The three horizontal seams on the Napoleon Drop Curtain at the Brown Grand Theatre were separating; the thread completely failing, leaving gaping holes in the painted composition. Each needed to be reinforced prior to hanging.
There are three seams on the Brown Grand Theatre Napoleon Drop Curtain.Damaged area on the seam.
Although this is not a common occurrence, I have encountered it before on historic scenery at Scottish Rite theaters in Milwaukee, Wisconsin, and Pasadena, California.
My past work reinforcing the top, bottom, and vertical seams on a backdrop at the Pasadena Scottish Rite.
In each case, the historic scenery was treated at least twice with flame retardants, possibly more. I have noticed that when some historic drops are re-treated with a secondary type of flame retardant, a chemical reaction occurs, causing the fabric to become stained and brittle. Not only will the fabric deteriorate, but the paint will actually begin to flake off. Such is the case with the Napoleon Drop Curtain.
Brown staining on the back of the Napoleon Drop Curtain from flame retardant, c. 1978-1979.Staining from multiple applications from flame retardants. Backdrop at the Pasadena Scottish Rite Theatre, c. 1902.Damaged area on the seam.Backdrop at the Pasadena Scottish Rite Theatre, c. 1902.
We know for certain that the Napoleon Drop Curtain was treated with a flame retardant as the back clearly states “Flame Proofed”– twice. It is possible that an overly strong solution was applied to begin with, or that a secondary application was added over the years. Some fire marshals will demand that historic scenery be treated ever few years; they have no idea that this will destroy historic scenes.
Flame Proofed stencil on the Napoleon Drop Curtain at the Brown Grand Theatre in Concordia, Kansas.
In regard to the failing seams on the Napoleon Drop Curtain, the only remedy is to reinforce them, thus preventing the further separation of the fabric panels. I reinforced one seam earlier this week as a test sample. This was to make sure that I could manipulate the drop, as well as verifying the strength of the glue and width of the necessary patch. Today I realized that all of the seams were different widths.
The narrowest areas of a seam on the Napoleon Drop Curtain measure 1/4″.The narrowest areas of a seam on the Napoleon Drop Curtain measure almost 1 1/2″.Reinforced seam. Note how the width of the seam varies beneath reinforcement strip.
There are two factors accelerating the overall deterioration of the painted surface on the Napoleon Drop Curtain: flame retardant and primer. The primary issue is that the pigment has begun to separate from the primer. Saturating areas with an extremely diluted hide glue has helped some. However, I have been hesitant to treat any areas that were not dusting. My hesitation stems from the overall thickness of the combined primer and paint layers. I have actually never encountered such a thick layer of dry pigment paint on an entire drop before, and the added weight to the fabric is quite something.
Paint that has flaked off of the Napoleon Drop Curtain, revealing the white prime coat beneath.
The weight makes the drop difficult to shift. This drop is incredibly heavy, and it has nothing to do with the actual fabric. The weight comes from the paint. This excess weight is also taking a toll on the fragile fabric. Typically, I am able to easily move a drop once it is on the stage floor. Keep in mind that the drop is on plastic, so it should easily slide in any direction that I want it to go; I just have to get a little air under the drop and it should readily move. The easiest way I can describe this process is playing with a parachute in gym class. Giving a little flip to the edge gets air under the fabric, lifts it up, and helps move the entire drop. When it is airborne, you guide the direction of where the drop will land. Usually, I can do this by myself with very little effort, but not the Napoleon drop curtain. It took two of use today to shift the drop.
After all three seams were reinforced on the Napoleon Drop Curtain.
The drop curtain was flipped face side down to reinforce the two remaining seams. This was not an easy task. When we flipped the drop face up again, I just about burst into tears. There were entirely new areas of damage to the painted composition. This time the damage was in vertical lines running down one area of the drop. I could not believe my eyes.For the life of me, I could not figure out why there was vertical damage, and not horizontal.
An example of vertical damage that occurred when flipping the drop. Notice previously stabilized horizontal cracks.Detail of damage that occurred after the Napoleon Drop Curtain was flipped painted side up.
There is that moment of stunned silence when I find myself at a loss. Then my brain goes into overtime, trying to process what has happened and what this means for the rest of the restoration and hanging process. I thought of all of the obstacles that will occur when it is hung from the pipe and raised. I needed to come up with a process to minimize any further damage during handling and hanging.
When I was patching four horizontal tears on the the backside of the drop, I noticed a vertical crease running though an entire fabric panel. At the time, I could not imagine was caused it. This flaw was original to the creation of the drop and not recent. It is now contributing to the paint separation, as are other areas with fabric flaws.
Flaw in the fabric on the back of the drop that I noticed while patching. This is one of the areas where a vertical line appeared when he drop was flipped over.Damage to the fabric near the flaw.
Here is my plan for today:
When the paint restoration is completed it will need to dry overnight. Despite the air conditioning, an abundance of rain this week has not helped lower humidity levels or dry time. Early Monday morning, I will roll the drop onto a tube. Due to limited time and supplies, I am forced to use fabric-wrapped PVC tubes. This in itself is incredibly tricky, as old drops seldom easily roll without creases. The new top batten will already be attached and ready to go. The idea is that the drop will be slowly unrolled as it is lifted; a time-consuming process, as it will need many hands gently unrolling the drop. Once suspended, and the lines leveled (hemp system), the bottom batten will be added. Attaching the bottom batten is pretty straight forward as the original lines are still visible. This is an original batten, by the way. The problem is that I will not be there for the actual hanging, scheduled next Friday.
How the drop responded during handling does not bode well for the overall longevity of this piece.
I was recently asked how long the restored drop could last. Considering the deteriorated fabric and flaking, I explained that it could possibly last for another forty, or even fifty, years. However, at some point it will need a backing piece, one that covers and supports everything. That is always a last resort and should be delayed as long as possible. The repairs to the back will cause a huge problem during the backing process. The added thickness and weight will also become problematic. After seeing the vertical lines today, I don’t know if it will last more than a few decades now, especially when I start factoring in the humidity and heat in Kansas. Temperatures on the stage greatly vary.
I have been restoring historic scenery for quite some time. There are always wildcards that you can’t anticipate, but this one is really unique. For a drop painted in 1978, this should be in much better shape. There is just so much paint on the fabric. The seams will hold, but it is impossible to determine when the actual fabric will give way. I say this, having handled drops three times the age of this one, with absolute confidence that they had several decades left in them.
The thickness of a paint layer ultimately determines the lifetime of a backdrop. The seaming matters too. Over time, I have noticed that vertical seams support the weight of bottom battens better than horizontal seams.
The Fox West Theatre came onto my radar in February 2020. While cataloguing the scenery at the Tabor Opera House in Leadville, Colorado, I was contacted by Gregory Friesen, owner of CSNA Architects. He is involved with the Fox West Renovation in Trinidad, Colorado. Friesen drove up to Leadville and took me out to dinner at one night after work. He shared the scope of this massive renovation project.
The Fox West Theatre opened in 1908 with a full stock of scenery delivered by the Kansas City Scenic Co. This certainly piqued my interest. Although much of the historic scenery at the Fox West remains rolled up and tucked away on a paint bridge, there is a beautifully olio drop still hanging. It is a lovely example of early twentieth century scenic art.
Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.Kansas City Scenic Co., 1902. Tabor Opera House, Leadville, Colorado.
The Kansas City Scenic Co. was the same firm that delivered scenery to the Tabor Opera House in 1902, subcontracting a portion of their work to Sosman & Landis. Over the past year, I have traced the history of the Kansas City Scenic Co. and assembled a database with various installations delivered by the firm between 1887 and 1912.
Painted detail. Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.Painted detail. Kansas City Scenic Co., 1908. Fox West Theatre, Trinidad, Colorado.
While planning my trip to Leadville this month, I decided to stop in Trinidad instead of Denver. Spending a night at 6,000+ feet really helps adjusting to the much higher altitude in Leadville. In Trinidad, I was accompanied by my rigging consultant Michael Powers. We toured the Fox West Theater yesterday, exploring all of the nooks and crannies in this stunning building. It is an absolute delight to participate in ongoing discussions about the stage, scenery and decor. This is such a special place, and the team guiding the renovation has certainly done their research. The history page is extremely well written and the team’s passion for the venue is extremely contagious.
Here are a few photographs from our adventure yesterday. For more information about the history of the venue and the upcoming 2021 telethon on September 26, visit https://www.foxwesttheatre.com/
Leroy R. Close worked at Sosman & Landis from 1895 to 1901. Prior to working for the firm, Close ran L. R. Close & Co. in Kansas City, Missouri (c. 1883-1889). He worked as a scenic artist in Kansas from approximately 1883 until 1894. In 1894 the Kansas City Directory listed that Close relocated to Chicago. In Chicago, Close worked for the Sosman & Landis Scene Painting Studio as a scenic artist and traveling salesman. Here are a few articles that I have located to date, linking Close with Sosman & Landis.
On Feb. 8, 1895, the “Muscatine News-Tribune” reported,
“L. R. Close, agent for Sosman & Landis, the noted scenic artists of Chicago, was in the city yesterday and spent the time in taking measurements of the stage of the New Grand, which his firm has contracted to furnish with a complete stage equipment. He took orders for over forty pieces of new scenery, which include parlor arches, parlor settings, chamber, rustic and plain kitchen, horizon, woodland garden, bridge and prison scenes, set pieces and houses of all descriptions, new draperies, etc. New borders and electric lighting for the stage are also to be put in, making the cost of the stage equipment alone worth not less than $1,600. The work of tearing out the old stage will be commenced next week and the erection of the new stage will be under the direct supervision of Architect Zeidler, and the new scenery is expected to be here within three weeks. Mr. Munroe, who is to be the manager of the New Grand, says the Muscatine theatre-goers will be more delighted with the superb scenery when they see it, as well as with the whole new stage and the general transformation which the house is soon to undergo. All that is promised, and more, too, will be realized, so that the new theatre will be one in which our people will take unfeigned pride” (page 1). This same article was published again on Feb 13, 1895 (page 15).
The next mention of Close’s work for the firm was on Nov. 8, 1896, in the “Chicago Chronicle.” In the article entitled, “WORKS A NEAT TRICK But is Caught at it,” an interestingly story is told of thievery:
“George R. Clark will appear before Justice Underwood next Thursday to answer a charge of larceny. Two weeks ago, a canvas containing a telescope valued at $1,000 was stolen from L. R. Close, traveling salesman in the employ of Sosman & Landis, scenic artists. The day the telescope was stolen a young man walked into the Revere house with the telescope under his arm and registered under the name George R. Clark. He remained there for several days and then jumped his board bill and left the telescope in his room. Sosman & Landis immediately after the telescope was stolen advertised for it, offering a reward for information which would lead to its recovery. The same day that Clark left for Revere house a telephone message was received by Sosman & Landis saying that the telescope could be found there. Mr. Landis recovered the stolen article and later Clark received the reward. Thursday Clark was arrested and Mr. Landis identified him” (page 9). For context, Chicago’s Revere House was located on N. Clark Street, a short distance from the previous Sosman & Landis studio location (c. 1879-1886).
On Feb. 25, 1900, Sosman & Landis placed a want ad in the “Chicago Tribune” –
“Wanted – one good second-hand boiler, 60×16; one engine, 12×18 or 20; a 100 b.-p. good condition. All must be in good condition. Call or address L. R. Close, 236-238 Clinton-st., Chicago.” 236-238 S. Clinton Street was the main studio address for the firm (page 24).
. FYI- The Chicago street numbering later changed from 236-238 Clinton Street to 417-419 S. Clinton Street.”
One of the last mentions of Close’s work for the firm was just a few months before his passing when he was working in Wilmington, North Carolina. On Feb. 10, 1901, the “Wilmington Morning Star” reported, “Mr. L. R. Close, of the scene painting studio of Messrs. Sosman & Landis, 236 and 238 South Clinton Street, Chicago, arrived in this city yesterday to paint the scenery and other stage accessories for Mr. Pembroke Jones’ extensive pavilion which is being built by contractor Shepard at ‘Airlee,’ Mr. Jones’ handsome county seat on Wrightsville. Mr. Close is an artist of reputation and his contribution to the series of private theatricals which Mr. Jones will have at his place will be valuable” (page 1).
Close passed away only three months later on May 8, 1901. On May 10, the “Chicago Tribune” published his obituary:
“CLOSE- May 8, 1901. Le Roy Close. Aged 55 years. Funeral Sunday at 11:30 a.m. under the auspices of Dearborn Lodge No 310 AF&AM, from his late residence 879 Jackson-blvd. Interment at Westfield, Pa. At 11:30 a.m., under the auspices of Dearborn Lodge No. 310 A.F.&A.M., from his late residence 879 Jackson-blvd. Interment at Westfield, Pa.” (page 5). Close was buried at Mount Pleasant Cemetery in Westfield, Pennsylvania (Tioga County).
At the time of his passing, Close’s occupation was listed as “traveling salesman.”
Close’s life moving to Chicago is complicated, messy and bit difficult to decipher. Tracking down the records of his birth, early life, marriage/s and a various theatrical occupations posed quite a challenge. Keep in mind that over the years his first name also varies from Le Roy, Leroy R., Lee R. and L. R. His last name was Close, but his parents and a few siblings have historical records with the alternative spelling of Cloos and Clore.
