Harry A. Vincent was a scenic artist who began working with Thomas G. Moses at Sosman and Landis in 1892. His association continued with the firm until 1896 when he moved east and secured work as a scenic artist in New York. In 1922, Moses remembered Vincent as one of the scenic artists who made a name for himself, writing, “Harry A Vincent applied to me for a position. I tried to convince him that he was foolish to break into a business that had a future only in hard work. He succeeded and has become one of the cleverest landscape painters in America. Many of his pictures are being reproduced and selling well. He is now in Italy on a sketching trip.”
Harry Aiken Vincent was born in Chicago in 1861. He was the youngest child of Aiken Vincent (1816-1881) and Sarah Ann Clark (1825-1918). His mother’s obituary was published on Dec. 17, 1918 and remembered, “Mrs. Vincent was the widow of Aiken Vincent, a paymaster at old Fort Dearborn. Mrs. Vincent frequently related to her children and grandchildren takes of Indian visits” (Chicago Tribune, page 19). Her obituary also noted that she moved to Chicago in 1842. On Dec. 14, 1842, she married her husband. The couple celebrated the birth of four children in the young and bustling western town. Harry’s much older siblings were Catherine M. (b. 1846), Sarah J. (b. 1848), Hamilton Edwin Vincent (b. 1950). Harry was born eleven years after his brother Hamilton, and remained at home well after his father’s passing in 1881.
In 1860, the year before Harry was born, the Vincent family was living at 8 N. Canal street. At the time, the Federal Census listed Aiken Vincent listed as a merchant, a career that he continued throughout his life, although the types of products he sold often changed.
In 1878, the Vincents were residing at 96 Artesian Ave. and Harry Vincent was listed as an artist in the Chicago Directory. He would continue to live at this same address until 1887. In 1884, however, he married to Catharine “Kittie” Frances Ryan (b. 1863). Kitty, or Katy as she was called at home, was the daughter of William and Catharine Ryan. She grew up in Chicago and had two sisters, Bridget and Ann. Kittie and Harry two were married on Feb. 7, 1884 in Chicago. They celebrated the birth of two daughters, Ruth E. (b. ca., 1891) and Catharine (b. 1896).
Harry was not listed in the Chicago City Directory for 1888, but by 1889 was working at 263 State St. and living at 125 Sibley. Merchants located at 263 State ranged from a photography studio to Martin Emerich Outfitting Co. In 1889. Vincent exhibited with the Chicago Society of Artists. On October 20, 1889, the “Chicago Tribune” published an article entitled “The Works of Young Artists” reporting, “Harry A. Vincent shows a marshy landscape in oils truthfully studied” (page 3). Frank C. Peyraud and Hardesty Maratta also exhibited their paintings at this time. The three would soon all work for Sosman & Landis, each hired by Thomas G. Moses.
In 1892, Vincent, Peyraud and Maratta were working for Moses as part of Sosman & Landis studio’s West Side Force. That year Moses wrote, “The Sosman and Landis Company had my new studio under way on the West Side. The old Waverly theatre, 93 x 210 feet and 40 feet high; four frames were going in and there was plenty of floor space for all kinds of work.” Moses also noted that his staff consisted of A . J. Rupert, Frank Peyraud and Harry Vincent, and a number of assistants and paint boys.”
In 1892, Moses, Vincent, Rupert and Peyraud painted scenery for William Haworth’s “A Flag of Truth.” Of the project, Moses wrote, “I did a stone quarry set – a very effective scene. Vincent did a big foliage act.” In 1892, Peyraud and Vincent were also part of the sixty-seventh annual exhibition of oil paintings at the National Academy of Design in New York. On April 24, 1892, the “Chicago Tribune” announced that H. A. Vincent’s “A Prairie Farm” and Frank C. Peyraud’s “When the Sun id Slowly Sinking” were part of the New York exhibit. (page 38).
Vincent continued to exhibit his easel art while working as a scenic artist. He was a members of the Art Institute of Chicago and the Cosmopolitan Art Club. By 1894, Vincent, Peyraud and Maratta were part of a group of artists who donated their paintings for a charity. On January 17, 1894, the “Chicago Tribune” advertised that a charity sale of watercolors and oil paintings would be held in the rooms of the Chicago Society of Artists, on the top floor of the Atheneum Building (page 8). It continued ten days and the proceeds were turned over to the Central Relief Association for the benefit of the needy. Vincent also donated paintings as part of a fundraiser for fellow Institute artist Walter M. Dewey. On Feb. 2, 1896, the “Chicago Tribune” reported that Dewey had been ill for several weeks and “His fellow artists, in their sympathy for Mr. Dewey and his family have arranged an exhibition and sale of paintings for his benefit” (page 20).
Vincent’s work as a Chicago scenic artist ended when he moved to New York in 1896. That year, Moses wrote, “In July Mr. Landis dropped in to see me about going back with them, as I was not doing too well. I agreed with the understanding that all my helpers would be taken care of, excepting Vincent, who went East where he made a hit. I hustled my unfinished contracts and joined the Sosman and Landis Studios again.”
By 1897, Vincent was listed as a New York scenic artist. On Nov. 5, 1897, “Star-Gazette” credited Vincent for the stage settings in “Iskander,” a show starring Mr. Warde at the Lyceum Theatre. The New York review reported, “For this great production the scenery is designed and painted by Harry A. Vincent” (Elmira, New York, page 7). Vincent was still listed as a scenic artist in New York City in 1899, living with his family at Park Place, near 8th Ave.
In 1900, the Vincent family moved to New Rochelle, New York. By this time, several of his old friends from Chicago has moved east and were also living nearby; this group included Moses. Moses fondly remembered his sketching trips with Vincent at this time, writing, “John Young and Harry Vincent joined me quite often, as we all lived near the spot. Occasionally I would go to Seton Falls, a very rugged place…Glen Island was another favorite place for us. On a hot day about four o’clock, would run down to 21st Street Dock and take the boat around the Battery to Glen Island where the family would join me for a fine shore dinner. It was a short car ride from here to Mt. Vernon, so it was very convenient for the family to come and return by the way of New Rochelle. Occasionally, we would take a ride to Yonkers, then up to Newburgh or West Point on the beautiful Hudson River.”
From 1901-1904, the Moses family lived in Mt. Vernon New York; Moses had partnered with Will Hamilton to establish Moses & Hamilton. By 1905 the Vincents were also living in Mt. Vernon. Prior to their move to Mt. Vernon, however, the Vincents briefly lived in Pelham New York. The 1910 Census listed the family in Mt. Vernon, with their daughters nearly grown. Then something happened; I have no idea what went down.
On October 3, 1916, Harry A. Vincent remarried a woman named Mildred Deitz in Bronx, New York. It is as if his first family simply disappeared, and I have yet to track down any further information about Kittie, Ruth or Catharine. No obituaries, wedding notices or court rulings.
In 1916, Vincent was still listed as a New York artist, living in Mt Vernon. By 1917, he has remarried and moved to New York City. Although he is still working as an artist, he was now living at 904 Ogden Ave. His obituary would note that the couple moved to Rockport, Massachusetts in 1916.
Mildred was a 47-yrs.-old woman from New York, and I cannot locate any additional information about her at all. The two remained married until Harry’s passing in 1931. Between 1916 and 1931, Harry continued to paint, the two traveled overseas and eventually moved to Rockport Massachusetts. For the remainder of their lives, they lived at 30 Atlantic Avenue; Mildred never moved and remained on Atlantic Ave. until her own passing in 1953. In regard to Harry…
On October 1, 1931, his obituary was published in the “Boston Globe” (page 21):
“Harry Aiken Vincent
Rockport, Sept. 30 – Funeral services for Harry Aiken Vincent, 66, one of the outstanding American landscape artists, who died Monday at his home, 30 Atlantic av, were conducted this afternoon from the Vincent residence. The ceremony was private. Rev George Mayo Gerrish, pastor of the Universalist Church, officiating. Cremation will follow.
Mr. Vincent, who has been a resident of the town for the past 15 years, was born in Chicago and achieved fame early in life. For the first 30 years of his professional life he made his home in New York, eventually making his permanent home here.
He held his membership in the National Academy, the New York Water Color Club, the Salmagundi Club, the Allied Artists of America, the Grand Central Galleries and the North Shore Artists’ Association.
In 1907 he won the Shaw Prize of the Salmagundi Club, the Isidor Prize given by that club in 1916, the Turnbull Prize in 1918, the Porter Prize in 1925, the William Church Osborne Prize and the Paul L. Hammond Prize, given by the New York Water Color Club for his painting, ‘Rockport Harbor.’
His wife, Mrs. Mildred (Deitz) Vincent, survives.”
No mention of his first wife or children- odd, unless they dies years ago or were estranged at the time of his death.
Vincent’s artwork lived on…
In 2015, twenty sketchbooks and a portfolio of loose drawings by Harry A. Vincent were sold at auction for $12,300; here is the link: https://www.skinnerinc.com/auctions/2818T/lots/1167 Several of the sketchbooks in the lots were inscribed “H.A. Vincent,” with two inscribed “P. Cornoyer.” Probably a good thing that this this wasn’t on my radar at the time.
A few of the sketch books in the auction lot from 2015.
The auction lot not only included pencil and charcoal sketches of various sizes, but also three books belonging to Vincent – The Whistler Book, Dante’s Inferno by Gustave Dore, and A History of Architecture. One of Vincent’s sketchbooks was an artistic record, thumbnail sketches of various works and notes regarding their sale at galleries. I have to wonder if there were any scene designs included in those sketchbooks. Regardless, I am grateful for the digital age and the many examples of his sketching techniques posted online. There are currently several pencil sketches attributed to Vincent for sale on ebay, and likely from this collection. If they were more intriguing sketches, I would have bought one by now.
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.
Jess D. Bonner (1879-1914) worked as a scenic artist for Sosman & Landis, c. 1902-1906. I initially stumbled across his name when looking for information about scenic artist Howard Tuttle. In 1907, Bonner was assisted by Howard’s son, with Maurice Tuttle.
Maurice Tuttle in 1907Jess D. Bonner in 1907
On December 8, 1907, the “Los Angeles Herald” published an article entitled, “Jess D. Bonner and His Work.” After describing Bonner’s scenic contributions for the production of “Cleopatra” and “Sign of the Cross,” the article mentioned his early training in Indianapolis and work for Sosman & Landis. At the time, Bonner was 28 yrs. old.
Here is the article in its entirety, as it provides a wonderful glimpse into backstage life and Bonner and his directing a storm scene for ‘Cleopatra.”
“Did you ever witness a storm in the tropics – a storm that carries before it, punctuating its approach with vivid flashes of lightning through inky blackness and foretelling destruction by an incessant cannonading in the overcast heavens? If you have you will. Appreciate the difficulties of reproducing such a phenomena upon the stage and yet, if you saw the Ferris production of ‘Cleopatra’ at the Auditorium a few weeks ago, you will realize that the task had been accomplished.
“There was a storm, the most realistic and terrible of its kind ever placed upon a Los Angeles stage. From in front of the curtain the effect was tremendous. The storm king, majestic in his wrath, arose at command of the Egyptian queen to destroy the Roman fleet. Darkness fell. A tempest arose. Lightning flashed athwart the horizon, and the crash of thunder was deafening. Great palms swayed to and fro and fell crashing to the stage before the fury of the onslaught. Storm clouds raced madly across the sky. It was nature in hostile mood, a wonderful picture of terribly destructive and unleashed power.
King of the Storm.
“Back of the scenes a young man, short and heavily set, stood calmly regarding his work. This was his storm. He had made it, and his hand was on the lever of its control. He seemed unconcerned in the midst of the tumult. He didn’t even laugh, and certainly the scene was ridiculous enough to compel laughter from the ordinary observer.
“Over to the left of the stage was a wagon piled high with boulders. Its wheels were elliptical, and when conveyance was dragged across the floor a heavy rumble of thunder resulted. High up in the wings was the thunder boy with still more boulders, which, on signal, he dumped into an irregular wooden chute with many turnings. These rocks hurtling stageward in their narrow confines thundered realistically until they struck. At the bottom, a heavy metal sheet put there for that purpose. This was the crash that seemed so fearsome from the auditorium.
“So much thunder. Back of the horizon line stood a stagehand. Jovelike in his control of the clouds. He revolved a painted glass disk at the end of a tin cylinder, back of which was a strong light. The scene, a transparency, caught up the clouds, which then scudded across the sky as though driven by a mighty wind.
How Lightning is Made.
“Still another mechanic controlled the lightning, produced by a similar contrivance, the glass being smoked and black, and irregular lines scratched across its surface by a pin point. This provided the flash outlined against the heavens, while the glare came from two carbons, manipulated by hand and which lighted up the entire stage when brought into contact.
The storm rose to a sublime height of fury, then the curtain fell and the audience broke into enthusiastic applause. Once, twice, three times, the great velvet was raised and lowered. The lights sprang up and in an instant the storm disappeared, the scene was struck and a new one erected in its place.
“Great, Jess, great!” called Dick Ferris approvingly, and Jess D. Bonner smiled and went about his further business. It had been merely an incident in his week’s work.
“Bonner is a young man. He looks scarcely more than a boy and readily confesses that his youthful appearance in the past has militated against his profitable employment, managers being afraid to trust so young a man with the important duties which fall to an artist in his position.
A Master Scene Painter.
