Pausback Studios – Drypigment.net

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

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

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

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

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

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

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

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

*1903 advertisement placed by Nicholas J. Pausback.*

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

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

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

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

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

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

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

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

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

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

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

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

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

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

*Photograph shared by grandson Nicholas John Pausback.*

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

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

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

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

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

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

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

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

*Drawing shared by grandson Nicholas John Pausback.*

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 927 – Tom Moses and Nick Pausback, 1916

This is the only photo that I have been able to locate of Nick Pausback – he is in the back row, second in from the left.

In 1916, Thomas G. Moses wrote, “Pausback went to the 20th Street studio, part of which we rented for a couple of months. We put plenty of help with Pausback to rush the work through, and I think he will be able to pull it out, as we are too busy at Clinton street to take much of it.”

Sosman & Landis’ main studio was on Clinton Street. Over the years, the firm would lease additional studio spaces that were referred to as “annex studios.” The 20^th Street Studio was an annex studio. For years, any annex studio was under the direct supervision of Moses, unless he was called away – which was a lot. Since 1904, Moses was in charge of all design, construction, painting and installation of projects at Sosman & Landis. This was not a first-time that Moses moved staff from one building to another. Since 1908, Pausback has bounced back and forth between the main studio and various annexes, he was a shop manager.

Nicholas “Nick” John Pausback Jr. was a scenic artist, described as a tall, slender man with grey eyes and dark brown hair.

Pausback was born on May 5, 1881; this makes him twenty-five years younger than Moses. The Registry of Births for the city of St. Louis, Missouri, lists that Nick Pausback was born at Rappahannock St. and his parents were to Nicholas and Caroline Pausback. He was one of seven children; his siblings were Maria (b. 1879), Joseph (b. 1883), Eva (b. 1884), August (b. 1885), Stella (b. 1888), and Clara (b. 1889).

The 1900 US Census lists the nineteen-year-old Pausback as living with his family at 3113 Magnolia in St. Louis, Missouri. At the time, his occupation was noted as “artist – painting.” He was the only one in the family that entered theatre industry. His siblings worked as milliners, salesmen in clock stores, clerks in a mill and saloon employees. Pausabck’s mother even worked at a grocery store. Interestingly, his little brother became an boxer, making headlines after ca collapse in the ring during a 1906 match at the Broadway A.C. in St. Louis (“St. Louis Globe-Democrat,” 18 April 1906, page 13). Brother Joe was in the 125-pound class and reported to be a “youngster with a record for having the stiffest punch of any boy of his weight in the city” (St. Louis Globe-Democrat, 16 April 1906, page 11). I have not tried to track down the other siblings at this time.

In 1902, there was a newspaper announcement about Nick Pausback’s twenty-first birthday party (St. Louis Republic, 11 May 1902, page 17). Quite a few people attended, including fellow scenic artist Armbruster. Although no first name was given, my best guess is Otto, as he was working for Moses at the time.

By 1905, Pausback was credited with fully equipping the new Grand Theatre in Owensboro, Kentucky. The “Messenger-Inquirer” reported, “Mr. Nicholas Pausback of St. Louis is the artist employed. He has painted several of the scenes and is now at work on the others. There will be twenty hanging scenes and about seventy-five all told. The greater part of these will be in frames…When the work is completed the Grand will have one of the very best equipped of stages. The two ‘tormentors’ painted by Mr. Pausback have been placed and they are receiving favorable criticism of all who see them.” The project also included a heavy asbestos curtain with “beautiful Venetian scene” (Messenger-Inquirer, 18 July 1905, page 6). Other pieces mentioned included two drop curtains and a fancy parlor scene painted in a Japanese pattern.

That same year, Pausback was also engaged to paint new scenery for the new opera house in Central City (Messenger-Inquirer, 26 July 1905, page 8). The venue would become known as the Gish Opera House. By the way, Central City is halfway between Louisville and Nashville; I had to look. Only four years later, the opera house went up in flames; the fire started during commencement exercises for the Central City School’s music class. The music teacher and children ranging from ages 5-12 were the main victims, perishing in a tragedy locals termed the “Opera House Holocaust” (Cincinnati Enquirer, 26 May 1909, page 1).