However, here is what I have managed to piece together about Leroy Close’s life…
Leroy R. Close was the son of David Jacob Close (1809-1863) and Maria Sweet Close (1816-1891), born in Westfield, Pennsylvania, on February 10, 1846. The 1850 census listed Leroy as one seven children living on the Close farm near Westfield. The seven children were Ambrose (15 yrs., 1835-1916), Noah P. (13 yrs., 1838-1881), Marietta/Marie “May” E. (11 yrs., 1839-1910) Amelia (9 yrs., 1841-1892) Albert “Byron” (7 yrs., 1843- 1891), Leroy (5 yrs., 1846-1901) and Mathilda (2 yrs., 1848-1929). Not listed at in the 1850 Census were Albert (the eldest child who died in infancy, 1833-1834), the twins Bernard and Burnette E. (b. 1851), Maria (b. 1855) and Cora (b. 1857). There were two Alberts; the one who was born in 1833 (died in infancy), and Albert “Byron” (b. 1843) who was three years older than Leroy. Early on, Albert Byron is listed as Byron, and later as A. B. Close; same guy though.
In 1860, the Close family was still farming in Westfield, with the children in the household listed as Marietta (20 yrs., a teacher), Amelia (18 yrs.), Albert “Byron” (16 yrs., farms), Leroy (14 yrs.), Matilda (12 yrs.), Bernard (9 yrs.), Burnett (9 yrs.), Maria (5 yrs.), Cora (2 yrs.).
Albert Byron and Leroy left home by the 1860s when they came of age, unlike their sisters. Albert Byron enlisted in the Union Army and mustered out on August 22, 1862. He was part of the 136th Division, Pennsylvania Infantry. Achieving the rank of First Lieutenant, he later served in the 207th Division. I have yet to verify whether Leroy served in the military during the Civil War. In the post-war years, however, both Albert Byron and Leroy moved west. I tracked the two living in Oswego Kansas during the early 1870s. This is when Albert Byron became listed as A. B. Close.
In 1870, A. B. was working in Oswego, Kansas as Notary Public, dealer in Real Estate and Insurance agent. He was now listed in a variety of advertisements and newspaper articles, well-known as the brother of Leroy Close. With an office on Merchant Street in Oswego, advertisements in the “Kansas Democrat” listed A. B. Close as representing the Home Insurance Company of New York, the Kansas Insurance Company of Leavenworth, and Equitable Life. Initially, his main office was in Oswego, Kansas (8 Sept 1870, page 1).
A. B. and Leroy also tried their hand at other business ventures, including the sale of school supplies throughout the region. On May 2, 1873, the “Kansas Democrat” announced, “Mr. L. R. Close brings cheering reports of his late business trip to Howard and Cowley counties!” (page 5). Later that fall, the “Kansas Democrat” announced, “Mr. Leroy Close, at A. B. Close’s old stand in agent for all the most popular school books, also the celebrated programme clock. He has all the necessary apparatuses for furnishing schools complete. Teachers will do well to pay Mr. Close a visit” (Sept 19, 1873, page 4). On April 3, 1874, the “Kansas Democrat” announced, “Leroy Close, Esq. is in the city for a few days” (page 5). This may have been the changing point when Leroy shifts professions, becoming a painter/scenic artist. This timing also coincides with his brother’s move to Topeka, Kansas.
In 1874, A. B. moved from Oswego to Topeka, and then Independence, Kansas, becoming a land agent for the Atchison, Topeka & Santa Fe Railroad. His return visits to Oswego, however, still made news in local papers. A. B. Close even briefly returned to live in Oswego, but soon relocated to Elmira, New York. This was a big move, and he continued to work with the emigration of individuals westward. By 1876, A. B. Close was consistently listed in the Elmira City Directory as an agent for the next few years. By the 1880s, A. B.’s work permanently relocated him to San Antonio, Texas, where he would remain for the rest of his lived. In 1887, he was listed as an emigrant and locating agent, now for the Southern Pacific Railway System, his office at 327 Austin. A. B. Close passed away in 1891 and is buried in the San Antonio National Cemetery.
Leroy Close also left Oswego during the 1870s, first moving west to Peru, Kansas, and then heading north to Kansas City, Missouri. Newspaper articles indicate that Close’s career as a theatre professional commenced in 1880. By 1883, Leroy Close was listed as a painter in the Kansas City Directory, working at 525-527 Main Street and boarding at 952 Wyandotte. He was listed as only one of two scenic artists listed in the Kansas City Business Directory at that time. The other scenic artist was W. O. Thomas & Co., also working at the same studio address on Main. Work was plentiful, and on August, 24, 1883, Close published a want ad in the “Kansas City Star”:
“WANTED – Boy to work in Studio and learn to paint scenery, apply at 527 Main St., third floor. L. R. Close & Co.” (page 3). In 1884, Close and Thomas were again listed in the Kansas City Directory, still working at 527 Main.
On 21 March 1884, “The Chatauqua Journal” of Sedan, Kansas reported, “Leroy R. Close, Esq., ‘scenic artist’ of Kansas City was in Howard again on Tuesday. He has probably got the contract to furnish the ‘drop curtain’ and stage scenery for McKay & Eby’s opera house. We hope he will get the contract as we believe he will do good work and give satisfaction. Leroy is an old Kansas boy, having been one of the pioneers in Oswego and later Peru, Howard county.- Courant” (page 3).
He secured the contract for the opera house on May 16, 1884, the newspaper reported, “L. R. Close & Co., scenic artists of No. 527 Main Street, Kansas City, Mr. Close has been in Howard for a week superintending the work of putting up scenery and we are informed by Mr. Eby that everything is being done as well, if not really better than is called for by the contract. Mr. Close is engaged extensively in this line of business and he takes great pride in doing his work well and giving satisfaction to his customers.”
By 1885, Close enlarged his studio staff again. That year, the Kansas City Directory listed Ben Dunn as working for L. R. Close & Co. Shortly after starting with Close, Dunn partnered with fellow artists Oldham and Tschudi, to open their own scenic studio.
On Oct. 21, 1886, the “Garden City Daily Herald,” reported, “L. R. Close, a scenic artist from Kansas City, Mo., the gentleman who put the scenery in the Stevens opera house in this city and the originator of the Western Sport, a theatrical paper at Kansas City, called on the HERALD to-day. He is well please with Garden City and says that we are now in shape to secure the best attractions on the road.”
L. R. Close & Co. advertisement in the 1887 J. R. Clancy catalog.
In 1886 Close moved his studio location to another multi-story building, now on Broadway in Kansas City. The 1886 Kansas City Directory, included listings for Leroy Close and L. R. Close & Co., but now his business was located at 516 Broadway. Interestingly, a former Sosman & Landis employee, Lemuel L. Graham, listed his studio at 527 Main; it was like the scenic studio shuffle. It remains unclear whether Close’s move to 516 Broadway was a step up or step down. Keep in mind that by 1884, Sosman & Landis established a branch office when former employee, scenic artist Lemuel L. Graham, also founding Graham & Davis scenic studio in Kansas City, represented the Chicago firm. Close continued to land one job after another, but the competition continued to increase, especially with the new firm established his former employee Dunn – the Kansas City Scenic Co. (the second iteration of the studio name).
Throughout 1886 and 1887, L. R. Close’s studio remained at 514-516 Broadway, with Lemuel L. Graham’s studio at 525-527 Main. Competition increased in the city and soon Edward Lowndes was also listed in the scenic artist section of the Kansas City Directory; his offices were at “306 ½ e 12th.”
Close continued to plug along with work, and on May 30, 1887, a “Kansas City Star” include a want ad placed by Close: “WANTED – A good stout boy wanted to work in a studio. Call at 516 Broadway, L. R. Close & Co.”
One of many want ads placed by L. R. Close in Kansas City newspapers.
Something happened at this time, as Close set his sights on other business ventures in St. Joseph, Missouri. He starts leasing and managing performance venues in the region.
On Nov. 24 Nov. 1887, the “St. Joseph Gazette,” reported:
“The New Theatre. The statement was made in an evening paper yesterday that a deal had been closed by which L. R. Close and A. J. Axtle of Kansas City, had secured the lease on the Natatorium building for five years, and that it would be opened for a theatre soon. The publication was premature, to say the least. The Gazette has been aware for several days that negotiations looking to the end above indicated were pending. They are still pending, no definite understanding yet having been arrived at by the parties interested, and it is possible that nothing will come of them” (page 5). And yet, Close just plugged along and found a partner to invest in his idea.
On Sept. 27, 1888, the “St. Joseph Gazette,” published:
“The New Theatre” – converting Natatorium into an opera house…Mr. L. R. Close, the well-known scenic artist of Kansas City, and one of the lessees of Streckebein’s garden, has leased the building for a term of five years, and proposes to supply the city of St. Joseph with one of the finest and best arranged popular-price places of amusements in the West. The new theatre will be called the Grand Opera House, and will be managed by Mr. Close in person, and he will be assisted by Mr. Wm. T. Duncan, press agent of the Eden Musee” (page 4).
At the beginning of 1889, Close’s investments in the St. Joseph opera house was included with building investments and improvements being made throughout 1888. On Jan. 1, 1889, the “St. Joseph Herald” reported, “A Fine Showing. Over $1,600,000 expended in buildings during the Year…L. R. Close. Remodeling building for an opera house, southwest corner Fifth and Jule streets…$8,000” (page 27).
The same issue included another article about Close’s business activities:
“The Grand Theatre. Mr. L. R. Close, the lessee and manager of the new house, was one of the proprietors of the St. Joseph Summer Garden, and the support which was given the attractions presented assured him that a new popular priced theater would be well supported. The old Natatorium building at the southwest corner of Fifth and Jule streets, was accordingly leased with the privilege of buying and the work of remodeling it commenced. At first it was only intended to expend $3,000 or $4,000 in fitting up the new building, but as work progressed, new improvements suggested themselves, and as a result $15,000 will be spent before the theatre is formally opened. When completed the theatre will be one of the handsomest in the West. It will have a seating capacity of 1,800, will be lighted be electricity and have fifteen dressing rooms. The first floor will seat 800 people, the balcony 400 and the loges and boxes 200. Two bathrooms for the performers is an innovation which Manager Close thinks is the “greatest thing out.” The stage is 40×60 feet and the curtain opening is 26×30.”
1889 advertisement listing L. R. Close as manager of the Grand Opera House in St. Joseph.
On January 20, the “St. Joseph Herald” featured the Grand’s opening reporting, “Mr. L. R. Close, has been in the theatrical busines for nine years, and has been remarkably successful. He is the head of scenic studio of L. R. Close & Co. of Kansas City, and has fitted up in the United States over 600 theaters.” Close’s asst. manager was “Mr. W. T. Duncan, well-known in St. Joseph, will be the assistant manager and treasurer. Mr. Duncan has grown up in the theatrical business and is familiar with its every detail. He bore the same relation to Mr. Close with summer garden and was also press agent for Eden Musee. These two gentlemen are thoroughly acquainted with the St. Joseph theatre-going public and will furnish first-class attractions.”
Another article on Jan. 20, 1889, in the “St. Joseph Gazette” reported, “The theatre is a jewel and is bound to prove a success. The stage is probably the main feature and theatrical companies will call the management blessed. It is fifty feet deep by sixty feet wide and there are fifteen dressing rooms. These are sixteen complete changes of scenery, only two of which will be used for the opening attraction. Mr. Close himself conducts a studio in Kansas City and has fitted out some of the principal theaters in the country, among them the Gillis and Ninth street theaters, Kansas City. The drop-curtain is a scene of Monaco, very artistically executed, above which is a picture of William Shakespeare…Mr. L. R. Close the proprietor and manager, has been a prominent scenic artist for many years, with headquarters in Kansas City. He fitted up the Warder Grand, the Gillis, the Coates and the Ninth Street theatre of Kansas City, besides many throughout the western country. He conducted the summer garden here last summer, which was a pronounced success. He opens a cosy little theatre here. The house is to be run as a popular price house, yet Mr. Close promises only first-class attractions.”
He was riding a wave that soon crashed. Something radically changed and then his venue caught fire.
On March 1, 1889, the “St. Joseph Gazette” reported:
“And the Grand Too.
Mr. L. M. Crawford Secures Managerial Control of Another Opera House.
Mr. Lester M. Crawford, the Napoleon of the theatrical, as the Kansas City Times delights to call him, completed arrangements yesterday by which he will become manager if the Grand March 25, for a term of five years, Mr. L. R. Close, returning to his studio in Kansas City.
When Crawford came to St. Joseph, the knowing ones predicted that inside of a few months, he would secure possession of the Grand. When it comes to securing an opera house, it is always safe to say that Mr. Crawford will get it in time. Mr. D. A. Latshaw who has been the manager the Warder Grand in Kansas City and C P. Crawford will have charge of the two St. Joseph houses. Mr. Crawford will have charge of the new house for a term of five years at which time his ease on Tottle’s will expire. Mr. Crawford has the complete managerial contract of the following houses beside booking the attractions for a number of others: Warder Grand, Kansas City; Grand, Omaha; Funk, Lincoln; Lewis, Fremont; Kerr, Hastings; Price’s, Atchison; Crawford’s, Leavenworth; Crawford’s, Topeka; Crawford Grand, Wichita; Fifth Avenue, Arkansas City; Grand, Winfield; Ragsdale, Newton; Bowerstock, Lawrence; Tootle’s and Grand, St. Joseph.
Sometime between Crawford showing interest in the venue and taking over the lease, the opera house burned down. Close was still left in charge of the theater.
On June 6, 1889, the “St. Joseph Herald” reported, “L. R. Close says he will soon commence rebuilding the Grand Opera House…L. R. Close, manager of the Grand Opera House up to the time it burned, arrived in the city Tuesday. He was met on the street yesterday by a HERALD reported and in response to the question as to whether he was going to rebuild the Grand or not said: “Yes, sir; I intend to rebuild and remodel the opera house in a manner that will make it a ‘dandy.’ The roof will be raised, the front improved and the interior will be thoroughly and completely changed in every way possible to make it a first class house.” “Are you booking any attractions for next season””
“Nearly every day, and there is nothing ‘rotten’ with any of them, as I am taking especial pains to book nothing but the latest and the best attractions I can get.