“Jess Bonner is a master scene painter. He has painted and designed scenes used in Ferris productions. Every newspaper in town has commented upon the beauty of the work. Every patron of the playhouse has marveled at the lavishness of the productions. Yet few of them ever have heard of Bonner, and probably not one in ten thousand would recognize him on the street. He is the busiest man around the Auditorium. Sedley Brown, stage director, has his troubles and is fairly busy himself, but Bonner, when he is engaged upon a big production, does most of his sleeping paint brush in hand. Last week he built, “Sign of the Cross,” which will be the biggest thing yet placed on the Auditorium stage. There are fourteen scenes in this four-act play, and Mr. Bonner was called upon to turn them out in eleven days’ time. He has one assistant regularly employed – Maurice Tuttle – and a paint boy to help him.
30,000 Square Feet of Canvas.
“For ‘The Sign of the Cross’ production there was a total of 30,000 square feet of canvas to be covered and the task was too great. Consequently, Arthur Hurtt was called upon to assist and Mr. Hurtt painted four drops, which will be shown for the first time tomorrow night. These drops contain about 1500 square feet of canvas each, leaving some 24,000 feet to be painted by Mr. Bonner and his assistant. This includes still other drops, two interiors, one of them a prison scene and the other an apartment in Nero’s palace; a forest scene, wings, borders and so forth. Bonner completed the work late last night. Then he went home with the avowed intention of sleeping through the ensuing twenty-four hours without interruption.
“Jess Bonner began his work as a scene painter at Indianapolis under the direction of Walter Clark Bellows at the Grand Opera House. That was eight years ago. Since then he has been employed in numerous studios and by several different stock organizations. He painted all the scenery for Dick Ferris’ production of ‘The Sleepy King,’ an ill-starred musical affair which Mr. Ferris put out several seasons ago and which proved a failure, though it was produced on a lavish scale and was presented by an all-star cast of musical comedians, headed by Walter Jones.
Was in San Francisco.
“For a year and a half Mr. Bonner was with the Grand and Tivoli opera houses in San Francisco, his employment there being terminated by the great fire. In Chicago he was with the Bush Temple stock Company. In Chicago also he was employed during several summers at the Sosman & Landis scenic studios, the largest in America, and the other night happening to drop in at the Mason Opera house, he saw a scene which he had painted in that employ, not knowing where it was to go or what use was to be made of it.
Mr. Bonner’s work, however, is far beyond that of a mere scene painter. He makes all his own designs. Thus, he must ‘be up’ in all styles of architecture, in all periods of ornamentation; and he must guard constantly against the instruction of the incongruous and the anachronistic. This has made him a student and he is today one of the best-informed men on a wide range of subjects in his profession.
For “The Great Ruby” he painted a scene in the clouds, nothing of earth being visible. For ‘Under the Sea’ he painted a submarine scene. So, as he himself says, his studies are not confined to earth alone, but to the heavens and the waters as well. His is a comprehensive art and he is master in its execution, as well as a master in lighting effects and in all the details of stage mechanics.”
Seven years later, Bonner passed away in Minneapolis, Minnesota. At the time of his passing, Bonner was working as a scenic artist for the Twin City Scenic Co. His obituary was published in the “Indianapolis Star” on November 12, 1914 and the notice stated, “The body of Jesse D. Bonner, formerly of Indianapolis, who died Nov. 7 at Minneapolis, has been brought here for burial. He was born in Indianapolis thirty-five years ago. He was a scenic artist and had been identified with studios in San Francisco, Los Angeles and Minneapolis. He is survived by a widow, a sister, Mrs. Jesse B. Johnston of San Francisco, and a brother Robert O. Bonner of Indianapolis. The funeral will be held tomorrow afternoon at the home of Mr. Bonner’s brother, 201 North Nee Jersey street. Burial will be in Crown Hill Cemetery” (page 14).
Jesse D. Bonner. From his 1914 obituary listing.
Jesse Dun Bonner was born in Evansville, Indiana, in 1879. He was the son of James B. Bonner (1835-1893) and Deborah Anna Houghland Bonner (1842-1912). His parents were married in Warrick County in 1870, celebrating the birth of four children: Estella, Ida, Robert, and Jesse. When their father passed away in 1893, the “Booneville Enquirer” reported that Mr. Bonner was born in Booneville, Indiana, July 2, 1835 and married Miss Deborah Houghland on Jan. 9, 1868. The Bonners moved to Evansville in 1880, where they continued to reside. The article described that Mr. Bonner “was taken from his work by cancer which formed in his side, which first made an appearance last May. In spite of the best medical attention, it would not yield to treatment, and caused his death. Four children are left with his wife to mourn his loss – Mrs. Owen Lloyd of Indianapolis, Robert, Ida and Jesse at home (4 May 1893, page 4). At the time of his father’s death, Jesse was thirteen years old.
His mother’s obituary in 1912 added a little more information about the Bonner’s early life in Evansville and Indianapolis. On August 20, 1912, the “Indianapolis News” reported, “Mrs. Bonner had never fully recovered from an operation she underwent a year and a half ago. She was born in Boonville, Indiana, in 1842, and lived in Evansville for some time before she came to this city in 1898. After coming to Indianapolis, she lived at the home of her son Robert O. Bonner, in the Clarina apartments. She is survived by two sons, Robert O. Bonner of this city and Jess D. Bonner of Minneapolis, Minn., a daughter, Mrs. Estelle B. Johnston of Los Angeles, Cali., and a brother Oscar B. Houghland, of Evansville. Mrs. Bonner was a lifelong member of the Presbyterian church and was actively associated with the church work” (page 4).
Indiana directories provided a trail of breadcrumbs for Jesse’s early work as an ornamental painter and scenic artist. In 1897, he was listed as a decorator in 1897, living with his mother, brother and sister in Evansville. In 1898, he and his sister Ida moved to Indianapolis where they lived together at 1207 N. Illinois. Ida was listed as a music teacher and Jesse as an artist. By 1899, Jesse was living by himself and listed as a fresco artist, boarding at 915. N. Illinois. It must have been around this time that Bonner assisted Walter Clark Bellows at the Grand Opera House. Bonner was listed in the Indianapolis Directory until the 1901, finally boarding at No. 9 in accommodations known as “the Ballard.” By 1902, Bonner had moved to Chicago, Illinois. This is likely when Bonner first worked for Sosman & Landis.
A 1909 article about Bonner and his scenic art mentioned that he worked on the original productions of “The Wizard of Oz and “Arizona.” (Indianapolis News, 24 Nov. 1909, page 5). I have written about these productions in in past posts, as Walter W. Burridge designed the scenery and painted some of the setting for the premiere at the Chicago Opera House. Other scenic artists who worked in the production included Fred Gibson, Herbert Martin and artists from the Daniels Scenic Co. This means that Bonner was one of the assistants in Chicago in 1902. This same year, Jesse D. Bonner was listed under “Marriage Licenses” in the Chicago Tribune.” August 28, 1902, the “Chicago Tribune” listed a marriage license was granted to Jess D. Bonner and Ruby H. Dean, ages 22 and 20. Ruby Hunt Dean was also living in Indianapolis with her mother in 1900, likely when she first met Jesse. The marriage did not last, however, and on July 30, 1909 she married her second husband, Walter K. Lincoln (1876-1930). Lincoln was a lawyer, and they remain together until his passing in 1930. Ruby never remarried lived until 1973. She is buried in Tucson, Arizona.
By 1904, Bonner was living in Minneapolis and listed as a stagehand at the Lyceum Theatre in the City Directory, He was rooming at 1502 Nicollet Ave. By 1906, Bonner was a scenic artist at the Tivoli Theatre in San Francisco. After the earthquake and fire, his relatives searched for him in the newspapers. On May 1, 1906, the “San Francisco Call” published a notice for Bonner: “ANYONE knowing whereabouts of Jesse D. Bonner, scenic artist, late of Tivoli, send word to Governor’s office, Sacramento” (page 6).
By 1909, Bonner was again working as a scenic artist in Minneapolis but completed a project in Indianapolis. On Nov. 24, 1909, the “Indianapolis News” reported, “The palace and garden drop curtains of the new Colonial Theatre were painted by Jess D. Bonner, of Minneapolis, who began his work in connection with the old Grand stock company, of this city. After leaving here he studied in the scenic studio of Sosman & Landis, Chicago. He painted scenery for theaters in Chicago, Minneapolis, Los Angeles, San Francisco and other places, and worked on the original production of ‘The Wizard of Oz,” and ‘Arizona.’ The central idea for the garden drop curtain of the Colonial theater was taken from the drawing for a program cover made by Mr. Williams, cartoonist of the Indianapolis News. Mr. Bonner is yet under thirty years of age” (page 5).
In 1909, Jesse D. Bonner was listed as an artist in the Minneapolis Directory, working for the Twin City Scenic Co. and living in flat 1, 60 N. 12th St. In 1910, Jesse D. Bonner was listed as a scenic artist in the Minneapolis City Directory, living at flat 1, 68 N. 12th. In 1911, he was again listed in the directory, now living at flat 5, 1695 Hennepin Ave. In 1913, he was working for the Twin City Scenic Co. and rooming at 2819 Nicollet Ave.
Jess Bonner’s gravestone at Crown Hill Cemetery, Indianapolis, Indiana.
When Bonner died in 1914, his obituary noted a widow, but did not list a name. At the time of his passing, Jesses was married to Frances. The 1915 Minneapolis city directory listed Frances E. as the widow of Jesse D. Bonner, boarding as 900 22nd Ave NE. This is the same location listed for Jesse D. Bonner in 1914. Interestingly, their last home together was only four blocks away from where my husband and I purchased our first home and lived from 1995 to 2003.
Howard Tuttle worked for Thomas G. Moses and the Sosman & Landis studio, c. 1887-1890.
Tuttle was born in Philadelphia, Pennsylvania in 1859. Very little is known of Tuttle’s training or early childhood. However, his artistic endeavors on the streets of Philadelphia included sidewalk drawing, a pastime that connected Tuttle to Henry and James William Carling in an article published by the “Times Dispatch” on May 2, 1937 (Richmond, Virginia, page 63). The article reported, “James landed in Philadelphia, and the two brothers continued their sidewalk drawing with a boy named Howard Tuttle, the famous manhood scenic artist.” For historical context, Carling supported himself as a sidewalk artist and Vaudeville caricaturist for a while in America.
In regard to Tuttle, in 1877 he married Sarah Gohl (1860-1921) and the two celebrated the birth of three children. The eldest, Percy Tuttle, was born in Chicago in 1878 and became an actor. He was the first to pass away in 1908 from a tumor that caused paralysis of both upper and lower extremities. Hazel was born in Michigan in 1886 and Maurice was born in Chicago in 1889. Both followed in their father’s footsteps as scenic artists.
The first listing that I have located for Tuttle as a scenic artist is in 1885. He was working as a scenic artist at Hooley’s Theatre, while living at 359 Hurlbut Ave.
Two years later, he was working for Thomas G. Moses and then Sosman & Landis. In 1887, Moses established Burridge, Moses & Louderback, a scenic studio at with Walter W. Burridge and J. D. Louderback at the Columbia Theatre. pulled out of the firm by that fall, with Moses & Louderback continuing for a short period after that. When Burridge left, Moses hired Howard Tuttle, writing, “Burridge and Louderback couldn’t agree, so Burridge pulled out on November 20. Howard Tuttle joined us at our loft we rented on Lake Street.” From 1889 to 1890, Moses & Louderback placed a card in J. R. Clancy’s stage hardware catalogue, advertising “Contractors for all stage appliances. Estimate furnished to all parts of the world,” with their offices at offices at 22 Chamber of Commerce. They also worked as subcontractors for Sosman & Landis at this time too, as work poured in from all over the country.
In 1887 when Tuttle was brought on board, Moses recorded that “Tuttle did most of the big melodrama of ‘Tank Drama.’ Lights and shadows.” Tank shows were productions that used actual water on stage. On Dec. 25, 1887, “The Chicago Tribune” reported, “The tank drama marks the entrance of the plumber into literature and for the time being has eclipsed the carpenter in the public estimation. To see the stage turned into a big tub of water, across which boats are rowed, is enough to awaken the enthusiasm of the gallery gods who, perhaps never before in their lives showed a preference for the element in question” (page 19).
Moses’ next mention of Tuttle in his memoirs was from 1889. The two worked out west from the fall of 1889 until the spring of 1890, painting scenery in California, Oregon and Washington. Their first project was in Riverside, California. Moses wrote, “Found Howard Tuttle in Riverside. He had come on to help me as I had too much to do. We worked night and day, and every evening a number of ladies would drop in from the hotel to watch us. They were very interesting – very refined – mostly from the Eastern cities. It was a pleasure to meet them…We had many experiences in and around Riverside, too numerous to mention in detail. We completed the work December 30th.”
The two then headed up the coast to Tacoma, Washington, stopping by San Francisco for several days and then Portland. Of their stay in San Francisco, Moses wrote, “Tuttle liked the city. Had a pleasant visit with Bill Porter, artist of Tivoli Theatre. We then went to Tacoma for several days. Got some extra work to do, after I had Portland underway.”
By Feb. 8, 1890, Moses and Tuttle completed the scenery for the Tacoma Theatre, as well as a small project for the Arion Hall in Portland, Oregon. Heading south to Corvallis, Oregon, they painted scenery for a small hall. Of their hotel in Corvallis, Moses wrote, “One day Tuttle and I took all the candy at the table (as no one ever ate it) and gave it to the children on the street. We found the dishes filled up again at night.” After finishing their work in Tacoma, they headed east to Spokane, Washington.
Moses, Tuttle and Loitz were credited with the scenery for the Grand Opera House in Spokane. On April 19, 1890, the “Spokane Daily Chronicle” reported, “The drop curtain and scenery for the new Spokane Grand Opera House have been completed by artists Thomas G. Moses and Howard Tuttle have returned to Chicago. Stage carpenter Joseph Wikoff and Edward Loitz, the representative of the scene painting firm Sosman & Landis of Chicago are now in charge of the stage and scenery” (page 5). On Sept. 16, 1890, the “Spokane Falls Review” reported, The entire work on stage has been executed by Messrs. Sosman & Landis of Chicago, under the supervision of Thomas G. Moses, assisted by Howard Tuttle and Edward Loitz. The work throughout has been artistically designed and admirably drawn. The coloring, shading and tints are clearly and strongly brought out and will give a realistic effect when placed in position” (page 7).
Moses and Tuttle returned to Chicago for a short respite before heading out on the road again. In June 1890 Moses joined Tuttle in Evansville, Indiana, for another project at the Grand Opera House. This may have been one of their last projects together, as by 1891, Tuttle moved to Milwaukee, Wisconsin, where he established his own studio.
On Jan. 13, 1892, Tuttle was among the scenic artists present at the organization of the American Society of Scene Painters. Keep in mind that the executive staff was Richard Marston, president; Henry E. Hoyt, Harley Merry and Ernest Albert, vice-presidents; Homer F. Emens, treasurer; and Sydney Chidley, secretary. On June 26, 1892, the “Pittsburgh Press” reported, “the objects of the society are to promote the artistic and practical efficiency of the profession and consolidate as a whole to the dignity of the profession hitherto maintained by the individual artist. Practical reforms in the conduct of professional business are anticipated” (page 7). Other members of the organization included George Becker, Moses Bloom, Harry Byrnes, Sydney Chidley, James Fox, W. Crosbie Gill, Frank King, Richard Marston, Harley Merry, John A. Merry, Thomas G. Moses, Arthur Palmer, Seymour D. Parker, Frank Platzer, W. T. Porter, Adolf T. Reinhold, John Rettig, John W. Rough, Horace N. Smith, Orville L. Story, A. G. Volz, Harry Weed, David W. Weil.
In Milwaukee, Tuttle became associated with the Davidson Opera House. He quickly gained a reputation as Tuttle worked his way across the country. In 1893, he painted scenery for Dolan’s Opera House in Logansport, Indiana. On July 25, 1893, the “Logansport Reporter” published, “Mr. Tuttle is a scenic artist of prominence, who has done work in many of the leading houses of the country and who formerly had a studio of his own in Chicago. His headquarters at present are in Milwaukee. His work here will consist in twelve sets and a drop curtain. He is assisted by Walter Edwards.”
Over the years, Tuttle was credited with painting scenery for a variety of performance venues, including: the La Crosse Theatre (La Crosse, Wisconsin), Grand Opera House (Oshkosh, WI), Normal School (Oshkosh, Wisconsin) Opera House (Sheboygan, Wisconsin), Opera House (Portage, Wisconsin), Davidson Theatre (Milwaukee, Wisconsin), the Illinois Theatre (Rock Island, IL), Calumet Theatre (Calumet, MI), Stone’s Theatre (Flint, MI), Turner Opera House (Green Bay, Wisconsin), Odeon Theatre (Marshalltown, Iowa), Opera House (Muscatine, Iowa), Greene’s Opera House (Cedar Rapids, Iowa), Music Hall (Kansas City, Missouri), Opera House (Winona, Minnesota), and the Moline Theatre (Moline, Illinois).
On July 27, 1897, the “Northwestern” newspaper in Oshkosh, Wisconsin, reported, “Howard Tuttle of Davidson Theatre, Milwaukee, working at Oshkosh. The new scene is from the brush of Howard Tuttle, scenic artist, Davidson Theatre, Milwaukee, and will be a masterpiece when completed. Mr. Tuttle is the artist who painted the new scenery for the Normal school and the opera house curtain will be somewhat similar to the one at Normal, only on a larger scale” (page 2). By October 3, 1905, the “Rock Island Argus Report” noted that Tuttle was a scenic artist for the Chamberlain-Kindt circuit.” His reputation continued to increase throughout the country. On July 17, 1909, the “Burlington Hawk-Eye” published a lengthy article about Tuttle entitled “Artist Works Aloft” (page 7). Keep in mind that it was quite a compliment when a newspaper fully described the studio and process of one particular artist. I am including this particular article in its entirety, as it presents a wonderful snapshot of Tuttle at work in 1909.
The article reported, “High up in the air, fifty feet above the stage of the Grand Opera House, is working quietly every day one of the most famous scenic artists in the country – Howard Tuttle, who has probably a wider acquaintance among stage folk than any other man in the profession.
It would baffle the man who is unfamiliar with the strange surroundings back of the big proscenium arch to find his way up on the long, narrow paint bridge where the artist works alone, far from every sound, and just under the roof of the stage. Through the labyrinth of scenery stacked on the floor the explorer wends a tortuous course. Tacks are frequent to avoid butting into the sharp corners of the big sets, and the stranger in a strange land keeps his eyes open, scanning the floor in the semi-darkness to save himself falling into one of the mysterious traps that are part of the stage equipment. Taking a course north, by northwest, the newspaper man is guided by Fred Croft, the property man of the theater, to the flight of winding stairs that lead aloft. There are as many crooks and turns in the stairs as there are in a Boston street. After plunging and groping for what seems an interminable distance the first board landing is reached that parallels a row of dressing rooms. Up again goes the route, with more twists and turns, and the second landing is reached. It is lighter here and but a few steps away is the paint bridge, extending across the rear of the stage and built close to the back wall.
Far down is dimly seen the floor of the stage through a maze of drops and ropes. The bridge is narrow, but it is protected by a railing, and the place is unlikely any other spot that can be thought of.
Out in the center of the bridge the scenic artist is working. The big paint frames, holding the stretches of canvas, are operated by ropes and pulleys, allowing the artist to move the scene up or down at his will. A score of pans, containing colors of vivid hues, stretch along a shelf at the back of the painter. The scenic artist is working on a landscape, whose garishness bears little resemblance to the scene as it will appear when exposed to the view of an audience seated sixty feet away. Everything is laid on a broad manner. Great splotches of color are smeared onto the canvas to be spread with wide sweeping movements of the brush. The effect at close range is crude, but the artist is taking into account the fact that the scenery is viewed at long range by the audience, and the effect is then entirely different. Every proportion is right, and the whole beauty of the scene is unfolded in the same manner as is the smaller picture hanging on the wall of a gallery.
Mr. Tuttle has been in the business for almost fifty years, but he has retained the enthusiasm of youth and his smile and greeting are just a cheery as those of a boy. He has a son who is following in the steps of the father, and the artist laughed as he told of a letter received the other day from his boy, who is working at one of the large theaters of Chicago. It was brief. and after telling of his progress the lad wound up with these words: “I am succeeding famously and, father, some day you will be working for me.”
The artist paused between his stretches of painting to clean his brushes and talked of interesting incidents of stageland and the players connected with the mysterious region behind the footlights. He has met and known intimately all of the stars of the past and present, and through this acquaintance has amassed a fund of stories.
Mr. Tuttle’s story of the discomfiture of a noted dramatic critic is worth the telling. It happened years ago with Sarah Bernhardt, the great French actress, who was to open in one of the larger cities of the country in La Tosca. Mr. Tuttle was engaged at the time in painting in this same theatre, attended the opening night and by chance was shown to a seat next to the critic – the dean of his profession at that period. The scenic artist and the writer were intimate friends and as the curtain rose on the prologue, both awaited eagerly the advent of the famous player. Other dramatic writers were grouped down front and the theatre was packed to the very doors with fashionable assemblage. Something seemed to be lacking, however, in the performance and it was noticeable at the start that the audience was cold and indifferent. Even the entrance of the French woman, who was perhaps without peer at that time, failed to arouse the expected enthusiasm. The applause was lacking. Not a hand was given, and the curtain dropped at the end of the prologue on a silent house.
The same thing was repeated at the end of the first act, and again at the conclusion of the second and third acts.
The dramatic writer before the opening of the play had entered a discussion with his friend, the scenic artist, as to how the audience would receive the French players, holding that the lack of understanding of the foreign language on the part of the listeners would not be a bar to the appreciation of the wonderful acting of Madam Bernhardt and her support. “They will understand the art, the great intelligence of the players and will, therefore, quickly absorb the meaning of the story,” insisted the writer.
“Wait and we shall see, “returned the painter.
As the play dragged its weary length with no response from the audience the dramatic critic grew restive, and it was then that Mr. Tuttle sprang his great coup that started the man of the press.
“If this is really Bernhardt, the actress is worth $5,000 a week,” Tuttle whispered to his friend, “but if it is an understudy, she is worth but $100 a week.”
The writer looked in amazement at Tuttle and then a great light shown in his eyes. He leaned forward trembling, and said breathlessly: “Tell me what you know, for Heaven’s sake, man, do you mean that it isn’t?”
Tuttle smiled and the writer gripped his hand. “If I knew, this would be the greatest scoop of the day; you must know I will never betray you.” Just then the actress was in the midst of the greatest scene of the play. At the conclusion of her lines a pause followed with the stillness of death. Then a roar of applause burst forth that spread from row to row, the shouts of excited Frenchmen being heard above the tumult. The curtain descended and the painter started for the door, followed by the writer who hung to his coat. “Tell me what you know; I must have the truth,” implored the writer. “Don’t you see what it means?”
Tuttle turned a smiling face toward his friend and said”: “You will have to guess,” and disappeared in the crowd. The writer’s paper contained but a short review of the play that next morning, and those who saw it read, but could not understand.”
When Moses hired Tuttle in 1887, he was an ambitious young artist. At the time, Tuttle was twenty-eight years old, living in Chicago. He was married with two small children and a third on the way. Within five years, Tuttle moved to Milwaukee, Wisconsin, established a scenic studio, became a Socialist and entered Wisconsin politics. Tuttle was not just a Socialist, but a Socialist candidate in mayoral and gubernatorial elections. Tuttle’s passions were painting and politics. By 1910, he was even a featured speaker at the Labor Meeting in Waterloo, Iowa. On January 26, 1910, “The Courier” of Waterloo, Iowa, identified Tuttle as one of two speakers at the Labor Meeting held in Carpenter’s Hall, reporting, “Mr. Tuttle has some previous acquaintance with Waterloo people. He is an experienced scenic artist and did the inside work on the Waterloo Theatre. He has gained some political notoriety, having been a candidate for governor of Wisconsin three times on the Socialist ticket, without success, His address last night dealt with the boycott on corporations in general…he advised the working men to be on guard and prepare for a national election, when some progress might be made by the laboring classes toward gaining control of monopolies, which he declared were responsible for the present high prices of everything”.
On April 21, 1910, Tuttle was interviewed in an article in the “Oshkosh Northwestern,” entitled, “Socialism is Coming.” It is unusual to locate the political ideologies of scenic artists beyond a simple entry in voter registration lists. The “Oshkosh Northwestern” article paints a detailed picture of Tuttle’s political views. Here is the article in its entirety:
“Howard Tuttle, the famous scenic artist and expert authority on the matter of interior theatre arrangement and design, was interviewed today by a Northwestern’ reported and he talked on the subjects of Milwaukee’s new administration; Social Democracy in general; running for office; “Appeal to Reason;” theatre decoration and various other topics. To those who enjoy Mr. Tuttle’s friendship, whatever he says is of interest. He is a man of great sincerity. His present business in Oshkosh is to go over preliminary plans with Manager J. E. Williams of the Grand Opera House for the extensive remodeling of the interior of that playhouse. Mr. Tuttle’s home and studio are at Milwaukee, but he is engaged in many of the leading cities of the country. “Milwaukee is going to get along all right,”: Mr. Tuttle said as he laughed in response to the query. “Don’t worry about that. Everything will be done for the best of this city. No, I didn’t see the headlines in Chicago papers yesterday, but I am not surprised that Chicago is interested. They will all take notice of Milwaukee. SOCIALISM TO SPREAD“ Was I surprised at the election results? Why no. I knew that socialism was to win. And its victories are not to be confined. We’re going to spread out and gain a voice in the administration of the great American cities. We’re growing stronger here in the Fox River valley, and the time is not far off when socialism will be a direct power in Oshkosh and neighboring cities. There’s nothing to fear. Milwaukee will prove that that. “And in Chicago, in that great American city we are pushing upward, and we will soon take hold of affairs there, and God, how Chicago needs it!” continued the pioneer artist, feelingly. Twelve years ago, Mr. Tuttle became a believer in the doctrines of so-called socialism. As he has confided to his friends, his business suffered for his faith. In his own words: “When it was known that I had become a socialist, business was withheld from me. I was punished by the interests in many ways. I had to fight to live, where once I had given so much. But it is always the way. When man takes up a principal against which so many are prejudiced, he must be prepared to sacrifice much. During several of the earlier campaigns of socialism, Mr. Tuttle was put up as the candidate for mayor of Milwaukee and for governor of the states. “We were beaten at first,” he says, “but socialism was bound to win, as it has so splendidly done in Milwaukee.” WORKER’S GET NOTHING The Appeal to Reason was lauded by Mr. Tuttle. “That,” he said is the biggest little paper in America. It cost the paper $20,000 to defend itself against rascally brought to oppose it. Let me tell you, Fred Warren, the editor, was sentenced to jail for six months on a lot of trumped-up charges, and the high officials have tried hard to keep the paper out of the mails. But they could not do this. “The paper charged Theodore Roosevelt with taking part in the ‘Alton steal,’ along with Harriman, and it drove Roosevelt out of the country. It went after the supreme court, and it drove Judge Grosscup out of the country – to Africa also. Judge Grosscup – he is the man who set aside that $29,000 fine on Standard Oil company. The Socialist paper charged that Grosscup was a rascal, and he could not face the charges. Socialism is not afraid to tell the truth. When they begin to try and down the Socialist paper it had less than 300,000 circulation, and now has over 400,000. The paper is printed at Girard, Kan. It has made a first-class post office of a country in a post office there. “And the Girard postmaster, who is a figurehead, so to speak, draws a salary to which he is entitled. The real workers get nothing for building up Girard. But, do you know, it’s always that way, and we can’t avoid it. Figureheads get everything, but the actual workers get little or nothing. NO FEAR OF LAWS “Trusts don’t give a damn for laws. If they need a law, they make it. Some of the judges don’t have the slightest show if they don’t do what is wanted by those who put them where they are. Sometimes I have heard it said, ‘It’s a wonder some of our big looters and grafters haven’t stolen the White house.’ “What made the Socialists succeed in Milwaukee? The hard work of a half dozen men. A half dozen or so started the party there twelve years ago, and they shape its destinies. The Socialists are ruled by a central committee, which meets regularly. When an alderman is elected by the Socialists, he does not become independent immediately after election like a Republican or Democratic alderman. On the other hand, he is directed by the central committee to do thus or thus for public good. Refusing, he is read out by the party. That fate fell to Mayor Born of Sheboygan, who tried to play politics with Republicans and Democrats. the Socialists dropped him. “ the Milwaukeean said. “The spread of Socialism has started the corporations to consider the commission form of government. They offer that to placate the Socialists. And Mr. Tuttle went on to tell in what manner commission government is opposed to the ideals of democracy which were put into effect when the colonists in 1776 threw off the government’s kings and commissioners. Commission government would make it impossible for a young party, like the Socialists, to do anything, he said. It makes for one big political despot, he asserted. “And back of a big political power,” he said,” you will always find an industrial despot.”
Until his passing in 1925, Tuttle continued to work as a scenic artist, but his work received far less coverage. One of his last projects described in any detail was for the Wisconsin Products Exposition in 1923. He painted a panorama to encircle the main arena and exhibit space, measuring 25-feet high by 300-feet long.
Tuttle was found dead by a gunshot to the head, and his death was determined as suicide. Obituary notices were brief, with newspapers suggesting either prolonged illness or insomnia as the cause. Six months before his passing, Tuttle and his daughter had also survived a horrific car crash.
His brief obituary appeared in papers across the country on October 5, 1925. “The Sheboygan Press” reported “Scenic Artist of Repute Ends His Life Today. Milwaukee.- Howard Tuttle, 62, prominently known throughout the United States shot and killed himself in his apartment here today. According to the Coroner Tuttle had been ill for some time. He is survived by a son, Morris and daughter, Hazel, and both are scenic artists.”
Will H. Clifton worked at Sosman & Landis from approximately 1889 until 1905. He is not to be confused with other William Clifton’s who worked as actors and producers during this same time. Clifton was a stage carpenter and stage machinist. His projects for Sosman & Landis included: the Wallace Opera House in Sterling, Illinois (1889), the Washington Opera House in Maysville, Kentucky (1899), the Gennett Theatre in Richmond, Indiana (1899), and the Elks Opera House in Prescott, Arizona (1905).
The earliest mention of Clifton working for Sosman & Landis was in 1889. That year the “Sterling Gazette” reported, “Mr. W. H. Clifton of Sosman & Landis, stage furnishers and scenic artists of Chicago, returned to Chicago this morning after completing his work in the Wallace Opera House. He has been engaged for the past two weeks in fitting up an entirely new outfit of scenes and stage appliances and has done his work well. The Opera House now has, for its size, one of the best furnished stages in the state outside Chicago” (19 April 1889, page 3). On April 3, 1899, “The Sterling Gazette” reported, “The opening of the Wallace Opera House, tomorrow, promises to be one of the great theatrical events in the history of Sterling. The house has been thoroughly renovated and equipped with new and costly scenery, painted by Sosman & Landis, of Chicago, which is being put into place today, under the personal supervision of this celebrated firm of scenic artists.”(page 2). Keep in mind that Sterling was the hometown of Thomas G. Moses, likely the scenic artist who painted the Wallace Opera House scenery.
After completing his work in Sterling, Clifton headed east to Michigan. On May 10, 1889. The “News-Palladium” in Benton Harbor, Michigan, reported, “The scenery for the new opera house arrived from Chicago by boat this morning, and Mr. W. H. Clifton, an expert stage machinist of that city, is here to superintend putting it in position”(page 1).
News-Palladium, 10 May 1889, page 1.
By June 14, 1889, the “News-Palladium” announced the completion of Yore’s Opera House, reporting, “Messrs. Sosman & Landis of Chicago, furnished the scenery and stage fixtures – Will H. Clifton, stage machinist, having been sent here by the firm to superintend the work some four weeks ago. He has just finished up this task of fitting the stage carpets – one green and the other red. The stage is admirably appointed. There are seven compete sets of scenery, namely, Parlor, Kitchen, Open Wood, Garden, Prison, Water View and Street, and all accompanying wings, borders, box scenes, etc., necessary to a first-class theatre. All the doors and windows in scenery are ‘practicable’ instead of being blind, as is usual in small theatres. There are also a number of ‘set’ pieces – set rocks, set water, balustrades, a set house, a pair of garden vases, etc. The drop curtain is a handsome work of art and is unsurpassed in Michigan outside of Detroit and Grand Rapids, the scene being ‘The Hudson River from West Point.’ Size of curtain 42×30 feet. Three traps, stage braces, stage screws and other stage paraphernalia complete Sosman & Landis’ branch of the work, which has been done in first-class shape. The proscenium opening is 36x24feet; depth of stage, 30 feet; 75 feet wide and 33 feet in length, with full set of grooves; flats 18×26; depth beneath stage, a little over 7 feet; sets of grooves, four; two roomy fly galleries. There is a special scenery entrance in the rear and also a private stage entrance. The stage will be brilliantly lighted by two rows of border lights, the footlights and numerous other side lights – electric” (page 3).
There is a gap from 1889 until 1899, when Clifton’s name does not appear in newspapers, yet later sources confirm that he was working for Sosman & Landis at this time. It is possible that all of his work was completed in the main studio and not on the road, however, his name was not included in the Chicago Directory. This is perplexing.
A decade later, Clifton represented the firm at the Washington Opera House in Maysville, Kentucky. After fire destroyed the original opera house in January 1898, plans were implemented for its immediate replacement. The second Washington Opera House opened on February 9, 1899. The Sosman & Landis scenery arrived only a few days before the official opening, causing public concern. On Feb. 6, 1899, the “Public Ledger” reported, “The scenery for the Opera-house arrived Saturday and was immediately started for its proper place on stage. This statement is made so that any misgivings as to the opening Thursday night may be dispelled” (6 Feb. 1899, page 4). On Sunday, February 13, “The Evening Bulletin” reported “Mr. W. H. Clifton, the stage carpenter who put up the scenery at the opera house, left for home in Chicago Sunday” (Maysville, Kentucky, 13 Feb 1899, page 4). Clifton remained in town for all of the opening activities and made sure that everything worked properly, then returned home. Julius Cahn’s Official Theatrical Guide for the 1900-1901 season noted that the height of the scenery was 18 feet, with the height to the rigging loft as 66 feet. There were no grooves, suggesting primarily flown scenery.
The same year that Clifton installed the Washington Opera House scenery, he also installed scenery at the Gennett Theatre in Richmond, Indiana. On Dec. 29, 1899 the “Richmond Item” reported, “Last night the Gennett scenery was shown for the first time, under the direction of Mr. Clifton of the Sosman & Landis Co., who has been here putting it up” (Richmond, Indiana, page 4). The Gennett Theatre was built in 1899 at N. 8th Street and N. A Street on the site of the Bradley Theatre which had burned down in 1898.
The last article that I have located connecting Clifton with Sosman & Landis is from 1905. That year Clifton installed scenery in the Elks Theatre in Prescott, Arizona, at 117 East Gurley Street. On January 25, 1905, the “Weekly Journal-Miner” reported, “W. H. Clifton, stage carpenter with Sosman & Landis, of Chicago, yesterday completed the work of putting up the curtain and scenery for the Elks’ Theatre. Mr. Clifton is an experienced workman in this line having been with the above firm nineteen years. He has just four days getting the Elk’s job finished. In conversation with ta Journal Miner representative yesterday he stated that he had never been sent out to do work for the firm in any place where he had enjoyed it so much as this. He thinks Prescott has an ideal climate and he said if he had a job here that would pay him a salary equal to that which he is receiving he would like nothing better than to remain here. In addition to being an expert in the work of putting up stage scenery and curtains Mr. Clifton is a genial and pleasant gentleman whom it is a pleasure to meet” (page 7). On February 1, 1905, the “Weekly Journal-Miner” reported, “W. H. Clifton, stage carpenter for Sosman & Landis of Chicago gave a private matinee yesterday afternoon for the Elks’ theatre which was attended by about forty or fifty people. The entertainment consisted of an exhibition of all the curtains and scenery of the opera house and was given for the purpose of giving the building committee an opportunity to see what they have purchased and to check it up on the list in order to demonstrate that they have received all that they have paid for. The curtains, scenery and all the stage appointments are certainly up to date and quite handsome. Mr. Clifton is an expert also in the manipulating of them. The Elk’s seem to be well pleased with their purchase. The opera house, when completed, will without doubt be one of the finest in this territory, and a few, if any in the southwest will surpass it. There may be larger buildings of the kind but none more complete in its furnishings and all of its appointments.”
I have uncovered very little about Clifton’s personal life, either before or after his association with Sosman & Landis. The earliest listing for Clifton that I have located is in the 1885 Chicago directory; William H. Clifton was listed as a carpenter, likely the same Clifton. That year, he was living with Hal D. (Harry) Clifton at 358 Loomis. The two would continue living together in Chicago until 1888, their home located at 98 Gilpin. Although there were a few gap years, by 1890, the two were still living together, now at 5713 LaSalle. William was again listed as a carpenter, with Harry as a bookkeeper. Harry D. Clifton worked his way up from a clerk to the president at the Union Wallpaper Co. in Chicago, and then switched careers, becoming an appraiser. In the gap year that William Clinton did not live with Harry in 1889, he was listed as a painter in the Chicago Directory, boarding at 44 Centre. Interestingly, this was the same year that he began working at Sosman & Landis.
Unfortunately, I have yet to locate any birth, death, or marriage records. He also is absent from census records, even after trying to locate him through Harry D. Clifton’s records. I am not suggesting that there weren’t census records listing men named William Clifton, just not the correct Clifton who worked as a carpenter and lived in Chicago from 1889-1905. Much of the problem seems to be that unless Clifton were married, or listed a permanent home, he likely found lodging in whatever town he was working in. Furthermore, if a father, brother, or distant relative were living in Chicago, there may have been no need to rent his own home between 1891-1905, especially if he were working for Sosman & Landis as an installer. All this being said, he may have intentionally remained in the shadows. Then, as now, some people don’t want to be found, whether their reason is marital or legal concerns.
I have located one possible record that suggests Clifton left Sosman & Landis after completing the Elks Theatre in Arizona. In “Julius Cahn’s Official Theatrical Guide” for the 1906-1907 and 1907-1908 seasons, W. H. Clifton is listed as the stage carpenter for the Lewis Opera House in Canton, Pennsylvania. It had just reopened after being closed for a season. On May 9, 1905, the “Canton Independent” announced, “Mrs. E. M. Lewis, owner of the Lewis Opera House, will not take out a theater license this year, and the opera house will be closed. The reason for this is the fact that theatrical performances do not draw sufficient crowds to pay the expense, let alone a profit. Mrs. Lewis did a very handsome thing for the town in erecting such an elegant opera house, which in every[articular is superior to those usually found in the larger cities and the fact that it is to be closed will cause great regret” (page 12). Sosman & Landis were already connected with the town, having delivered the scenery for the Rink in 1885 (Canton Independent-Sentinel 3 July 1885, page 1).
Joseph Wikoff was a stage carpenter associated with Sosman & Landis in 1890. That year his work for the firm included building stages and scenery for opera houses in Ogden, Utah, Spokane, Washington and Dubuque, Iowa. By 1895 he died from complications after falling forty feet to the stage floor at the Lyceum Theatre in Memphis, Tennessee; the paint bridge collapsed in Dec. 1894. Of the horrific incident, Thomas G. Moses wrote, “The bridge broke and poor Wikoff was so badly hurt that he died a few weeks after the accident.” At the time, Wikoff was working for Moses, and not Sosman & Landis, although he was likely still associated with the Chicago-based firm in 1894.
Very little is known of Wikoff beyond a couple newspaper articles, a few city directory listings and two census reports. The earliest mention of Wikoff as a stage carpenter is in the 1889 Kansas City Directory. He was previously listed as a carpenter in Kansas City between 1886-1888. Sosman & Landis established a regional office in Kansas City by 1884 that was managed by Lemuel L. Graham, who also ran his own scenic studio in the city. In 1887, Claude L. Hagen was listed as the western machinist for the firm, but also worked for Graham. It is possible that Wikoff worked with Hagen at either the Gillis Opera House, Warder Opera House or any of the Kansas stages constructed by Hagen in the 1880s.
The first article that I have located about Wikoff’s work for Sosman & Landis is from the spring of 1890. He was part of a crew that delivered stage machinery and scenery for the Grand Opera House in Spokane, Washington. The Sosman & Landis crew in Spokane consisted of Thomas G. Moses, Howard Tuttle, Edward Loitz and Joe Wikoff. Moses arrived on site March 29, 1890 and wrote, “The theatre was also very cold. We managed to get over the work. The first week we ate in a tent, in which they had stoves. It was very long, possibly one hundred feet, including the kitchen… We finished our work on April 16th. Tuttle and I went East. Leaving Loitz to finish the asbestos, which was not in our contract, and Loitz took it as an extra. I arrived home April 20th. “
The project consisted of twenty sets of scenery with all of the exterior drops measuring 28’h x 40’w. As the stage carpenter for the project, Wikoff arrived before the scenic artists and stayed after the painting was completed to finish the installation. Surprisingly, his work was detailed in the “Spokane Falls Review” on April 3, 1890 (page 4). An article about the new stage reported, “The building of the framework for the scenery, putting in the grid-iron fly rails, paint frames and bridges, star, vampire and Hamlet traps, two sectional bridges, rain box, wood crash and thunder runs is all being done by Joseph Wikoff, of Chicago, and he is a master of his business, having had many years of experience in the leading theaters of the east. The framework of the interiors is so built that it is much heavier at the bottom so that they may be easily handled. The work on the traps, etc., is very intricate, and the utmost care is taken so that they will run smoothly and not catch, as an accident of that kind would spoil a whole act. We feel assured that when the stage is completed, we will have one of the finest in the country. The stage it 39 feet deep and 65 feet to the rigging. The opening is 33×33 feet, and from wall to wall the distance is 61 feet. Mr. Wikoff expects to have the work completed by middle May.”
The next new stage credited to Wikoff was for the Grand Opera House in Dubuque, Iowa. On August 15, 1890, the “Dubuque Daily Herald” reported, “The stage is supplied with a fine line of scenery from Sosman & Landis, of Chicago, and was put in under the superintendency of their stage machinist Joseph Wikoff…The stage is 66 ½ feet wide inside, wall to wall; 60 feet to rigging loft; 35 feet curtain opening; 36 feet in depth; 23 ½ feet under fly galleries…Over 28,000 feet of rope were used to hang these scenes and there are thirty complete sets for special scenery brought by traveling troupes” (page 1).
The next stage constructed by Wikoff was for the Opera House in Ogden, Utah. Again, Wikoff worked with Moses and Loitz. Of the project, Moses wrote, “I worked at the studio until November 4th, and then was off again for Denver [Broadway Theatre] to complete my contract. Loitz went to Ogden, Utah, to start that contract. Joe Wikoff came on from Chicago and went with Loitz. We worked every night and hustled it through December 31st.”
And then Wikoff disappears from both Moses memoirs and newspaper article until 1894 when paint bridge collapses at the Lyceum Theatre in Memphis, Tennessee. The Lyceum Theatre was not a Sosman & Landis project, but one independently contracted by Moses. This suggests that Moses continued to sporadically work with Wikoff between 1890 and 1894. Keep in mind, that Sosman & Landis staff were encouraged to supplement their income with outside work, as long as it did not compete directly with the firm. Moses did not always follow this directive and was occasionally at odds with his employer. Of the Lyceum Theatre project, Moses wrote, “The firm wanted this badly, but the architect insisted on my work.” When Moses secured contracts independent of the firm, he continued to utilize the Sosman & Landis staff. Therefore, it is likely that Wikoff was still working for the firm in Chicago.
Of the 1894 Memphis project, Moses wrote, “The job proved to be a “Jonah.” The bridge broke and poor Wikoff was so badly hurt that he died a few weeks after the accident. Some of the other boys were hurt, but all recovered.” The accident made headlines across the country, as seven men who were working on the paint bridge plunged forty feet to the stage floor. Newspaper listed the injured: “Al Morris, scenic artist, from Chicago, arm broken; Charles Wallace, scenic artist, from Des Moines, Ia., head gashed and arm broke; Joseph Wikoff, stage carpenter, Chicago, cut on head and ankle sprained; John Vorhees, scenic painter, Chicago, severely bruised; A. E. Well, colored, Memphis, arm broken and ankle sprained; John Wiley, colored, Memphis, leg broke.” Newspaper article also reported, “The victims of the accident were removed at once in an ambulance to St. Joseph’s hospital. The collapse of the scaffold was due to defective timber and framework.” My guess is that Wikoff either died at St. Joseph’s or at his temporary residence in Memphis. Regardless, I have yet to locate a death certificate or grave for Wikoff. It is doubtful that his remains left Memphis. He was unmarried with his only relations living near Paducah, Kentucky.
It was his Paducah relations employed counsel to file suit against the New Lyceum Theatre claiming, “the deceased was injured and killed by accident said to have occurred during the erection of a part of said building, that said counsel Col George Gautt, have requested petition to qualify as administrator of deceased estate, that said suit might be brought.” The Memphis Probate court appointed Lee Thorton as administrator of Wikoff’s estate in March 1895. He remained in that capacity until being discharged on July 1, 1901, after the case was lost and nothing was recovered for damages.
Although Wikoff’s relatives from Paducah remained unnamed, it helped uncover a little more information about Joseph’s early life in Paducah. Census reports suggest that Wikoff was adopted and raised by William R. Wikoff and Mary D. King Wikoff. Joseph’s adoptive parents were born in Pennsylvania (William R. Wikoff) and Tennessee (Mary D. King), whereas census reports list Joseph’s birth parents as being born in Wales (father) and Kentucky (mother). Furthermore, his adoptive parents were married in 1864 (Lyon’s, Kentucky) three years after Joseph was born. I highly doubt that Joseph’s biological father from Wales shared the last name of Wikoff. “Wikoff” was likely taken when he was adopted by William and Mary Wikoff sometime after their marriage in 1864. That being said, Joseph was raised by a carpenter and apprenticed as a carpenter. William R. Wikoff had worked as a carpenter since the age of 18 yrs. old when he was growing up in Pennsylvania.
The first census report that lists Joseph living with William and Mary is in 1870. That year Joseph was nine years old and the couple had been married for six years. All three were living in Paducah, Kansas. At the time, his adoptive father was listed as a carpenter. William Wikoff was also listed as a carpenter in the Paducah city directory in 1869. The 1880 census listed 19-yrs.-old Joseph Wikoff as a carpenter’s apprentice, but sill living with William and Mary Wikoff in Paducah, Kentucky. By 1886, Joseph had Wikoff had worked his way from Paducah to Kansas City, Missouri.
In 1886, Joseph Wikoff was listed as stage carpenter in the Kansas City Directory. It remains uncertain as to Wikoff’s employment between 1881 and 1885, or where else he worked during this time. Much of the difficulty is the constant misspelling of Wikoff in historic records and city directories. Even newspaper accounts surrounding the collapse of the paint bridge at the Lyceum theatre misspelled his name, with variations ranging from Wikpupt to Wikuft. However, Wikoff was the correct spelling used on paperwork filed with the Memphis probate court, as well as the memoirs of Thomas G. Moses. Furthermore, Wikoff was the spelling for articles listing his work for Sosman & Landis.
When Joseph died after the paint bridge collapse, I believe that it was his adoptive parents hired Lee Thorton to act on their son’s behalf in Memphis. Sadly, Mary passed away in 1898. By 1899, William became ill and never seems to have recovered. He eventually passed away in 1904.
C. L. Hagen was the western machinist for Sosman & Landis during the late 1880s. At the time, he was in his mid-20s and a rising start in the technical theater world. By the time he was forty-eight years old, Hagen was internationally recognized as a brilliant stage architect, master mechanic, and technical director. Hagen represents the caliber of technicians working at Sosman & Landis during the late nineteenth century. Although newspaper articles and public records occasionally list the alternative spelling of “Hagan,” I am solely using “Hagen,” as that was the spelling that was repeatedly listed on his patents.
Claude L. Hagen pictured in 1898
On Feb. 2, 1911, the “Daily Times in Philadelphia” included a lengthy article about Hagen’s technical contributions to the theatre, entitled “Hagen, Leading Wonder Worker of the Stage” (page 2). After listing all of Hagen’s accomplishments, the article reported, “With such a theatrical record it would seem as if Mr. Hagen must have been literally born on the stage. Instead, he was a native of Chicago and spent his boyhood in Minneapolis, Philadelphia and Kansas City. Hagen settled in Kansas City by 1879 and designed several stages for Kansas City.” The article continued, “…arriving in the Missouri burg in 1879, when, to use his own words, the town ‘was practically a brickyard.’ But he entered the theatrical business there and erected several theaters for capitalists during his stay. Then he began his wanderings, which have carried him all over the United States and into foreign countries as well.” Hagen’s portrait was attached to the article, an article that was repeatedly published in newspapers across the country.
Hagen’s portrait in the newspaper did not convey his physical size, as he was a very tall man. When Hagen applied for a passport in 1902, his physical appearance was described in detail, listing his height as 6’-2”, extremely tall for the time. His application also noted, dark brown hair, grey eyes, high forehead, round chin and a medium complexion. When Hagen applied for a passport, he was traveling with the “Ben Hur” company as their master machinist. It was his design for the famous chariot race on stage that partially propelled him to stardom. On March 23, 1902, the “Boston Globe” reported, “Claude Hagen, who has invented more mechanical effects for use on stage than all the other men of his class in this country, and who is responsible for most of the machinery and electrical apparatus used in the production of “Ben Hur,” is now in London supervising the work prior to the presentation of Klaw & Erlanger’s magnificent spectacle at the Drury-Lane theatre” (page 34). In 1911 the newspapers would recall Hagen’s London’s reception seeing his “Ben Hur” chariot race at Drury Lane Theatre: “it scored an immediate success. So great was the enthusiasm that Mr. Hagen was given the singular honor of being the only man in his line of business during the house’s 140 years of history who had been forced to appear before the curtain in response to the demands of the audience to personally show their approval of the wonderful mechanism that spelled success for the Lew Wallace dramatization” (Daily Times, Philadelphia, 2 Feb 1911, page 2).
The life and career of Hagen career could easily fill a book. It is incredibly hard to briefly summarize his mechanical contributions, but I will make the attempt and try to convey the greatness of man who first made a name for himself in Kansas City.
Little is known about Hagen’s early life before his arrival to Kansas City in 1879. A 1940 census lists that this highest level of education was 8th grade. None of his early theatrical training is known before 1882. There is only the brief mention of his growing up in Chicago, Minneapolis, Philadelphia and Kansas City, leaving a poor trail of breadcrumbs. I have yet to locate the names of his parents, although he twice listed the birthplace of his father as England and the birthplace of his mother as Michigan. What I do know is that Claude Lavrain Hagen was born in Chicago on Jan. 1, 1863. I discovered his middle name of “Lavrain” in a later patent.
By the age of sixteen years old, he was living in Kansas City, Missouri. It is really in Kansas that the first information about Hagen surfaces in newspapers. At the age of twenty, Hagen was responsible for the stage at the Gillis Opera House in Kansas City. He had already toured with the Hanlon Bros. the previous season. On September 3, 1883, the “Kansas City Star” announced the opening of the Gillis Opera House (page 1). Hagen was credited with the stage machinery. The article reported, “As stage carpenter, Mr. Claude Hagen, one of the most expert in his profession in the country, has been engaged. He has been employed in the best theaters in the country for years and last year he traveled with the Hanlons who required the most complicated stage machinery. He superintended the setting of the Gillis stage, and it is said that what he don’t know about the stage isn’t worth knowing. Mr. Lem Graham is the scenic artist and known who see the scenery exhibited at the Gillis will for a moment doubt his ability.”
1882-1883, the season that Hagen purportedly worked as a stage carpenter for the Hanlons, was the year that the Hanlon Bros. toured with their wildly popular, “Le Voyage en Suisse.” “Le Voyage en Suisse” was a three-act pantomime jam packed full of scenic “tricks” and illusions. Newspapers raved about one particular effect from the second act – the train scene. On Jan. 30, 1882, the “Baltimore Sun” reported, “The second act is the European compartment car, and the fun is fast and furious. The Hanlons impersonate servants, custom-house inspectors and gentlemen. The car is a wonderful piece of mechanism; it is seen in motion, and the scenic effect is perfect, and every detail is closely worked as when it passes through a tunnel. The explosion, and complete destruction of the car, at the end of the act was greeted with tremendous applause. The curtain was raised; then the Hanlons, were called before it, and last the stage manager, and again the Hanlons had to answer the call before the audience would be satisfied.” Hagen’s work as a stage carpenter with “Le Voyage en Suisse” explains his early training that contributed to his abilities to design the Ben-Hur chariot race almost two decades later.
Hagen continued to travel with various touring productions in the early 1880s, yet continued to remain associated with the Gillis Opera House. On Jan. 15. 1884, the “Kansas City Times” reported, “Mr. Claude Hagen, stage machinist, of the Gillis Opera House, returned home Sunday morning after having spent four weeks with the “Romany Rye” combination” (page 2). “Romany Rye” was a melodrama and well-known for its mechanical effects and advertised as “unequaled in stage setting” (“Kansas City Star, 27 October 1884, page 2). The show was billed as a “Grand Spectacular Melodrama” with scenic displays that included a Gypsy encampment, Craigsnest by moonlight, the Hampton Race-course and the wreck of the Saratoga (Baltimore Sun, 1 April 1884, page 1). It was the “Wreck of the Saratoga” that made headlines in newspapers across the country. The scene was “admirably presented and evoked hearty and deserved applause” (Gazette, Cedar Rapids, Iowa, 3 Jan. 1884, page 4).
In 1884 and 1885 Hagen remained associated with the Gillis Opera House as stage machinist for the venue. On March 1, 1885, the “Kansas City Times” included an advertisement for “Monte Cristo!” at the Gillis Opera House (page 12). The bottom of the ad stated, “It is a conceded fact that no other stage in the west is a well-adapted to the production of spectacular pieces like MONTE CRISTO as the Gillis, and it is further a matter of record that the stage crew of the Gillis, under the control of Mr. C. L. Hagen, is unexcelled in the west.” Hagen’s work at the Gillis was so popular that he was publicly recognized for his scenic contributions. On January 27, 1885, the “Kansas City Times” announced, “Mr. Claude L. Hagen, master machinist of the Gillis, was last evening presented by the attaches of the Gillis with a very beautiful gold medal” (page 8). Other accounts note that the gold medal was actually a gold watch.
It was about this time that Hagen’s work was noticed by Sosman & Landis in Chicago. On August 24, 1885, the “Kansas City Star” reported, Claude L. Hagen, master machinist at the Gillis Opera House, left Saturday for Marion Dakota to fit up an opera house” (page 2). It is highly likely that this is when Sosman & Landis began to subcontract Hagen before bringing him on staff. By 1887, Hagen was listed as the western machinist for the firm. He built the stage and installed Sosman & Landis scenery at the Bonham Opera House in Clay City, Kansas. On April 16, 1887, the “Evening Times” in Clay Center, Kansas, reported on the progress of the new Bonham Opera House. The article reported, “The stage machinist at the Bonham Opera House finished his labors this morning, and that grand amusement temple is now ready to throw open its portals to the public. An introduction to C. L. Hagen, the machinist, enables THE TIMES scribe to give the principal features of the stage, at present the point of interest to the public. It is provided with five large entrances, and four sets of grooves with a capacity of nine scenes each. The grooves are the latest pattern, skeleton and double-jointed, The latter feature enables companies traveling with their own scenery to adjust the same to this stage in case it should be in a larger scale than the scenery of the house. The ’gridiron’ is forty-eight feet above the stage floor, and the ‘pocket’ terminates sixty feet above the stage floor, thus enabling the drop curtains to go up bodily. There are two of these drops, on an act curtain, with a fine Antwerp scene, and the other an advertising curtain. They are both gotten up in the very highest style of the art, painted on Russian linen, and hung with counterweights. The house scenery consists of ten complete sets, 18 by 26 feet as follows: Fancy Centre Door, Palace Arch, Two-door Chamber, Kitchen, Prison, Street, Landscape, Rocky Pass, Ocean Horizon, and a Garden. Also, a Set Cottage, Bridge Masking, Balustrade, Statues and vases, Set Waters, Fore-grounde, etc. The scenes are fifteen with flat shives [sic.]. The ‘grand drapery’ is arranged with tabs and sections, and can be enlarged to match with the most extensive scenery traveling. The scenery was painted by Sosman & Landis, of Chicago. The same firm fitted the Gillis Opera House, Kansas City, and the Grand Opera House at Topeka. Mr. Hagen is their western machinist, and also does the same work for L. L. Graham of Kansas City. He is clever at his profession, if we may judge by the smoothness which characterizes his work in Clay Center.”
On April 21, 1887, “The Times”of Clay Center reported again, “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. Hagen is their western machinist, and also does the same work for L. L. Graham of Kansas City.” Lemuel L. Graham operated his own scenic studio in Kansas City, but also represented Sosman & Landis on many projects, working as a western agent for the firm. Graham’s studio was a western affiliate to Sosman & Landis in the same way that New York Studios was an eastern affiliative to the firm. In 1887 Graham represented Sosman and Landis for work on the Opera House in Winfield, Kansas.
By 1888 the Kansas City Directory listed Hagen as the stage manager at the Warder Grand Opera House. Hagen’s work at the Warder Grand Opera House and life in Kansas City, however, came to an end that year when bigger and better opportunities presented themselves. It was shortly after working at the Warder Granbd Opera House with Booth and Barrett on “Julius Caesar” that Hagen moved to Philadelphia, He briefly became the master machinist at the Broad Street Theatre. The Booth and Barret production was one of his last productions at the venue. On September 11, 1888, the “Kansas City Times” reported, “The effect of last night’s production was very much enhanced by three beautiful and elaborate stage settings, all of which are stock scenery of the Warder Grand designed by Mr. Claude L. Hagen. The senate scene was especially striking, including the full depth of the stage – fifty-seven feet. The tent scene was also beautiful and realistic.” On Dec, 29, 1888, the “Kansas City Star” announced, “Mr. Claude Hagen, for many years master machinist of local opera houses, will leave on Monday night for Philadelphia to accept a position in the Broad Street Theatre” (page 1). Interestingly, in 1889 Kansas City Directory listed Hagen as “moved to Chicago.” On August 11, 1889, the “Kansas City Times” reported, “Claude L. Hagen, who was superintendent of construction for the Warder Grand Opera House and stage manager under J. L. Buford’s management will go to Chicago in a few weeks to assist in preparations for Lawrence Barrett’s production of “Ganelon” early in September. Mr. Hagen will travel with the Barrett company during the season” (page 10).
By 1891, Hagen was living in New York, listed in the city directory as a machinist and working at 1215 Broadway. At the time, he was residing at 245 W. 25th and working with a variety of scenic artists, including former Sosman & Landis employee, John H. Young. On Jan. 11, 1891, the Pittsburgh Dispatch” included an advertisement of Planquette’s New Opera Comique, “Paul Jones’” (page 14). Hagen was credited with the stage mechanism, and Young the scenic art. The two continued to work together in this capacity for the next four years. On July 28, 1895, Young and Hagen were credited with the scenery for “Fortuna,” a new “spectacular operatic extravaganza” (page 18). The article cited, “John H. Young and Claude Hagen” of the 5th Ave. Theatre.”
Between 1891 and 1895, Hagen’s reputation for innovation and mechanical precision continued to increase, with his work becoming nationally recognized and contracted by Klaw & Erlanger. He also began filing patents for his stage inventions. On June 11, 1895, Claude L. Hagen patented the toggle shoe. He placed advertisements in the premiere issue of “Julius Cahn’s Official Theatrical Guide” (1896). His advertisements stated, “My invention relates to an improved Shoe for the frame of stage scenery, and has for its object to provide simple, inexpensive and efficient means for securely fastening and rigidly bracing together the different portions of the frames in such manner as to avoid weakening any part of the frames’ to provide said Shoes with means for the attachment of the braces employed for holding the frames in an upright position; and finally, to so construct the Shoe that rails having rounded edges may be employed whereby liability of the canvas being cut or the paint abraded is avoided.” Other patents filed by Hagen include: Construction of Theatre, patented on Sept. 17, 1895, No. 546,528 (filed 1895); Theatrical Appliance, patented on July 17, 1900, No. 653,997, (filed 1900); Aerial Centrifugal Way, patented on Sept. 8, 1903, No. 738,434, (filed 1903); Observation-Train, patented on March 28, 1905, No. 786,117, (filed 1904); and Attachment for Stage Scenery Braces, patented on Dec. 29, 1908, No. 907,996, to name a few.
By 1896, Hagen’s advertisements stated that he was a “master machinist” offering “High grade modern construction,” adding “Those intending to have Scenery made will find it in their interest, and are cordially invited, to visit my shop where an inspection of work in course of construction, together with my facilities for handling high grade work, will demonstrate the superiority of my methods over others’. I use only the best materials, and with my exceptional facility for handling the same. I am able to furnish the highest class work at reasonable prices. All estimates included the use of my patents and appliances. All work undertaken guaranteed to be perfect and practical.” Hagen’s office was in the Fifth Avenue Theatre in New York City, with Hagen’s shop and studio adjoining the theater. Ernest Albert was listed as the “Lessee of Paint Frames.”Past projects cited by Hagen as references in 1896 included: Fannie Davenport’s “Gismonda;” Augustin Daly’s “Two Gentlemen of Verona;” Julia Marlowe Taber’s “Henry IV,” “Romeo and Juliet,” and “Romonia;” Nat Goodwin’s “Ambition;” Wm. H. Creane’s “Pacific Mail,” “His Wife’s Father,” and “Governor of Kentucky;” Richard Mansfield’s “King of Peru;” J. C. Duff’s “Leonardo;” H. C. Miller’s “Shore Acres” and “Human Hearts;” Klaw & Erlanger’s “Patriots” and “Jack and the Beanstalk;” Kirk Lashelle’s “Wizard of the Nile;” Prof. Herman’s “Artist’s Dream” and “Noah’s Ark;” E. E. Rice’s “1492;” Edward Vroom’s “For the Crown;” Joe Jefferson’s “The Rivals” and “Rip Van Winkle;” Prof. Kilyani’s “Panoramic Pictures” model; Francis Wilson’s “Half a King” and all of the productions for the American Theatrical Syndicate.
On August 13, 1895, Hagen was listed as the President for the National Association of Theater Stage Employes in the “Washington Times.” The article reported, A special meeting of Local, No. 22, National Association of Theater Stage Employes, was held at their headquarters , No. 1316 E. street last evening to hear the report of Mr. J. B. Fenton, the delegate to the national convention, T. S.E., which met in Boston on July 8. The following national officers were chosen: President, C. L. Hagen, New York; vice-president J. Kelley, Cincinnati; treasurer, P. Maloney, Boston; general secretary , J. Hines, New York; national executive committee, J. Kelly, Cincinnati; T. Murray, Philadelphia; B. J. Ryan, New York; and J. B. Fenton, Washington, D. C. A resolution inviting all non-union men of the craft to join was unanimously adopted. The resolution set forth that as the N.A.T.S.E. was organized for the protection of stage employes, we believe it to be our duty to publicly invite our efforts to better our condition, and by so doing you will help to further the aims and objects of organized labor” (page 4).
Although Hagen’s reputation continued to grow, it was his work for New York’s Grand Opera House that brought him contact with another stage carpenter named P. J. McDonald. In 1895, Hagen was credited with building the scenery for the “Patriots” at the Grand Opera House on Broad and Montgomery Ave. In 1899 Hagen partnered with P. J. McDonald, and was listed as, “C. L. Hagen, formerly at the 5th Avenue Theatre.” McDonald remained associated with the Grand Opera House throughout their business venture. The two soon established the scenic concern of “McDonald & Hagen, Contractors and Builders of Scenery.” Their shop and office were located at 536, 538, 540 and 542 West 26th Street in New York, between 10th and 11th Avenues. McDonald & Hagen advertisements listed: “Scenic productions Masonic and Mystic Shrine Paraphernalia; Scenery for Theatres, Balls and Private Theatricals; Mechanical Effects; Pageants and Celebrations; Tricks and Illusions; and Scrimed Profile and all Supplies for the Trade. The two separated by 1902 and McDonald again advertised independently as “P. J. McDonald, Scenery and Stage Construction, Mechanical Effects and Intricate Devices.” McDonald’s shop was again listed at the Grand Opera House, 320 West 24th Street, New York. The separation may have been the cause of Hagen’s quick rise to stardom between 1898 and 1900.
Hagen designed and built the stage for the Klaw-Erlanger Co.’s Crescent Theatre in New Orleans. On Feb. 3, 1898, the “Times Picayune” reported, “Mr. Claude Hagen, the famous builder of theatrical stages, and whose work is found in the newest and best theatres of the north, answered a telegraphic summons to come to New Orleans to confer with Sully, Burton and Stone, architects and builders, and to plan the stages for the two new theaters that Klaw & Erlanger are building in this city. This inquires such commodious and perfect stages with all modern appliances and improvements, as New Orleans has never seen. Mr. Hagen will arrive from New York to-day” (page 8). For the opening of the Crescent Theatre that fall Hagen was featured in an article. On Sept. 25, 1898, the “Times-Picayune” reported “The stage itself was designed by Claude Hagen, the famous expert and stage builder, who came here for that purpose,” including a portrait of Hagen (page 19). His career began to sore, especially as opportunities increased with Klaw & Erlanger.
On September 29, 1900, Hagen was internationally recognized and featured in “The Era” (London, England, page 14). He was featured in an article entitled “American Stage Effects” that described Hagen’s stage machinery for “Ben Hur.” The article described scenic effects that were invented by “Mr. Claude L. Hagen, of the firm of M’Donald and Hagen, New York city, who is also the master mechanist of the production.”
On a personal note, Hagen was also married by 1900, his wife included in a Federal Census Report that year. This is the earliest census that I have been able to locate for Hagen, who was thirty-seven-years-old. Annie, later listed as “Anna,” continued to be listed as his wife until the 1930, when Hagen was listed as a widower. The 1920 census noted that Annie was an actress. Coincidentally, there was an Anna Hagen who passed away in Manhattan on Jan. 3, 1924, however, there were many Ann/Anna/Annie Hagens living in New York during the early 19th century. The only information that I have really gleaned about Annie, is that she was born in Pennsylvania and her parents were from Germany. Other than some brief mentions of charitable work in New York, little is known of Mrs. C. L. Hagen.
On March 23, 1902, the “Boston Globe” reported, “Claude Hagen, who has invented more mechanical effects for use on stage than all the other men of his class in this country, and who is responsible for most of the machinery and electrical apparatus used in the production of “Ben Hur” is now in London supervising the work prior to the presentation of Klaw & Erlanger’s magnificent spectacle at the Drury-Lane theatre” (page 34). Hagen’s success with “Ben Hur,” in addition to his work for Klaw & Erlanger, prompted him to secure other entertainment projects, such as various attractions on Coney Island. One of Hagen’s earliest designs the bicycle loop-the-loop at Luna Park (Brooklyn Citizen, 16 Aug. 1903, page 10). Unfortunately, is relationship with Frederick Thompson soon soured. In 1904, he sued Thompson & Dundy for breaking a five-year contract. The article reported, In Thompson & Dundy’s defense Hagen refused to obey orders and had performed services for another amusement manager.” Regardless of the defense, Hagan won the case and received a nominal verdict of $100.
The newspapers absolutely loved Hagen and repeatedly published his accomplishments across the country. Hagen’s name made news in even the smallest western towns. On Sept. 17, 1905, the “Butte Miner” reported, “Eight years ago the attention of Klaw & Erlanger was drawn to General Lew Wallace’s interesting novel ‘Ben -Hur,” and negotiations started toward dramatizing it. Gen Wallace was like the man from Missouri, ‘he had to be shown;’ that is, he would not agree to his work being dramatized unless the chariot race could be realistically presented as his description in the book. It is here the creative American machinist showed his capacity, for Klaw & Erlanger commissioned everyone of prominence in this country to furnish practical working models of this big scene, and the prize was won by Claude Hagen. It cost thousands of dollars experimenting, but a rich reward has been reaped, for in the six years that ‘Ben-Hur’ has been before the public, a profit of over $2,00,000 has been earned” (page 12). That article was continually republished over the years until the profits were listed as $4,000,000.
In 1907, Hagen was associated with another popular attraction – “Fighting the Flames, or The Fireman’s Christmas Eve.” On Oct. 20, 1907, the “San Francisco Call” described Hagen’s show as “the first silent fire story on record, whose sole purpose is to lead up to the actual incidents of a real fire, will receive its first production at the Chutes theater this afternoon” (page 26). The article continued, “It was built and invented by Claude L. Hagen, who also contrived the effects for the chariot scene of ‘Ben Hur,’ and was produced by him originally at Euston Palace, London, in 1903 and subsequently Proctor’s Twenty-third street theater, New York city and at Coney Island where it enjoyed extraordinarily ling run.”
On Jun 7, 1908, the “Brooklyn Daily Eagle” included an article on Coney Island, that credited Hagen in the section entitled “Changes in Waterfront, Bowery and Surf Avenue” (page 21). The article reported, “Among the larger individual attractions on Surf Avenue are Hagen’s Fire Show and Herbert A. Bradwell’s ‘Deluge.” The fire show, otherwise known as the ‘Fireman’s Christmas Eve,’ is nearly opposite the Culver railroad terminal. In this show is portrayed a pathetic Christmas story, which according to its author, Claude L. Hagen, is woven around the fire department of New York City and was suggested by Christmas Even incidents on the East Side which came under his personal observation. The story is a thrilling one and told by means of real characters, mechanical, electrical and scenic devices and trained horses, introducing the run to a fire with the same mechanical devices that were used in the chariot race of ‘Ben Hur,’ and which was invented by Mr. Hagen. The fire engine is a real one and the burning building with its attendant excitement and rescues is given all appearance of reality.
Hagen produced similar attractions for other venues. One was entitled “Fire Fighters on Ship and Shore” for the Ohio Valley Exposition in 1910, where he was listed as Construction Superintendent for the Expo (Cincinnati Enquirer, 4 Sept 1910, page 37). Other newspapers listed Hagen as “the amusement director” for the Exposition (Cincinnati Inquirer, 12 April 1910, page 8). It was not always fair-weather sailing for Hagen. Big projects involve even bigger monetary risks.
On April 3, 1908, the “Boston Globe” listed Hagen in the section entitled, “Business Troubles,” reporting, “Claude L. Hagen, theatrical engineer, 173 S. Botolph St, is a voluntary petitioner in bankruptcy. He owes $4879 to four unsecured creditors, the principal of whom is Mrs. Madeline Barber, New York City, $3694 for money advanced and open account. The assets are estimated at $6500, of which $5400 is represented in debts due on an open account and $110 in promissory notes” (page 13). He seems to have recovered, but shortly after the incident assumes a new title role, replacing master mechanic with technical director in listing and newspaper articles.
On Dec. 5, 1909, the “New York Tribune” featured Hagen in a full-page article entitled, “Generous Scenic Resources of the New Theatre” (page 57). The new stagehouse, designed and built by Hagen, included a massive revolving stage, 200-feet wide cyclorama, and 125 lines hung from a huge gridiron. The article explained that the New Theatre’s cyclorama was the largest of its kind in the world and that the three sets curtains, grading from bright red to dark plum, and weighing respectively 2,000, 1,500, and 1,00 pounds were “the only ones of the kind in the country.” The article reported, “Further inquiry about the manufacture, manipulation, storage, etc., of the scenery at The New Theatre leads one into meeting Claude L. Hagen, the technical director, who is in many ways a most remarkable man. Mr. Hagen is an engineer who has devoted the greater portion of his life to the physical side of the production of plays. He is the inventor of most devices to use on the stage at The New Theatre. Mr. Hagen gave to the Tribune’s representative facts about the scenery which could not be obtained from any other source.” Mr. Hagen said, “The staging of a play at the New Theatre is a different proposition from what it is elsewhere in this country because we have a ‘drehbuhne,’ or revolving stage. Most of our plays are staged on the drehbuhne, and all we have to do is revolve the stage to present the next act. That is the reason the intervals between the acts are so short…The stage is sixty-four feet in diameter, and it completes a revolution in a minute.”
I am also including Hagen’s comment on fireproofing scenery, as it is so rare that the adverse effects to the scenery are even mentioned. In the same article, Hagen stated, “The effect of fireproofing on scenery? That is one of the worst things we have to contend with. It destroys the color and the texture of cloth. It has such an effect on Italian blue, for example, that we cannot use the color. It causes the braids to drop off of our curtains. It has caused our great cyclorama to fade from tints and shades of blue into almost white. It causes the stitches to rot of where the strips of cloth are sewed together. But everything has to be fireproofed, so there you are.”
His contribution to the New Theatre was publicly acknowledged on multiple occasions. When J. P. Morgan delivered the principal address for the New Theatre’s dedication, he thanked three people: the “faithful administrator” H. C. Ingalls; “able engineer” Owen Brainerd; and Claude L. Hagen who was “ingenious in stage construction” (Brooklyn Daily Eagle, 7 Nov 1909, page 6).
His work at the New Theatre resulted in a patent for improvements in theatrical stages. On Dec. 12, 1912, a patent of Hagen’s was published in “Moving Picture News” (Vol VI, No. 25, page 22):
“Patent No. 1,045,398 issued to Claude L. Hagen , of New York City, is for improvements in theatrical stages, the object of the invention being, not only to construct a stage which as a whole may be rotated , but to provide one of a number of sections , which may be united on the plane of the stage floor and rotated, or individual sections or groups thereof may be lowered , moved forward or backward on the plane of the stage floor or below it, one section taking the place of another as desired . The sections may follow each other into position like the sections of an endless conveyer , yet they are free to rotate on the stage floor and to change relative positions . In short, the object is to provide a sectional rotatable stage wherein any section may be moved into any part of the rotatable whole . By this means a scene may be set on each one of the four quarters of the stage, or on any other division, and the stage rotated to present the new scene to the audience a moment or two after lowering the curtain and the stagehands may remove the rear scene and reset the same during the act which is going on the front section. The vertically movable rectangular stage sections may be lowered on their cradles to provide “ sinks. ” Or before the play two scenes may be set. After the first scene is acted and curtain lowered, the stage is rotated to present the second scene to the audience. During the playing of the second scene the rear section may be lowered with the first scene thereon, the scenery removed, and a new scene set, and so, the possible combinations being numerous.”
Hagen’s celebrity status diminished by the WWI. I have to wonder if his engineering genius was contracted by the US government. Such was the case with many theatre professionals who found themselves involved in military projects as part of their patriotic duty during wartime. Whether it was camouflaging ships or illustrating bomber equipment, scenic artist and stage mechanics began second careers that often lasted after wars ended. Hagen’s skills would have been an asset.
Regardless of wartime projects, Hagen continued to be listed as a technical director in census reports from 1915 and 1920, but his name almost disappears from the newspapers. By 1925, he is simply listed as a stage carpenter> Keep in mind that this listing is solely dependent on who was providing information to census takers. The 1930 Census lists Hagen as an engineer in the theatre profession, and by 1940, he is living alone at the Hotel Flanders in New York City. In 1941 files for Social Security and slowly fades from the scene.
Hagen died on March 17, 1945 in Islip, New York. His wife Annie predeceased him by 1940. On March 18, 1945, the “Daily News” reported, “HAGEN- Claude L. Officers and Members, you are requested to attend the funeral of your late brother Claude L. Hagen, from the Austin Gordon Funeral Chapel, 7 Columbus Ave, on Monday, March 19, 1945 at 2 P.M. Fraternally yours, Joseph Dwyer, president; John C. McDowell, secretary.” (page 81). Dwyer and McDowell represented the Theatrical Protective Union No. 1.
Hagen’s legacy continued in the theatre work of others, his many students made names for themselves over the years, but always remembered Hagen. In 1903, a lighting engineer named Mr. Sohlberg credited Hagen with his early training. Solhberg was mentioned in an article entitled, “New Theatre Invention. Kansas City Man perfects and automatic spotlight” (Barre Daily Times, Vermont, 2 May 1903, page 3). I am including this article in its entirety for the sake of the subject, as well as the mention of Hagen at the end. It seems an appropriate way to end this article.
“A device for operating lights in theaters from stage has just been invented by Edward W. Sohlberg, stage manager of the Orpheum, in Kansas City, who has applied for a patent on it, says the Kansas City Star. The ‘spot’ light is strong white light which is used upon dancers and others when the rest of the house and the stage are in darkness. Heretofore it has been necessary to have a man in the balcony to operate it. This resulted in the blocking of the view of a number of people in the audience and caused the rays of strong light to strike others in the face. By Mr. Solberg’s invention, the light is fastened on the front of the balcony below the vision of the audience and above the heads of those in the parquet. It is handled by the same man who controls the other lights and switches on the stage, and it follows the dancer’s movement about the stage automatically. It is the first of its kind, and no other opera house in the United State has one. Mr. Sohlberg used it recently for the first time during the engagement of Louise Montrose and Florence Bindley, the girls with the diamond dress. It was in use every night and gave satisfaction. In connection with the ‘spot’ light is a color wheel which contains seven different colors, each of which just covers the ‘spot’ light. This wheel is on a ball bearing axle and is controlled by the same man, who simply presses the button, and the wheel revolves to the desired color. The colors are put in the wheel in the order in which they are to be used, and the need of slides and a ‘boomerang’ is done away with. Mr. Solhberg is a Kansas Cityan and received his mechanical training under Claude L. Hagen, one of the best-known men in the mechanical world.”
Charles S. King was a stage carpenter, master mechanic and scenic artist at Sosman & Landis in the 1870s and 1880s.
There were quite a few individuals named Charles S. King in the nineteenth century, and this was an especially difficult search; a quest one that has lasted for a few years now. Charles S. King was the name given to farmers, railroad engineers, politicians, and even authors. Much of the information that I have tracked down about this evasive individual was based on newspaper reports relating to theatre construction between 1881 and 1889. That being said, in every historical search there are basic unknowns, complicating even the simplest study. These complications are compounded by individuals who start their lives as orphans or illegitimate children. Factoring in possibilities of bigamy, legal name changes, natural disasters, or illnesses that wipe out entire families, creates additional layers of difficulty. And then there is basic human error, the entering of incorrect information and the misspelling of names. In so many ways, I am surprised that I can track down even one Sosman & Landis employee, let alone dozens of them. However, scenic artists and stage mechanics at the firm were primarily a group of white men who worked on projects that made the newspapers, so there is usually a pretty identifiable paper trail. The legions of seamstresses and other assistants at Sosman & Landis will remain unnamed and lost to theatre history.
From newspaper accounts we know that King began his career in 1859, fought in the Civil War, and began working for Sosman and Landis in approximately 1874. This would mean that he started working for Sosman while he was in itinerant artist, before the Sosman & Landis scenic studio was officially established in Chicago in 1879. Sosman and Landis were first mentioned together in newspaper articles dating from 1876, suggesting their initial meeting was between 1874 and 1875. King’s work for Sosman at this time is not a far-fetched idea, as Sosman and King were living relatively close to one other after each served in the Civil War. By 1887, King was credited with installing stages in 200 theaters for the firm. Likewise, Sosman was credited with painting scenery for hundreds of theaters too.
By 1890, King disappears from newspaper articles entirely.
To date, I have only located seven stages that credit King with the construction. They include the Grand Opera House and Academy of Music in Minneapolis Minnesota (1881), Roth’s Opera House in Unionville, Missouri (1882), Ragsdale Opera House in Newton, Kansas (1885), Myar’s Opera House in El Paso, Kansas (1886), Crawford Grand Opera House in Wichita, Kansas (1888), and the Crump Theatre in Columbus, Indiana (1889).
The first newspaper article that mentions King’s work is from Minnesota. On January 27, 1881, the “Star Tribune” reported, “Mr. C. S. King, the stage carpenter at the Grand Opera House, was initiated into some of the mysteries of stage mechanism as exemplified in our new temple of amusement. Mr. King who was summoned here from Chicago, is regarded as one of the best stage-carpenters in the country, having had wide experience and possessing perfect knowledge of his progression. He says that our opera house will have the finest stage, the easiest worked, and will be the best-appointed theatre west of Chicago, or of many large eastern cities.” “One of the best stage-carpenters” and “wide experience” is relative. The opening of most new theaters at this time added experience and credentials to those working on the project, much of it unsubstantiated. However, the article definitely places King in Chicago.
In 1880, C. S. King was listed in the Federal Census as a stage mechanic living at 264 Clinton Street. Six years later, the main Sosman & Landis studio was constructed at 236-238 Clinton Street.
The 1880 Census also lists that King was living with a wife and two children. His wife was simply listed as “A,” a 35-years-old mother of two. The children were Jennie (11 yrs.) and Charles (8 yrs.). This does not mean that the children were biologically King’s; keep in mind that when Joseph S. Sosman married his wife, he adopted her two sons from a previous marriage. It may have been a second marriage for King’s wife, but I doubt it, as I was able to track down the marriage of Anne and Charles. The 1880 census is the only record that I have located to date pertaining to King’s wife or children. I really think that the three died by 1890. In 1881 the family is not listed in the directory. By 1882 the Chicago Directory lists King as a stage carpenter, living at 320 W. Van Buren.
King installed Sosman & Landis scenery into Roth’s Opera House in Unionville, Missouri. On Oct. 12, 1882, the Unionville Republican reported, “During the past week, Mr. C. S. King, of Chicago, one of the most experienced stage carpenters in that city, has been busy arranging the stage fittings and mounting the scenery, and by the first of next week everything will be in readiness for the opening” (p. 3).
Fire, illness, and separation all come to mind. King is only listed that one year and then remains absent from Chicago Directories until 1889. This absence possibly suggests his continuous travel for theater work.
King is listed in the 1889 Chicago Directory as a stage machinist, living at 1262 W. Harrison. There is always the possibility that King’s family traveled with him as he went from one project to another in the 1880s. Thomas G. Moses brought his family along on several Sosman & Landis projects during this same time. If a family were renting their home, it would make more sense for them to travel together, especially if the work in any one location was substantial and lasted for more than a few weeks; such was the case with installing stages in a region.
By 1884, I believe that King was representing Sosman & Landis at firm’s regional branch in Kansas City where he also worked with Lemuel L. Graham from 1884-1886. Graham, left Sosman & Landis to establish his own studio in 1884, becoming an affiliate with Sosman & Landis. Graham also ran their regional branch in addition to running Graham & Davis. By 1885, King was working in Newton, Kansas, a town due north of Wichita. On Dec, 11, 1885, the “Newton Democrat” announced the opening of the Ragsdale Opera House (page 5). The article reported, “The stage is as large as any in the state, its depth being 30 and its width 50. The scenery was put in by Sosman & Landis of Chicago, under the direction of C. S. King of their employ.”
King was credited with not only building stages and installing scenery, but also painting the stage settings. Such was the case with the Myar’s Opera House project in 1886 when King traveled to El Paso, Texas. On July 5, 1886, the “El Paso Herald-Post” reported, “C. S. King, professional stage machinist came from Chicago to build and paint the scenery, rigging and traps for the stage. He had worked in more than 200 theaters across the nation and termed the Myar Opera House the finest he had seen in Texas.” King returned to Kansas in 1887 to work on other Sosman & Landis projects.
On January 21, 1888, King was mention in the “Wichita Daily Eagle” (page 5). The article described the Crawford Grand Opera House reporting, “Mr. C. S. King, an experienced stage carpenter from Chicago, is now engaged preparing the stage for scenery. He says that the scenery is very fine, the best, in fact, that could be secured and is being done by a young scenic artist of decided ability. There will be in all fifteen full sets but these may be used so as to equal to twice that number.”
The last article associating King with Sosman & Landis is from 1889 in Columbus, Illinois. It provides an abundance of information, leaving a trail of breadcrumbs for me to follow.
On October 30, 1889. “The Republican” newspaper in Columbus, Indiana, included an article about King entitled, “An Old Stager” (page 4). The article reported,
“From time to time ‘The Republican’ has kept the public informed of the progress of Crump’s theatre from the architect’s preliminary plans to the finishing touches of the painter and draper, until it seems that the reader would tire of seeing further mention made of it. But when one considers that this beautiful structure is to mark a new era in the character and tone of amusements for Columbus audiences, and that the legitimate drama and opera which it invites will have the same elevating effect upon society here as elsewhere, some allowances will be made for extended notices. From Mr. Crump, on down to the mechanic, each have received favorable commendation, and as this is to be the opening night, when the building and everything is to be pronounced finished, ‘The Republican’ desires to mention the name of Mr. C. S. King, the stage machinist, who is the last to lay down his tools, take off the overalls and don his dress suit. Mr. King began the business of stage carpenter and stage machinist in 1859, which he has followed ever since except an interval of three years, which he served in the Union Army during the late war, and another brief period that he was manager of a large company on the road. For the last fifteen years Mr. King has been in the employ of Messrs. Sosman & Landis, or Chicago, which of itself is sufficient recommendation of his abilities, and has fitted up some of the finest opera houses in the country as well as in Canada and Mexico. Mr. King Came to Columbus Sept. 11, and commenced on the bare floor of the new theatre to construct the various stage machinery, mount scenery, and everything connected with stage settings, all without drawings or specifications, except those stored in his head from long experience. How well he succeeded in his work is there to speak for itself, and is pronounced by the profession to be the most modern, convenient and elaborate. Mr. King has taken special pride in fitting up his house, and has freely given many valuable suggestions to Mr. Crump, who has shown his appreciation by carrying out the plans in detail, thus securing the best results possible. Mr. King is delighted with the completeness of the theatre and pronounces it a veritable little parlor, unsurpassed by any house in Indiana. “The Republican” joins with Mr. Crump and the Citizens of Columbus in extending thanks to Mr. King, the veteran stage machinist.”
To track down information about King’s personal life, I started with his Civil War records, searching veteran death records for past occupations that would match either carpenmter, stage carpenter or stage mechanic. I located one particular “Charles S. King” that fit the bill; a veteran who also served three years in the Union Army. Serving three years during the war was not common, as most men served a year. Furthermore, this particular C. S. King was the right age, with the right occupation – carpenter from Chicago. He passed away at a Veteran’s home after a series of strokes and final paralysis in 1894. It was his paperwork from the Veteran’s Home that helped fill in the gaps. At the time of his admittance, King was working in Cincinnati, Ohio. This also fits within the Sosman & Landis timeline, as the firm established a regional office and theatrical management firm in Cincinnati during the early 1890s. King would have been the natural choice to work with a newly formed regional office, having already done so in Kansas City. Veteran Home records also indicate that King’s wife predeceased him. His next of kin was a sister in Columbus, Ohio. In short, King died alone. This factor, combined with the predecease of his wife, also explains his immediate disappearance from public records and association with Sosman & Landis.
So, I started to track down the life of this particular Civil War Veteran. Here is the story of the man named Charles S. King who I believe worked for Sosman & Landis. If years from now I realize this is the wrong King, at least I have told the story of a courageous man who served our country during the Civil War. For that alone, he deserves to be remembered.
Charles S. King was born in Sacketts Harbor, Jefferson County, New York in 1839. As a young man, he found work in retail as a clerk before traveling west and settling in Macoupin County, Illinois. For geographical context, Macoupin County is located in southern Illinois and situated halfway between Springfield, Illinois and St. Louis, Missouri. The county was named for Macoupin Creek, which flows through the county and is purportedly derived from the Native American word for water lilies that grew along the creek. The county seat of Macoupin County is Carlinville, and this was where King first enlisted in the Union Army. He had previously secured work as a carpenter in Chicago and was also listed in the 1861 directory, boarding as 138 Jackson Street. My gut instinct says that he returned home to enlist and serve with close family and friends.
The Civil War officially commenced on April 12, 1861, and King enlisted on August 24, 1861. He mustered out as a Private on Oct 22, 1861, part of Co. C, 32nd Regiment, Illinois Infantry. Military records describe his physical appearance as 5’-8 ¼ with brown hair and hazel eyes. King was first discharged on July 1, 1862, by reason of enlistment in the marine brigade. He mustered out again on that same day. As noted in his records at the Veteran’s Home, King served a third time, enlisting from Chicago in 1863. He joined the US Navy and mustered out on October 17, 1863. At the time King enlisted in Chicago, he indicated a prior military service. This is the second connection with King to Chicago.
After the war, King returned to Carlinville, Illinois, and married Julie “Ann” Defenbaugh. This also corresponds to the 1880 Chicago Census with his wife listed as “A.” Tracking down information about Ann Defenbaugh was also tricky. First of all, she went by her middle name. Her first name was listed as July, Julie, and Julia; again, likely human error for the variations. Unfortunately, Ann’s last name of Defenbaugh was frequently mispelled, ranging from Definbaugh to Diffinbaugh. Regardless, Ann was the daughter of George Defenbaugh and Minerva Closson Defenbaugh. She was one of many children born to the couple, with her siblings being: David, Solomon, Margaret, Perthia, Amos, Harriet, John Calvin, J. Amos and Bertha. The Defenbaugh family moved from Virginia to Illinois in the 1860s, settling in Macoupin County near Palmyra.
The wedding of Anne and Charles was held on November 30, 1865, filed in Macoupin County. Their daughter was born shortly after their union.
The 1870 Federal Census listed the Kings as boarding with the Gibbs family in another Macoupin County town, Plainville.
Interesting sidenote and observation: Thomas Gibbs Moses from Sterling, Illinois.
In 1870, Charles was working at the Post Office in Plainville, also a small town in Macoupin County. The couple moved shortly after this, as by 1874, C. S. King was living in Chicago and working as a carpenter. This supports the idea that he worked for Sosman in 1874, as Sosman was also working in Chicago at this time. Sosman left Macomb, Illinois to work as a scenic artist. His friend and mentor, T. B. Harrison was a Chicago scenic artist. C. S. King was listed in the Chicago Directory in 1874, 1878, 1882 and 1889. As with most women at the time, his wife was not listed.
Between 1880 and King’s own passing in 1894, his wife passed away. I have not located any records for either of their children as young adults. Often, I can find additional information about the parents on later marriage certificates and in the obituaries of their children. The absence of his wife and any adult children meant that there was no one to take care of King when his health deteriorated in 1890, likely the main reason he was admitted to the Disabled Veteran’s home for the first time in 1891. Records suggest that he suffered a stroke and later partial paralysis. This affected his sight and speech. King was admitted to the home a second time in 1892 and died there on Nov. 7, 1894. He is buried at Wood National Cemetery in Milwaukee as the Veteran’s Home that he was admitted to was in Milwaukee. His Veteran’s Home records note that he was a seaman on the USS Michigan and USS Little Rebel, serving in the Union Army during the Civil War. He was a carpenter by trade, a widower and of the Catholic faith. His last residences prior to his admittance were listed as Chicago, Illinois and Cincinnati, Ohio. His sister, Mrs. Joseph Colwell of Cleveland, OH, was his only next of kin. No fanfare, not obituary listing or memorial. There is only a simple gravestone with C S King, US Navy.
Gravestone of Charles S. King in Milwaukee, Wisconsin.
David A. Strong was a scenic artist and stage mechanic at Sosman & Landis from 1884 until his passing in 1911. Strong and Thomas G. Moses were the first to work in Sosman & Landis’ main studio on Clinton Street in 1886. Moses and Strong completed a panorama of General Grant’s Trip Around the World while the rest of the crew was finishing up projects at the old studio on Clark Street. Of the panorama project, Moses wrote, “We were alone in the big studio for some time before the whole force came over. We enjoyed painting the panorama as it was continuous. There was some careful blending to be done.” The new studio space on Clinton Street remained the home of Sosman & Landis until 1923 when the first iteration of the firm was liquidated.
David A. Strong, 1886
His fellow scenic artists referred to Strong as “Old Trusty,” admiring his “facile brush.” Moses wrote, “His color was deep and rich and his drawings very correct.”
David Austin Strong was born on January 20, 1830 in East Windsor, Hartford County, Connecticut. He was the youngest of ten children born to Erastus Strong and Lucy Wolcott Drake. As a young man, Strong moved from East Windsor to New Haven, Connecticut, and worked as a decorative painter, providing a variety of services that ranged from sign painting to ornamental décor. In 1852 Strong was listed in the New Haven Directory as a sign painter, boarding at Bishop’s Hotel. Around this time, he entered the theatre profession at Homan’s Theatre. There he worked as both the stage manager and scenic artist for the Homans and fell in love with their daughter, Esther. Esther A. Homan was an actress at the venue, her residence at State and Summer streets in 1892. Esther’s 1894 obituary provided additional information about the couple’s life at Homan’s On April 16, 1894, the “Morning Journal-Courier” provided insight into the early theatrical activities of the Strongs (New Haven, CT, page 2). The obituary stated: “Mrs. Strong was formerly Esther Homan, the daughter of Mr. Homan, who was the proprietor of Homan’s theater in the Exchange building of years ago. Homan’s theater in the Exchange building flourished in the fifties, and its popularity and success for a long period is well remembered in this city by old inhabitants; as also the fact that Miss Homan was the star of the company, which it is the privilege of but few to attain. She was a great popular favorite. Her husband, Mr. Strong, was also identified with ‘Homan’s’ as stage manager and scenic artist. At the same time, as we are informed, one of Miss Homan’s brothers was also a member of the Homan Theatre Company. Mr. Strong became quite noted for his success as a scenic artist, and many fine specimens from his brush have from time to time interested patrons of New Haven’s theaters. For some years he has been engaged in the profession in Chicago, meeting with still greater success in that larger field. Mr. Charles Homan of this city is the brother of the later Mrs. Strong. The funeral services will be held at the residence of her nephew, F. A. Frisbie…Mrs. