ dittoed typed labels on versos, 1 w/ printed label of Grabach’s Pacific Coast Studio on verso, all stamped w/ M.V. Lermer Scenic Studios on verso, a few w/ annotations, and pencil notes, 1 w/ photographer’s imprint at lower left corner on recto of board (some edgewear, soiling, minor lifting to a couple of the images, a few w/ minor soiling on the images, boards w/ wear to corners & fore-edges), still VG- set of photographs, w/ most retaining bright strong contrast. This small archive of mounted sample photographs for two scenery firms in the Pacific Northwest, illustrate the continual need to supply Scottish Rite Freemasons, Knights Templar lodges, and theatre groups with historical tableaux in the opening decades of the 20th Century. The first shows a pastoral scene in the Holy Land with painted drapes and marble columns framing the scene, and signed in the lower corner by Grabach for a production in Plattsmouth, Nebraska about 1901. This is followed by backdrops for 32nd Degree 1st Section Scottish Rite ritual featuring a tent with interior opening against setting of field of tents; tableau for 30th Degree ritual featuring a Medieval castle backdrop, and burning stake and fagot in the foreground on stage; a backdrop for Knights Templar ritual depicting the Return of the Crusaders before a Medieval Castle and cross glowing overhead; and a scene featuring grand marbled hall and throne for Ninth Degree Ritual. The photo for the Ninth-Degree ritual had actually been ordered by the Portland Scottish Rite Temple for a 15th Degree, but W.H. McConnell, who was a partner with Lermer explains in extended note this was not the right scene, and in addition notes about the sample photos to “Please send these back as soon as possible.” The last three include a Tableau with lion rampant emblazoned on shield above a great hall, another marbled hall with curtains furled on the drop, and another revealing stage seats, and ferns in foreground within the image. Grabach (1857-1912) was a scene painter who worked in Indiana, Missouri, Ohio, and then Nebraska for a time for the Boyd Theatres, before moving to Sosman & Landis in Chicago, IL before moving to Portland, OR in 1905 to open Pacific Coast Scenic Co. by 1906. He specialized in producing drops for Scottish Rite Temples, the G.A.R., and also for the Belasco Theatre. He is best remembered for his 600-foot-long painting of the Pacific Highway for the 1913 Portland Auto Show next to the Hupmobile Display. Lermer (1890-1967) was a scene painter and artist who began working for Grabach’s studio before World War I, and later set up as M.V. Lermer Scenic Studios while creating backdrops and scenery for local Silent Movie studios in the 1920’s. He partnered with W.H. McConnell as Lermer & McConnell Scenic Studio, Theatrical Supplies at 632 Front for about two years, but the business appears to have folded during the Great Depression. See: Michael D. Robinson, William Grabach: A Scenic Artist, Oregon Scottish Rite Temple Files (March 26, 2019).”

*One of the salesman samples in the collection.*

*Backdrop from the photograph. The scene is still used at the Portland Scottish Rite.*

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 65 – Fitch Fulton

Fitch Fulton was a scenic artist who worked with Thomas G. Moses at Sosman & Landis from approximately 1924 to 1925. This was shortly after Moses purchased the Sosman & Landis name, establishing the second iteration of the company.

Fulton is well-known in the fine art world for his landscape paintings, prices for his work still fetching thousands of dollars. He also worked in the Hollywood film industry and is included in the Matte Painting Encyclopedia, INDEXFX (http://bigerboat.com/indexfx/?p=584). One of his most famous works was of Tara, seen behind the opening credits in Gone with the Wind.

*Matte painting credited to Fitch Fulton.*

The same information about Fulton is cut and pasted from one database to another, and frequently starts with: “Fitch Fulton studied at the Art Students League of New York city and at the Art Institute of Chicago under Vanderpoel, Freer, and J. Francis Smith. He came to San Francisco in 1913 to continue doing set design work, and moved to Los Angeles in 1916, where he worked for Fox Studios and others. He was a member of the Academy of Western Painters, the California Watercolor Society and the California Art Club, among others.”

There is so much more to Fulton’s story, starting with the fact that he did not move to California in 1913; he was only working on a project there. At the time, he was still living in Denver, Colorado. Fulton’s scenic art career began long before that, however, in the small town of Beatrice, Nebraska. He was not the only member of his family to enter the theatre profession either. Here is Fulton’s story…

Fitch Burt Fulton was born in Beatrice, Nebraska, on Oct. 10, 1879, the youngest of eleven children born to John Blythe Fulton (1835-1924) and Sarah Phipps (1835-1902). His parents were married on Nov. 24, 1858, and celebrated the birth of their children over the course of two decades. Various birth records and census reports help track the Fulton family’s journey from Pennsylvania to the Great Plains of Nebraska. In 1859, the first two children were born in Pennsylvania. Fitch arrived twenty years later in 1879, shortly after the family arrived in Beatrice. That being said, dates and names slightly vary from one census to the next, with some of the children dying in infancy. There is always the possibility of human error too. However, I have assembled a compilation of those whom I believe were Fitch’s siblings. Here are the names of the Fulton brood: twins Margaret “Maggie” Ann and William Fulton (b. 1859); Oliver Phipps Fulton (b. 1862), Mary Belle Futon (b. 1862-1863) Thomas Baskin Fulton (b. 1864), William Sherman Fulton (b. 1867), Hattie Fulton (b. 1868), Susan Fulton (b. 1868-1869), Richard Newton Fulton (b. 1869-1870) Henry Fulton, (b. 1870) and Jesse Berlin Fulton (b. 1872-1873). Of the twelve children listed above, Susan was likely adopted at birth, as she later appears on the Native American rolls, a full-blooded descendent of the Choctaw Nation in 1904.

The first two Fulton children, twins, were born in Sandy Lake, located in Mercer County, Pennsylvania. The 1860 US Federal Census listed John and Sarah Fulton living with their eight-month-old twins, Margaret and William. John Fulton was listed as a physician, a profession he continued throughout the duration of his life. The fourth child, Mary Belle Fulton was born in Champaign, Illinois, placing the Fulton Family in that city around 1862. Five years later, the Fultons were living in Fairbury, Illinois where Thomas, William S., and Richard N. born. Sometime after Richard’s birth in the spring of 1870, the Fultons moved to Pymosa Township in Cass County, Iowa. They were not in Iowa for long though, as Jesse B. was born in Gage County, Nebraska by 1872. Fitch was born in Beatrice seven years later. By 1880, the Fulton family home was located at 159 Seventh St. in Beatrice. Beatrice is now known for Homestead National Monument, park of the National Park system (https://www.nps.gov/home/index.htm). Beatrice was the site of the first claim staked on government land made available to settlers under the homestead act of 1862.

*Postcard depicting Beatrice, Nebraska.*

Little is known of Fitch Fulton’s childhood in Beatrice, exactly when his painting career began, or why he entered the theatre industry. The same year that Fulton was born, however, the railroad connected Beatrice to Marysville, Kansas. Previously, the railroad went only to Lincoln, Nebraska, Nebraska. As Fitch grew to adulthood, so did Beatrice’s connectivity with the rest of the country. By 1890 the Chicago, Rock Island and Pacific Railroad arrived in Beatrice, offering ever-increasing access to other areas throughout the region.

On September 30, 1898, “The Tribune” in Beatrice, Nebraska, reported, “Fitch B. Fulton, the young Beatrice designer and engraver, is rapidly coming to the front. He has gotten up some very handsome and artistic designs of late. The young man shows great ability and undoubtedly has a very bright and successful career before him” (page 6). Futon was only nineteen years old at the time. On October 15, 1898, the “Beatrice Daily Express” reported, “The carnival cut on this page is the design of Fitch B. Fulton of this city. It is a credit to Mr. Fulton’s genius and betrays the evidence of a rising young artist.” Fitch’s work for the local newspaper was likely helped along by his older brother, Thomas, who was the editor of the “Beatrice Daily Sun.” This connection meant a guarantee that many of Fitch’s accomplishments and travels also made the news.

*Fitch Fulton’s illustration in the “Beatrice Daily Sun,” 1898.*

On March 14, 1899, the “Beatrice Daily Express” reported, “Fitch B. Fulton has gone to Chicago to re-enter the art institute there.” Several of the Fulton relations were in Chicago about this time. Fitch’s older sister, Hattie, had married a baker named Ewart E. Samman, and was living at 1894 Fulton Street in Chicago. As her younger brothers left home and moved to Chicago, each likely found a safe haven at Hattie’s. In 1900, the Hattie Samman was housing both Jesse Fulton and Frank Damel, each listed as actors that year.

In Chicago, Fulton studied under John Vanderpoel, Frederick W. Freer and J. Francis Smith, all at the Art Institute. Fulton likely encountered dozens of scenic artists at the Art Institute during this time, especially many who worked at Sosman & Landis. Fulton’s studies in Chicago were very brief, and he soon headed west. By 1900, Fulton was living in Denver, Colorado. On June 23, 1900, his hometown newspaper in Beatrice, Nebraska, reported, “Fitch B. Fulton, of Denver, is in the city for a visit over the Chautauqua.” The 1900 US Federal census listed Fitch B. Fulton as a portrait painter, boarding at 353 S. Tremont St. He was one of several individuals living at the home of Ann Rose.

He also worked as a scenic artist and sign painter, soon becoming associated with the advertising firm of C. W. Earle. In 1902, the “Ballenger & Richards Denver City Directory” listed Fitch Fulton as a sign writer at C. W. Earle, living at 353 S. Tremont. C. W. Earle was an outdoor advertising company. The firm’s listing in the directory noted: “Charles W. Earle, outdoor advertising signs, 1942 to 1948 Curtis, r. 3119 Downing av.” The directory also provides a snapshot of employees associated with the firm that year. The staff included “sign writers”- Albert E. Thomas (2532 E 3d av.) and Valentine Costello (1118 27^th). Company employees who listed themselves as painters included William H. Remmelee (2326 W 32d av.), Cleve C. McDaniel (2205 Lawrence), Lee C. Stryker (623 E 1^st av.), John G. Ohnimus (2247 Hooker), Charles W. Dent (1756 Curtis), and Bert Aldenhoven (1756 Curtis) Interestingly, William E. Dent was a carpenter for the firm, living with his brother and Aldenhoven, and the firm’s distributor, Bert Veeder, at 1756 Curtis. Fred Black was also listed as a distributor for the firm, but listed no home address. Louis Straughan was another carpenter for the firm. Joseph C. Earle was listed as the firm’s solicitor (3119 Downing av.) and Jay Kerstetter as the bookkeeper (2251 Lafayette). It was quite a sizable firm, with a substantial amount of healthy competition too.

That spring Fulton got married. He married Swedish immigrant Anna Maria Engstrom (1879-1941) in Golden, Colorado, on March 8, 1902. Born in Forsa, Gälveborg, Sweden, Anna was the daughter of Anders Wiktor Angstrom and Anna Sofia Wahlberg. The Engstrom family emigrated from Sweden in 1889. Shortly after marrying, Fitch and Anna moved back east, settling in Beatrice. In Fitch’s hometown they celebrated the birth of their son, John Phipps Fulton on Nov. 4, 1902. Two days prior to his arrival, Fitch’s mother passed away. On Nov. 4, 1902, the “Beatrice Daily Sun” reported, “Mrs. Sarah Fulton, wife of Dr. J. B. Fulton, died at her home in this city on Sunday morning at 4 o’clock, aged 68 years. The funeral will take place from the family residence, Thirteenth street, between Court and Market, at 3 o’clock this afternoon. Friends are invited” (page 1). A lengthy obituary was published in the “Beatrice Daily Sun” on November 6, 1902 (page 1).

Her obituary notice provides some additional information about Fitch’s mother and the Fulton’s move to Beatrice:
“Sarah Phipps, was born June 7, 1835, near Clintonville daughter of Judge Phipps. On November 24, 1858, she married Dr. J. B. Fulton. They located in Livingston county, Ill., where they resided for many years. In November 1878 they came to Beatrice where they have since resided. In 1897 at the Phipps reunion on the 26th and 27th of August a reunion of the Phipps family was held near Clintonville, Pa., on the original Phipps farm to celebrate the one hundredth anniversary of the settlement of John and Catherine Phipps. Three thousand people were present of which seven hundred descendants of the Phipps family were represented…Mrs. Fulton was the mother of eleven children, nine of whom, together with her husband, survive her. They are Oliver P., Mrs. W. W. Johnston, Richard N., Thomas B., Fitch B. and Mrs. Bell Barker of this city. Will S. and Mrs. E. H. Sammon of Denver, and Jesse B. of New York City. She had been in failing health for two years…”

Although mourning the loss of his mother, Fitch’s career began to soar. His project load rapidly increased and he soon entered into a partnership with George A. Drew. The two established Fulton & Drew, a painting studio that specialized in scenic art and sign painting. Their projects included scenery for theaters and business signage throughout the region. Again, it helps to have a brother who is editor of the local newspaper; Fulton’s projects and travels were closely monitored at this time.

Here is a partial list of their work in 1902 to give some sense of scope:

On Aug. 7, 1902, the “Beatrice Daily Sun” reported, “F. B. Fulton and George Drew left yesterday for Council Bluff, Ia., where they have secured a contract for doing some scenic painting” (page 3).

On Aug. 26, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew have the contract for painting the drop curtain in the hall at Crab Orchard” (page 3).

On Oct. 18, 1902, the “Beatrice Daily Sun” reported, “F. B. Fulton has been putting up some neat window signs the past few days advertising the special brands of cigars handled by H. A. Miller” (page 3).

