Tryon & Graham – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1095 – “Birds of Passage,” Tryon & Graham, 1876-1877

Henry C. Tryon and Lemuel L. Graham formed a scenic art partnership that lasted from the summer of 1876 to the spring of 1877. Although short-lived, their partnership fills in one more missing piece to the nineteenth-century scenic art puzzle.

On August 9, 1876, the “South Bend Tribune” credited Henry C. Tryon and Lemuel L. Graham with new scenery for the South Bend opera house. Fifty years later, the small note was republished: “South Bend.-L.L. Graham, of the academy of music of New Orleans, La., and Henry C. Tryon of McVicker’s theater of Chicago, scenic artists are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others.” (“South Bend Tribune,” 9 Aug 1926, page 6).

Henry C. Tryon and Lemuel L. Graham were called “birds of passage” in scenic art advertisement during 1876. What a charming term for itinerant scenic artists. Tryon and Graham posted several ads in the “New York Clipper” for a two-year period while working together.

On December 23, 1876, the “New York Clipper” published their advertisement:

“HENRY C. TRYON from McVicker’s Theatre, Chicago, and L. L. GRAHAM from the Academy of Music, New Orleans, La. are prepared to paint, in first-class metropolitan style, scenery for theatres and public halls. Address, for the present, HENRY C. TRYON, care of Tootle’s Opera-house, St. Joseph, Missouri, and L. L. Graham, New Opera-house. Findlay, Ohio. Permanent address, care of McVicker’s Theatre, Chicago. As we are “birds of passage” due notice of change of address will be given. Respectfully, TRYON & GRAHAM.”

Advertisement for Tryon & Graham in the “New York Clipper,” 1876.

The advertisement provides some insight into Tryon and Graham’s projects that year; at the end of 1876, Tryon was painting at Tootle’s Opera House in St. Joseph, Missouri and Graham was still working at the Davis Opera House in Findlay, Ohio. Tryon and Graham had just completed a significant amount of stock scenery for the opera house in Findlay during 1876.

On January 6, 1877, the “New York Clipper” included an advertisement for the new opera house:

“DAVIS OPERA-HOUSE. FINDLAY, OHIO.

It has just been completed, and seats eight hundred; it has 350 iron opera-chairs in dress circle; good front and stage entrances; lighted by gas; stage 33 feet by 45 feet; proscenium opening, 23 feet; foot and border lights; elegant drop and act curtains, and nine complete sets of scenery by Chicago scenic artists TRYON & GRAHAM. Findlay is an excellent show town about six thousand inhabitants and will support a good show a week. For terms and dates apply to Davis, Detwiler & Co., Findlay, O.”

The two were working in multiple states that included Ohio, Indiana, Illinois, and Missouri. On January 6, 1877, the “New York Clipper” reported, “Hascall’s Hall, Goshen, Ind. has recently been fitted up with a new drop-curtain and six complete sets of scenery, painted by Chicago Scenic Artists MESSRS. TRYON & GRAHAM. Goshen is a fine town of about 5,000 inhabitants, on the Lake Shore and Michigan Southern R.R., about halfway between Chicago and Detroit. A good show can play three nights to good business. For terms apply to Chas. B. Alderman, Goshen, Ind.” The Hascall Hall was part of the Hascall Block, a massive building erected by Chauncey Smith Hascall in Goshen. Located at Main Street and Lincoln Avenue, the structure was raised in 1922 to make way for City National Bank.

On March 31, 1877, the “New York Clipper” credited the pair with painting scenery at another opera house in Troy, Ohio. The notice stated, “NEW YOU CITY OPERA-HOUSE, Troy, O., recently completed, is described as having a seating capacity of 600, a stage 56 x 40 feet, ten changes of scenery, painted by Tryon & Graham, and all the accommodations of a first-class house.”

Lemuel Laken Graham formed several partnerships throughout the duration of his career; each was fairly short lived, suggesting that Graham may have been a difficult partner. Five years after ending his partnership with Tryon, Graham partnered with Thomas G. Moses. Their partnership only lasted from 1882 to 1883, and then both Moses and Graham returned to the Sosman & Landis Studio in Chicago. By 1884, Graham left the Chicago offices to establish another partnership in Kansas City with William Davis. The new studio was known as Graham & Davis; another partnership that lasted for less than two years. Soon Graham was solely working under his own studio name in Kansas City– Lemuel L. Graham. As an interestingly aside, it was Tryon who was Graham’s replacement when he left Sosman & Landis in 1884. Keep in mind that in the 1880s, regional branches for major scenic studios did not necessarily use the main studio’s name, but a new, and often local, identity.

Graham was included in the 1888 publication “Industries of Kansas City: Historical, Descriptive and Statistical:”

“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.” Here is the entire entry for Graham too:

“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 McVickers’ 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, frame work, 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.”

This publication also included an interesting commentary about scenic studios at the time: “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.”

For more information about Graham’s career, visit my post “Travels of a Scenic Artist and Scholar: The Scenic Art Career of Lemuel L. Graham, 1884-1914.” Here is the link: https://drypigment.net2020/02/21/travels-of-a-scenic-artist-and-scholar-the-scenic-art-career-of-lemuel-l-graham-1884-to-1914/

To be continued…

Travels of a Scenic Artist and Scholar. The Scenic Art Career of Lemuel L. Graham, 1884 to 1914.

Yesterday I examined the early life of Lemuel Laken Graham, a partnership with Thomas G. Moses in 1882, and his return to the Sosman & Landis Studio in 1883. By 1884, Graham left Chicago to start his own studio in Kansas City, Missouri. The 1885 Kansas City Directory lists Graham as a founder of the Kansas City scenic company studio known as Graham & Davis. At the time, Graham was residing at 637 Garfield Ave. His business partner, William Davis, was with the firm for less than only two years, and by 1886 studio was simply listed under Lemuel L. Graham.

In 1887, Graham was again listed in the Kansas City directory as a scenic artist with his studio at 525 Main, rooming at 517 E. Missouri ave. The 1888 Kansas City Directory lists “Lemuel L. Graham” as employer for other scenic artists in the city, such as Benjamin F. Dunn, future president of the Kansas City scenic Co. Two other bits of information in 1888 provide a little context for Graham’s career in Kansas City; the first is that Moses mentions stopping in Kansas City to visit Graham in his memoirs, writing, “He was doing well.” Indeed, Graham was doing very well, with a substantial staff of artists work in his studio. The second mention of Graham and his studio was included in the 1888 publication, “Industries of Kansas City: Historical, Descriptive, and Statistical.”

The section on Graham included the following 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.

There was an entire entry for Graham too:

“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 McVickers’ 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, frame work, 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.”

This publication included an interesting commentary about scenic studios at the time: “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.”

By 1896, Graham was listed as doing business with another scenic artist L. J. Couch (1838 – 1909). Little is known of their exact relationship or business, but it was an unsuccessful venture and makes me ponder Moses’ comment, “a good fellow and a hard worker, but altogether too close to please me.” Graham and Couch were listed in the “Boston Globe” under the heading “Business Troubles.” Of their 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” (The Boston Globe, 9 Jan. 1896, page 7). This is Graham’s third failed business venture in twelve years.

Couch was a scenic artist and inventor, specializing in stage hardware. Born in Milford, Connecticut, he was also a stage mechanic, with an extensive background as a general carpenter. This should have been the winning combination for Graham and Couch – both scenic artists, with one being a knowledgeable stage mechanic. Couch even applied for two patents that involved the operation of stage scenery. One was for a “wire rope clamp” (US Patent 756,158) and other for a “curtain block, drop” (US Patent 756,157). Here are the links to Couch’s two patents:

https://pdfpiw.uspto.gov/.piw?PageNum=0&docid=00756157&IDKey=38593B643681%0D%0A&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO1%2526Sect2%3DHITOFF%2526d%3DPALL%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsrchnum.htm%2526r%3D1%2526f%3DG%2526l%3D50%2526s1%3D0756157.PN.%2526OS%3DPN%2F0756157%2526RS%3DPN%2F0756157

and

https://pdfpiw.uspto.gov/.piw?PageNum=0&docid=00756158&IDKey=835F3B6405D6%0D%0A&HomeUrl=http%3A%2F%2Fpatft.uspto.gov%2Fnetacgi%2Fnph-Parser%3FSect1%3DPTO1%2526Sect2%3DHITOFF%2526d%3DPALL%2526p%3D1%2526u%3D%25252Fnetahtml%25252FPTO%25252Fsrchnum.htm%2526r%3D1%2526f%3DG%2526l%3D50%2526s1%3D0756158.PN.%2526OS%3DPN%2F0756158%2526RS%3DPN%2F0756158

Couch advertised his wire clamp in the “New England Business Directory and Gazetteer” (No. XXI, 1904).

Advertisement from the “New England Business Directory and Gazetteer,” No. XXI, 1904.

Couch’s background I fascinating, especially before he partnered with Graham. In 1890, Couch was working at the Bijou Theater in Boston, listed as stage carpenter in the city directory. He soon founded L. J. Couch & Co. and initially partnered with fellow scenic artist, David Richards from 1893-1895. As with Graham’s firm in Kansas City, L. J. Couch & Co. offered a wide range of theatrical goods ranging from painter scenery and theatrical hardware to general stage appliances.

After L. J. Couch & Company, Graham partnered with P. Todd Ackerman, another scenic artist. Their studio was initially located at the Broadway Theater in Brooklyn, New York. On Aug. 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 (Conveyances, page 14). In 1903, “The Standard Union” listed: BUSHWICK AVE, s w s 100 n w Eastern Parkway Extension, 50×29.5x-x56.3; Lemuel L. Graham to Philip D. Ackerman; ½ pt; all liens….nom” (22 July 1903, page 10). There Studio Building 1576 to 1580 Bushwick Ave, New York.

Graham later set up his own studio on Crosby Avenue in Brooklyn, calling it L. L. Graham and Son. This must have been Revard Graham. In 1905, the US Census lists Graham and his wife living in Manhattan with their three children: Rachel Elizabeth, Ethel, and Revard Parker, ages 21, 13 and 10. Graham would remain in Brooklyn, New York, until his passing in 1914, yet listed “Graham & Son,” now working with Revard Graham. There remains one drop credited to L. L. Graham & son at the Grange Hall in Denmark, Maine.

Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.

Signature of “L. L. Graham & Son.” Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.

Painted detail. Drop curtain for the Grange Hall in Denmark, Maine, credited to L.L. Graham & Son, Brooklyn, NY.

Graham passed away after a brief illness on Sunday, Dec. 27, 1914, at the age of only 68. He died at his home, 3 Miller Ave, and was still working as a scenic artist (“The Standard Union,” 29 Dec. 1914, page 3). The Brooklyn Daily Eagle described Graham as “one of the best-known scenic artists of this country.” The article summarized, “[Graham] was known from coast to coast among theatrical men and had traveled through every State in the Union in his time, and his work was known in all of the principal cities.”

Here is Graham’s obituary in its entirety:

“L.L. Graham Artist, Dead.
Painted Many Scene and Curtains for Theatres. Had Studio Here. Curtain at Broadway Theatre His Creation. Lemuel Laken Graham, one of the country, 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, or 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 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 Sasman [sic.] 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. Todd [sic.] 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.” (The Brooklyn Times, 29 Dec, 1914, age 12).

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

In 1876 Graham partnered with Tryon to deliver a new drop curtain and stock scenery to an opera house in South Bend, Indiana. An article in the “Southbend Tribune reported, “L. L. Graham of the academy of music in New Orleans, La., and Henry C. Tryon, of McVicker’s theater of Chicago, scenic artists, are engaged at the opera house in painting a new drop curtain, a wooded landscape, a place scene, a parlor scene and others” (“South Bend Tribune,” 9 Aug, 1876). This seems to be a turning point, as Graham becomes increasingly connected with the Chicago theatre scene.

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

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

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

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

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

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

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

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

A little more about Graham after 1884 tomorrow.

To be continued…