Mr. Close is now having the plans and specifications of the new house made and will give them to the public in the near future. As soon as they are completed work on the house will commence” (page 3).
It appears that Close lost the building within the year and was forced to returned to Kansas City in his old role as scenic artist. Much of his decision may have been a result of a court case. On May 24, 1890, the “St. Joseph Herald,” reported “J. W. Powers vs. L. R. Close et al., jury waived and case submitted to the court. Testimony heard and judgement rendered for the plaintiff against L. R. Close for $149.36, and lien on property mentioned in the petition” (page 3).
Close returned to Kansas City and was again listed in the 1891 Kansas City Directory. Listed as “Lee R. Close,” he was again a scenic artist at 525 Main, residing at 630 Locust. Close continued to work as a scenic artist in the city for the next three years. In 1894, when the Kansas City Directory listed “Lee R. Close moved to Chicago.”
In the Windy City, Close was listed as a commercial traveler (salesman) from 1896-1901. In 1896, he was living in the 669 Jackson hotel, but soon settled at 680 W. Jackson Boulevard. The 1900 US Federal Census also listed this address, so little changed until his passing.
By 1900, Leroy was living with his wife, Luella (b. 1857), of twenty-six years. For context, Luella Close was born in Ohio and the couple did not appear to have had any children. In 1900, the couple was living with lodgers Emanuel Mandi (broker) and Allen J. Straight (clerk). By the spring of 1901, Leroy passed away.
Now this is where is gets a little odd. There is no question that this is the same Leroy Close who worked as a scenic artist and theatre manager in Kansas. In Chicago he was a salesman for Sosman & Landis. On Leroy’s Illinois death certificate there is the same birthdate (Feb 10, 1846), same birth place (Westfield, Pennsylvania), and same parents (David and Maria). All of the details match in corresponding documents too, including siblings. Chicago newspaper obituaries even report that his remains are brought to Westfield, Pennsylvania. Close was buried at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.
Gravestone of Leroy Close at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.
Then I came across the probate court records and I started to wonder what was going on…
The estate of Leroy Close went through probate, again same birth and death dates. He left personal property valued at $7,000, all part of a $14,000 estate. However, there was another woman listed as his widow – Maranda W. Close, not Luella. Maranda was appointed administratrix of the Close estate, along with Ralph Irving Terwilliger and Sarah Elizabeth Terwilliger. On May 29, 1902 (the probate record date), Miranda’s address was listed as 919 Jackson Blvd, Chicago. The Terwilligers address was 232 W. Davidson St. in Chicago. I cannot find any connection between Leroy, Luella, Maranda and the Terwilligers. Except, I recalled the name Terwilliger, as it is unique.
Ralph Terwilliger was a paint boy to Thomas G. Moses in the 1880s and remained close friends until his passing. Moses even pasted a newspaper clipping of Terwilliger in his scrap book years later writing the caption “Paint boy for Burridge, Moses and Louderback during the year 1887 and 1888.” In 1910 also Moses wrote, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him. He was President of a city bank. He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week. He had prospered. With his wife and two daughters he enjoys a cottage near our camp.”
J. C. Blaine is part of the prequel to the history of Sosman & Landis. He worked as a scenic artist and stage carpenter for J. S. Sosman, and was later associated with the firm in the 1890s. I posted new information to my blog on June 4, 2023; the link is below. Here is what I originally wrote in June 2021:
“I first came across Blaine’s name in an article about Sosman in 1875. The two delivered scenery to Semon’s Opera House that year. Afterwards, they painted a billboard featuring local businesses. Their work was published in the “Fairfield Ledger” on October 28, 1875:
“Very Pretty.- We mean that bulletin board painted by Messrs. Sosman & Blain, the artists who painted the scenery for the new Opera House. The bulletin board is about 10×20 feet in size, and contains the cards of a number of enterprising business men. It will be put up on the southeast corner of the Park, and will prove a handsome and attractive advertisement. The work is a credit to Messrs. Sosman & Blain.”
From the Fairfield Ledger, Oct. 28, 1875.
A few weeks later their work was again mentioned in an article entitled “Business Chart.” On November 4, 1875, the “Fairfield Ledger” reported, “The most beautiful and attractive business chart ever seen in Fairfield is the one now on the north side of the P. O. building. In size it is 18×16 feet, and contains the business cards of about twenty of Fairfield’s business men. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blaine, who so handsomely painted the scenery in Semon’s Opera House.”
I want to take a moment to examine Semon’s Opera House, as it is representative of so many stages at that time. The new theater was described in detail on October 7, 1875, in the “Fairfield Ledger” (page 6). The article reported:
“The stage is 44×20 in size, ample space being given for dressing rooms. There are two entrances to the stage from the audience and one by the outside stairway. It is circular in front, and the footlights, of which there are about 15, give plenty of light. The scenery was painted by Mr. J. S. Sosman of McComb [sic.], Ills., and bears evidence of the work of a master painter, and a man skilled in his profession. It consists of a magnificent drop curtain, representing the Bay of Naples. At the right and in the foreground of the scene is a ruined arch covered with ivy, the whole being surrounded by a beautiful Etruscan border sixteen inches wide. The parlor scene is a representation of gorgeous panel work, and the flat is supplied with practical doors on either side which are beautiful columns with handsome arches extending above the doors and resting upon the pilasters. The street scene presents a brick residence and a garden in the foreground, while in the distance appear business houses, churches, residences, &c. In the wood scene is a heavy wood, with a beautiful lake in the perspective. The kitchen shows us a dilapidated room with rough plastering and a number of holes in the walls which have a natural appearance, and various articles of household use. At the sides of the drop curtains is more panel work, the entire curtain being surmounted with rich crimson and garnet drapery, giving a perfect finish. The drawing is on canvas fastened on the flats which are 10×16, sliding in grooves, and the wings are 4×10 in size. The painting is a great credit to the artist, and all pronounce Mr. Sosman a painter of ability.” I am going to pause here for comment; this is almost identical to what was initially used at the Tabor Opera House in Leadville, Colorado. It is even the exact same size of wings and shutters.
Between 1875 and 1876, Sosman met and partnered with Perry Landis, future co-founder of Sosman & Landis Scene Painting Studio. Both had served in the Union Army and then ventured west during the post-war years, with Sosman settling in Macomb, Illinois, and Landis settling in Fairfield, Iowa. Neither was immediately drawn to the theater, with each testing the waters of another profession. Sosman’s scenic art career did not even commence until 1873. He came to it quite late in his career, when he assisted T. B. Harrison, a Chicago-based scenic artist who was hired to paint scenery for the New Chandler’s Opera House in Macomb, Illinois. At the time, Sosman was twenty-eight years old. The majority of scenic artists began their apprenticeships at the age of sixteen.
Their probable meeting was in Fairfield, Iowa, when Sosman was painting the scenery for Semon’s Opera House, During this time, Landis returned to Fairfield after another extended stay in Denver, Colorado. On August 19, 1875, the “Fairfield Ledger” announced, “Perry Landis is with us again – and from Colorado” (page 5). By 1876. Sosman & Landis were traveling together, while making their permanent home in Fairfield. On June 11, 1876, the “Fairfield Ledger” announced, “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3). The two were remembered by Fairfield residents them long after they moved the Chicago in 1879.
Landis had previously lived in Fairfield before venturing further west to Colorado. On March 18, 1875, the “Fairfield Ledger” reported, “Perry Landis has been spending a few days with his many friends in Fairfield…Davey Beck leaves for Denver to-day in company with Perry Landis. He goes to remain some time” (page 5). Even after settling in Denver, Landis continued to update his friends and family about the western scenery and opportunities. He submitted articles to the “Fairfield Ledger,” occasionally working as a newspaper correspondent for various cities.
Meanwhile, Sosman worked as an itinerant scenic artist and began making a name for himself throughout the region. Years later, the town remembered their beginnings in Fairfield. On June 20, 1894, the “Fairfield Ledger” recalled the pair living in town, reporting, “Sosman & Landis, the scenic artist, both of whom formerly resided in this city, are the lessees and managers of the Masonic Temple Observatory and Roof Garden, Chicago. This twenty-one-story building is one of the wonders of the metropolis of the west, and its roof affords a view superior to that from any other point in the city. Messrs. Sosman & Landis have added an electric theater, similar to that presented at the World’s Fair, and have ready for reproduction many of the interesting sights of the great exposition. Their place is one of the attractions of the city.”
Their previous residency in Fairfield was again mentioned the following year to when a new theater was being planned in Washington City. On Jan. 2, 1895, the “Fairfield Ledger” reported, “Western capitalists are here to build a large and handsome theater at Washington City. Sosman & Landis of Chicago, both former residents of Fairfield, are among the projectors of the enterprise. These gentlemen are said to have the largest scene painting studio in the world…” (page 3).
In the beginning, Sosman & Landis accepted any project that came their way, crisscrossing the country from one city to another. By 1879, the two had secured enough funding to open a scenic studio in Chicago. They placed advertisements for mail-order scenery in newspapers across the country, while maintaining a permanent studio space. They also assembled crews to work in both Chicago, New York and many other cities.
Like Sosman, J. C. Blaine worked as a decorative painter and a stage carpenter. He traveled from town to town throughout the Midwest, completing a variety of projects. On July 5, 1883, the “Independence-Journal” of Ottawa, Kansas, mentioned Blaine’s ornamental work. The article reported, “Have you noticed the water color decoration in the parlors of the Centennial House? This work was done by J. C. Blaine. Notice it” (page 3). Blaine remained in the area and by 1907 was listed in the Painter and Paperhangers section of the Ottawa City Directory. At the time, his place of business was listed as 1212 E. 7th.
By the 1890s, Blaine represented the Sosman & Landis studio, working as both a scenic artist and stage carpenter for the firm. On October 9, 1891, the “Salina Weekly News” reported, “Scenery Here. The new scenery for the Salina Opera House is here. It is elegant in design and finish. Mr. J. C. Blaine of the house of Sosman & Landis is also here as stage carpenter and at work. He was given notice while at Sulphur Springs, Arkansas and came on immediately. The work will require one week to finish as the plans for carpenter work in the hanging did not come in time for Contractor Gilbert to complete before the arrival of Mr. Blain. The chairs are elegant and comfortable and are now being lined upon the floor in a large Semi-circle” (page 4).
I have uncovered very little about Blain’s personal history to date, other than that he moved west to California by 1910, where he continued to work as a painter in National City with James C. Blaine. It remains unclear whether James G. was a brother or son.” —
Here is the updated post about Joseph C. Blaine and his son James G. Blaine:
Edward A. Morange worked with Thomas G. Moses at Sosman and Landis in the early 1880s. He eventually made quite a name for himself in New York and gained a national reputation as a scenic artist, designer and art director. I am going to start with Morange’s personal life before presenting his artistic accomplishments, as it helps provide context for his achievements amidst struggle.
Edward A. Morange was born on March 20, 1865, in Cold Springs, New York. He was the son of Edward B. Morange (1838-1904) and Ellen F. Morange (1838-1888). His father was a machinist who moved west shortly after Edwards birth, relocating the family to Davenport, Iowa. Edward was the third of five children born to the couple. His siblings were William, Emma, Justina and Agnes. By 1880, the Morange family was living in Chicago. This placed Edward in the right place at the right time to begin a scenic art career. The earliest mention of Edward in the newspaper dates from June 26, 1880. That year, the “Chicago Tribune” reported that he received a Foster Medal for his scholarship at the Dore School, one of the largest public schools in Chicago at the time.
After graduation, he soon started a career in scenic art, starting as an apprenticeship at Sosman & Landis and studying at the Art Institute of Chicago. Morange also started painting scenery at the Grand Opera House and going on sketching trips with his colleagues. In 1882, Morange primarily sketched with Moses, Hardesty Maratta and John H. Young. Of these sketching trips, Moses wrote, ““we certainly had some good trips…We were all working in watercolor. Most of our trips were along the river where we found good material and a lot of adventures – too numerous to mention. One Sunday we were sketching a grain schooner that was ready to leave at the Rock Island Elevator. A tug arrived to tow it from the lake. We objected as we had some work to finish on the sketch. The tug Captain was good-natured and invited us aboard the tug. We finished the sketch and rode out in the lake beyond the water crib some three miles. The Captain brought us back to Washington Street. We were profuse in our thanks and we were also satisfied. It gave the crew something to talk about.”
In 1883, Moses, Young, Morange and Maratta headed west to Breckenridge to see the mountains and gather source material. Moses catalogued the trip and also recorded Morange and Maratta’s early departure, writing, “Morange and Maratta were getting tired of the hard bed and indifferent food, so after a week of it they packed up and started east. The same day, Young and I started for Dillon by rail.” It is ironic that Morange departed early, as the remainder of his career would be highlighted by sketching trips throughout the world
By the late 1880, Morange met the love of his life, Julia Sowersby. The two were first mentioned in an “Inter Ocean” article on January 13, 1888 (page 8). Each participating in a Grand March at De Berg’s Hall in Chicago, an early Leap Year celebration. In 1890, the two married and began their adventure. Julia was born on Feb. 12, 1867, in Chicago. The daughter of Francis R. Sowersby and Eliza Jeffs Sowersby, her ancestors emigrated from England in 1800, initially settling at St. Catherines, Ontario, Canada, before moving to the United States. I doubt that she had any idea what being married to a scenic artist would mean over the years.
In 1893, the couple celebrated the birth of their first son in Chicago shortly after the opening of the Columbian Exposition. Morange had been hired to design some of the exhibits that year, as his career was starting to take off. By 1895, the couple was living in Washington, D.C. and soon celebrated the birth of their second child. In Washington D.C., Morange studied at the Corcoran School of Arts and Design. On May 18, 1896, their second son, Leonard Sowersby Morange, was born while the Morange’s were living in Washington, D.C. It is purported that Kern wrote “Smoke Gets in Your Eyes” in the Morange home and had hoped that Leonard would return home from the war and possibly join him in musical venues. There is some credence to this tale as on Sept. 21, 1920, the “Evening World” reported “As it Should Be.” Jerome Kern, composer, P. O. address Bronxville, has a big heart. One thing he hates to see is embarrassment on the part of a friend. The other evening, he had E. A. Morange, the scenery man, over for dinner. When the guest sat down at his table, he found eight spoons and forks at his place, all properly tagged. One bore a tag reading ‘Soup’, another ‘Coffee,’ a third ‘Ham,’ and so on. Guided by the tags Mr. Morange didn’t make a single faux pas” (New York, page 20). The two had remained especially close after the passing of Leonard two years earlier.
Leonard left his studies at Yale in 1917 to join the Canadian Flying Corps and was appointed as instructor in the Royal Flying Corps. After being sent to England, he died during a training incident when two student planes collided near Shotwick on 11 August 1918. After his passing, the Bronxville American Legion Post named after him. On March 3, 1928, the “Bronxville Review” remembered the history of Leonard S, Morange and the American Legions Lodge, stating, “It is a proud honor that this post has the heritage of the name of so gallant an officer who not only gave his all for a cause but for an Ally in order to gain that service earlier when it was so seriously needed before his own country had flyers on the front.”
His older brother Irving also served as a First Lieutenant the American Airforce on the western front. At the time of Leonard’s passing, Irving was already credited with shooting down three German airplanes. Sadly, Irving passed away from pneumonia in 1926. At the time he was working in Memphis.
By 1900, the Morange family moved to New York. On October 7, 1903, their younger sister Leila was born and baptized that fall. The family continued to thrive as Edward’s career appeared to be unstoppable, at least until the beginning of WWI. In regard to Leila, she eventually married Leland Hanson and celebrated the birth of two children, Joan (b. 1930) and Leland Jr. (b. 1931).
The births of the three Morange children in Chicago, Washington, D.C. and New York mark the family’s transition from the Midwest to the East Coast. Initially, Morange’s stage work in Chicago led him to work on outside projects with many other Sosman & Landis artist including, David A Strong and Ernest Albert. By 1889, Morange and Strong were working together. On March 8, 1889, the “Chicago Tribune” reported, “A bill for a partnership accounting was filed by Edward A. Morange and David A. Strong against James G. Jansen of Jansen, Morange & Co., dealers in materials for making blackboards” (page 10).
It was in Chicago during 1894 that Edward A. Morange would meet his eventual business partner, Francis “Frank” Edgar Gates. During the day, the two studied fine art and in the evenings, they painted scenery. Later, Frank’s brother, Richard Henry Gates, joined the team. Frank and Richard Gates received their academic training at the School of Fine Arts, Washington University, St. Louis. An article in “The Scenic Artist,” noted “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, December 1927, page 8). The Gates were a family of theatrical managers, musicians, and actors. Frank and Richard eventually partnered with E. A. Morange to form the studio Gates & Morange by 1897 (see past posts from Tales of a Scenic Artist and Scholar, parts 149, 171, and 189-91).
Although Gates and Morange had worked on many projects together, their first Broadway credits date from 1897 – “Straight from the Heart” by Sutton Vane and Arthur Shirley. The scenic studio of Gates & Morange was to become one of the premiere scenic studios during the early twentieth century. Although starting in Chicago, they soon moved their company to New York to produce settings for dozens of Broadway shows. Their first Broadway credits date from 1897 – “Straight from the Heart” by Sutton Vane and Arthur Shirley. Artists that worked for their firm over the years included Thomas Benrimo, William E. Castle, Charles Graham, Alexander Grainger, Arne Lundberg, and Orestes Raineiri. The New York Public Library also holds the Gates & Morange Design Collection (1894-1953), containing original set designs, curtain designs, olio designs, trade show designs, and several exhibitions.
By 1907, their incorporated their partnership. 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, Tucakahie; 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. 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.
It was during this time that Morange was gaining a national reputation, helping secure Gates and Morange an incredible amount of work. 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.
Edward A. Morange’s passport picture.
In 1908, the U. S., Government sent Morange to the Northwestern Territory to make sketches preparatory to painting a mammoth panorama for the Alaska-Yukon-Pacific exposition in Seattle, Washington. Morange also painted scenes for the government of Yosemite, Yellowstone National Park, Glacier National Park, the Grand Canyon, and many other areas. Morange constantly took advantage of painting from nature, keeping research files from trips throughout the World. However, his grandest adventures were with George C. Tyler, the head of Leibler & Co., and English Director Frederick Stanhope.
Their international adventures began in 1911, necessitating Morange applying for a passport on March 20, 1911. He was preparing to visit England and Havre, but ended up touring England, France, Germany, Algeria and Tunis for two months. His physical description at the time was listed as 5’-5”, high forehead, broad mouth, square chin, dark brown hair (with grey and parted in the middle), blue grey eyes, ruddy complexion and smooth shaven. In 1991, he was 46 yrs. old and living with his family in Mt Venon, New York. Richard H. Gates certified the information on Morange’s application was correct. The purpose for Morange’s trip was to gather information for the upcoming production, “The Garden of Allah.” Years later, a story from the trip was included in his obituary:
“Mr. Morange spent the summer of 1911 in Africa gathering material. While on this trip an attempt was made to affect the first crossing o the Sahara desert by automobile, and effort that failed eleven miles from the starting point when Mr. Morange’s car was buried in a sandstorm.” His experience was first shared in “Staging a Sandstorm” by Wendell Phillips Dodge in 1912 (The Theatre, Volume 15, 1912. Here is the article, as it is just wonderful:
“The busiest actor on the stage of the Century Theatre, where Robert Hichens’ drama, ”The Garden of Allah,” is still attracting large crowds, is the sand man. Though he occupies the centre of the stage only about one-fifth of the time that it takes Lewis Waller to give Boris Androvsky’s long soliloquy, he nevertheless grips the audience more than any other incident in the play.
While the sand man does not appear in the cast, still he is very much in evidence behind the scenes. For his one big scene he requires the entire stage from the foots to the backdrop, from wings to wings and from the boards to the flies; and for his quick-change dressing-room he must have the great thirty-foot deep pit, the breadth and depth of the stage itself, which extends under the stage. For his “make-up” he requires almost a ton of dry colors for the ground alone, and no less than three hundred pounds of powder for the high lights. In making up he has to use eight tables and is assisted by thirty dressers in putting on his costume. His “make-up” is put on with the aid of a dozen powerful electrical blowers, in order to give the right blend, and his costume is made to fly before the breeze by an electrically-driven stage gale that would make the winds of Chicago’s lake front seem like a gentle summer’s night air ripple. He makes his entrance at top speed and keeps on moving in a whirling-dervish sort of a way throughout the scene, occupying the centre and every other part of the stage at once and all the time until the close of his speech, which is the most heart-body and-soul-rending in the whole play, filling the minds and hearts of the audience with all the emotions that exist between earth and sky.
In order to stage the sandstorm in “The Garden of Allah.” in spirit and in truth, George C. Tyler, of the firm of Liebler and Company, went into the heart of the great Sahara Desert, accompanied by Hugh Ford, general stage director, and Edward A. Morange, of the firm of Gates and Morange, scenic artists, and laid siege to an actual and ferocious sandstorm which they captured and have transported in all its fiery temper to the Century Theatre, New York.
Mr. Tyler sent his automobile to Cherbourg, and from there the motor trip into the desert began. At Marseilles, they embarked on the Ville d Oran, a small boat, to the African coast. After a rough passage the party reached Philippeville, from which point they put out for the Sahara. On the road between El-Arrouch and Le Hamma the sight of the “devil wagon” spread consternation, once entirely demoralizing a caravan, causing a stampede of camels. After some hours of speeding over the sands of time, the party passed El Kantara. Another hour and they arrived at an oasis in the centre of which lies the city of Biskra. Here they met Mr. Hichens, and after a reading of the dramatization of his novel amid the true atmosphere suggested in the book, they started out to reach the heart of the desert. Theirs’ was the first automobile that had ever penetrated the sands of the Sahara, and this it did to such an extent that on one occasion it sank so deep it took six donkeys and a camel to pull it out of the hole it dug as it plowed through the sand, embedding itself deeper and deeper with each drive. They were no sooner out of this difficulty than they ran into a real sandstorm.
“We had been gone from Biskra a short three hours,” said Mr. Morange, “when we began to find it necessary to put on our goggles and raincoats to protect our bodies from the sand, lifted and swirled around by intermittent, playful gusts of wind. Looking at” a herd of camels, probably an eighth of a mile away, we noticed that different groups of them would suddenly be veiled to our view while others to both sides would be perfectly visible. Turning to look at the low hills that stand out dark against the sands in front of them and darker still against the sky beyond, we saw faintly what appeared to be steam, along the surface in various shapes, rising from the sands as they approached the dark hills, and veiling them until they, the sky above and the sands in front melted into one even tone of light, misty, yellowish gray. Around the veiled mass the sun was shining. A feeling of discomfort, not unmixed with anxiety, possessed our party as the bright sun, with which we started out, disappeared. To move our jaws but slightly found us grinding sand with our teeth, and we instinctively tied our handkerchiefs around our heads, covering our nostrils and securing some protection for the mouth. We could no longer pick out the road that but a few moments before was well defined by the ruts made by the mail diligence that regularly struggles between Biskra and Touggourt. The shifting sand had been blown over the road as snow might obscure a highway. We had gone to the desert for ‘atmosphere’ and we were getting it with a vengeance.
We stopped the car, as we all agreed that it would be dangerous to proceed. From the direction from which we had noticed many little whirling steam-like gusts appear, we were now startled by the appearance of a huge irregular cloud, probably a hundred feet in width, moving rapidly toward us. A curious feature of it was that the bottom of it seemed to clear the ground, often rising and sinking alternatively. The color of the cloud was much darker than that of the sands around it. It was of a rather dirty yellowish red, but very luminous in quality. A half dozen camels that we could dimly distinguish, crouched or knelt, huddled together, stretching their necks close to the ground, their heads turned toward the approaching cloud. “The edge of this cloud, nearest to us, seemed entirely independent of the surrounding atmosphere, but as we were directly in its path, we instinctively closed our eyes, crouched in the automobile and turned our backs on it, as one would a blinding onslaught of snow and sleet. We were conscious of a hot, stinging sensation in the parts of our flesh exposed and a peculiar whistling, swirling rush of something passing over us for a few seconds. When I partially opened my eyes. I realized that it was almost as dark as night. When it grew lighter, we found ourselves in a yellowish, smoky fog of fine sand. We had to wait for probably fifteen minutes before the air cleared sufficiently for us to distinguish objects fifty feet away. Protected in the car as well as we were, we were still half-choked with sand. Little piles of sand were heaped up in front of the wheels and in all places that would allow them to form, as drifts of snow might pile. At this moment, we fully realized the oppressiveness of this dreary waste, this awful ocean of seemingly boundless sand.”
The question now was how to transfer the real, living sandstorm to the stage of the Century Theatre. Stage sandstorms date back more than twenty years, when one was introduced in Fanny Davenport’s production of “Gismonda.” This sandstorm, naturally, was very crude, since in those days there was no such thing as light effects nor stage mechanism. The players themselves created the sandstorm by tossing handfuls of Fuller’s earth over their heads to the accompaniment of the rubbing of sandpaper in the wings to give the suggestion of wind blowing. Belasco put over the first realistic sandstorm in “Under Two Flags,” causing Fuller’s earth to be blown through funnel-like machines from the wings, while at the same time stereopticon cloud storm effects were played on gauze drops. Mr. Belasco also introduced the now famous bending palm to stage sandstorms, to convey the idea of motion. Once when “Under Two Flags” was produced in San Francisco the local stage manager told the property man to get something that could be blown across the stage, to be used in the sandstorm scene. There was not time for a scene rehearsal, but the property man connected a “blower” made out of a soap box with the ventilating system, and as the cue was given, tossed heaps of flour into the box to be blown over the stage. The play ended right there, with scenery and everything covered as if a blizzard had struck the place! It required weeks to get the flour off of the scenery, to which it stuck and hardened. Last year Frederic Thompson introduced a sandstorm in a scene showing the Western Bad Lands, sawdust being blown from the wings. But the sawdust scattered everywhere, even into the orchestra.
Messrs. Tyler and Ford found no bending palms in the storm they witnessed and encountered on the Sahara, so no bending palms appear in “The Garden of Allah” sandstorm. Yet motion is suggested by other means—the robes of an Arab going across the stage waving, the sides of the Arab tent flapping in the wind, the garment of Batouch, Domini’s servant, fluttering when he emerges from the tent to tighten the anchorage rope to the windward. Besides these things, there is the whirling swirling sand forming real sandspouts, such as have never before found their way on the stage.
To create the actual whirlwind that blows the sand at the Century Mr. Ford installed under the stage a series of powerful electric blowers, and connected these with pipes leading up through the stage flooring at carefully planned points of vantage. One set of pipes is located by the left-stage tormentor near the front of the tent, and another on the other side of the proscenium by the right-stage tormentor. There is another set of these pipes hidden behind the tent towards the centre of the stage, and still another set backstage. The pipe sets consist of four pipes such as are used for drain-pipes on houses, of different heights and with the openings placed at slightly different angles. Under the stage alongside of the electric blowers are two rows of troughs, one on either side of the stage, into which a dozen men feed the “sand,” which is forced up the pipes and blown at a rate far exceeding that of any windstorm ever experienced on land or sea! In all there are twenty blowers, arranged in four series of five each. Another single blower is placed in the left-stage tormentor and blows only air, to dispel the continuous streams of sand blown through the pipes by the other blowers. The pipes are so placed and arranged on the stage as to provide a continuous whirling swirl of sand, never ending, never-ceasing, ever increasing in its fiery fury, until the storm quiets down and the light of day brightens the scene.