On Oct. 31, 1902, the “Beatrice Daily Sun” reported,”Messrs. Fulton & Drew have painted some neat and attractive signs on the new building of the German nurseries, corner of Second and Bell streets” (page 3).

On Nov. 1, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew have painted a fine sign for the Speier Clothing Co., on the corner of Court and LaSalle streets. The sign certainly does the young paint slingers credit. It’s a peach” (page 1).

On Nov. 7, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew are painting a nice sign for William Ellerbeck, the south Sixth street implement man” (page 3).

On Nov. 25, 1902, the “Beatrice Daily Sun” reported, “Fulton & Drew are doing some neat sign work for Hunting & Kirby. The North Fifth street dentists” (page 3).

On Dec. 3, 1902, the “Beatrice Daily Sun” announced, “Fulton & Drew, the sign painters, have secured a big contract at Omaha, and will be there the next few weeks completing the job” (page 3).

On Dec. 21, 1902, the “Beatrice Daily Sun” reported, “Messrs. Fulton & Drew, the scenic painters, returned home yesterday from a trip of several weeks in Omaha, where they painted a drop curtain at Fremont while away” (page 3).

In addition to his work as a and sign painter, Fulton continued to thrive as an easel artist.

On Dec. 7, 1902, Fitch’s artworks were mentioned in the “Beatrice Daily Sun”:

“Local Artist’s Work.

The Beatrice Book and Stationary Co. has on display in their north show window a number of sketches done in water colors by Fitch Fulton, a local artist. These simple studies are well executed and show a fidelity to nature that is remarkable. The color is rather subdued but is more striking because of the prevalence and effects of the soft tints, At present Mr. Fulton is in Omaha engaged in work of this nature.”

On Dec. 16, 1902, the “Beatrice Daily Express” reported, “The Beatrice Book and Stationary Co. has on display in their north show window a number of sketches done in watercolors by Fitch Fulton, a local artist. These simple studies are well excited and show a fidelity to nature that is remarkable. The color is rather subdued, but it is the more striking because of the prevalence and effect of the soft tints. At present Mr. Fulton is in Omaha engaged in work of this nature.”

Fulton’s partner, Drew, was also quite young, three years his junior. The son of a carpenter, George A. Drew was born Oct 1882 in Illinois. Unfortunately, he did not last long in the painting business and soon left the theatre industry. Fulton & Drew only lasted for three years, from 1902 until 1904, but they accomplished quite a number of projects in their brief time together.

Here are a few projects completed by the firm between 1903 and 1904:

On Jan. 29, 1903, the “Beatrice Daily Sun” reported, ”Fulton & Drew, the scenic artists, expect to leave today for Council Bluffs, Ia., where they have secured the contract for painting a drop curtain. From there they go to Sioux City and other points in Iowa, having secured thirteen contracts in that state for putting in new drop curtains” (page 3).

On Feb. 28, 1903, the “Beatrice Daily Sun” reported, “Fulton & Drew, the scenic painters of this city, are now at Guthrie Center, Ia. Since leaving here several weeks ago they have painted new drop curtains in the opera houses at Council Bluffs and Atlantic, Iowa” (page 3).

On July 12, 1903, the “Beatrice Daily Sun” reported, “Fulton & Drew, the scenic artists, are painting a drop curtain for the Wymore opera house. They have it about completed” (page 3).

On May 7, 1904, the “Beatrice Daily Sun” reported, “F. B. Fulton and George Drew are at Lyons, Neb., where they are engaged in painting a drop curtain for the opera house at that place” (page 3).

On July 23, 1904, the “Beatrice Daily Sun” reported, “Fulton & Drew painted a new sign for the Begole & Van Arsdale company yesterday” (page 3).

On Aug. 19, 1904, the “Beatrice Daily Sun” reported, “The new drop curtain for the opera house, has been completed and it is a work of art, highly creditable, and one that Fulton & Drew may well feel proud of. There are very few advertisements on it, and the colors and blending are perfect. It will be hung today” (page 3).

In 1904, Fitch Fulton was listed as an artist in the Beatrice City Directory, living at 427. N. 8^th. The Fulton & Drew partnership ended by 1905. My best guess is that Fulton left town for greater profits, heading west where the money appeared to flow like water in certain areas. By the summer of 1905, Fulton was living in Cheyenne, Wyoming, where his daughter Bernice was born on July 23.

As for his business partner, George A. Drew, Drew briefly managed a painting and wall paper firm known as Childs & Drew. The local newspapers reported the firm’s dissolution on August 23, 1906. Within a few years, Drew was solely working for the Beatrice telephone company.

Fulton continued to thrive, as did the rest of his bothers. He was not the only Fulton to enter the theatre industry. His older brothers William and Jesse established a stock company. I am going to add a little information about his two older brothers and their business adventure, as it helps to paint a much broader picture of the Fulton family, placing Fitch’s own career within the midst of well-educated and talented individuals. Fitch’s older brother Jesse was quite a gifted operatic tenor. Although Jesse was also skilled as a traveling salesman and plasterer, he made a name for himself on stage. Unfortunately, his career was cut short just as his brother Fitch’s was taking off.

On Nov 29, 1912, the “Lincoln Journal Star” reported

“Death Put End to Brief Career on Stage by Fulton

Beatrice, Neb., Nov. 29. –

Jesse B. Fulton, whose death Tuesday afternoon occurred at Phoenix, Ariz., had gone there in hopes of benefiting his health, which had been very poor since an attack of typhoid pneumonia a couple years ago. Mr. Fulton died at St. Luke’s hospital in Phoenix. Mr. Fulton began appearing on stage when a boy. He had a sweet tenor voice that made a great hit wherever he sang. His first engagement was with the Boston Opera Co. and it was not long until he was singing lead roles of the ‘Mikado,’ ‘Bohemian Girl,’ ‘Pinafore,’ ‘Olivette,’ and others. Later Mr. Fulton entered the dramatic field and became a popular actor. He played with Neil Burgess in ‘The Country Fair’ and sang with the Metropolitan Quartet, a big feature of the Burgess show. He finally entered stock work and became manager of the Fulton Stock Company, which for a number of years played in Lincoln and made a record for crowded houses. Mr. Fulton was married to Mrs. Enid May Jackson, a beautiful and talented Kansas City actress and she became his leading lady of his company. Besides his widow, and little son, Oliver, he is survived by his father, Dr. J. B. Fulton, of this city, three sisters and five brothers. They are Mrs. W.W. Johnston of Omaha, Mrs. Belle Butt of Los Angeles, Calif., Mrs. Hattie Scammon, of New York; O. P. T.B. and R.N. Fulton of this city. W.S. Fulton of Omaha and F. B. Fulton of Denver. The remains will probably arrive here next Saturday or Sunday when funeral arrangements will be made” (page 5).

Jesse and his older brother William started their stock company between 1905 and 1906.

This was shortly after Jesse’s marriage to actress Enid Jackson. The two were married in Kansas City on Jan. 7, 1904, with the On Sept. 22, 1905, the “Beatrice Daily Sun” reported, “The paper speaks in the highest terms of the work of Jess B. Fulton and Miss Enid Jackson” (page 3). On Sept. 4, 1906, the Fulton Bros. Stock Co. was mentioned in the “Beatrice Daily Sun.” Will S. Fulton was listed at the manager for the company, with Mr. and Mrs. Jess Fulton working as the leading performers (page 3). William was also a performer, as well scenic artist and sign painter. He would resume a painting career after the passing of his brother and the closing of the Fulton Stock Co.

By 1900, William Fulton was also successfully employed as a “sign writer” in Pueblo, Colorado. This was at the same time that Fitch was working was working in the same profession in Denver. William was also popular as a musical conductor. His obituary notice provided a little more information about the Fulton family’s musical attributes.

On 23 Dec 1955, the “Beatrice Daily Sun,” reported:

“They were a musical family. When the children were large enough to handle a musical instrument, Fulton’s band became a popular Beatrice organization. All members of the band were members of the family. Will continued in music professionally for many years and music was always his hobby.” In 1907 Will was listed as the conductor for the Beatrice Symphony Orchestra.

Back to Fitch Fulton…

In 1908, Fitch and Anna were listed in the city directory for Fremont, Nebraska, but was closely associated with several Omaha theaters. Fremont is located approximately 40 miles northeast of Omaha. In Fremont Fitch was listed as a painter, living with his wife Anna and children at 1619 E. Military Ave. He continued to work throughout the region, including in his old hometown of Beatrice, 94 miles due south of Fremont. On July 12, 1908, the “Beatrice Daily Sun” reported, “The first step towards reopening the Paddock Opera house was taken yesterday when the management of the block let the contract for new scenery to F. B. Fulton of Omaha, an old Beatrice boy. The contract calls for all new scenery and the remodeling of all stage properties in the latest up-to-date designs. Mr. Fulton stated yesterday that he would put several men to work Monday on the job with the view of having it finished in plenty of time for the reopening of the opera house which will be in the early part of September. It will cost nearly $1,000 to make this improvement, and the fact that the work will be under the supervision of Mr. Fulton is a guarantee that it will be done well, as he has made a specialty of this kind of work for years”

(page 1)

By 1910, Fitch was divided much of his time between Nebraska and Colorado. The 1910 US Federal Census reported that the Fultons were living in Omaha, Nebraska. Fitch was listed as a “scenic artist” in the “studio” industry that year. However, he was also spending an increasing amount of time in Denver and became associated with the Broadway Theatre and the Broadway Scenic Studio. He relocated his family west again where opportunities abounded. On Feb. 27, 1913, the “United Labor Bulletin” (Vo. 7, No. 30, page 2) included an article on Fulton’s western projects. The article reported, “F. B. Fulton of the Broadway Scenic Studio, has just returned from an extended trip to the Pacific coast. Why he took it is another matter which I will endeavor to explain. The Gypsy Love company played at the Broadway theatre some few weeks ago and they have a scenic studio conducted by Ellis F. Graham as master builder and F. B. Fulton as artist. Their production in the scenic line was in bad shape and Mr. Graham asked if he could rehabilitate it. He immediately put his men to work repairing the frames for the scenery and put Mr. Fulton to work repainting it. The work that the management wished could not be done in the brief engagement they played at the Broadway, but the ability displayed by Mr. Fulton in the work he did while they were playing their engagement at the Broadway, led the manager to make a proposition to the Broadway Scenic Co. to travel with them on their route and whenever there was an opportunity, to finish the job. The answer is that he worked in Salt Lake City, Los Angeles, and wound up in San Francisco, where he finished the job and sent the company on their way rejoicing, with the knowledge that out here in the wild and woolly West they have a scenic studio that embraces all the experience of the East, together with the practical experience of the West. This article is for the purpose of informing the business men and the boosters of the city of Denver that we have the men and the goods in any proposition they advocate to boost the city. AND WE BELIEVE IN HOME INDUSTRY.”

In 1913, Fulton was also hired to design a railroad exhibit for the 1915 Panama-Pacific International Exposition. On April 9, 1915, “The Rifle Telegram” credited Fulton with an achibit at the upcoming Pan-American Exposition in California known as “The Globe” (Vol. 12, No. 8, page 6). In an article entitled, “The Earth on Exhibit” reported, “The Globe was designed and built by F. B. Fulton, of Denver, who directed the construction of the interior scenes from paintings made by himself. It is quite possible that no other single exhibit in all the stupendous exposition will attract as wide attention or be more heartily praised by visitors, who find they have been instructed while being genuinely entertained.”

The article described the Fulton’s design in detail:

“The exhibit is the production of the transcontinental system embracing the Western Pacific, the Denver & Rio Grande, the Missouri Pacific and the Iron Mountain. It stands on the northwest corner of the palace of transportation, and becomes of even greater interest as one approaches. About it on every hand are the finest examples of the locomotive builder and the car constructor, and these pieces of railroad ‘furniture’ give added point to the unique exhibit which illustrates a great railroad’s function in serving mankind. ‘The Globe’ is 52 feet in diameter; being cut off at the base, is 44 feet in height. The trains are seen traveling from San Francisco over the tracks successively on the Western Pacific, Denver & Rio Grande and Missouri Pacific to St. Louis, whence the Iron Mountain radiates to points in the southern states, and particularly to Hot Springs, Ark. Cities and places of interest are labelled with their names and a light glows at each as the train passes. Yellowstone, Mesa Verde, Rocky Mountain and Yosemite national parks and Great Salt Lake are indicated by squares of soft light. Although a train crosses from San Francisco to St. Louis in three minutes, it is impossible to regard this globe and the suggested activity upon its surface without feeling as never before the splendid achievement of transcontinental railroading and the part it plays in our national life. ‘The Globe,’ which is even more interesting within than without, is entered through ornamental arches. The pilasters are surmounted by strikingly sculptured figures of a prospector, representing mining; a fisherman, representing sports; a farmer, representing agriculture; a blacksmith, representing commerce, and a brakeman, representing transportation. Locomotives in relief appear to be emerging from the pilasters as from tunnels and their smocks drape above the arches to spell the names of the four lines. Car wheels form a border for the arch entrances. In the width of the arch is seen a fragment of ballasted track. The keystone displays a bell, beneath which are the words, ‘Scenic Line of the World.’ Adjoining the globe and forming a part of the roof of the interior exhibit is a reproduction of Marshall Pass in Colorado, the highest point reached by the Denver & Rio Grande. This pass, with an altitude of 10,857 feet, is the continental divide from which streams flow west and east

to the Pacific and Atlantic oceans. In the colorful reproduction Mt. Ouray rises solemnly in the background. The trees and rocks of the foreground being real, the spectator is assisted in getting the ‘feel’ of the ‘backbone of the United States.’ Below Marshall Pass are bas relief panels showing Ruby Canon and scenes on the Feather and Missouri rivers. The interior of this huge globe is so interesting that were the exhibit on the Joy Zone and an admission fee exacted, the never-ending stream of visitors would as eagerly pass through its entrance arches. Within the globe is shown in miniature three million feet of the finest scenery in the world. In passing along a winding fairy causeway one looks first to right and then to left upon the vistas of a partly modeled, partly painted diorama that pictures the scenery and the activities lying along the lines of this railroad system. The effect of viewing these superbly wrought miniatures is difficult to describe. Not only do they acquaint the visitor with what is to be seen on this route, but they make him prouder of being an American. Moving from scene to scene is identical with crossing the continent from west to east. The Panama-Pacific international exposition is shown just as one would observe it from a hilltop a mile away. The succeeding scenes are given in the order in which they occur: San Francisco; Sacramento, the capital of California; Feather River canon, which has made the Western Pacific famous throughout the world; Salt Lake City, Provo valley and Utah lake; Grand Junction, Colorado, with an orchard in the Grand River valley ; Glenwood Springs, the noted resort; Leadville, with its mines and smelters, and Mount Massive in the distance; Royal .Gorge, which has made the name of the Denver & Rio Grande known everywhere that men love to speak of the mighty and beautiful in j nature; the Sky Line drive, showing Canon City and the upper Arkansas river valley, where agriculture alternates with oil wells and gold and coal mines; Pueblo, with the Bessemer Steel works; the Garden of the Gods, with Pike’s Peak in the distance; Denver, the mile high metropolis of the mountain kingdom; the Pike’s Peak region from the Crystal Park auto drive at Artists’ Point, from which the eye takes in seventy miles of territory, including Colorado Springs, Colorado City, Manitou and the Garden of the Gods, San Luis valley in Colorado, showing a 2,000-acre alfalfa field; Sugar City, Kansas, with its beet industry ; the cliff dwellings of Mesa Verde National Park, in southwestern Colorado; Ossowattamie, Kansas, with a 3,000-acre farm and stock ranch; Kansas City, Missouri, with its new capitol building; St. Louis, the eastern terminal of the Missouri Pacific ; Hot Springs, Arkansas, the famous watering place connected with St. Louis by the Iron Mountain line. These scenes are faithful reproductions. They are full of color. They are made with life by the changing play of lights and shadows. There are sunrises, sunsets, night and storm effects. The growing and receding light makes one feel the might and majesty of the mountains.

When the visitor has reached the center of the earth, as it were, he finds himself standing before a softly flashing fountain. The light fades. Finally, the honey-colored moon sends a glow into the chamber. The soft firmament, with its marvelous heavenly bodies may be only a few yards away, but the illusion is perfect. It exactly as though one stood in a garden on a matchless summer night. The visitor is recalled to the actualities by a courteous attendant, who hands him printed matter in which the facts about the country he has been viewing are succinctly set forth.”

Gold and silver medals were award for Fulton’s design and execution of the Gould Railroad Building at the Exposition. On July 8, 1915, “The Oak Creek Times” reported, “Gold Medal for Colorado. The winning of the gold medal by the Globe, the exhibit of the Denver and Rio Grande and other Gould roads at the Panama-Pacific Exposition, while most gratifying to Colorado people is not a surprise to those who are aware of the exceptional ability who guides he publicity and advertising departments of the Denver and Rio Grande. It is inspired by ideas of national scope and appeal; the amount of constructed publicity which the Denver and Rio Grande has produced for Colorado through the carrying power of such ideas is inestimable. In appraising the forces that are working, day in and day out, to build Colorado , the publicity work of the Denver and Rio Grande occupies a place of the first importance. The Globe which won the gold medal at San Francisco was designed by a Denver artist, Fitch B . Fulton, and was built by Denver workmen. A detailed account of the Globe was published in the May 27 issue of ‘The Commercial.’ More than two thousand persons pass through the Globe daily, where are presented most effectively exhibits showing the attractions and resources of Colorado” (page 2).

On July 2, 1915, “The Record Journal of Douglas County” reported, “This unique exhibit, which has attracted so much attention, was designed by a Denver artist, Mr. Fitch B. Fulton. Mr. Fulton is well known to the citizens of Denver by his gigantic horse erected across Champa Street for the Knights Templar Conclave in 1913 and his equally famous elk erected on the occasion of the B.P.O.E. Reunion last year. “The Globe” was not only designed by a Colorado man, but it was constructed by Colorado workmen, who were sent to San Francisco to erect the structure. Within the Globe are twelve models, one bas relief and three mural paintings of Colorado subjects, which have in reality taken the place of the state exhibit, and Colorado visitors refer to it as “our” world’s fair exhibit.” (page 1).

Fulton’s success prompted a move to California in 1916. By 1918, Fulton was listed as a scenic artist in the Los Angeles Directory, working for the Edwin H. Flagg Scenic Co., 1638 Long Beach Ave. Fulton’s WWI draft registration card that year noted his physical appearance as short and stout, with black hair and brown eyes.

In 1920, The Fultons were at 1510 Mohawk Street and the Hurtt’s at 1518 Mohawk Street. That year Fulton partnered with J. D. Martin and Wm. T. Martin to establish the J. D. Martin Scenic Co., Los Angeles. It was listed in the Incorporations section of “Southwest Builders and Contractors” on Feb. Feb 1920 (page 30). The notice described J. D. Martin Scenic Co.: “Capital stock, $25,000; subscribed, $3,000; Directors J. D. Martin and Wm. T. Martin, 215 E. 25^th St., and Fitch B. Fulton, 1519 Mohawk St.; Attorney: William Crop, 544 Wesley Roberts Bldg.

The 1920 US Federal Census also listed the Fultons living next to fellow scenic artist Arthur R. Hurtt and his wife Winnifred (58 and 55 yrs. old, respectively). This is another Chicago connection. Much older than Fulton, Hurtt was a very well-respected scenic artist, who shared the same Midwestern connections. Here is a little context for Hurtt from the nineteenth-century to give some context for this veteran artist over three decades later. On February 19, 1888, Hurtt was mentioned with several other well-known scenic artists in an article entitled “Stage and Scenery,” published in “The Saint Paul Globe” of St. Paul, Minnesota (page 10). In the section, “LOCAL AND GENERAL TALENT,” the article reported, Arthur B. Hurtt at the People’s Theatre, this city, is comparatively a young artist, having been painting scenery less than ten years, and a St. Louis paper is authority for his being one of the best young artists in the country. Mr. Hurtt is very retiring and modest young artist, a great worker and works rapidly He studies hard, is a close student of nature and has the true spirit of an artist, He has made a life study of trees and landscapes, his foliage being most natural, which is not at all easy to accomplish in scene painting. Being a good colorist, and draughtsman as well, his work is not often surpassed. Mr./ Hurtt came here from Chicago a short time before the opening of the People’s theater and has painted all the scenery used there except the drop curtain, which was let to a Chicago scenic firm owing to the rush of the opening.” In 1891, Arthur Hurtt assisted William P. Davis in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. Previously known as the Bijous Theatre, on April 11, 1891, “The Irish Standard” reported, “The stage has been enlarged and improved, new curtain and scenery being especially designed and painted by W. P. Davis, as assisted by Arthur Hurtt” (page 5). Hurtt was a big deal.

In 1922, the Fultons were living at 1545 Columbia in Glendale, California. That year he was credited with painting a landscape for California’s Pageant of Progress and Industrial Exposition. On September 4, 1922, the “Los Angeles Times” reported, “Camping styles for maid who crave to trade their skirts for knickers and steal away with rod and gun to fish and hunt have become distinctly a Los Angeles product. The best examples of this young Diana styles are on display at one of the most unique and effectively decorated booths on the exposition grounds. The Army and Navy camp shows a mountain woodland scene with a scenic background painted by Fitch B. Fulton, who received a gold medal at the Panama Pacific Exposition for the Gould Railway exhibit. He is a member of the California Art Club.” In 1922 Fulton’s stage settings for “La Golondrina (The Swallow)” at the playhouse in San Gabriel were also a hit. Throughout the 1920s, Fulton continued to primarily work as a scenic artist and designer, primarily focusing staged spectacles.

Throughout the 1920s, Fulton became increasing active in fine art shows. In 1923, he exhibited with the California Watercolor Society and on January 7 the “Los Angeles Times” reported, “Fitch Fulton’s ‘Wedding Dream’ is remarkably decorative in composition and color, it is permeated with delicate and refined beauty, it is a painted Epithalamium.” By 1925, some of Fulton’s painting were included in the first exhibition of the Artland Artists. On Nov. 1, 1925, the “Daily News” listed “Soboba Sycamore” by Fitch B. Fulton as one of the oil paintings on display (page 33). In 1926, Fulton’s artworks were part of the third exhibit of paintings by the Los Angeles Art Club (“Los Angeles Evening Express,” 3 September, 1926, page 17). That year, he also was the president of the Painter and Sculptors Club in Los Angeles. He continued to exhibit artworks whenever he could, but held off on a one-man exhibit until 1951. On April 29, 1951, the “Los Angeles Times” announced “Fitch Fulton Impresses.” (page 14). The article reported, “Fitch Fulton, now 62, has long been known here as a good landscape painter. Until his recent retirement from work for motion pictures, however, he was always too busy to prepare an exhibit. So, at 62 Fulton has his first one-man show. It consists of small oil landscapes, very sensitively recording things see by a poetic eye. This exhibit is on until May 7 at the Little Gallery, 626 N. Glendale Ave.” Here is a link to several of Fulton’s paintings now posted at invaluable: https://www.invaluable.com/artist/fulton-fitch-burt-h4a0zuidji/sold-at-auction-prices/

*One of the many paintings by Fitch Fulton, now posted online at invaluable. Here is the link:* https://www.invaluable.com/artist/fulton-fitch-burt-h4a0zuidji/sold-at-auction-prices/

All the while, he kept working as a scenic artist, completing projects for a variety of studios and under his own name. The obituary of his father, J. B. Fulton, also provides a little insight into the Fulton family and suggests a possible falling out between Fitch and his father. On July 1, 1924, the “Beatrice Daily Sun” reported that J. B. Fulton was remembered as a pioneer physician, a native of Hillsboro, Ohio, who practiced medicine in Fairbury and Hammond, Illinois. By the end of the nineteenth-century. J. B. Fulton established Beatrice bloodhound kennels and shipped pedigree bloodhounds to all parts of the country, with his dogs winning prizes in Chicago, Kansas City and elsewhere. His obituary noted that he was survived by daughters: Mrs. W. W. Johnston [daughter Margaret] of Omaha; Mrs. Belle [Mary Belle] Burt of Los Angeles; Mrs. Hattie Samman of Boston, and sons O. P. [Oliver]; T.B. [Thomas], W.S. [William] and R.N. [Richard] of Beatrice, Nebraska. Fitch was not mentioned in the obituary at all, although he was alive and well in California. I have to wonder if he was estranged from his father during this time, or had a falling out with his family.

It was right around the time of his father’s passing that Fitch began working for Sosman & Landis. Between 1924 and 1925, Thomas G. Moses, Fitch B. Fulton and Harry E. Naile delivered scenery to several Masonic theaters. In 1924, Thomas G. Moses wrote, “Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we soon reached the 3rd Street Station just in time to catch a train for San Jose…It took us eight days to close a $7,000.00 contract.”

Moses was working closely with Fitch Fulton to land several Scottish Rite contracts that year. In addition to San Jose, California, their projects included Scottish Rite scenery for Fort Scott, Kansas and Pasadena, California. The Pasadena Scottish Rite project began on the heels of the Fort Scott Scottish Rite project, but it all started with Fort Scott, Kansas.

In August 1924, Moses wrote, “Fulton is now in Fort Scott getting ready for our big work. I bought a round trip ticket for a long western trip and started on the 16th of August arriving in Fort Scott on the 17th. Put in one day with Fulton, leaving on the 19th.”

Fulton was on site setting up the paint space in the theater and was already painting when Moses arrived for a day in Fort Scott. The two worked on a platform twenty-feet above the stage-left side of the theater. The project would be completed in spits and spurts that year.

After leaving Fort Scott and stopping in Salt Lake City, Moses arrived in Los Angeles on the afternoon of the August 22. He wrote, “Got busy immediately at Pasadena for ten days. As a final deal, I offered the Little Rock drops for $8,500.00, closed the deal and at Los Angeles for a big interior for the Consistory.”

So, while Fulton began the Fort Scott job, Moses landed the Pasadena job.

Moses returned to the Fort Scott Project that fall, finished the work with Fulton, and then headed back to Chicago. By November 1924, Moses wrote, “I must get back to Pasadena as they want to open on the 24th of February, so we put the house in perfect shape for cold weather and got our tickets via the D.R.G. through Colorado. Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we reached the 3rd Street Station just in time to catch a train for San Jose. Went to the Vendome Hotel and Mrs. Fulton came up. It took us eight days to close a $7,000.00 contract and get to Los Angeles where we spent two days, finally securing a fine apartment at the 159 S. Los Robles Avenue in Pasadena, where we will remain for two months. Had a delightful Christmas day at Walters.”

During this time, the Moses and Fultons became incredibly close. At the end of 1924, Moses wrote, “The last Sunday in the year we spent at the Fultons, where we enjoyed the day. As I had hoped a year ago, we are spending the winter in California and so far, we have thoroughly enjoyed it, as we have many winters in the past. “Even when Moses and Fulton weren’t painting scenery, they enjoyed social gatherings and sketching trips. The two were a generation apart, with Fulton in his 40s and Moses in his 60s. Both were skilled artists and greatly enjoyed plein air painting. Of one excursion, Moses wrote, “Walter, Fulton and I went out for a day’s sketching at Sycamore Rock near Eagle Rock. We had plenty of visitors. I found a vast difference between the far east and California as far as atmosphere is concerned. So, I was not as successful with my sketches as I had hoped to be.”