Pausback did marry and start a family in St. Louis too. His bride was Ottilia (also Otilia) Groebl (b. 1883), a German immigrant who arrived in 1898. The couple celebrated the birth of six children, three girls and three boys: Nicholas (B. 1905), Elvira (b. 1906), Raymond (b. 1908), Mary (b. 1912), Lawrence (b. 1922) and Therese (b. 1927). Only the first two children were born in St. Louis.

It was in 1907 that Pausback and his family moved from St. Louis to Chicago, and I wonder employment at Sosman & Landis prompted the move. That year, he started to work for the firm as their paint shop foreman. Moses, wrote, “I depended a great deal on Pausback to look after the work while I was away.”

Pausback did not consistently work at Sosman & Landis, however, as he also worked for a variety of other firms. Like many scenic artists of the time, Pausback picked up work wherever he could find it. During the late-nineteenth and early twentieth century, scenic artists accepted extra work even when working full-time positions. Demand for scenic art outweighed the supply and a great deal of money could be made in a relatively short period of time for any ambitious artist. The phrase “make hay while the sun shines” certainly comes to mind.

The 1910 US census listed Pausback as an advertiser in the “Packing Co.” industry, still working as a scenic artist though. He would provide this same information for the 1920 census too which makes me wonder what the Packing Co. delivered. There are too many packing companies to even hazard a guess at this time. In 1911, Moses again records that Pausback took charge of the 20^th Street studio.

By 1916, Pausback was back at the 20^th Street studio and also installed a few shows in New York. At the time he was working with the stage carpenter Harry Nailer. Then everything changes. My guess is World War I and a redistribution of labor. The next year Pausback was working in the advertising department at Swift & Co., located in Chicago’s Union Stock Yards. Keep in mind that many scenic artists were snatched up by the military; camouflage painting was in its infancy and would draw heavily on the expertise of stage painters, those who were skilled at painting for a distance. A decade later, Pausback established his own studio.

In 1927, he founded Pausback studios and ran the firm for twenty years, retiring only six years before his passing in 1953. His scenery company was located at 3727 Cottage Grove Ave., Chicago (Chicago Tribune 2 Dec. 1928, page 2). In 1928 Pausback also wrote a book on stage craft (Dec. 17, 1928). He was in his late forties and seems to have been hitting his stride. Things were continuing to look up, work was plentiful, and there was a new and insatiable client – academic theater.

Educational and academic institutions became a primary client for Pausback Studios, as well as many theatrical supply firms of the time. Public schools were in a constant state of demand, with an ever-growing need for rigging, draperies, and scenic options. Publications focused on how amateur productions could forgo the need of any theatrical expert – “do it yourself” became a popular approach; you just needed enthusiasm and an instructional manual to produce a show. Part of me wonders if this was the beginning of the end for the professional scene painter, hence the mass migration to Hollywood where an advanced skill set was still required to produce magic.

Of Pausback’s children, only his daughter Alvera (b. 1907) was working for the company after the market crash in 1929. She remained a clerk, possibly the result of labor reduction. Pausback Scenery Co. also provided properties for “Wings of a Century,” a feature at the 1933 world fair in Chicago. In the 1930s, Pausback studio made a huge splash with oversized Christmas tree ornaments. Towards the end of his career, Pausback worked with Arthur “Art” W. Oberbeck, another former Sosman & Landis employee (“Blue Island Sun Standard,” 15 June 1944, Page 6). Oberbeck started as a paint boy at the Sosman & Landis studio in 1904, just a few years before Pauysback joined the staff.

Interestingly, Pausback was also an amateur magician. As a member of the International Brotherhood of Magicians and the American Society of Magicians, he was known as “Nicodemus, the Magician” (Chicago Tribune 14 May 1953, page 36).https://newspaperarchive.com/blue-island-sun-standard-jun-15-1944-p-6/

Overall, Pausback’s obituary listed that he was in the theatrical scenery business for 45 years and did not retire until 1947. It was a little longer than that, according to my calculations. Pausback passed away at the age of 72 in 1953. He is buried in St. Mary Catholic Cemetery and Mausoleum in Evergreen Park, Illinois (Section 1, lot 764). This is now on my “to visit” list, as I track across country and pay homage to those who came before me.