Mr. Ford placed the pipes at different angles so that each one would send a stream of sand that would cut and dispel the stream from another pipe, thus obtaining a continuous spiral sandspout instead of a streak of sand like the tail of a comet from each pipe. Also, the three sets of pipes used for creating the sandstorm are started and worked alternately, beginning with the set in front of the tent, then the set at the right side of the proscenium, and finally the set beside the tent, towards the centre of the stage. This alternate movement gives the swirling effect that makes the storm real. The one set of pipes placed back stage behind the tent, however, shoots straight across the stage in order to give a cloud of mystery and add density to the scene.
About three hundred pounds of sand is blown through the four sets of pipes at each performance. This is kept from blowing into the auditorium by means of an “air curtain” at the foot lights and at the first entrances, enough pressure of compressed air to keep the “sand” back. The sand used is nothing more nor less than good old cornmeal! Three hundred pounds is wasted at each performance—enough to feed a whole ranch!
Cornmeal was resorted to after everything else, including sand itself, had failed to blow and act like sand on the stage. Real sand from Fire Island beach was first tried, but besides being too heavy to be kept swirling in the air, it did not look like sand when the lights were thrown on it. Real sand on the stage when the lights were thrown on it as it was blown across the stage looked like so much soft coal soot.
The heaps of sand on the stage, forming the minor sand dunes, and also the ground of the desert, are composed of ground cork, painted an orange yellow. Cork is used because it is clean and dustless and easily handled.
To light the sandstorm, Mr. Ford uses only the footlights, the central portion being a deep orange with a deep blue on either side. This keeps the heart of the storm, so to speak, in the light, and the edges are blended away into the darkness at the sides of the stage, providing not only absolute realism, but shadings that suggest the most delicate of pastels. The wonderful lighting of this scene shows the varying color emotions of the desert, with its sand dunes of the palest primrose, and the purple fury of the desert storm.
Stereopticon storm cloud effects are thrown on the sand curtain formed by the cornmeal slung across the back of the stage by the pipes put there for that purpose, and on a gauze curtain just behind, from arc-lights placed on two lighting tops built on either side of the proscenium.
To obtain the delicate pastel light effects of the sandstorm and of the other desert scenes in “The Garden of Allah,” Mr. Ford first painted the scenes with stage lights using the remarkable switchboard of the former New Theatre for his palette, and the clouds of cornmeal as his canvas. In that way, having the true picture of the sandstorm, which he had himself seen in the Sahara in his mind, he achieved what no one else ever has done before—he has, “in spirit and in truth,” transported the sandstorm of the desert, with all its multitudinous shades and shadows, feelings and emotions, to the stage.
On Jan. 6, 1913, the “St. Louis Star and Times” published an article written by Morange, entitled “A Visit to the Wonderful Home of Wonderful Loti.” After designing and painting scenery for “The Garden of the Gods,” Morange was involved with “The Daughter of Heaven,” a play of Chinese life by Pierre Loti and Judith Gautler, produced by Liebler & Co.
Morange received a noted form G. C. Tyler of the Leibler Co. on Jan. 2, 1912, that stated, “Tomorrow, at 11, if convenient, we’ll take up the matter of a successor to ‘The Garden of Allah’ at the Century. Prepare to put your summer at my disposal.” The summer before, Tyler, Hugh Ford, the stage director and Morang traveled to “the heart of the desert of Sahara, one of the most interesting trips ever taken, in order that we might absorb Algerian atmosphere preparatory to staging Hichens play.” Morange explained that he reported promptly at 11. “Well,” said I, ‘where do we go this summer? To India?” “No,.” said Tyler, “next year’s spectacle at the Century will be a drama of modern China.” “Then we go to China,” I suggested. “Better than that,” said Tyler, “I am going to take you to the wonderspot of the world. We go to Rochefort.” I need no further. Explanation. Since my early youth I had been an enthusiast over modern French literature. And of its motley crew of masters, one figure stood forth in highlight. “We go to see Pierre Loti?” I gasped. “Right,” replied Tyler. “Loti has written for us a Chinese play entitled ‘The Daughter of Heaven”…”No Americans have ever visited Loti at his home before.” Tyler went on. “We sail early in March. My automobile will meet us at Cherbourg and after a few days in Paris, we proceed directly to Loti’s home.” The program was carried out to the letter.” There is much more to the article, but I am stopping here.1912 was also the year that the Morange Family moved to Bronxville, New York. Edward and Julia would remain in Bronxville for the remainder of their lives.
In 1914 Morange was listed as the art director for a silent movie, “The Great Diamond Robbery.” This six-reel film was assembled by the Playgoer’s Film Company of New York City, shown in five acts, 6 parts, 250 scenes. Listings advertised, “It is indeed a masterpiece of photoplay productions” (“Altoona Tribune,” 8 May 1914, page 3). The film was based on the play by Edward M. Alfriend and A. C. Wheeler. On March 20, 1914, the New York Tribune published, “At last a theatrical manager has put on a legitimate drama, with a cast composed entirely of screen novices, but stage veterans. The resulting motion picture more than justifies the effort…‘The Great Diamond Robbery’ is a melodrama which was produced in New York about twenty years ago, when it ran for about a year in the American Theatre. It is adorned with regular melodrama features, such as a beautiful villainess, a working girl heroine and gallant detective, who foils assorted criminals and marries the working girl. But the story is nevertheless one that holds attention.” Wallace Eddinger starred as detective Dick Brummage in a case involving a Brazilian adventurous (Gail Kane) and the theft of the fabulous Romanoff diamonds. When Detective Brummage proved Kane’s guilt, she took poison.
It is right around this time that life began to change for the Morange. The war began, his sons enlisted to serve, and Leonard perished. He continued to succeed in business, but some of the spark left him. On May 8, 1920, he applied for a passport to visit Leonard’s grave in England. In regard to his reason for travel on his passport application, he initially wrote, “To visit my son’s grave,” but then crossed it out and wrote, “to tour and visit friends.” Morange’s application at the time listed that he lived outside of the United States for the following periods:
England/France/Germany/Algeria/Tunis April 1911-June 1911
England/France May 1912-June 1912
England/France March 1914-June 1914.
Further information on his application noted that That he was currently living in Bronxville, NY and worked as a scenic artist. His last passport was from March 1911. He was planning travel to England and Havre and initially wrote (visiting my son’s grave, then crossed that out and wrote touring and visiting friends.
Throughout the 1920s, the reputation of Gates & Morange continued to grow. In 1927. The “Scenic Artist” featured an article about the firm, concluding, “It is refreshing to know that here is one studio housing a large staff of academically trained artists that has kept pace with the insurgent movement with its radical and liberal tendencies, which has been at work in recent years in the theatres of Europe and America. That Gates & Morange have accepted what is sane and beneficial of this movement is readily seen by the numerous beautiful compositions covering the walls of their design rooms and bulging out their portfolios. Through them all is seen the sureness and artistic simplicity that only an artist of thorough and correct draughtsmanship, with a fine decorative feeling, a profound knowledge and delicate sense of color and imagination could create. The present possibilities of producing pleasing or bizarre effects with the highly perfected and easily operated electric equipment of the modern stage, has opened the theatre to the many experiments and faddist illusions that none but an experienced scenic artist could endow with poetical beauty and mystery they exhibit. With all these the stage has not lost its glamour for these artists as the many new ideas and effects around which authors and composers may write plays or revues, upon the initiative of these creators of things novel and beautifully interesting.”
Gates & Morange Design Library. Undated clipping in the scrapbook of Thomas G. Moses (1856-1934).1903-1904 advertisement for Gates & Morange.
Although Morange continued to design and paint, he became involved with Gates on other business endeavors, such as real estate development. On June 30, 1938, the “Bronxville Review” announced, “Edward A. Morange of Sagamore Rd, is a member of the six-man fact finding committee headed by the village trustee Joseph T. Creamer, of Tuckahoe, appointed by Mayor Walter D. Crouch of that village on Tuesday as the initial step by officials to establish a housing authority to eliminate slums” Gates and Morange were heavily invested in the development of Sagamore; they bought multiple lots and developed them, each working with their own architect.
Morange’s roots remained tied to Bronxville, and a lovely obituary was published upon his passing on May 26, 1955. Here is a portion of it, as it sums up a lovely and ambitious life:
“Both a scenic artist and stage set designer, Mr. Morange was a member of Gates & Morange in New York and was active until the start of his illness in 1951. When he joined Frank and Richard Gates, the first firm assignment was painting a curtain for Springfield, Mass., the theaters which helped establish the reputation of the concern. The work was soon in demand and among the scenery Mr. Morange and the firm designed were sets for Florenz Ziegfeld, George C. Tyler, Harrison Grey Fiske, and Leibler & Co. Some of the firm’s settings for Charles Couglan’s ‘Citizen Pierre,’ [or the operetta ‘Off the Earth’] and for ‘The Garden of Allah’ which was not done until Mr. Morange spent the summer of 1911 in Africa gathering material. While on this trip an attempt was made to effect the first crossing o the Sahara desert by automobile, and effort that failed eleven miles from the starting point when Mr. Morange’s car was buried in a sandstorm. He also went to Alaska to prepare a panorama of the region for the U. S. Government. On this trip he developed the idea for the famous totem pole dance which was later incorporated into the musical ‘Rose Marie.” Most of the hits of the day bore the setting credit to Gates and Morange, and included ‘Daughter of Heaven,” and ‘Joseph and his Brethren.’ The Brander Matthews Museum at Columbia University uses some of the company’s models, and in 1949 Mr. Morange’s work was featured in the exhibit “Behind American Footlights” at the Metropolitan Museum. Settings for ‘Promander Walk’ are said to have inspired architectural projects in the Eat, and the apple orchard scene in ‘Leah Kleschna’ and the London Bridge scene in ‘Oliver Twist’ brought special praise form the critics.” His illness started with “a cerebral hemorrhage in a New York motion picture theater. He was brought to Lawrence Hospital by ambulance and later was taken to Connecticut.”
There is so much more that could be written about Morange in terms of his scenic contributions, but that would be a book in itself.
In 1883, Thomas G. Moses and Lemuel L. Graham were painting together as Graham & Moses. That year, they both returned to work for Sosman & Landis.
Lemuel Laken Graham was born on July 4, 1846, in Ann Arbor, Michigan. He was the son of the Rev. Daniel McBride Graham and Ursula Graham. Rev. Rev. Graham who purportedly placed Lemuel in a scenic art apprenticeship as a young age, yet Graham first appears in newspapers as a performer. Regardless of Graham’s introduction to the theatre, by 1870, L. L. Graham was touring with J. A. Lord’s Chicago Dramatic Co. Graham and playing the role of Sir Charles Marlowe in “She Stoop’s to Conquer.” By the fall of that year, Graham was performing in “Frou-Frou,” On November 22, 1870, the “Leavenworth Times” reported that Mary Graham was also part of the company. Elizabeth Martha “Mary” was Lem’s first wife. The two enjoyed a brief marriage and were divorced later that year.
On February 4, 1871, the “Junction City Weekly Union” mentioned Mr. L. L. Graham as personifying “Jem Dalton, the tiger.” The newspaper article reported that Graham “did it well,” adding, “He is a young man of talent, and we believe a true artiste.” On January 12, 1872, the “Daily Commonwealth” noted that Graham again appeared with Louie Lord’s Dramatic Company in their production of “Our American Cousin,” as well as a touring with the production “Buffalo Bill,” the production and not the performer. During the early 1870s that Graham transitioned from a performer to a scenic artist and worked at McVicker’s’ Theater in Chicago.
After Chicago, Graham traveled quite a bit, working in San Francisco, Cleveland, Memphis and New Orleans.
On May 14, 1875, the Van Wert Weekly in Ohio, reported “Mr. L. L. Graham, a scenic artist, is painting a number of scenes for Gilliland’s Opera House, and, also, a new drop curtain. The Union School building will be the central figure on the drop curtain, around which will appear the advertisements of a number of leading firms” (page 3).
On September 17, 1875, New Orleans’s “Times-Picayune” reported, “The Academy of Music, always first to open and last to close, has been entirely renovated, a new proscenium and ceiling put up, which is being decorated by Mr. L. L. Graham, the Academy’s scenic artist, who, by-the-by, showed us some fine specimens of his art during the last season, repainted all over, new carpets, and other modern improvements.”
On October 16, 1875, the “New Orleans Republican” reported that L. L. Graham painted the drop curtain for Bidwell’s Academy of Music, “representing Tasso at the Court of Ferrara. Graham’s new drop was to be “unrolled for the first time.” By December 26, 1875, the “New Orleans Republican” mentioned Graham again in connection with the Academy of Music’s scenic attributes: “The truly sublime piece of scenery in the transformation scene is the handiwork of Mr. L. L. Graham, the skillful artist, who gets up some very grand effects, and it riveted the gaze of the spellbound audience.”
On Jan 20, 1876, the “Times-Picayune” credited Graham with painting the scenery for “Dead to the World” at the Academy of Music, reporting “The play will be ornamented with new scenery from the brush of Mr. L. L. Graham, whose handiwork has ere now received its need of popular applause.” Graham remained associated with the Academy of Music until the late 1870s when he returned to Chicago and worked with Henry C. Tryon. In 1876 Graham also partnered with Tryon to deliver a new drop curtain and stock scenery to an opera house in South Bend, Indiana. An article in the “South Bend Tribune” on August 9, 1876, reported, “L. L. Graham of the Academy of Music in New Orleans, La., and Henry C. Tryon, of McVicker’s Theater of Chicago, scenic artists, are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others.” This seems to be a turning point for Graham as he becomes increasingly connected with the Chicago theatre scene.
By 1881, Graham was working at the Academy of Music in Chicago. It is at the Academy that Moses secures a part-time position painting with Graham. This is in addition to Moses’ working on staff at Sosman & Moses. In fact, Moses is the first employee that Joseph Sosman hires and the two go on the road, completing one project after another contracted by Perry Landis. Upon each return to Chicago, Moses seeks additional employment, including that with Graham at the Academy of Music. There are two other things to consider at this time. The first is that Moses likely met Graham at McVicker’s, as each worked for Lou Malmsha by the late 1870s. The second thing to consider is that Moses’ younger sister was part of the stock company at the Academy of Music when Graham was painting there in 1881.
By 1882 Graham was also known as the scenic artist for Chicago’s Standard Theatre. Moses worked for Graham at both locations. That same year, the two partnered and establish the scenic studio of Graham & Moses. Of the partnership, Moses wrote, “We got together and I quit the firm after refusing a big salary – that is, for me. Our first contract was at Kalamazoo, Michigan. The Academy of Music. We worked night and day. I did all the foliage and I was astonished on seeing my stuff set, to see how I improved.” Kalamazoo’s Academy of Music was a 1250-seat opera house located on South Rose Street. After Kalamazoo, Moses and Graham completed a project in Grand Rapids, Michigan for Redmond’s Opera House, also built in 1882 and later known as the Grand Opera House.
While in town, Moses wrote that Graham fell in love with the head waitress at his boarding house. The two were married two years later on November 20, 1884. The Kalamazoo waitress was Elizabeth “Lizzie” West (b. 1860). Of Graham’s new wife, Moses wrote, “she proved to be a good wife and good mother.” The Grahams celebrated the birth of three children, Rachel (b. 1884), Ethel (b. 1892) and Revard Parker (b. 1895). Lizzie was actually Graham’s third wife. His first marriage to the actress Mary Graham ended in divorce by 1870. The original divorce decree was destroyed in the Great Chicago Fire, prompting that another be reissued before Graham’s marriage to Lizzie. On April 17, 1884, the “Inter Ocean” reported, “Martha Elizabeth Graham of Cumberland, Maine, filed a petition in the Circuit Court yesterday for the restoration of a decree of divorce. The decree was rendered against her on November 30, 1870, in the Circuit Court of Cook Country in favor of Lemuel L. Graham and was destroyed by the great Chicago fire.” On April 17, 1884, the Inter Ocean announced new suits in the circuit court reporting, “48.111 – Lemuel L. Graham vs. Elizabeth Graham. Bill to restore decree of divorce.” Confirmation of Graham’s divorce from his first wife was necessary as Graham planned his fall marriage to Lizzie. What’s interesting is that Graham also divorced his second wife just before his third marriage too. In 1884 Lemuel L. Graham severed marital ties with his second wife, Nellie H. Graham. The divorce was reported in the San Francisco Examiner. On October 28, 1884, the announcement stated, “Judge Maguire has granted Nellie H. Graham a divorce from Lemuel L. Graham, willful neglect and desertion.”
From 1882 to 1883, Moses & Graham completed several projects throughout the Midwest. In 1882, they journeyed to Elgin, Illinois, after completing scenery for the Kalamazoo and Grand Rapids opera houses. In Elgin, scenic artist John H. Young joined the pair to paint. Moses had previously worked with Young as a decorative painter on several Michigan projects. Young later settled in New York and became one of the top Broadway designers during the first two decades of the twentieth century. The next 1882 project for Moses, Graham and Young was located in Racine, Wisconsin. They painted stock scenery for the Black Opera House. By this point, Moses wrote, “Graham and I were doing much better now, and we had two good jobs at the same time. He was a regular Shylock, a good fellow and a hard worker, but altogether too close to please me.”
As the workload increased for Moses & Graham, the two founders focused on separate jobs, with Moses remaining in Racine while Graham and Young departed for Hannibal, Missouri. Graham and Young were painting at the Opera House in Decatur, Illinois by the summer of 1883. On July 28, 1883, The Saturday Herald reported, “L. L. Graham, the scenic artist, has been engaged in this work for three weeks. He has been assisted by John H. Young, of Chicago. Mr. Graham has had 17 years of experience in this line of painting. He and his assistant left last night for Chicago, whence they go to do the same kind of work at Boyd’s Opera House in Omaha, and finally the New Gillis Opera house in Kansas City.”In 1883, Moses ventured to Oshkosh, Wisconsin. Both Moses & Graham and Sosman & Landis were also competing for the same project. Moses wrote, “I met Mr. Landis there. I got the contract. We rode to Chicago together and met Mr. Sosman on our arrival. We were offered $45.00 a week. I wired Graham at Burlington. He answered $50.00 and extras. We closed for that. I had Oshkosh to finish, which I did and May 1st found Graham, Young and myself back on Clark Street at the Sosman and Landis Studio.” Graham only remained at Sosman & Landis for a year. In 1884 he left to partner with William P. Davis in Kansas City, Missouri. Davis was also a former Sosman & Landis employee, having worked as Moses’ assistant.
The new firm of Graham & Davis became an affiliate of the Sosman & Landis Studio, effectively managing a regional branch for the Chicago firm, referred to as the Kansas City Scenic Co. The regional branch for Sosman & Landis in Kansas City did not require any listing in the Kansas City newspaper, or any regional advertisements. To do so would have placed them in competition with Graham and Davis’ firm. Sosman & Landis simply needed an address and potential studio space for the increasing project load associated with the western region. The larger firm relied on western subcontractors and scenic contracts that were completed in studios other than their main Chicago space. Even in Chicago, Sosman & Landis managed several annex spaces to complete an ever-increasing project load.
In Kansas City, Graham & Davis lasted for less than two years, when Davis withdrew and returned to Chicago. Although business was booming in Kansas City, projects were more lucrative in large metropolitan areas. This is why Graham would also leave Kansas City and venture east a few years after Davis. In 1887, Davis was listed in the Chicago Directory, living at 850 W. Madison and working as a scenic artist, associated with the Auditorium Theatre and Grand Opera House. Davis later moved to Minneapolis where he became one of three founders of the Twin City Scenic Co. Graham maintained his relationship with Sosman & Landis, representing the Chicago firm in 1887 when they subcontracted Graham to deliver scenery to the opera house in Winfield, Kansas.
On October 19, 1887, the “Daily Tribune” reported, “There were several firms competing for the work, but the contract was let to Sosman & Landis of Chicago, New York and Kansas City. Their representative Mr. L. L. Graham who is in charge of the Kansas City branch had a miniature stage in which he showed the various scenes and explained in detail of the workings of the scenes.” Graham also represented Sosman & Landis for their work at the Bonham Opera House in Clay Center, Kansas, that year. On April 21, 1887, “The Times” of Clay Center reported, “The scenery was painted by Sosman & Landis, of Chicago. The same firm that fitted the Gillis Opera House, Kansas City, and the Grand at Topeka. Mr. Hagan is their western machinist, and also does the same work for L. L. Graham of Kansas City.”
There were three main scenic studios in the Midwest by the turn of the twentieth century – the Twin Cities Scenic Co. (Minnesota), Sosman & Landis (Illinois), and The Kansas City Scenic Co. (Missouri). The three formed a triumvirate with agreed jurisdictions, allowing each to quickly dominate a region. They frequently shared artists and subcontracted projects to one another Sosman & Landis also established a regional office in New York by 1887. Scenic art relationships established a network of studios and their affiliates, preventing smaller firms and outsiders to get a foothold in the region during the late-nineteenth century and early-twentieth century. A network of affiliates allowed studios to offer services and products at a rate that few single competitors could match. In 1887, Graham was again listed as a scenic artist in the Kansas City Directory. Graham’s studio was listed 525 Main, with Graham rooming at 517 E. Missouri Ave. by 1888, Moses visited Graham in Kansas City, writing, “He was doing well.” Indeed, Graham was doing very well and maintaining close connections with Sosman & Landis in Chicago.
The 1888 Kansas City Directory included a few of Graham’s employees, artists associated with the firm of “Lemuel L. Graham.” Benjamin F. Dunn was listed as a scenic artist, employed by Graham that year. Graham’s business was thriving. His studio was included in the 1888 publication, “Industries of Kansas City: Historical, Descriptive, and Statistical.”Here is Graham’s listing:“L. L. Graham. Scenic Artist, Contractor for Stage Equipment, Theatre Hardware,Frame Work, Canvas, Traps, Bridges and Every Necessary Equipment of First Class Theatres, 525 & 527 Main Street.Mr. L. L. Graham is a prominent representative of the scenic art in Kansas City, having established this business here four years ago in conjunction with Mr. Davis, who withdrew from the firm some two years since. Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years. His first experience in the school of art was had at McVicker’s’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans. His establishment here is eligibly located at 525-527 Main Street, and consists of a studio and shops fitted up with every essential appliance and convenience for the correct and expeditious execution of the work, which comprises high art stage scenery and equipment, rich and elegant stage curtains, stage properties of every description, theatrical hardware, framework, canvas, traps, bridges, etc. One special feature of Mr. Graham’s industry is his advertising drop curtain, which is richly draped on the top and sides with royal crimson and heavy bullion fringes and pendants gracefully falling on steps painted at bottom of curtain. In the center is a large and artistically painted picture in stucco frame, which is surrounded by a border of deep Prussian blue, divided into spaces for the insertion of business cards. The cards may be lettered in a becoming and artistic style in bright gold, the whole having a brilliant and pleasing effect. There are usually from eighteen to twenty of these spaces of varying sizes to suit the advertiser as to the amount he desires to pay. Full particulars concerning this feature will be furnished by mail, upon application, to theatre managers, hall proprietors and others interested as well as any other information appertaining to stage equipment and carpentry. Mr. Graham has executed stage work for some fifty or sixty houses in Nebraska, notably at Omaha and Lincoln, etc., and for forty-five different houses in Kansas, including Winfield, Wichita and Anthony, and in St. Joe, Hannibal, Springfield and many others in Missouri. As many as thirty-six men in his employ upon an average weekly pay roll of $500.00, Mr. Graham giving his personal attention to every detail of this most intricate work. Contracts were made for Priests of Pallas and trades displays and pageants in Kansas.”
Thirty-six men in Graham’s scenic studio is comparable to that of Sosman & Landis in Chicago at the same time. However, Graham did not remain in Kansas, heading east.“Industries of Kansas City: Historical, Descriptive, and Statistical” also included an interesting comment about scenic studios during this period, noting “Such industries as the one under special notice [L. L. Graham], are among the necessary concomitants of a rapidly developing metropolitan community, indicating that spirit of enterprise that caters to refined taste and social enjoyment.” In other words, a town transitions into a metropolitan area when it can support not only a theatre, but also theatrical manufacturers. This says a lot about the size and scope of scenic concerns in the 1880s, as well as their reflection on the performing arts. Graham soon moved east and partnered with L. J. Couch (1838 – 1909) by 1896. Little is known of their partnership, but it ended badly. On January 9, 1896, Graham and Couch were listed in the Boston Globe under the heading “Business Troubles.” Of their failing scenic studio, the newspaper announced, “L. J. Couch and Lemuel L. Graham, doing business at 384 West 1st St, South Boston, under the firm of Levi Couch & Co., scenic painters, have been petitioned into insolvency by Edmund G. Pond, creditor.” Before Graham, L. J. Couch & Co. was operated by Couch and David Richards. Richards remained with the firm from 1893 to 1895. Graham was likely Richard’s replacement near the end. As with Graham’s firm in Kansas City, L. J. Couch & Co. offered a wide range of theatrical goods, ranging from painted scenery and theatrical hardware, to general stage appliances.
After L. J. Couch & Company was dissolved, Graham partnered with P. Dodd Ackerman, another well-known scenic artist and designer who made quite a name for himself. Graham and Ackerman’s studio was initially located in Brooklyn’s Broadway Theater. On August 13, 1902, the Brooklyn Daily Eagle reported that Graham and P. D. Ackerman took a mortgage with John C. Sceneck at Bushwick Ave. for $3900.” Their new address was now 1576-1580 Bushwick Ave. Unfortunately for Graham, this partnership also failed. In the end, Graham partnered with his son Revard and founded L. L. Graham and Son, also known as Graham & Son. Their firm was located at Crosby Avenue in Brooklyn, New York. Graham remained in Brooklyn, New York, until his passing in 1914.
There remains one extant drop credited to L. L. Graham & Son. It is located at the Grange Hall in Denmark, Maine.Graham passed away after a brief illness on Sunday, December 27, 1914. He was only 68 years old when he died at his home.
L. L. Graham’s obituary in 1914
On December 29, 1914, the Brooklyn Daily Times published Graham’s obituary: Lemuel Laken Graham, died Sunday from heart failure after a long illness at his home. 3 Miller avenue, on the border line of Queens Borough, near Highland Park. Mr. Graham had a studio building on Crosby avenue, near his home, for ten years, funeral services will be held to-night with internment in Evergreens cemetery. Mr. Graham was known from coast to coast among theatrical men and had traveled in every State in the Union in his time. His work was known in most of the principal cities. He was born in Ann Harbor, Mich., July 4, sixty-eight years ago, the son of the Rev. Daniel McBride Graham, a Baptiste [sic.] clergyman and the president of Hillsdale College, Mich., and Ursula Graham. His father apprenticed him to the scene painting business in his youth and he early achieved fame in his chose calling. He was associated with Sosman and Landis of Chicago, for some years and painted the curtain for the Chicago Auditorium. Later he was a partner of L. J. Couch, of Boston, and in his studio, there turned out some of the best known to stageland. While at Kansas City for a number of years, Mr. Graham was in charge of the great annual event there, the priest of Pallas parade, and created all of the floats and scenes used in the carnival. Mr. Graham and P. Dodd Ackerman did the decorations for the Broadway Theatre here, and he painted several curtains and numerous elaborate settings for Manhattan theatres. Mr. Graham taught scene painting for years and some of the most skillful scenic artists in the country were his pupils. Of late years he confined his work to the creation of smaller scenes and he had a reputation for clever organizations. He leaves his wife, Elizabeth West Graham; a son Revard Parker Graham, a scenic artist, and a daughter, Mrs. Fermin Ferrer, of Laurelton, L. I.”LikeCommentShare
Harry J. Buhler was a scenic artist who worked at Sosman & Landis during the nineteenth-century, c. 1883 – 1891. The first mention that I have located of Buhler representing the firm was from 1883. That year he painted and installed scenery at the Myers Opera House in Janesville, Wisconsin.
Buhler arrived in Janesville in October, with the “Janesville Daily Gazette” announcing “New Scenery at Myers Opera House.” On October 23, 1883, the newspaper reported, “Mr. H. J. Buhler, of Sosman & Landis scenic studio, Chicago, arrived in the city yesterday afternoon to begin the work of painting the scenery for Myers Opera House…There has been great improvement made of late in stage decorations, and standing at the front of artists in this line are Sosman & Landis. They have within the past year or so painted scenery for many of the largest theaters in the west” (page 4). Of the Sosman & Landis scenic artist, the article continued,” Mr. Buhler, who has been commissioned to do the work, is an artist of rare skill in the line. The decorations in many of the principal opera houses in the west are by his brush. He thoroughly understands the tendency of modern art as applied to the scenic department and will do some excellent work. It will take him about two weeks to complete the work and will be engaged both day and night.”
A page from a nineteenth-century Sosman & Landis catalogue.
On Nov. 12, 1883, the “Janesville Daily Gazette” described his work in detail, reporting,
“Mr. H. J. Buhler, from the scenic studio of Sosman & Landis, Chicago, who has been engaged in painting new scenery for Myers opera house for more than two weeks past, will finish the work on Wednesday of this week. To-morrow evening Mr. Buhler will arrange different stage settings which will show the general characters of the work done by him. This will be done for the accommodation of the press of the city.
“Among the pieces executed by Mr. Buhler are two tormentor doors and two tormentor wings, and a grand drapery border 12 feet wide and 25 feet long. The scenes include a kitchen set, a plain chamber set, a prison set, and a handsome box parlor set of modern Eastlake ebony comprising two pairs of flats and four wings, and borders to match. It is one of the finest sets to be found in any theater or opera house in this state, and is beautifully decorated with bric-a-brac armor, plaques, and so on. There is also a Louis 14th gothic set which is also very beautiful. The landscape paintings embrace a country landscape; a dark wood scene; a rocky pass taken from the Yellowstone park; a garden set, including a garden backing, a set house, vases, and balustrade. There is also an ancient scene taken from Strasburg, and is, in all respects, a very effective scene. One of the finest scenes among the large collection which ornaments the stage of the opera house, is an ocean set, which is a splendid piece of marine painting.
“Very many of these sets and scenes will be used for the first time on Thursday night when Miss Anna Dickinson will produce Anne Boleyn. Mr. Buhler has kindly consented to remain here that night and arrange the scenery for the play. A new drop curtain, a very elegant one, costing not less than $200, has been ordered by Mr. Myers, and will be painted in Chicago. There is now four times more scenery in Myers opera house than ever before, and aside from the quantity, in artistic merit it is not excelled by that of any other opera house in Wisconsin. New gas-burner lights have also been put in above the stage, and also new rope which will greatly facilitate the changing of the scenery during the presentation of the play.
“Messrs. Sosman & Landis have a wide reputation as scenic painters, and have decorated many of the leading theaters and opera houses in the west; and they have served Mr. Myers well and have done the public a good service, by sending Mr. Buhler here to furnish the opera house with new scenery. He is a thorough artist, and having made scenery a specialty for years, he was in every particular fully competent for the task. He is a rapid workman and a genius in his line. The public will be surprised on Thursday evening to learn the great quantity of fine scenery he has turned out in so short a time. Every single piece is a credit to the artist, and a great advantage to the open house” (page 4).
On November 14, 1883, the “Janesville Daily Gazette” included another lengthy article describing each of the scene painted by Buhler. Of the scenic artist the article praised,
“Mr. Buhler has added considerable to his already wide reputation as an artist by the excellent work he has done for Mr. Myers. Messrs. Sosman & Landis are to be thanked for delegating Mr. Buhler to do the work, and the theatregoers of Janesville are under deep obligations to Mr. Myers for his enterprise in having the work done. We wish to state in connection with this notice of the new scenery that Mr. Buhler prepared the stage settings for Anna Dickinson’s first performance of Hamlet in New York, and for his skill and taste in doing the work he was highly complimented by that distinguished lady.”
Buhler’s first name varies in newspaper articles and other historical records over the years. Buhler was identified as H. J. Buhler, J. Harry Buhler, Harry Buhler and Henry Buhler; they were all the same individual.
Buhler was born in 1853, the second child of recently-arrived German immigrants Wilhelm Bühler (1818- ?)and Carolina Lorey (1830-1907). His parents were married in Speyer, Bayern, Germany, on August 28, 1845, and emigrated separately to the United States between, 1848 and 1849. Wilhelm arrived in Feb. 5, 1848 in New York Harbor, with Carolina and their daughter Anna F. (b. 1847) following in 1849.
Harry was born in New York City before the family continued on west. As the country expanded westward, new construction provided ample opportunity for employment. Little is known of Buhler’s early training, or exactly how he was introduced to the theatre trade. However, in 1870, the Federal Census places Henry J. Buhler in Little Rock, Arkansas. At eighteen years old, he had already painting a variety of projects in the area, living with another artist, Arthur W. Drewry, at a boarding house. Like most itinerant artists at the time, he completed a variety of painting projects that included sign painting, carriage painting and easel art exhibits. He soon partnered with another scenic artist named “Akin” to paint an advertisement drop for Little Rock’s theater hall. The two placed an advertisement in the “Arkansas Daily Gazette” on Nov. 4, 1870: “MERCHANTS TAKE NOTICE – That there are only a few card spaces left on the curtain painted for the theatre hall. All wishing a card should apply, signed Buhler & Akin” (, page 4).
By 1872, Buhler moved to Memphis, Tennessee. That spring he became the stage manager for the newly formed Memphis Amateur Dramatic Company. This meant that he was responsible for all of the backstage duties and all scenic contributions for various productions. By the fall he was painting at both the Memphis Theatre and Olympic Theatre in Memphis. At the Olympic Theatre, he was listed as “H. J. Buhler, Esq.” Buhler’s transformation scenes for “The Black Crook” received favorable reviews in the “Public Ledger” on October 17, 1872 (page 2). He also worked at the Memphis Theatre, first touched up the well-known drop curtain entitled the “Voyage of Life.” He was then engaged as an assistant to scenic artist Adam Walthew. Walthew became a well-known artist in both New York and Detroit, who passed away in 1886.
In 1879, Buhler was still painting the Memphis Theatre and was credited for providing the new drop curtain, replacing the one he previously touched up. On April 18, 1879, he “Memphis Evening Herald” reported, “New and elegant drop-curtain by Buhler. Magnificent new scenery and appointments, properties, flags, etc., etc., painted expressly for this opera [H. M. S. Pinafore] by Buhler” (18 April 1879, page 4).
Although, Buhler was living in Memphis, he was still traveling as an itinerant scenic artist and completing projects across the country. Work brought him to Illinois by 1878. That year Buhler was working at the opera house in Paxton, Illinois, and was credited with nursing the Flack family back to health after a disastrous incident. At the time, he was identified as “the scenic painter at the theatre” (The Weekly Standard, Paxton, Illinois, 5 Oct. 1878, page 3).
At the same time that Sosman & Landis were starting up their scenic studio in Chicago, Buhler got married. On July 12, 1879, “The Memphis Herald” announced “Last night Mr. Henry J. Buhler, the well-known scenic artist was married to Miss Alice C. Garrett, daughter of S. S. Garrett. The wedding took place at the residence of Capt. Garrett. 382 Vance street, and the ceremony was performed by Rev. S. Landrum.” The 1880 census records that Harry and Carry were living with the in-laws – Sirus and Sarah Garrett. At the time, Buhler was listed as an artist and Garrett at a boat inspector. The couple soon moved and were living in Chicago by the early 1880s, living at 295 Wabash. In 1885, Buhler was also listed in the Scene Painters Show (see past post 13: https://drypigment.net2017/06/29/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-131/). This was an event that solidified the network of many Midwestern scenic artists, particularly those working for Sosman & Landis.
In 1887, Buhler joined the Order of Chosen Friend (a fraternal benefit order), and was active as a trustee for the Apollo Council No. 29 in Chicago. In 1888, Buhler was also listed in the “Minneapolis Directory” working at the Pence Opera House and boarding at 224 Hennepin Ave.
His permanent residence was in Chicago at this time, where he and Carrie began a family, celebrating the birth of two children in: Blanch W. Buhler (b. Sept 1888) and Edgar Garrett Buhler (b. Sept. 1, 1892).
By the 1890s, Buhler continued to filter in and out of the Sosman & Landis studio, working on a variety of projects for them throughout the region. Thomas G. Moses later mentioned working with Buhler on the Temple Theatre in Duluth, Minnesota, for Sosman & Landis in 1891. Moses, Buhler and Joe Hart were credited for their scenic contributions in the “Duluth Evening Herald” on July 11, 1891. In 1892, Buhler was mention in the “Chicago Sunday Tribune” article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” – “H. J. Buhler is another artist whose interiors are excellent examples of careful drawing, in which projection and shadow are most skillfully handled.”(Dec 18, 1892, page 41). Like other Sosman & Landis artists, he sporadically left to form a partnership; work was quite plentiful.
In 1897, Buhler was working with A. L. Lamphear at Havlin’s Theatre. However, he was also painting with artist Henry Asper, Buhler and Asper delivered ceremonial scenery for the Knights of Khorassan at the Al Hathim Masonic Temple (Inter Ocean, 24 Oct. 1897, page 16). Everything was going quite well when tragedy struck.
At the end of 1898 Buhler lost all of his business supplies in a fire at the Lincoln Theatre on North Clark Street. Previously known as the Windsor, it was renamed the Lincoln after it was partially destroyed by another fire and rebuilt a decade earlier. On Dec. 6, 1898. The “Chicago Tribune” reported, “H. J. Buhler, the scene painter, had his collection of models and a library destroyed, with no insurance.” This suggests that Buhler ‘s own scenic studio was at the Lincoln Theatre. Interestingly, the 1898 Chicago City Directory listed the Buhler family as residing at 636 North Clark Street in Chicago in 1898; they were still residing there at the time in 1900.
The 1900 Federal Census listed the Buhler household as including Harry, his wife and two children as well as his Mother, Caroline Buhler (1830-1907), and sister, Annie Chapman. Hermania Atwood, aged 33 yrs. old, was also living there and listed as a “daughter” – his sister though. I have yet to find anything about the passing of his father beyond the fact that he mother and Anna previously resided in Portland, Oregon.
Julius Cahn’s Official Theatrical Guide of 1899 listed Buhler as the scenic artist who delivered stock scenery to Chicago’s Alhambra Theatre, New Lincoln Theatre and New Lyric Theatre. In addition to working for other studios, Buhler established at least three partnerships throughout the duration of his career: Buhler & Mann with William Fletcher Mann (1851-1926); Buhler & Peltz with Herman Peltz, Sr. (1869-1908); and Buhler, Peltz & Carsen with Robert Carsen (1876-1958).
By the turn of the twentieth century, Buhler partnered with William Fletcher Mann with the two delivering scenery for several productions between 1904 and 1907. In 1906, however, Buhler was identified as a scenic artist at the Criterion Theatre in Chicago. At the Criterion he worked directly for scenic designer Lincoln J. Carter. Carter’s models translated to the stage by master machinist Herman Peltz and scenic artist Buhler. Buhler continues to work with both Peltz and Mann for the next few years, but struggles with his health. He moved south to Arizona for health reasons in 1907.
By 1909, Buhler and Peltz begin to work with Robert P. Carsen, establishing the Buhler, Peltz and Carsen Studio in Chicago. They continued to work with Mann, although Mann transitioned to a producer.
In 1910, the Buhlers are still living in Chicago, and then them seem to disappear. For whatever reason, I can find no mention of Harry, Carry or their son after 1910.
In 1924 Thomas G. Moses wrote, “Fitch Fulton drifted in from the west on the 18th of July and we found work for him on designs.”
Fulton became Moses’ right-hand man for the next few years. Moses, Fulton and Harry Naile formed a unique scenic trio that went from one Masonic project to another, completing work secured by Fred R. Megan. Two of their projects included Scottish Rite theaters in Pasadena, California and Fort Scott, Kansas. Fulton was Moses’ painting assistant, friend, and sketching companion. Like many of Moses’ friends living in California, Fulton transitioned from theater to motion pictures by the 1930s. Moses did not.
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/). 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.
Men like the Fitch Fulton bridged the gap between nineteenth-century special effects and twentieth-century special effects. It is no wonder that his son would excel in the planning and engineering of special effects for film, as he grew up watching his father engineer special effects for the stage. The only difference was that one century created illusion for live performance on stage and the other century used the screen. Again, nineteenth-century scenic artists did much more than paint backdrops, they engineered and often constructed stage illusion, spectacles, amusement park rides and other popular entertainment. Those, like Moses, who clung to only producing special effects for the stage continued to struggle. Interestingly, they became more reliant on the integration and sale of draperies.
Fulton is repeatedly mentioned by Moses his memoirs in 1924 and 1925, I am going to include a little history about this interesting individual. Like Moses, he was not only a scenic artist, but also an easel artist and exhibited his work in California. He was a member of the Painters and Sculptors Club, the Artists of the Southwest, Academy of Western Painters, the California Watercolor Society and the California Art Club.
Fitch Burt Fulton was born in Beatrice, Nebraska, on Oct. 10, 1879. He was the son of John Blythe Fulton (1835-1924) and Sarah Phipps Fulton (1835-1902). One of six children, his siblings were Margaret Ann (1859-1951), Thomas B. (1867-1946), William S. (1868-1955), Richard N. (1870-1953) and Jessie Berlin (1873-1912). Fulton’s artistic ambitions were apparent by the 1890s.
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). 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 artis.” He continued his artistic studies in Chicago at this time.
Fitch Fulton’s Carnival Cutfor the Beatrice Daily Express, 1898.
In 1899, Fulton returned to his studies in Chicago after holiday break. On March 14, 1899, the “Beatrice Daily Express” reported, “Fitch B. Fulton has gone to Chicago to re-enter the art institute there.” Fulton studied under John Vanderpoel, Frederick W. Freer and J. Francis Smith at the Art Institute. He also studied at the Arts League of New York.
Fulton married Anna Maria Engstrom (1879-1941) in on March 8, 1902, and the two celebrated the birth of a son, John Phipps Fulton (Nov. 4, 1902), and the birth of a daughter, Bernice (July 23, 1905). Bernice was born in Cheyenne, Wyoming.
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.”
In 1913, the Fultons moved to San Francisco on where he worked on the railroad exhibit at the Panama-Pacific International Exposition in 1914. After the world Fair’s work, the Fulton’s loved in Denver for a year before permanently moving to Los Angeles in 1916.
In 1918, Fulton listed that he was working as a scenic artist at the Edwin H. Flagg Scenic Co. in Long beach, California, on his WWI draft registration card. At the time, his physical appearance was described shirt and stout, with black hair and brown eyes. By 1920, the Federal Census listed the Fultons as living next to fellow scenic artist Arthur R. Hurtt and his wife Winnifred (58 and 55 yrs. old, respectively). The Fultons were at 1510 Mowhawk Street and the Hurtt’s at 1518 Mowhawk 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” (11 Feb 1920, page 30). The listing included: “Capital stock, $25,000; subscribed, $3,000; Directors J. D. Martin and Wm. T. Martin, 215 E. 25th St., and Fitch B. Fulton, 1519 Mohawk St.; Attorney: William Crop, 544 Wesley Roberts Bldg.
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 also received applause for his stage settings for “La Golondrina (The Swallow)” at the playhouse in San Gabriel (Los Angeles Evening Express, 9 April 1922, page 16). J. M. Cox was the director.Throughout the 1920s, he continued to primarily work on stage productions. On June 1, 1925, he was credited with the settings for “The Big Top” at the Majestic (Los Angeles Evening Express, 1 June 1925, page 6).
During the 1920s, Fulton became increasing active in art shows. In 1923, he exhibited with the California Watercolor Society. On January 7, 1923, 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.” In 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 L. A. 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). 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.” For a glimpse at some of his paintings, visit Mutual Art at https://www.mutualart.com/Artist/Fitch-Fulton/41294041B9B9CE70/Artworks
Fitch Fulton painting sold at auction.Fitch Fulton painting sold at auction.Fitch Fulton painting sold at auction.Fitch Fulton painting sold at auction.Fitch Fulton painting sold at auction.
All the while, he kept working as a scenic artist, completing projects for a variety of studios and under his own name. In 1927, Fulton was credited with the scenic design for the “Devil’s Plum Tree” (San Francisco Examiner, 11 Sept. 1927, page 52.). J. D. Martin Studios in Hollywood executed Fulton’s designs. By the 1930s, Fulton transitioned to the motion pictures and was associated with the visual effects for “The Enchanted Cottage” (1945), “Citizen Cane” (1941), and “Gone with the Wind” (1939). He was listed as part of the technical staff for “Mighty Joe Young” (1949), credited with special effects for the film. Again, this is no surprise as Fulton was already familiar with engineering special effects for the stage.
Fitch Fulton is credited with special effects for “Mighty Joe Young.”Fitch Fulton is credited with special effects for “Mighty Joe Young.”
He lost his wife Anna just as his film career was starting to gather momentum in 1941. 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 soon remarried the next year. On May 8, 1942, he was wedded to Mary Ann “Mamie” Davlin Fulton (1890-1994). Mary is quite interesting in her own right, as she was the first woman in the United States and Canada to become a freight router. 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. She long out lived Fitch, passing away in 1995 at the age of 104.
The grave of Fitch and Mary Fulton
He died 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 noted, “Mr. Fulton, who first came to California in 1913, was a designer and artist. He leaves his widow Maryl; a daughter Mrs. Krutchfield Ahair, Santa Barbara; a son, John P. Fulton, North Hollywood, and four grandchildren.”
I cannot end this post without a brief mention of Fulton’s daughter and son. Both of the Fulton children were artistically gifted. When Bernice 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.”
Her brother, John P. Fulton, directed his artistic abilities toward the film industry. In 1930, John P. was listed as a Cinematographer in the motion picture industry, living at 1168 ½ on Hampshire Blvd. in Los Angeles.
A decade later, John P. was listed as a cameraman in the 1940 census. By 1947, his draft registration card listed his employer as Universal Pictures Corp, Universal City. At the time, John was living with Bernice at 1521 Kings Rd. Hollywood, California. There is a great amount of information out there about Fitch’s son, especially blog posts. Here is a link to
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.
For the past year, I have slowly plugged along on the Tabor Opera House scenery project. In addition to two site visits, I tracked down a massive amount of information pertaining to the individuals and scenic studios that produced scenery for the Tabor Opera House in Leadville, Colorado, and the Tabor Grand Opera House in Denver, Colorado. Both were built by silver magnate Horace Tabor in 1879 and 1881, respectively. The story of the Tabor Opera House is intertwined with the success of a boom town, a passionate love triangle, and the establishment of the Silver Circuit. Tabor and his opera houses have repeatedly been the topic for both fictional and non-fictional accounts, even inspiring the 1932 movie “Silver Dollar.” Tabor’s second wife was the famed beauty featured in the 1958 opera by Douglas Moore and John Latouche, “The Ballad of Baby Doe”(http://usopera.com/operas/ballad.html).
The Tabor Opera House in Leadville was planned by someone who did not understand theatre architecture nor the basic logistics. Horace Tabor was simply a patron of the arts with money to burn. Although his opera house opened in November 1879, the auditorium and stage were renovated by August 1882; the acoustics and stage machinery were an abysmal failure. There were more structural changes for the building two decades later when the building was purchased by Leadville’s Benevolent and Protective Order of Elks (B.P.O.E.). Tabor lost his fortune in the early 1890s, and the building changed hands before the Elks purchased it in 1901.
The Tabor Opera House in Leadville, c. 1879-1882The Elks Opera House (renovated Tabor Opera House) after 1902.
By the way, the founder of the Elks (actor Charles Vivian) died in Leadville and his funeral was held at the Tabor Opera House.
When the Elks acquired the Tabor Opera House (then known as the Weston Opera House), they completely renovated the auditorium and stage. Part of the renovation included adding a fly loft and purchasing all new scenery from the Kansas City Scenic Co. The Kansas City Scenic Co. subcontracted some of their project to the Sosman & Landis Scene Painting Studio of Chicago. Sosman & Landis delivered at least two of the interior settings and a ceiling panel.
Between 1879 and 1902 new scenery was delivered multiple times as the venue transitioned from a wing-and-shutter scenery to a fly drops, box sets and folding wings. Scenic artists included decorative artist James E. Lamphere (C. A. Treat, Denver), T. Frank Cox (well-known theater architect and founder of Cox Bros. Great Southern Studio, New Orleans) and Henry E. Burcky (well-known scenic artist of Hooley’s Theatre in Chicago and the 1881 Cincinnati Opera Festival).
Tree profile by Frank Cox, 1888.Signature and date on back of tree profile by Frank Cox, 1888.Cut Shutter by T. Frank Cox, 1888.Moving painted shutters by T. Frank Cox.
When the nineteenth-century scenery was replaced with new scenery in 1902, the old scenery was simply stored in the attic. Over the years a few pieces were lowered to the floor, but it was an arduous task to transfer it from the attic to the stage floor, so much remained untouched. Until 2020, much of the scenery remained stacked along one attic wall, patiently waiting under piles of dust and debris.
Piles of nineteenth-century scenery were once stored in the attic of the Tabor Opera House. Photograph from June 19, 2018.
I was hired in 2020 to document and evaluate the Tabor Opera House scenery collections. My task was to conduct a historical analysis of the collection, evaluate the condition of individual artifacts, provide replacement estimates, and create a collections care management program. At the time, I believed there were about 50 pieces on the stage and about 30 pieces in the attic. I was very, very wrong, and grossly underestimated the amount. I could not never have anticipated the size or scope of the collections. The sheer numbers surprised everyone.
A small section of flats stacked against the back wall of the Tabor Opera House in Leadville, Colorado.
To date, the documented stage artifacts comprise fourteen unique theatre collections, spanning from 1879-1902. There are over 250 individually painted compositions, as many pieces are double-painted. Nineteenth-century scenery once stored in the attic was designed for a wing-and-shutter system. The twentieth-century scenery was designed for a more modern stage with a fly loft. I have never encountered so much scenery delivered to one place, specifically one small opera house in the mountains. Even when the scenery was damaged over the years, it wasn’t discarded. We uncovered dozens of painted scraps and little broken bits, just tucked away, out of sight, out of mind.
The packed stage before all of the attic scenery was lowered to the stage floor.
I have completed two of three phases, as there are still piles of undocumented scenery scattered throughout the building, stored above attic rafters and elsewhere. The first phase of the project (February 2020) focused on the twentieth-century scenery and the second phase (September 2020) focused on the nineteenth-century scenery in the attic. The third phase will happen sometime this year and include a “rounding up” of the remaining artifacts. They just keep popping up all over the place.
The historical analysis of the fourteen Tabor Opera House collections is 440 pages long. I wrote the text in a conversational format to help communicate information to both the Board of Directors and architects. I included fun facts and stories for moments of levity, sharing the lives and careers of the many individuals involved with the stage from 1879-1902. I wanted these artifacts to personally impact those without a thorough understanding of technical theatre or theatre history. The title of my tome is “A Theatre Time Capsule: Scenic Collections at the Tabor Opera House.” My work places the collections and each artifact within a historical context, both nationally and internationally. This 440-page document does not include the individual conditions reports, replacement appraisals, recommendations or collections care program. That was a whole separate headache. When everything is put together, my work is just shy of 1300 pages. I am dreading making a hard copy of everything next month.
A stray piece documented in the Tabor Opera House attic, June 2018.That same stage artifact cleaned and lowered to the stage floor in September 2020.Nineteenth-century stage setting delivered to the Tabor Opera House.Twentieth-century scene delivered to the Tabor Opera House.
The scope of the collection is the broadest that I have ever encountered, not just in regard to the scenery, but also in regard to stage hardware. Yes, there is water damage, punctures, abrasions, poor repairs, alterations and the like, but much of the scenery is between 119 and 142 years old, so with that in mind, the scenery is in remarkable shape and all salvageable.
I will keep you posted once third final phase is complete.
On Nov. 14, 1921, Hugo R. Volland passed away. Six months later, Patrick J. Toomey died on March 12, 1922. Then, Volland’s wife Laura passed away on January 12, 1923. Within fourteen months the president, vice president and secretary/treasurer of Toomey & Volland passed.
The 1914 St. Louis Directory listed Patrick J. Toomey as the president of Toomey & Volland, Hugo R. Volland as the secretary of Toomey & Volland, Laura A. Volland as the vice-president of Toomey & Volland. Toomey was the senior partner, a remarkable and talented man. Volland was also talented, and the key individual who landed many of the Masonic projects. The partnership was extremely successful by 1920, continually landing one large project after another. Although Toomey’s son did not follow in his footsteps, both of Volland’s son’s did follow there father and were working for him in 1920..
That year Louis Jerome Volland and Victor Hugo Volland worked as scenic artists at the Toomey & Volland studio. In the end, they were the two who lost the most, but also gained a firm.
I am intrigued with Laura Volland’s involvement with the company. She was not an anomaly; it was not unusual for a wife to fill the position of president or vice-president at a scenic studio. I think of David Hunt’s wife who was listed at the president of New York Studios around this same time. Many women were involved with the studios, both on paper and in the offices.
Headline when Mrs. Laura Volland passed away.
On Jan. 13, 1923, the “St. Louis Star and Times” announced the passing of Mrs. Laura Volland (page 3). Her obituary notice reported, “Mrs. Laura Volland, 5865 Enright avenue, died in the women’s retiring room at the American Theatre at 10:10 p.m. yesterday a few minutes after she had complained of feeling ill. The cause of death was given at heart disease.
Hers was the third death of persons stricken in local theaters in the past week. Last Saturday night Robert E. Adreon, president of the American Brake Company, collapsed and died at the Orpheum, Joseph Stanhope, an actor in the Woodward Players, collapsed on the stage at the Garrick Saturday evening and died early Sunday morning.
Mrs. Volland had gone to the American with her sons, Louis J. and Victor H. Volland, and a young woman. She complained of feeling faint and went to the women’s rest room, where she collapsed.
Dr. George T. Gaffney, 4942 Laclede avenue was called from the audience to attend her. An inquest will be held Monday.
Mrs. Volland, who was 51, is the widow of Hugo Volland, treasurer of the Toomey & Volland Scenic Painting Company. Volland also died suddenly, in November 1921, of heart disease. His widow lived with her two sons and a daughter, Miss Rose Volland. Funeral services will be held Monday at the home with cremation at Valhalla Cemetery.”