Later in 1925, Moses wrote, “We all enjoyed the many week-end trips, we took with wonderful lunches and good sketching grounds. Mrs. Fulton looked after the eats and she certainly did not overlook anything, as we were overfed and did not feel like sketching after the meal. We found some very good sketching down in Topanga Canyon, over towards Santa Monica and Flint Cliff. I would like to make an extended sketching trip out here, but I am very much afraid I will never be able to, as business will keep me from it as it has always done in the past. It has been very pleasant out of doors. Some days the sun was so hot that we had to get under a tree – pretty good for January.”

Moses and Fulton planned on preparing the used Little Rock scenery for installation and painting a few new scenes for the Pasadena Scottish Rite. In regard to the San Jose Scottish Rite…the groundbreaking ceremony for the San Jose Scottish Rite was announced in the “Salina Daily Index” on Feb. 20, 1924. The article reported, “Work on Scottish Rite Temple Progressing Rapidly.” The construction went quicker than the contract negotiations. Like most Scottish Rites at this time, discussions were drawn out until the last possible moment. This never worked well for either the scenic studio or client. In the end it everything was rushed through, greatly taking its toll on the artists and installers.

In 1925 that Moses recorded, “We finally received out contract back from San Jose after they had it a month, which settled the matter of our going there immediately after we completed Pasadena.” The San Jose Scottish Rite was scheduled to open at the beginning of May. That spring, Moses wrote, “I started for San Jose on March 27th and found Naile had everything in good shape. Fulton and I got busy immediately, got a good start and pounded away pretty steadily until April 18th”. It was at this point, however, that Moses was rushed to hospital by Dr. Moore and Fulton. He wrote, “All through my illness, I had to keep work going and had to ask the Madam to see that the salaries were paid and the work at the Consistory did not stop. It was opened on time and we were through on April 27th, a few days before my second operation.” Moses’ second operation was on May 1, 1925, with him recovering at the hospital all month. He was not released until May 30. Fulton held down the fort for Moses during his absence.

The San Jose Scottish Rite Temple opened on May 8, 1925. On May 10, 1925, the “Oakland Tribune” announced, “Masons Dedicate San Jose Home.” The article reported, “Formal dedication of the new $450,000 San Jose Scottish Rite Temple was made last evening with Sovereign Grand Commander J. H. Cowles, highest ranking Mason in the United States, as guest of honor. The dedication ceremony followed a banquet in honor of Cowles and Sovereign Grand Inspector W. P. Filmer. Scottish Rite Masons and their ladies only were in attendance, and the big new temple at Third and St. James streets was packed to capacity for the rites.”

By 1926, Fulton returned to primarily working at J. D. Martin Studios in Hollywood. In 1927, Fulton was credited with the scenic design for the “Devil’s Plum Tree” with J. D. Martin Studios executing Fulton’s designs. By the 1930s, Fulton transitioned to working more with visual effects for film. The IMDb credits Fitch Fulton as a matte painter for “The Enchanted Cottage” (1945), “Citizen Kane” (1941), and “Gone with the Wind” (1939). Fulton was also listed as technical staff for “Mighty Joe Young” (1949), credited with special effects for the film. Again, this is no surprise, as Fulton was intimately familiar with engineering special effects for the stage.

The 1930 US Federal Census listed Fulton as an artist in the “theatrical” industry, living with his wife and daughter. At the time, Bernice Fulton was working as a high school teacher. After she attended public schools in Glendale, Bernice graduated from U.C.L.A. and continued her art education in Europe. She married in 1932, the “San Bernardino Country Sun” reported, “Miss Fulton has been a teacher in the art department of the Belmont high school, Los Angeles, for five years, being a graduate of U. C. L. A. and also studies in Europe. Her father was the artist painting the curtain in the municipal auditorium in San Bernardino.” That year, Fitch and his wife were living at 1545 Columbia, with Fulton still listed as an artist in the “Glendale City Directory.”

In 1935, Fulton was recognized at the Palos Verdes Art Gallery, receiving a purchase prize. Throughout the late-1930s. Fulton’s easel art continued to gain recognition. In 1938 and 1941, he received gold medals from the Painters & Sculptors Club of Los Angeles. Fulton is also included in Eda M. Hughes publication, “Artists in California, 1786-1940.”

The 1940 US Federal Census listed Fitch and Anna Fulton living in Los Angles, with Fitch listed as an artist in the “studio” industry. Fulton’s WWII Draft Registration card listed his employer as David O. Selznick of Culver City, California. By now, Fulton’s son, John Fulton, was listed as the person who would always know is address. During this time, John Fulton was employed at Universal Picture Corp. in Los Angeles, California.

In 1941, Fitch’s wife Anna passed away. On April 7, 1941, their hometown newspaper reported, “A message was received here yesterday announcing the death of Mrs. F. B. Fulton, formerly of Beatrice, which occurred at Glendale, Calif., where she had resided since leaving this city. She has been in failing health for a year or more. Surviving are her husband, who has long been connected with the scenic department of the movie colony in Hollywood, one son John, who is also with the movies as a production representative and a daughter, Bernice” (Beatrice Daily Sun, page 1).

Fulton remarried the next year. In May 1942, he wedded to Mary Ann “Mamie” Davlin (1890-1994). Mary is quite interesting in her own right, as she was purportedly the first woman in the United States and Canada to become a freight router. Mamie was the daughter of Henry Davlin and Jennie Evans. A native of Plankington, South Dakota, she spent most of her adult life in Los Angeles, where she attended Heald Business College. This was Mary’s second marriage too; her first husband was Frank Lawrence Pitney. Mary also had a son from her first marriage named Oliver Pitney.

Fitch Fulton passed away on Feb. 23, 1955 in Glendale, California and is buried at Mission Hills, Los Angeles, California. His obituary was published in the “Los Angeles Times” on Feb. 25, 1955. It announced:

“Fitch B. Fulton. Rosary for Fitch B. Fulton. 75, who died Wednesday at his home, 5128 Glenwood Ave., La Crecenta, will be recited at 8 p.m. Sunday at the Crippin Mortuary in Verdungo City. Requiem Mass will be celebrated at 10 a.m. Monday at the Holy Redeemer Church, Montrose. Interment will follow in San Fernando Mission Cemetery. Mr. Fulton, who first came to California in 1913, was a designer and artist. He leaves his widow Mary; a daughter Mrs. Krutchfield Ahair, Santa Barbara; a son, John P. Fulton, North Hollywood, and four grandchildren” (page 36).

His second wife Mary long out lived Fitch, passing away in 1995 at the age of 104. Mary was buried next to her husband in San Fernando Mission Cemetery. Fulton was one of the few not to be buried in the family plot in Beatrice.

Today, Fulton is primarily associated with one particular painting – his matte painting of Tara from “Gone With the Wind.” Measuring 36 inches by 31.5 inches, it was used under the films’ opening credits. In 2013, CBS reported on a Hollywood Memorabilia Auction, where Fulton’s painting was sold for $225,000. (https://www.cbsnews.com/pictures/hollywood-memorabilia-auction/). The 2010 sale price was $32,500: https://www.icollector.com/Original-Fitch-Fulton-master-painting-of-Tara-from-Gone-With-the-Wind_i10030554.

*Matte painting of Tara credited to Fitch Fulton*.

Fulton originally gifted the painting to his son, John P. Fulton, inscribing on the lower right corner, “To John from Dad.” His son John P. Fulton ended up in special effects for the motion picture industry, starting out as a cameraman. As previously mentioned, John P. Fulton was also active in the film industry. Much has been written about John’s contribution to cinematic effects. By the 1940s, John worked for Universal Pictures Corp. “The Wild and Wonderful World of John P. Fulton. A Look back at the magical creations and unforgettable visual effects of virtuoso special effects master John P. Fulton, A.S.C.”: http://nzpetesmatteshot.blogspot.com/2010/08/wild-and-wonderful-world-of-john.html. Sadly, John passed away only a decade after his father. In 1965, he contracted a rare infection while working on a film in Madrid, Spain (“The Battle of Britain”), and passed away in an English hospital.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 63 – William P. Davis

William P. Davis worked as a scenic artist at Sosman & Landis in 1881. That year, Thomas G. Moses wrote, “I had to go to Richmond, Indiana, this summer, Will Davis was with me. We had a pleasant time while there.” In Richmond, the two were painting scenery at the newly refurbished Grand Opera House. On September 19, 1881, “The Evening Item” of Richmond reported, “The scenic work was completed by Sosman & Landis of Chicago with Thomas G. Moses painting the drop curtain.” The stock scenery delivered by the firm included: “four wings; one set plain chamber, four wings; one kitchen, and one prison, each four wings; one wood, six wings; one landscape, one perspective street, one rocky pass, one horizon, one ocean, one garden, one grand drapery border, one set tormentor wings and doors, three drapery borders, two kitchen borders, three foliage borders, one set cottage, one set bridge, four set rocks, one tree, two set waters, one foreground, one garden wall, one balustrade, two statues.” Davis continued to work for the firm, evening running a regional branch in Kansas City, Missouri, with Lemuel L. Graham until 1886.

Two decades later, Davis was recognized as a founder of the Twin City Scenic Studio of Minneapolis. Davis’ life and career are fascinating, yet so little information is known about his early childhood in Brockton, New York, or his final years in Seattle, Washington.

*1905 Advertisement for the Twin City Scenic Studio.*

I’ll start at the beginning…

William P. Davis was one of three sons born to Hartwell C. and Elizabeth A. Davis in Brockport, New York. For geographical reference, Brockport is approximately nineteen miles due east of Rochester, New York, situated along the Erie Canal. William was the second child born the couple. His elder brother, Charlie P. Davis, died at the very young age of only four years old in 1853.

*Gravestone of William P. Davis’ older brother Charlie (1849-1853)*

William was the second child born to the couple in 1853, and Edwin arrived five years after that in 1858. Both Will and Eddie would become scenic artists, spending much of their lives together. Both of their lives and careers would end in Seattle. Little is known of their early life in New York beyond a few federal and state census reports. They lived in the town of Sweden, located only a few miles from Brockport. Both towns are now considered part of the Rochester metropolitan area.

In 1855 New York State Census reported that the Davis household included H. C. Davis (32 yrs. old), Elizabeth Davis (26 yrs. old) and W. Davis (2 yrs. old). Although somewhat illegible, H. C. Davis’ occupation appears to be that of a carriage painter. However, his employment changed from one census report to the next, In 1860 his occupation was listed as a gardener and in 1865 he was working as an attorney. Only four year after that, at the age of 46 yrs. old, he passed away.

By 1869, Will Davis had moved west to Chicago and was working as a scenic artist, living at 366 Clark St. At the time, he was only sixteen years old. On June 24 of that year, his father passed away, leaving behind a widow and two sons. Eddie was only eleven years old at the time. It remains unclear whether his father’s passing prompted Will Davis’ to move to Chicago, or if he had left beforehand. Regardless, the 1869 “Chicago Directory” listed William Davis as a scenic artist, living at 366 Clark St. H. C. Davis was buried at High Street Cemetery in Brockport. Interestingly, probate records show that his will was written just five days before his passing on June 19, 1869, witnessed by John A. Satta and Henry C. Hammond.

Will Davis continued to work as a scenic artist in Chicago while his mother and brother spent the next few years in Sweden before selling the family home. Advertisements were placed in the “Brockport Republic” on August 6 and 15, 1872, listing the sale by “Mrs. H. C. Davis.” Their property was located on the corner of Erie and Perry Streets, just a block away from the Erie Canal. After the family home was sold, Elizabeth and Edwin moved west to live with William in Chicago.

By 1880, Elizabeth, William and Edwin were all living at 612 Fulton Street. William was still working as a scenic artist, with Edwin now employed as a printer. This arrangement only lasted for a few years. In 1883, Davis was living by himself in Hyde Park, Illinois. Work continued to draw Davis throughout the region, and he went from one project to another.

On March 2, 1884, he was credited with painting the new drop curtain for the Grand Opera House in the “ Saint Paul Daily Globe” (page 4). The article detailed the inspection of his work by Manager L. N. Scott, Commodore Davidson, and a few newspaper men. The article reported, “The design is oriental, and the idea has been beautifully executed. The scene represented by the picture which occupies the center foreground in from Moore’s poem of Lalla Rookh. The eye is first directed to the royal barge, which is represented with set sail and flying pennons as it enters the enchanted vale of Cashmere, where the princess is to meet her royal lover. On the deck of the barge is the princess and suite, while in the background may be seen the glittering palaces and towers of Cashmere, with steeples and minarets. The picture is done in grays and the effect is therefore subdued, it evidently being the intention of the artist to compliment the rich and beautiful effects of draperies at the sides. The effect here is beautiful and striking in the extreme. First may be mentioned the fluted arch which encloses the full-length picture of the barge as if in a medallion. The arch is Moorish in design and is supported by four columns on either side; at the base of the columns are blocks of marble surmounted by tripods which to carry out the oriental effect, exhale perfume. At the sides are rich and magnificent draperies which fall in graceful folds, being done in colors of green, scarlet and gold; the draperies are ornamented with a band or border of red, green and gold plush. The effect is sumptuous and indescribably rich, the artist having seemed to lavish his utmost opulent powers of the colors of the draperies, and the combination is harmonious to a degree. This magnificent accessory to the beautiful temple of Thespis gives a finishing touch and a look of completeness to the house hitherto wanting. As the curtain was painted by Mr. W. P. Davis, a young artist whose services were procured by Messrs. Beck & Rank of this city. The new drop curtain will be seen by the public for the first time next Wednesday night on the occasion of the performance of the ‘Pirates of Penzance’ by the Stillwater Choral union.” Here is a lovely article about St. Pauls’ Grand Opera House written by Janet Meyer on Aug. 24, 2020: https://www.minnpost.com/mnopedia/2020/08/the-short-grand-life-of-st-pauls-grand-opera-house/

*The Grand Opera House in St. Paul, Minnesota, c. 1883.*

By 1885, Davis moved south to Kansas City, Missouri, where he partnered Lemuel L. Graham to establish the scenic studio of Graham & Davis. In addition to running their own studio, however, the two also ran the regional branch of Sosman & Landis. In addition to contracting their own work, they worked as subcontracted for regional projects secured by Sosman & Landis. The 1885 “Kansas City Directory” listed William P. Davis as a scenic artist, associated with the firm of Graham & Davis. At the time Davis was boarding at Nivision House. One of their earliest projects was painting scenery for the Gillis Opera House in Kansas City. Other project completed in 1885 included scenery for theaters in Dodge City, Kansas, St. Joseph, Missouri, Champaign and Quincy, Illinois, Grand Island, Nebraska, and Huron, South Dakota. Newspaper articles track the firm’s steps as they go from one opera house to the next.

On March 21, 1885, the “Kansas Cowboy” of Dodge City, Kansas, reported, “Graham & Davis, scenic artists, of Kansas City, have been awarded the contract for painting the drop curtain and scenery for the McCarty opera house. There are to be five scenes. These artists painted the scenery for the Gillis Opera House at Kansas City” (page 3).

On May 9, 1885, the “Sioux City Journal” reported, “L. L. Graham, scenic artist of the firm Graham & Davis, of Kansas City, was in town yesterday.”” (page 3). On August 4, 1885, the “St. Joseph Gazette” of St. Joseph, Missouri, reported, “Opera House improvements. The opera house cannot be obtained for the Grant memorial service, as a large force of workmen commenced yesterday on the erection of scaffolding throughout the house and ascending to the ceiling, for the use of the frescoers. Messrs. Fedeili & Suzen are doing the frescoing, and Graham & Davis the scene painting. The large center medallion in the ceiling will be retained, but all the rest will be new. It will require several weeks to complete the work” (page 5).

They also worked alongside other Sosman & Landis employees, including stage machinist Claude L. Hagan. On July 11, 1885, the “Champaign Daily Gazette” of Champaign, Illinois, included an article entitled “Getting Ready” (page 1). The article reported, “The scenery is being put in place, and when completed will be as fine as any in this part of the state. The work is being done by Graham & Davis, of Kansas City, and is superintended by Mr. C. L. Hagan. The appliances for shifting scenes, raising the curtain and presenting the finest stage effects, are all of the latest kind. The drop curtain will be in place on Monday, and we are assured that it will be a fine picture. The first entertainment will be given on Thursday evening by the Kennedy Comedy Company, who will occupy the boards three nights in succession, with a change of program each evening. The sale of seats will begin on Monday, at the post office drug store, where they may be secured for wither entertainment.”

On July 26, 1885, the “St. Joseph Herald” of St. Joseph, Missouri, reported, “The Next Season at Tootle’s. The Opera House Refitted – some of the attractions. Messrs. Graham & Davis have been occupied the past three or four weeks in painting an entire set of new scenery for the opera house. These gentlemen have just completed the painting of Boyd’s of Omaha, and were the scenic artists for the Gillis Opera House, Kansas City, the Academy of Music, Peoples’ and Standard of Chicago, and if further evidence of the ability were required it was shown in the magnificent grand drapery, tormentor wings and new garden scene at Miss Carter’s benefit last Friday. They have completed the most attractive landscape, a garden, new cottage interior, and are now at work upon a modern parlor interior, which will be pronounced the handsomest piece of scene painting ever seen on the local stage. They have also repainted the borders, tormentors, grand drapery, wings and a number of set pieces, among others a new set tree, which has long been needed. They will paint also a new street scene and a palace back, beside a number of necessary pieces” (page 4).

On August 21, 1885, the “Quincy Daily Journal” credited Messrs. Graham & Davis with the new scenery and drop curtain for the opera house in Quincy, Illinois (page 3). That spring they were contracted to fresco the auditorium and paint all of the scenery. On May 30, 1885, the “Quincy Daily Whig” reported, “Yesterday the management agreed to employ the firm of Graham & Davis to fresco the auditorium and repaint all the scenery. A large amount of new scenery has also been contracted for, and, as the firm which has secured the contract, are known as among the finest scenic artists in the west, the Quincy amusement goers reasonably expect to see a very handsome opera house and scenery when the work is complete” (page 3). The firm also delivered scenery for another Quincy stage at Geise’s German Theatre. On September 5, 1885, the “Quincy Daily Journal” reported. “Geise’s German theater will be opened in about two weeks. The scenery is being painted by Graham & Davis, at Kansas City” (page 4).

On September 3, 1885, “The Dakota Huronite” credited Graham & Davis for the stage scenery and machinery at the new Opera House in Huron, South Dakota (page 5). The article reported, “The stage was fitted by Claude Hagan, of the Gillis Opera House, Kansas City, and everything works so smoothly and perfectly that it is hard for the proprietors to find words to express their satisfaction. The scenery is the work of Graham & Davis of Kansas City, and its excellence seems to increase with each inspection.”

On Dec. 10, 1885, the “Grand Island Independent” of Grand Island, Nebraska, reported, “The handsome new drop curtain at Bartenbach’s opera house has been hung. It is a rich and handsome piece of work, costing between $200 and $300, executed by Graham & Davis, artists, of Kansas City. The curtain contains business cards representing twenty-two of the leading forms of this city, relieved by a neatly executed center piece representing a scene in Venice. Above is a life-like portrait of the proprietor of the opera house, Mr. Geo. Bartenbach, and the curtain is certainly a decided improvement over the former one and very attractive” (page 1).

While Graham & Davis were working in Kansas City, Will’s younger brother Edwin was working as a scenic artist in Cincinnati. It is possible that Edwin was operating a regional office for Sosman & Landis in 1885.

By 1886, the firm of Graham & Davis relocated a much larger studio to accommodate the increased workload, located at 525 Main, Kansas City. Graham & Davis continued to work throughout the region, delivering scenery to opera houses in Ness City, Kansas and Omaha, Nebraska.

On May 1, 1886, the “Ness County News” of Ness City, Kansas, reported, “The new scenery for the Opera House was received last Tuesday morning, but has not yet been placed in position. By some accident, the scenery was delayed in transit for about four weeks, and because of the lateness of the season it has been determined by Grand Army Post not to attempt the production of the military play the ‘Union Spy’ until next fall. In place of that play some minor drama will be produced for the benefit of the Post at an early day, on which occasion the scenery. Will be used for the first time. The scenery was painted by Messrs. Graham & Davis, of Kansas City and gives satisfaction in every particular” (page 5).

In 1886, Graham, & Davis delivered scenery to Boyd’s Opera House in Omaha, Nebraska. On July 17, 1886, the “Omaha Daily Bee” reported, “The ‘painter’s bridge’ which has been idle so long is now occupied by the artist Graham of Graham & Davis, of Kansas City. The gentleman arrived yesterday, and has already made considerable progress in the painting for which he came. He will be engaged here for about six weeks when the opera house will reopen with a. fresh new supply of beautiful scenery…Mister Graham will this year, paint more new and retouch more old scenes than he has ever done on his earlier visits. Among this year’s work will be eight street wings, of both ancient and modern styles. These will be cut in profile, and act as business places, public buildings and private residences. The stage at the Boyd has never has street wings before, it being found necessary to supply their places with wood wings. He will also paint a white Elizabethan interior with armorial bearings, illuminated windows and features peculiar to that age. This will be particularly appropriate for a large number of operas and is being painted expressly for them. Besides these, there are several other ‘interiors.’ One of which is to be the most elaborate in design and excellent treatment. The supply of set pieces consisting of rocks, street, houses and other article of like nature is to be increased, so that., in fact the stage will have at least fifty per cents of its material that will be fresh to the audience” (8).

At some point during 1886, Davis headed north and began working in Minnesota. At the time, he was listed in two city directories, both in Kansas City and St. Paul. In St. Paul, he was listed as the artist for the Grand Opera House, living at 35 Court Block. Interestingly, his future business partner, William Knox Brown, was also working at the same venue as the stage mechanic. Davis’ employment in St. Paul, however, did not last for long. By 1887 Davis was again living in Chicago where he would remain for several years. He continued to travel and work throughout the region, all the while maintaining a permanent residence in Chicago.

1887 advertisements for L. L. Graham listed him as a scenic artist and “contractor for stage equipments, theatrical hardware, frame work, canvas, traps. Bridges, opera chairs, etc., and everything necessary for requirements of a first-class theatre.” His studio address was still listed as 525-527 Main Street in Kansas City. Meanwhile, J. U. Tschudi, B. F. Dunn, C. A. Oldham, and C. J. Lorella, were running the second iteration of the Kansas City Scenic Co., advertising as “Practical Artists and agents for theatrical hardware and stage supplies.” The firm’s offices and studio were located at the Gillis Theatre in Kansas City.

*Gillis Opera House, Kansas City, Missouri*

In 1888 Davis was listed in the “Painters and Decorators” section in the “Chicago Directory,” listing his address as 1036 W. Vanburen. By this time, his reputation as a scenic artist was quite well-respected and known throughout the Midwest. On February 19, 1888, Davis was mentioned with several other well-known scenic artists in an article entitled “Stage and Scenery,” published in “The Saint Paul Globe” of St. Paul, Minnesota. In the section, “LOCAL AND GENERAL TALENT,” the article reported, “Among the elder scenic artists of the country are David A. Strong, of Chicago, formerly of Niblo’s Garden, New York, should be mentioned as one of the best colorists, and indeed is an artist of high rank. Marston, of New York, excels as an interior painter, and paints admirable exteriors as well. Thomas Noxon, of St. Louis, another veteran painter, has probably done his share to elevate the public taste in this line. William Voegtlin. E. T. Harvey. Henry E. Hoyt, John H. Young, Harley Merry, W. P. Davis and Phil Goatcher, number among those in the front rank.” Davis’ future business partner, William Knox Brown, was also mentioned in the same article: “W. K. Brown, of New York, the stage carpenter, deserves great credit for the clever mechanical effects to be seen at People’s. He is enthusiastic, a skilled mechanic and artist in his line. The artist and carpenter work hand and hand in the production of each play.”

In 1889, William P. Davis was still living in Chicago with his mother and brother Edwin, who was also working as a scenic artist. About this time, Will Davis became associated with the new Auditorium Theatre, continuing the build his reputation in the area. Opportunities in the northland, soon enticed Davis back to Minnesota. In 1891, Davis was assisted by Arthur Hurtt in painting a drop curtain for the People’s Theatre in Minneapolis, Minnesota. Previously known as the Bijous Theatre, on April 11, 1891, “The Irish Standard” reported, “The stage has been enlarged and improved, new curtain and scenery being especially designed and painted by W. P. Davis, as assisted by Arthur Hurtt” (page 5).

On April 23, 1893, the “Chicago Tribune” announced, “Manager Will Davis of the Columbia has returned from his trip to New York, which was taken for the purpose of arranging the final details of his World’s Fair attractions” (page 37). By 1894, Davis is associated with the Grand Opera House in St. Paul, Minnesota, boarding at the Clarendon Hotel in that city. He continues to work in the Twin Cities and is constantly mentioned in the newspapers, heralded for his scenic art works.

On April 30, 1899, “The Saint Paul Globe” reported:

“NEW DROP CURTAIN.

Picture to Delight the Eye of Patrons of the Metropolitan.

The magnificent new drop-curtain of the Metropolitan opera house will be exhibited to the inspection of the patrons of that theater for the inspection of the patrons of that theater for the first time tomorrow, Monday evening, this being a feature of the opening of Otis Skinner’s engagement. It is a beautiful and artistic specimen of scenic art, and is considered by Mr. W. P. Davis, the veteran scenic artist, to be one of the finest drop-curtains in the country. The subject represents a mammoth landscape in a gorgeous frame; in the foreground we see the limpid waters of the beautiful lake, set like a sparkling gem in a cluster of towering hills, with the blue sky of Italy overhead. In the distance the hills rise, tier on tier, to the dim horizon line where earth and sky blend in a film of delicate, shadowy color. The perspective is exceptionally good, the impression of great distance being brought out with remarkable effect. On the right can be seen a portion of the walls of an Italian castle, with broad marble steps leading down to a path which extends across the foreground, and is lost to sight in a mass of foliage o the extreme left of the picture. To the foot of the steps the figure of a beautiful woman is seen leaning in a graceful attitude on a handsome urn, holding on her arm a basket of brilliantly colored flowers.

The picture appears set on a dais, with a single rug-covered step leading to the ground line; on either side massive pillars support a canopy over the picture. Heavy draperies hang from the canopy, looped back in graceful folds on either side of the frame. The colorings are bright and harmonious, the treatment artistic and pleasing, and the general effect all that could be desired. The new drop-curtain will be an ornament to the handsome auditorium of which Manager Scott and his patrons are so pardonably proud” (page 28).