I end with this: His obituary remembers, “Nicholas J. Pausback, 72, of 1000 S. Rhodes av., retired theatrical scenery contractor, died yesterday in his home. Mr. Pausback, who retired six years ago, supplied amateur and professional theatrical scenery for 45 years, the last 20 years as owner of Pausback Scenic studios. An amateur magician, he was a member of the International Brotherhood of Magicians and the American Society of Magicians. Surviving are his widow, Otilia, three daughters, Mrs. Elvira Pausback Howard, Mrs. Mary Crescentia Welsh and Mrs. Therese Curtis, and three sons, the Very Rev. Gabriel of the Carmelite Order, Raymond Joseph and Lawrence” (Chicago Tribune, 14 May 1953, page 36).

Pausback’s obituary also credited him as a “scenic artist de luxe”(Chicago Tribune 14 May 1953, page 36). Life goes by too fast, and we are too quick to summarize another’s life in a few sentences. Kudos to the families that did more. I am desperately trying to preserve our past and pay tribute to those unsung theatrical geniuses.

In the end, Pausback Studios merged with Acme and Carsen in 1957 to form the Acme Carsen Pausback Studio. See past post 566 for more information about Acme and Carsen of Chicago; it is quite a story.

To be continued…

Tales from a Scenic Artist and Scholar. Part 857 – Dealers in Theatrical Goods and Dye Scenery, 1913

While looking for information about scenery delivered by Sosman & Landis in 1913, I stumbled across an interesting publication – “How to Enter Vaudeville” written by the Frederic LaDelle that same year. The content of the book covers a lot of ground, providing an interesting snap shot of the production process and terminology in 1913. There was also a guide to theatre manufacturers, suppliers, and services. The “Dealers in Theatrical Goods,” however, only four studios were listed under “Theatrical Scenery.” I don’t know if this speaks to Frederic LaDelle’s limited connections or if other scenic studios perceived this publication as lacking importance.

The four dealers in theatrical goods were listed in the following order:

1. John C. Becker, 143 Southport Ave., Chicago, Ill.

2. Manning Studio, Rochester, N.Y.

3. Eugene Cox, 1528 Van Buren St. Chicago, Ill

4. W. Crosbie Gill, Warrick’s Theatre, N.Y.

N J. Pausback purchased advertisement space in the book, yet was not listed as a theatrical dealer in the directory. The add was worth mentioning.

N. J. Pausback’s advertisement in “How to Enter Vaudeville.

Here is Pausback’s 1913 ad on “How to Enter Vaudeville:”

“DYE SCENERY! Papier mache properties and stage effects. The best scenery for vaudeville performers is that which is known as ‘Dye Scenery.’ “It is brighter in color and can be folded and packed into trunks and traveling cases without the slightest injury to the scene itself. Dye scenery is also lighter in weight than the old kind and is therefore an important item in reducing excess baggage expense which amounts to considerable in the course of the season. Many acts make good on scenery and stage setting alone, and in such acts as Japanese, Chinese, Western Cowboy, Indian and in fact all impersonations of race or nationality, the scenery should be best. Write me a letter stating your requirements, and the nature of your act and I will submit you a rough sketch and quote you a satisfactory price on your work. N. J. PAUSBACK, Theatrical Contractor 6539 Ellis Avenue, Chicago, Illinois.”

I have continually explored the production of dye scenery in many past posts over he past few years, but it is worth repeating at this particular juncture in the life and times of Thomas G. Moses.

During the first decade of the twentieth century, much traveling scenery was created with aniline dye, allowing drops to be easily folded and packed in a trunk (for additional information, see past posts # 548-550). This process ensured that the painted composition would not crack or dust off during transit and repeated use. Dye drops were lighter and far easier to handle, perfect for tent shows, midway amusements, circuses, and vaudeville troupes. The vibrant colors also worked well for certain stage effects, such as sunsets and stained glass. All you needed to do was mix the dye with a binder, such as gum arabic. The right mixture provided maximum adhesion and minimal bleeding of color. However, just like any chemistry project, you had to get the binder/water/dye ratios correct or it was a big bleeding mess. Dyes were also used for inking the drawing. It was a wonderful and versatile “go-to” product for painting and staining.

Dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

Painted detail of dye drop at the Theatre Museum in Mt. Pleasant, Iowa.