On Feb. 18, 1900, “The St. Paul Globe” described Davis’ work at the Metropolitan Opera House (page 28). The article reported, “PRETTY DROP CURTAIN. New One Will Greet Metropolitan Habitues This Evening. The magnificent new drop curtain of the Metropolitan opera house will be hung for the first time for the Danz orchestra concert this afternoon. This practically completes the process of redecoration which has been in progress at the Metropolitan since Dec. 1898, the entire house having been gone over. The new curtain is a beautiful specimen of scenic art and it is with a great deal of pardonable pride that Manager Scott announces its completion. The material is asbestos, and it forms an absolutely fireproof screen between the stage and auditorium. The borders are painted in bright, cheerful colors and tints in harmony with the decorations of the auditorium, giving an effect of striking brilliancy to the interior of the theatre. The center of the curtain is occupied by a mammoth picture, the subject being a splendid view of St. Paul from the bluffs behind the high bridge. In the foreground, on the right, may be seen a group of huge trees springing from the side of the precipitous cliff, and sweeping away to the left the view stretches across the blue waters of the Mississippi, over the level expanse of the flats to the sand rock bluff, which centuries ago formed the north bank of the river. From bluff to bluff the big bridge stretches like the web of a colossal spider, and beyond it the city of St. Paul fills up the rear ground of the picture, the view standing out with the clearness and distinctness of a photograph. The curtain is the work of W. P. Davis, who also designed and executed the decorations of the auditorium.”

Meanwhile, Edwin continued to work as a scenic artist in Chicago. The 1900 US Federal Census listed Edwin living in Riverside, Illinois, with other scenic artists. At the time, he was 41 years old and widowed. Willis M. Dietrich was listed as the head of household in the census report. Dietrick was 44 yrs. old and listed as a manufacturer of theatrical scenery. In addition to Davis, members of Dietrich’s household included his wife, Jesse L. Dietrich (38 yrs. old), and his three sons, Harry W. Dietrich (17 yrs. old), Dean S. Dietrich (10 yrs. old), and Leslie M. Dietrich (9 yrs. old). The eldest son, Harry, was also a scenic artist.

Davis soon moved to St. Paul where he worked for his brother’s scenic studio. And this brings into play another scenic studio established by Davis, William K. Brown and Theodore Hays, the Twin City Scenic Studio. Davis’ association with the firm was not published in City Directories until 1902, but his work with the firm’s co-founders started long before that.

Much has been written about the Twin City Scenic Company by C. Lance Brockman, Professor Emeritus at the University of Minnesota. A scenic design collection, acquired by the University of Minnesota Performing Art Archives in the 1980s resulted in an exhibition from April 5 to June 14, 1987, at the University Art Museum, University of Minnesota, Minneapolis, curated by Brockman. The exhibition catalogue was entitled “The Twin City Scenic Collection: Poplar Entertainment, 1895-1929,” and included essays written by Brockman, John R. Rothgeb, Forrest A. Newlin and Lawrence J. Hill.

*Catalogue for the Twin City Scenic Co. Collection exhibit, 1897. Curated by C. Lance Brockman.*

The catalogue summarizes the history of the Twin City Scenic Company, noting that by 1895, Davis, Brown and Hayes partnered to establish the Twin City Scenic Studio. The three initially worked at Bijou Opera House, with Hays acting as the manager. Each partner managed a particular aspect of business: Hayes was the business manager, Brown was the master mechanic, and Davis was in charge of the scenic art department. From his past work in Kansas City and Chicago, Davis had access to a large labor pool of scenic artists in the region, including his brother Edwin Davis.

In 1905 the Twin City Scenic Studio was incorporated, and became the Twin City Scenic Co. On July 15, 1905, the “Minneapolis Journal” published “Articles of Incorporation of the Twin City Scenic Company, Minneapolis, Minnesota” (page 14). In Article 1, the listing detailed, “The name of this corporation shall be the ‘Twin City Scenic Co.’ The object for which this corporation is organized, and the general nature of its business shall be the manufacture and sale of all kinds of stage equipment, apparatus, properties and supplies for theaters, lodge halls, clubs, carnivals, expositions, fairs and entertainments, and the manufacture and sale of costumes and theatrical paraphernalia and photographic backgrounds, advertising scenery, effects and novelties.” In Article V, the names of the individual forming the corporation were listed as William P. Davis, William K. Brown. Theodore L. Hays and John A. Van Wie, all of Minneapolis. The four men comprised the first officers of the corporation: Davis was President, Brown was Vice-President, Hays was Treasurer and Van Wie was Secretary. The amount of capital stock of was listed as $25,000, with 500 shares valued at $50.00 each.

The beginnings of the firm were also mentioned in a “Minneapolis Journal” newspaper article published on February 25, 1905 (page 16). The article described the firm’s contribution to the new Minneapolis Auditorium under the heading, “Fine Stage Equipment,” the article reported:

“All the stage equipments were furnished by the Twin City Scenic Studio of Minneapolis and St. Paul. All of the curtains, scenery, stage traps and stage equipment were furnished by this company, as well as the asbestos curtain, and all of the equipment is of very high grade. This company was organized but four years ago and has developed a scenic business that will compare favorably in quantity and quality with any similar company in the country. The company is composed of Theodore L. Hays, manager, W. P. Davis, chief artists, and W. K. Brown, chief mechanic. Mr. Davis was formerly chief artist of the sudatorium theater, Chicago, and is a veteran of scenic art. Under his direction the scenery for the Auditorium will be painted. Mr. Brown is conceded to be one of the ablest stage mechanics in the country and under his direction the auditorium scenery will be built, and the mechanical appliances and apparatus installed.”

In 1905, the Twin City Scenic Company hired Walter Burridge to paint the Auditorium Theatre drop curtain. Burridge was assisted by Davis in this endeavor. Hiring a well-known scenic artist to paint drop curtain for the Auditorium Theatre was a very strategic move for the Twin City Scenic Co. This was a common practice, one perfected by Sosman & Landis in the 1880s and 1890s. Temporarily contracting a well-known artist added legitimacy to the firm and helped the project make headlines. On May 9, 1905, the “Star Tribune” described the new drop curtain. I am including the article in its entirety:

“The great Auditorium curtain, a work of high art, done by one of the most celebrated scenic artists in this country, is now practically finished , and Walter Burridge, whose whole attention has lately been given to this fine picture, left last night for New York. What remains to be done, W. P. Davis, artist of the Twin City Scenic studio, who has assisted in the work, will complete.

The subject chosen by Mr. Burridge was the ruined temple of Minerva, the only condition which is known in modern times, and one which the artist has freer rein for an idealized and imaginative work.

IN KEEPING WITH THE BUILDING

While the artist has been silently engaged on the picture few have known of his presence, or of the work of art which was growing under his hands, to be one of the greatest of the creations with which he has adorned many leading halls of America.

A few artists have seen the work, and these declare it to be the crowning glory of the splendid interior; a work perfectly in keeping with the building, restful and quietly pleasing to the eye, and in fine, a work of art upon which one might gaze long and not tire.

The subject is taken from an old picture of the ruined temple. It is not, however, simply a reproduction, the original being idealized, the scene somewhat elaborated and the treatment adapted to the purpose of a stage curtain.

The temple is shown on its stately eminence in the middle distance, the outlines somewhat hazy, and the beautiful Grecian columns in various stages of decay. The building occupies a position in about the center if the picture, and is surrounded by a characteristic and beautiful Athenian scene, which stretches away in the background to a dim and poetic distance.

The general tone of the work is quiet and subdued and in perfect harmony with the plain and massive character of the auditorium interior. The tints are neutral, sienna grays and other pale tints being mostly used.

The border, which remains to the done, will of course be Grecian, and will be worked out in subdued colors.

WORK OF MAGNITUDE

The immense size of the curtain, 44 by 58 feet, of itself made the work one of no little magnitude, and when it is considered that the colors spread over this great area were to combine into a work of high art some conception of the task of the artist may be formed.

The new curtain will be seen for the first time by the public on the opening night of the grand opera season, March 14, and will be a feature lacking at the recent grand opening, when the asbestos curtain had to do duty in its stead.

Walter Burridge designs the scenic part of all the great productions of Henry Savage, and his journey to New York is in connection with one of these.

He was specially engaged by the Twin City Scenic studio, which has charge of all the scenic work for the Auditorium.”

I want to briefly place the mention of Burridge’s work for Savage in historical context, as it relates to both Davis and Thomas G. Moses. When Moses left Sosman & Landis in 1900 and moved to New York for four years, he was contracted by Henry Savage to design all of the scenery for his operas. In New York, Moses also established the scenic studio of Moses & Hamilton. Moses ended his New York partnership with Will F. Hamilton in 1904, and returned to Chicago to become the vice-president of Sosman & Landis, directly supervising all design, production and installation at the firm. Moses was also a former business partner of Burridge. Two decades earlier, Moses the two had established the scenic studio of Burridge, Moses & Louderbeck. Davis, Burridge, and Moses were all intimately connected and part of a very tightly-knit network. It is always important to examine the scenic studios that did not compete against each other. I have yet to locate any competition between Twin City Scenic Co. or Kansas City Scenic Co. with Sosman & Landis; each company being founded by former Sosman & Landis employees. Yet they all worked on projects in the same region, subcontracted work to one another, yet seldom competed for the same project. Studios owners also maintained very close friendships. For example, Davis and Moses remained close friends from their first meeting in 1881 until Davis’ passing in 1922.

Even after Davis moved to Seattle, Washington, Moses continued to visit his dear friend whenever he was in the area. In 1921 Moses wrote: “Ran over to Seattle and was pleased to see friend Davis.” In 1922 Moses was working in Tacoma, Washington, and recorded, “My old friend Davis called on me from Seattle.” Their last meeting was shortly before Davis passed away in August 1922.

Both Edwin and William P. Davis moved to Seattle by 1910, although I remain uncertain as to the exact date. However, by 1911, the annual company scrapbook for the Twin City Scenic Company includes a photograph for a parade float in Seattle, Washington.

*Project completed by the Twin City Scenic Co. in 1911. Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota.*

I have yet to locate any record of Davis’ scenic art work in the Pacific Northwest. Their move shortly follows the establishment of several scenic studios in the regions, however, and this may have been cause for their initial move west. For example, in 1906 William Grabach established his Pacific Coast Scenic Studio in Portland, Oregon. Grabach was another former Sosman & Landis scenic artist. I have not tried to track down any connection between Grabach and Davis. Neither Will or Edwin appears to have established a scenic studio or became associated with any theatre manufacturing firm. All I know for certain is that William and Edwin were living together in Seattle when Edwin passed away in 1914. His death was announced on Aug. 20, 1914, in Rochester’s “Democrat and Chronicle:”

“Edwin Davis. Brockport, Aug 20. – News was received to-day of the death of Edwin Davis, formerly of this village, in the home of his brother, William P. Davis, in Seattle, Wash. He was 55 years old, having been born in Brockport in 1859, His early life was spent in this village and he graduated from Brockport Normal. His later life was spent in Chicago, He was a scenic artist by profession. His only relative is his brother. The body will be brought here for burial in the High street cemetery” (page 5). Edwin was buried in the same cemetery as his father H. C. Davis.

Will Davis also passed away eight years later, also in Seattle. A Washington State death certificate lists his passing on June 10, 1922. Other than a digital summary, I have yet to locate any other information, including cause of death or an obituary notice. Although his father and brother were buried at High Street Cemetery in Brockport, New York, William P. Davis was not buried there.

There was a William P. Davis (died in Tacoma, Pierce County, Washington, in 1922) who is buried at Oakridge Cemetery, Marshall, Calhoun County, Michigan, Lot #55, Sec. E, New Grounds. Tacoma is very close to Seattle, Washington. I am pretty confident that this is the same person.

Gravestone of William P. Davis at Oakridge Cemetery in Marshall, Michigan.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 57 – Nicholas J. Pausback

*The gravestone of Nicholas J. Pausback (1881-1953).*

Nick Pausback was a scenic artist who worked at Sosman & Landis from approximately 1908 until 1916, primarily painting at the firm’s annex space on 20^th Street in Chicago. Although the firm’s main studio was located on Clinton St., they frequently leased and staffed annex spaces during times of peak productivity. These secondary spaces handled much of the “specialty work” that was contracted, or subcontracted by other companies. The specialty work was directly supervised by Thomas G. Moses (1856-1934). Beginning in 1904, Moses was responsible for all design, construction, painting and installation of projects at Sosman & Landis at both studios.

In 1908 Moses, wrote, “During this year I have split my time between 20^th Street and Clinton Street. Did a great many scenes and drop curtains and we kept a good force at 20^th Street. I depended a great deal on Pausback to look after the work while I was away.”

Nicholas “Nick” John Pausback was the second of seven children born to Nickolas J. Pausback (1853-1900) and Caroline Helbing (1859-1943). Born on May 5, 1881, in St. Louis, Missouri, his siblings were: Maria Pausback (b. 1879), Joseph William Pausback (b. 1883), Eva Pausback (b. 1884), August Pausback (b. 1885), Estelle “Stella” Pausback (b. 1888), and Clara “Kate” Pausback (b. 1889).

In 1900, Pausback was still living at 3113 Magnolia Street, St. Louis, with his family. At the time, he was 19 yrs. old. The US Federal Census that year listed Nick’s occupation as “artist” in the “painting” industry. Interestingly, he was the only child in the family who worked in the theatre, while his siblings were employed as milliners, clock salesmen, mill clerks, and saloon employees. Pausback’s mother, Caroline, even worked at a grocery store.

By 1903, Pausback was working as the scenic artist at the Imperial Theatre in St. Louis. On January 21, 1903, the following Want Ads was placed in the “St. Louis Globe-Democrat” on page 8:

“WANTED – Boy to help scenic artist. Apply Pausback, Imperial theater, stage entrance, 9 a. m., Wednesday.” Regradless of his position at the Imperial, Pausback continued to paint scenes at other theaters throughout the region.

*1903 advertisement placed by Nicholas J. Pausback.*

In 1905, he painted scenery for the new Grand Theatre in Owensboro, Kentucky. On July 16, 1905, “The Owensboro Messenger” reported, “The painting of the scenery at the Grand will be finished this week, and no theater in the country will be more elegantly equipped. The main drop curtain is an art creation of exceptional merit. In the center is a Venetian scene of beautiful design. All the scenery is artistic and varied in design. There are sixteen pieces of woods scenery, two drops, four borders and ten wings. There are fourteen pieces in a fancy chamber set. In addition to these there is scenery showing plain interior rooms, kitchen, a prison scene, a street scene, landscapes and garden. All of the work was done in the house. The painting was done my Nick Pausback, of St. Louis, who has been at work at the Grand for six or seven weeks. The frames were also made in the building. A rack for scene painting is permanently installed in the building, and new scenery can be painted as required. The Grand will open the latter part of August, with Four Hunters, a musical comedy” (page 5).

On July 18, 1905, a second article in the “Messenger” provided a little more information about Pausback’s works: “Mr. Nicholas Pausback, of St. Louis, who has the contract for the painting of the scenery, is diligently at work and will be through in a few days. He painted the finishing touches on a large outside drop curtain Saturday morning. This curtain is made of heave asbestos. It is painted with a beautiful Venetian scene. It is a most artistic piece of work. Two drop curtains and several fly wings will finish the equipment of scenery and Mr. Pausback will begin them immediately. One of the scenes is fitted up with sixteen pieces and another has fourteen. The latter is a fancy parlor scene painted in Japanese pattern. It is very handsome. Thirty hanging pieces, including drop curtains, etc. will be in place during any performance” (page 6).

On July 22, 1905, the final article in the “Messenger” reported, “The work of fully equipping the new Grand theatre is progressing rapidly. Mr. Nicholas Pausback of St. Louis is the artist employed. He has painted several scenes and is now at work on the others. There will be about twenty hanging scenes and about seventy-five all told. The greater part of these will be in frames. Stage carpenter McDaniel, has the work of making the frames and fitting them well in hand. When this work is completed the Grand will have one of the very best equipped of stages. The two “tormentors,” painted by Mr. Pausback, having been placed and they are receiving the favorable criticism of all who see them.

That same year, Pausback was also engaged to paint new scenery for the new opera house in Central City, Kentucky, located ninety miles due north of Nashville, Tenness. On July 26, the “Messenger: announced, “Mr. N. Pausback, who is engaged in painting scenery at the New Grand theatre, has returned from Central City, where he has secured a contract to paint new scenery in the opera house at that place” (page 8). His work in Central City did not last for long. Only four years later, the opera house went up in flames; the fire started during commencement exercises for the Central City School’s music class. The music teacher and children ranging from ages 5-12 were the main victims.

Just prior to his work in Kentucky, Pausback was married on June 29, 1904. His bride was Ottilia Creszenzia Groebl, and the wedding ceremony was held at St. Francis de Sales Catholic Church in St. Louis. Ottilia (1883-1966) was the daughter of Peter Gröbl and Creszenzia Gmeinweise. Nick and Ottilia celebrated the birth of six children: Nicholas, Elvira, Raymond, Mary, Lawrence, and Therese.

After the birth of two children, Pausback moved his family to Chicago in 1907, where the remaining four children were born. Although it remains unclear as to when Pausback started at Sosman & Landis, by 1908 he was supervising the 20^th Street Studio while Moses was away. At In 1909, Moses wrote, “In January I went to Clinton Street to stay for some time. Sosman seemed to think I was needed there more than at 20^th Street. Pausback took charge of the 20^th Street studio.” Pausback had already taken charge of the 20^th Street studio during Moses’ absences the year before.

The 1910 US census listed Pausback as an artist in the scenic studio industry, living with his family at 651 West 61^st Place in Chicago. In 1911, Moses again records that Pausback took charge of the 20th Street studio, writing “We started Brewer’s work at the 20^th Street studio, with an extra number of men. Pausback had his hands full; [Fred] Scott acted bad. Got Geo. Schultz on the staff at 20^th Street.” Pausback continued to work at Sosman & Landis until 1917.

Pausback also started taking outside projects with Moses, grabbing work whenever he could to support his growing family. In 1916, Moses wrote, “Pausback went to the 20th Street studio, part of which we rented for a couple of months. We put plenty of help with Pausback to rush the work through, and I think he will be able to pull it out, as we are too busy at Clinton street to take much of it.” Pauback also traveled with Moses to New York that year at Thanskgiving. Of the project, Moses wrote, “We expressed the scenery and November 28^th it was all up. I did the society stunt while Nailer and Pausback put all the work up, and for a wonder everything fitted.” Sometime during 1917, Pausback began working for another company.

In 1918, Pausback’s WWI Draft Registration listed that he was working in the advertising department of Swift & Co. in the Union Stock Yards of Chicago.

Already in 1903, Swift & Company employed 5000 workers at its slaughtering plant in Chicago’s Unions Stock Yard. Here is a little history about the company: http://www.encyclopedia.chicagohistory.org/pages/2869.html

This was a big career shift for Pausback, and I have to wonder what type of advertising he was doing for the firm; whether it was designing advertisements, painting signage, or something else for the beef business. In 1918, Pausback and his family were living at 6539 Ellis Ave. In his draft registration, Pausback was described as tall and slender, with grey eyes and dark brown hair.

The 1920 US Federal Census listed the Pausbacks as still living on Ellis Avenue in Chicago, with Nicholas’ occupation again listed as an advertiser in the “Packing Co.” industry [beef packaging].

Eventually Pausback struck out on his own and established a scenic studio. In 1927 Pausback Studios was located at 3727 Cottage Grove Ave., Chicago. Things were continuing to look up for Pausback by the late 1920s; work was plentiful, and there was a new and insatiable client – academic theatre. Educational and academic institutions became a primary client for Pausback Studios, as well as many theatrical supply firms at the time. Public schools were in a constant state of demand. Publications focused on how amateur productions could forgo the need of any theatrical expert – “do it yourself” became a popular approach; you just needed enthusiasm and an instructional manual to produce a show. And this is what Pausback also cashed in on. In 1928 Pausback also wrote a catalogue entitled “Stage Craft.” It was listed in the “Catalogue of Copyright Entries,” published by Pausback scenery company in Chicago, 1928. His publication was included in the “Catalogue of Copyright Entries, 1929. I have yet to actually see the book, however, Worldcat shows copies in New York, Washington D.C. and Cleveland, here is the link: https://www.worldcat.org/title/stage-craft/oclc/5438657&referer=brief_results

*Nicholas J. Pausback’s book in the* Catalogue of Copyright Entries *for the year 1929.*

*Photograph shared by grandson Nicholas John Pausback.*

Pausback also began partnering with other business leaders to deliver scenery for city events. On Dec. 2, the “Chicago Tribune” pictured Pausback in the backrow of a group of men under the heading “Business Men Help Plan Yule Trees” (page 12). He was one of several Chicago business men who met to plan the construction, lighting and decoration of giants Christmas trees in Chicago parks for the 1928 holiday season, partnering with F. H. Fisher of F. H. Fisher & Co; W. E. Bell, electrical engineer of the south park commission; Gerhardt Meyne of the Meyne construction company; C. N. Hidge of the Illinois Bell Telephone Co.; A. J. Vogele of the Commonwealth Edison company; Harry S. Towle, electrical engineer of the west park commission; Pierre Bloiuke, architect; and Thomas F. Queenan, electrical engineer of the Lincoln park commission. Pausback presented some new ideas for the outdoor tree décor. On Dec. 9, 1928, the “Chicago Tribune,” reported, “N. J. Pausback of the Pausback Scenery company presented a display of sample ornaments designed to meet the requirements of trees of gigantic size. Among these was a modern idea of spangles, some of them ten inches in diameter of various shapes and colors. Another decorative feature consisted of metal balls in all colors and sizes, each covered with silver sparkles” (page 93).

*Nicholas J. Pausback picture with other Chicago businessmen (back row, second from left).*

*Detail of Nicholas J. Pausback. This is the only image that I have located of him to date.*

He and his family continued to prosper, despite the economic downturn after 1929. Many of his family gatherings and other social events were announced in the “Southtown Economist.” On February 21, 1930, the “Southtown Economist” announced, “Mr. and Mrs. Nicholas J. Pausback and their children, Lawrence and Teresa, 6606 Woodlawn ave., returned Sunday from a motor trip to St. Louis where they visited relatives” (page 14). Later that fall, the Pausback’s threw a huge dinner On September 12, 1930, the “Southtown Economist” reported, “Mr. and Mrs. Nicholas J. Pausback, 6606 Woodlawn ave., entertained last Saturday evening at a dinner and reception at the Hotel Hayes, 6345 University Ave.” (page 16). It was quite a big gathering with a formal program that included musical performances, poetry reading and costume dance.

Pausback Scenery Co. continued to land a series of contracts for various events throughout the 1930s. In 1933, Pausback Scenery Co. was credited with delivering properties for “Wings of a Century” at the Chicago World’s Fair that year. The firm was also responsible for the Street of Paris at the Exposition. Pausback’s son was interviewed about the family business. Pausback’s grandson recently shared “Larry Pausback Century of Progress” (his father, Pausback’s son) on Vimeo. Here is the link to the interview: https://vimeo.com/118502410

*Wings of a Century Program, 1933. Note Pausback’s name “PROPERTY – Pausback Scenery Co.”*

The firm also delivered some traditional scenery for regional productions, but these type of projects became less and less frequent. On Nov. 18, 1935, they manufactured a stage setting for the Bristol Paly-Goers League production of “Petticoat Fever.” On Nov. 18, 1935, “The Bristol Herald Courier” in Bristol. Tennessee, reported, “The setting showing the interior of the Labrador wireless station, designed by Pausback Studios, was realistic and authentic” (page 3).

By 1944, Pausback briefly partnered with another former Sosman & Landis employee, Art Oberbeck. The two were credited with scenery and lighting a “Alaskan Stampede.” The article reported, “Alaskan Stampeded, the unique spectacle – musical show – ice ballet and dramatic story – which will open at the Chicago Coliseum, tomorrow, has called a regiment of famous people to Chicago to participate in this production. Not only are singing, acting, and skating stars of note headlining the show, but writers, musicians, and technicians form New York and Hollywood are combining their talents for a completely original show” (page 12). Of the technical contributions, the article added, “Clarence Shapiro, dialogue director is a Chicagoan. Chicagoans are also the scenic and lighting experts, A. W. Oberbeck and N. J. Pausback, who are responsible for breathtaking effects of five stages with Mount McKinley for a background and Aurora Borealis playing over the whole and reflected real lagoon. There is a plot woven through all this color, sound, and movement. It is a heartwarming romantic story of a young pilot, a small Eskimo boy who is rescued from death , and an American girl whose love the pilot desire.”

*Drawing shared by grandson Nicholas John Pausback.*

In the 1950s, Pausback Scenery Co. was primarily focusing on stage equipment and draperies for academic institutions, with the firm was competing against other drapery companies that included National School Supply, Miller School Supply, Lee School Supply, Art Drapery Supply, Lee School Supply, Mitchell-David Co., and Tiffin Scenic Studios. Work continued, but Pausback started to slow down and contemplate retirement. After running the firm for twenty years, he retired, only enjoying six years before passing away in 1953. Pausback passed was at the age of 72 years old and He is buried in St. Mary Catholic Cemetery and Mausoleum in Evergreen Park, Illinois (Section 1, lot 764). On May 14, 1953, Pausback’s obituary was published in the “Chicago Tribune” on page 36. It announced:

“Nicholas J. Pausback, 72, of 1000 S. Rhodes av., retired theatrical scenery contractor, died yesterday in his home. Mr. Pausback, who retired six years ago, supplied amateur and professional theatrical scenery for 45 years, the last 20 years as owner of Pausback Scenic studios. An amateur magician, he was a member of the International Brotherhood of Magicians and the American Society of Magicians. Surviving are his widow, Otilia, three daughters, Mrs. Elvira Pausback Howard, Mrs. Mary Crescentia Welsh and Mrs. Therese Curtis, and three sons, the Very Rev. Gabriel of the Carmelite Order, Raymond Joseph and Lawrence. Mass will be said at 9:30 a.m. Saturday in St. Clara’s Carmelite church.”

Ottilia lived for another decade, passing away on May 23, 1963. Both are buried at Saint Mary Catholic Cemetery and Mausoleum in Evergreen Park, Cook County, Illinois (Section 1, lot 764).

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 54 – Frank E. Gates

Frank E. Gates was a scenic artist at Sosman & Landis Scene Painting Studio in 1885.

His future business partner, Edward A. Morange, also worked for the firm during the 1880s. A decade later, the two established the well-known scenic studio in New York – Gates & Morange. I have previously covered the life and career of Morange, as Sosman & Landis Employee No. 21. Here is a link to the post: https://drypigment.net2021/04/21/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-21-edward-a-morange/

To fully appreciate life and career of Francis Edgar “Frank” Gates (1864-1952), one must understand the theatrical contributions of his father, Sigismund Iantis Gates (1826-1906). In addition to being an actor and musician, S. I. Gates was a stage mechanic/machinist/carpenter. The elder Gates worked in the St. Louis theatre community for over fifty years. I am briefly including his story, as it provides the best context for Frank E. Gates’ early training in scenic art and the theatre.

Born in 1826, Sigismund Gates started life as a carpenter. By the age of twenty-six, he was employed as a ship joiner in Buffalo, New York. In 1850, he was married to Jennet Eunice Brayman, and living with their infant daughter Mary Agnes Gates in New York. On March 15, 1851, their young daughter passed away and death continued to follow Gates over the next few years. By 1854, Gates not only suffered the loss of his daughter Mary, but also the loss of his wife and two young sons, Charlie and Horatio. Only his 3-yrs.-old daughter, Matilda J. Gates, survived. Father and Daughter moved west to start a new life. On July 21, 1855, Sigismund married Louisa Maddern (1832-1900), in Detroit, Michigan. Louisa was Frank and Richard Gate’s biological mom. After being married in Detroit, the young couple settled in Iowa. An Iowa State Census from 1856 listed Sigismund, Louisa, and Matilda J. living in Jackson, Iowa. Soon, the small family relocated to Illinois where Ernst and Grace Gates were born.

By 1860, the Gates moved again to St. Louis, Missouri, where Sigismund continued to work as a stage carpenter. At the time, the family was living on the same street as many other carpenters, machinists and architects. The 1860 US Federal Census listed the Gates household as including: Sigismund (34), Louisa (28), Matilda (9), Ernst (3) and Grace (1). Another daughter, Emily, was born shortly after the census, also in Missouri.

By 1861, the Gates were living in Keokuk, Iowa, where Sigismund enlisted in the Union Army on August 2. He enlisted as a musician, playing in the band of the Iowa 6^th Infantry for just over a year. Sigismund completed his military service on August 16, 1862. In Keokuk, Francis Edgar Gates was born on July 12, 1864. After the Civil War, the Gates returned to St. Louis, and Sigismund to theatre work, both performing and building. Living on 20^th street, between Market and Estelle, he became associated with the Varieties Theatre. He was soon listed as their official stage mechanic, working with scenic artist Thomas C. Noxon. On Dec. 30, 1866, the “Daily Missouri Republican (St. Louis, page 3), reported, “VARIETIES THEATRE- The great spectacle of Sadak and Kalasrade, produced in a scale of magnificence never before witnessed on any stage. The scenery by T. C. Noxon, machinery by S. I. Gates…” By 1867, Sigismund I. Gates was still listed as a stage carpenter at the Varieties Theatre.

*The Olympic Theatre in St. Louis, Missouri, where Sigismund I. Gates worked as a stage mechanic.*

Machinist S. I. Gates and scenic artist T. C. Noxon then became associated with the Olympic Theatre by 1868. The two remained there for the next three decades. On Sept. 7, 1873, the “Missouri Republican” listed Noxon and Gates as part of the Olympic Stock Company (page 6). They continued working together until Noxon’s passing in 1898, yet Sigismund remained as a stage carpenter at the venue, still listed as part of the staff from 1899 until 1903 in “Julius Cahn’s Official Theatrical Directory.”

The Gates and Noxon connection cannot be underestimated in terms of theatrical networks.

I have written quite a bit about Noxon (1829-1898) in the past. He was nationally recognized for his scenic artist and electric parade float designs, as well as establishing the scenic studios of Noxon & Strauss; Noxon, Halley & Toomey; Noxon, Albert & Toomey; and Noxon & Toomey. All the while, he worked with Sigismund Gates as his stage carpenter. Here is a past post that shares some of Noxon’s accomplishments: https://drypigment.net2018/07/28/tales-from-a-scenic-artist-and-scholar-part-462-thomas-c-noxon-of-noxon-toomey/ At the time of Noxon’s passing, the “St. Louis Post-Dispatch” reported, “Mr. Noxon for years had been considered one of the foremost scenic painters in the country and his work can be seen in almost every prominent theater in the United States” (21 June 1898, page 7).

In addition to his association with Noxon, Sigismund was also a leading member in the Theatrical Mechanical Association of the United States and Canada. On Jan. 13, 1889, the “St. Louis Post-Dispatch” announced the upcoming “Theatrical Mechanics Ball.” The article noted, “The ball is in the hands of a committee consisting of S. I. Gates, delegate to the Grand Lodge, Secretary Louis J. Horn and Treasurer Andrew Fueger.” The annual masquerade ball of the Theatrical Mechanical Association was held at the Masonic Hall, located at Seventh and Market Streets. Sigismund was still actively involved with the organization in the 1890s. By 1895 he was president of the St. Louis lodge for the organization. That year the Convention of the Grand Lodge of the Mechanicians was held at Havlin’s Theatre, St. Louis.

Sigismund continued to work backstage until his passing in 1906. His obituary was published in the “St. Louis Dispatch,” on Feb 9, 1906:
“GATES – On Geb. 8, at 2 P.M. Sigismund I. Gates at the age of 80 years. Funeral will take place Saturday, Feb. 10, under auspices of Missouri Lodge No. 1 A.F.&A.M., at 3p.m. from the funeral parlors of Theodore W. Paschedag, 2816-2826 North Grand Avenue. Relatives and Friends invited to attend.”

In addition to a theatrically-connected father, Frank’s mother was also part of the American Theatre. As a member of the Maddern family, she was related to the musician, Richard Maddern (father), and performers: Amelia Maddern Hodges (sister), Elizabeth “Lizzie” Maddern (sister), Minnie Maddern Fiske (niece) and Emily Stevens (niece).

These theatrical connections and familial ties made Frank Gates an incredible asset at Sosman & Landis in 1885. The firm relied upon well connected artists to help secure contracts across the country, based on their individual reputations alone. Gates not only had the theatrical connections, but also the academic training in fine art. This would set him apart from many of the other scenic artists at Sosman & Landis at this time. Both he and his brother Richard attended the St. Louis School of Fine Arts at Washington University in St. Louis, both completing four years at the university.

The 1880 US Federal Census listed Frank as a University student, living with his parents at 1315 N. 7^th St. At this time, the household consisted of S. I. Gates (55), Louise (47), Ernst (22, son), Grace (21, daughter), Emily (19, daughter), Frank (16, son), Richard (7, son), and Robert Essex (16, orphan). Years later, the childhood of Frank and Richard Gates was repeatedly recalled in various newspaper articles. In December 1927 an article published in “The Scenic Artist” commented, “they were practically brought up on theatre from almost infancy, being in a family of theatrical managers, musicians and actors, it was natural that the stage should appeal to them” (Vol. 1, No. 8, page 8).

The Gates children were certainly familiar with the productions at the Olympic Theatre and the scenic art of Noxon. Early scenic art training was almost certainly under the tutelage of Noxon at the Olympic Theatre. After early work as an assistant scenic artist, Frank landed a position at Pope’s Theatre in St. Louis. Already by age of eighteen, Frank Gates was listed as an artist in the “St. Louis City Directory,” although still living at his parents’ home on 1315 N. 7^th St. By 1883 Frank Gates, was living on his own at “ws. 7^th, nr. Cass av.” Two years later, he was living at 414 Olive in St. Louis, consistently listed an artist in the city directory.

Frank was twenty-one years old when offered a position at Sosman & Landis Scene Painting Studio in Chicago in 1885. On July 12, 1885, the “St. Louis Globe” announced, “Mr. Frank Gates, who has been the scenic artist at Pope’s Theatre for a year or more, left last night for Chicago, where he will engage himself at Sosman & Landis, scenic artists on South Clark Street. He intends to remain in Chicago” (page 9). For a little theatrical context, Charles Pope (of Pope’s Theatre) worked as manager at the Metropolitan Theatre in Indianapolis (1868), Coates Opera House in Kansas City (1870-1871), the Olympic Theatre in St. Louis, Missouri (1870-1876), the Varieties Theatre in New Orleans (1876-1877), Pope’s Theatre in St. Louis (1879-1887), and the Oriental Theatre in St. Louis (1895). So, Pope worked with Sigismund Gates at the Olympic Theatre, where he would have first encountered Frank’s as a young paint boy and later scenic art assistant.

After Frank left Pope’s Theatre and moved to Chicago in 1885, he met and married Malinda Jane Neal (1866-1945). The couple was married in Milwaukee, Wisconsin, with the ceremony taking place on September 8, 1886. At the time, Frank’s residence was listed as Chicago and Malinda’s as Keokuk, Iowa. Frank continued to paint in the region, but was not always listed in the “Chicago Directory.” Interestingly, a regional branch of Noxon, Albert & Toomey was established in Chicago and also listed in the 1887 “Chicago Directory.” Frank’s future business partner Morange was consistently listed in the Chicago Directory during the 1880s and early 1890s.

In 1887, however, Frank Gates was painting in Kansas City, Missouri, for another former Sosman & Landis employee, Lemuel. L. Graham. Graham actually ran a regional branch for the Chicago-based firm. It is possible that Gates was still working for Sosman & Landis at the time, as part of the regional studio supervised by Graham. Gates continued to work for Graham in Kansas City throughout the duration of 1888.

By 1890, Frank returned to Chicago, and was listed as an artist, living at 334 W. Van Buren. This gets a little confusing, as there was also a Frank A. Gates working as a painter in Chicago, completely different person and address though. Supposedly, Gates met Morange in 1894, however, they likely met at Sosman & Landis long before that time; the scenic art world in Chicago was very small, especially for those employed at Sosman & Landis. Historical accounts suggest that they studied fine art during the day and painted scenery together at night. It is very likely that the two were still sporadically employed at Sosman & Landis.

When Frank’s younger brother, Richard H. Gates, came of age, they began working together. The two briefly moved to Philadelphia between 1897 and 1898. In 1897, Frank, Richard and Morange established Gates & Morange Studio, completing their first Broadway Design in New York that year – “Straight from the Heart” by Sutton Vane and Arthur Shirley. I have written quite a few posts about Gates & Morange. Here are links to two of them for more information: https://drypigment.net2017/08/27/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-190-gates-morange-creators-of-things-novel-and-beautifull/

and

https://drypigment.net2017/08/28/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-191-the-sandstorm-scene-for-the-the-garden-of-allah/

*Examples of the Gates brothers’ fine art are posted at https://gatesbrotherscollection.com/*

In New York, Gates & Morange became a success, with the demand for their services and scope of their projects continuing to increase. The scenic studio of Gates & Morange became one of the premiere scenic studios in the United States by the early twentieth century, delivering stage settings for dozens of Broadway shows. Throughout the duration of Gates & Morange; Morange was the primary visionary and traveler, gathering source material for their designs. Gates managed the studio and the contracts. Scenic artists who worked for Gates at their firm included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri.

*Design library at the studio of Gates & Morange.*

On Feb. 7, 1907, the “New York Time” announced the incorporation of “Gates & Morange, Inc., North Pelham (stage settings) capital $100,000, Directors – F. E. Gates, Tuckahoe; E. A. Morange, Mount Vernon; R. N. Gates, Bronxville.” (page 13). Morange was also integral in establishing the eastern affiliate of Sosman & Landis, New York Studios shortly after incorporating Gates and Morange. This secured and unspoken jurisdictional agreement with both New York Studios and Sosman & Landis. In 1910, David H. Hunt, Secretary and treasurer of Sosman & Landis, established New York Studios. He was one of the initial stockholders; at the beginning the firm’s stockholders included David H. Hunt, Adelaide Hunt, Edward Morange, Henry L. Rupert, and W. E. Castle. New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.

The New York Public Library also has a Gates & Morange Design Collection (c. 1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions. The Gates and Morange Designs Collection is part of the Billy Rose Theatre Division Repository, Archives & Manuscripts, New York Public library. The following excerpt is from the online descriptor of the collection –
“[Gates & Morange] designed scenery for more than 50 productions over four decades, additionally painting and supplying countless others. Clients included Liebler Co., Florenz Ziegfeld and George C. Tyler. Designers included Thomas Benrimo, William E. Castle, Richard Gates (brother of Frank), Charles Graham, Alexander Grainger, Arne Lundborg, Orestes Raineiri, and Edward Morange… Original set designs, curtain designs, drops, and olio designs, mostly color, produced by the Gates and Morange studio over four decades for theatrical productions and for businesses, trade shows, and several exhibitions. Although most of the designs are undated, the bulk of the collection appears to date from the 1920s. Among the more than 75 productions included are The Daughter of Heaven by Pierre Loti (ca. 1912); Dolce Napoli (ca. 1913); Earl Carroll Vanities (1923); For Valor by Martha Hedman and H.A. House (1935); Gridiron Club productions (1935); An International Marriage by George Broadhurst (ca. 1909); The Lady of the Lamp by Earl Carroll (1920); Music in the Air (musical), music by Jerome Kern, with designs by Joseph Urban (1932); Nancy Brown (musical), music by Henry K. Hadley (ca. 1903); Song of the Flame (musical), music by Herbert Stothart and George Gershwin, with designs by Joseph Urban (1926), and a number of Ziegfeld productions. Of particular note is Rose-Marie (musical) by Otto Harbach and Oscar Hammerstein II (1924), which includes 3 photographs, showing the development from an initial photograph to the scenery in place on the stage (1924). There are also a few studio plans and research materials in the collection.” Here is the link to this Gates & Morange collection: https://archives.nypl.org/the/22927.

There is so much more, but I am going to stop here.

Frank Gates passed away on Dec. 18, 1952, in Bronxville, New York. He is buried at Ferncliff Cemetery and Mausoleum in Hartsdale, New York (Ferncliff Mausoleum, M06TN, D, A, 13).

To be continued…