Dry pigment was also used in place of dyes, applied in a series of thin glazes. Many of the dry colors remained quite vibrant, even when watered down, but were not comparable to certain anilines. The earliest translucencies for the stage were simply produced with a thin glaze of dry pigment, but dry pigment glazes could not hold a candle to aniline dyes in terms of vibrancy.

In the past, I have examined dye drop collections at historic theaters. For example, in Madison, Wisconsin, all of their drops are dye drops, with the majority are kept off stage in a nearby storage room, as there are more drops than lines. Now kept in plastic tubs, each drop is easily accessible to immediately hang for a degree (for more information about this particular installation, see past post #107). There are also several lovely examples of dye drops on display at the theater museum in Mount Pleasant, Iowa. This museum purports that scenic artist Jesse Cox invented the diamond dye process for theatre drops, instigating the immediate popularity of dye drops for touring vaudeville acts and tent shows. Whether or not Cox was the first to popularize dye drops in immaterial, but the increased resulted in dye drop ads, such as Pausback’s in “How to Enter Vaudeville.”

Dye drop at the Scottish Rite Theatre in Madison, Wisconsin.

In addition to vaudeville and tent shows, many circus spectacles also used dye scenery. In 1906, Thomas G. Moses created a dye canopy for Al Ringling (see past post #548). Moses describes how dye work was still vulnerable to water, causing Ringling to greatly chastise him after one particularly sever rain storm. Just because a backdrop was painted in dye did not mean that it could not be water damaged. A dye drop simply helped the painted composition stand up to excessive wear and tear, it did not make it water proof; an application of paraffin helped waterproof canvas outdoors.

Over the years, dye drops have made their way into various performing arts collections. The historic examples greatly range in both size and quality. However, it is the brilliance of color that often remains, bringing to mind the spirit an energy that characterized many touring shows that left their mark on small Midwestern towns. I will continue down the dye drop road and Jesse Cox’s perceived role in this history tomorrow.

To be continued…

Tales from a Scenic Artist and Scholar. Part 787 – Nicholas J. Pausback at Sosman & Landis, 1911

In 1911, Thomas G. Moses wrote, “Pausback had his hands full; Scott acted bad. Got Geo. Schultz on the staff at 20^th Street. I was obliged to remain at the Clinton Street studio only going to 20^th Street every other day.” Moses mentioned many Sosman & Landis scenic artists during his life. He greatly respected Pausback and his contribution to the studio.

In 1907, Moses first mentioned Pausback, writing, “I depended a great deal on Pausback to look after the work while I was away.” Two years later, Moses mentioned him again when Pausabck took control of the 20^th Street Studio. M<oses recalled that Pausback provided plenty of help “to rush the work through.” There was no question that Moses had great faith in Pausback’s abilities. By 1917 Pausback was still working at the Sosman & Landis annex and would remain with the company until its liquidation in 1923.

Nicholas John Pausback Jr., was born on May 5, 1881, in St. Louis, Missouri. He was the son of St. Louis residents Nicholas J. Pausback, Sr. (1853-1900) and Caroline Pausback (1859-1943), each born and raised in the city. By the end of his life, Pausback’s obituary credited him as being a “scenic artist de luxe”(Chicago Tribune 14 May 1953, page 36). Other notices reported his staying in the theatrical scenery business for 45 years with his wife Ottilia, and not retiring until 1947.

Pausback became the founder of Pausback Studios by 1927, four years aftert the initial close of Sosman & Landis. He ran Pausback Studio for twenty years, retiring only six years before his passing in 1953. As with many competitors, Pausback Studio primarily focused on public school and college projects, outfitting school stages with rigging and draperies. This branch of the industry had greatly increased in the 1920s and continued to thrive until the 1960s. Tiffin Scenic Studios and Art Drapery Studios became major competitors of Pausback Studios by the 1950s (The Times, 11 Feb 1953, page 2). Eventually Pausback merged with Acme and Carsen in 1957 to form the Acme Carsen Pausback Studio (see past installment #566). The company placed advertisements in the 1959 “Educational Theatre Journal” (Vol. 11, No. 1, i-xxxviii).

Prior to working at Sosman & Landis in Chicago, Pausback began his scenic artist career in St. Louis, Missouri. In 1901, his occupation was listed in city directories as that of “artis.” Pausback’s residence was at 3113 Magnolia Ave. In 1904, Pausback married to Otillia Groebl (1883-1963) and the couple raised five children: Elvira Mary (m. Harold J. Howard), Mary C. (m. Mr. Welsh) and Mrs. Therese Curtis. Raymond J. Pausback (m. Yvonne Singer), and Very Rev. Gabriel N. Pausback (b. 1905) of the Carmelite order. Records show that the two eldest children of five were born in St. Louis during 1905 and 1906, with the remaining children being born in Chicago. In the early years, Pausback was crisscrossing the country like many artists, completing a variety of painting projects that included seventy-five scenes for the Grand Theatre in Owensboro, Kentucky (Messenger-Inquirer, 22 June 1905, page 8). Of this installation, twenty-five of the scenes were backdrops, with the greater part remaining framed pieces. In Kentucky, he waorked alongside stage carpenters J. A. McDanuel and his son.

N. J. Pausback pictured in 1928 (back row, second from the left).

In 1907, Pausback relocated to Chicago, immediately working with Moses at the Sosman & Landis in the 20^th Street Studio. By 1908, Pausback became the shop manager of the space, replacing Ansel Cook. By 1916, Pausback was frequently sent to in New York, installing shows with fellow Sosman & Landis employee, Harry Nailer, the well-known stage carpenter. He worked for New York Studios, the eastern affiliate of Sosman & Landis.

During the 1920s, Pausback founded Pausback Scenery Co. Living at 6606 Woodlawn Ave., in Chicago Illinois. His scenery company was located at 3727 Cottage Grove Ave., Chicago (Chicago Tribune 2 Dec. 1928, page 2). After founding the firm, Pausback also wrote a book on Stage Craft; a book that I am still tracking down (Dec. 17, 1928). By 1929, the Pausback Scenery Co was credited with a new innovation for gigantic Christmas trees – spangles in various shapes and sizes, some that measured 10 inches in diameter (Chicago Tribune 9 Dec. 1929, page 3).

Over the years, the Pauback studio pops up in several newspaper articles, but nothing really consistent. Briefly morphing from Pausback Studio to the Pausback Scenery Co.. the firm is briefly mentioned as providing properties for “Wings of a Century” at 1934 Century of Progress World fair in Chicago.

Toward the end of his career, Pausback partnered with another Sosman & Landis scenic artist, Art W. Oberbeck (Blue Island Sun Standard Archives, 15 June 1944, Page 6). Oberbeck and Pausback had started at Sosman & Landis around the same time; Oberbeck starting as a paint boy at the in 1904 and Pausback as a journeyman artist three years later.

In 1939 Pausback Studios advertised, “Scenery and Lighting Equipment Built and Rented” with offices located at 3727 Cottage Grove Avenue, Chicago and the phone nunbers being Drexel 7060 and 7061 (Labor Union Directory). The key to any scenic studio’s success at this time was diversification, manufacturing and installing both stage machinery and lighting systems.

Pausback was also an amateur magician. As a member of the International Brotherhood of Magicians and the American Society of Magicians, his stage name was “Nicodemus, the Magician” (Chicago Tribune 14 May 1953, page 36). This persona was even remembered “Do You Remember When,” a section published in an “Independent Magazine for Magicians” known as “The Sphinx” in 1949. “The magazine queried, “Do you remember when Nick Pausback, scenic artist de luxe, of Chicago was known as “Nicodemus, the Magician?” (Page 12).

Pausback passed away on March 13, 1953, buried in St. Mary Catholic Cemetery in Evergreen Park. His last residence was at 1000 S. Rhodes Ave., Chicago, Illinois.

To be continued…

Tales from a Scenic Artist and Scholar. Part 566 – Nicholas J. Pausback

Part 566: Nicholas J. Pausback

In 1907, Thomas G. Moses split his time between Sosman & Landis’ 20^th Street studio and the main studio He wrote, “Did a great many scenes and drop curtains and we kept a good force at 20^th Street. I depended a great deal on Pausback to look after the work while I was away. Everyone seemed to work hard.”

Nicholas J. Pausback (1881-1953) pictured in 1928 as representing Pausback Scenery Co.

Nicholas J. Pausback in the last row (second to left). From the Chicago Tribune, 2 Dec. 1928, page 12

Moses was referring to the scenic artist Nicholas John Pausback Jr. (5 May 1881-13 May 1953), His obituary referred credited him as a “scenic artist de luxe”(Chicago Tribune 14 May 1953, page 36).

Nicholas J. Pausback’s grave marker at St. Mary Catholic Cemetery.

Pausback stayed in the theatrical scenery business for 45 years, not retiring until 1947. He became the founder of Pausback studios, a company that lasted for exactly twenty years, from 1927-1947.

Prior to his work for Sosman & Landis in Chicago, Pausback worked in St. Louis, Missouri. Records show that his two eldest children were born there during 1905 and 1906. By 1907, Pausback is working with Moses in Chicago. In 1908, Pausback is noted as a shop manager at Sosman & Landis, taking charge of their 20^th Street studio studio by 1911. In 1916, Pausback installed New York shows with Harry Nailer, stage carpenter. Pausback founded Pausback Scenery Co. Living at 6606 Woodlawn Ave., in Chicago Illinois during the late 1920s His scenery company was located at 3727 Cottage Grove Ave., Chicago (Chicago Tribune 2 Dec. 1928, page 2).

In 1928, Pausback also wrote a book on Stage Craft (Dec. 17, 1928). Trying to track down a copy now! The following year, Pausback Scenery Co was credited with a modern idea to meet the requirements of gigantic Christmas trees – spangles in various shapes and sizes, some that measured 10 inches in diameter! (Chicago Tribune 9 Dec. 1929, page 3).

“Wings of a Century” production for the Century of Progress in 1933. Credit was given to Pausback Scenery Company for providing props.

Props are provided by Pausback Scenery Co.

His company pops up again in several internet searched during the 1930s. In 1934, the management of the Century of Progress world fair in Chicago thanked Pausback Scenery Co. for providing properties for Wings of a Century. I have included the entire program as it is quite interesting in itself. Toward the end of his career, Pausback was also working with Art W. Oberbeck (Blue Island Sun Standard Archives, 15 June 1944, Page 6). Oberbeck and Pausback has worked at Sosman & Landis during the same time. Oberbeck started as a paint boy at the studio in 1904.

Pausback was also an amateur magician. As a member of the International Brotherhood of Magicians and the American Society of Magicians, he was known as “Nicodemus, the Magician” (Chicago Tribune 14 May 1953, page 36).

Pausback passed away in 1953 and was buried in St. Mary Catholic Cemetery. He was survived by his wife Ottlia Groebl Pausback; daughters Elvira Pausback Howard, Mrs. Mary Crescentia Pausback Welsh and Mrs. Therese Pausback Curtis; sons the Very Reverend Nicholas Albert Pausback/Father Gabriel of the Carmelite Order, Raymond Joseph and Lawrence; and nine grandchildren.

Acme Carsen and Pausback advertisement in back matter of Educational Theatre Journal 11, no. 1 (1959)

From Educational Theatre Journal 11, no. 1 (1959)

By 1959 there would be advertisements for ACME CARSEN PAUSBACK scenic studios (“Back Matter.” Educational Theatre Journal 11, no. 1 (1959): I-Xxxviii. http://www.jstor.org/stable/3204606.). The three names caught my attention. In regard to ACME studio, several disgruntled Sosman & Landis employees for Service Studios in 1920. Service Studios soon became ACME studios in Chicago. I have an ACMR studios sales book and they simply replicated existing Sosman & Landis Scottish Rite designs.

The Carsen of Acme Carsen Pausback Studio was Robert W. Carsen. He a scenic artist and stage mechanic, working as over hire at J. C. Becker & Bros. Carsen also ran his own studio, Robt. W. Carsen, advertising as “constructors and painters of theatrical scenery.” His studios were located at 1507 North Clark Street, and he was hired to build some Masonic scenery for the Moline Scottish Rite during 1930.

Invoice from Robt. P. Carsen to Becker & Bro., for the Moline Scottish Rite scenery installation, 1930. From the collection of Wendy Waszut-Barrett.

By the 1950s, Acme Carsen Pausback, were delivering stage curtains for Chicago area schools, including an elementary school in district 7 of Chicago.

To be continued…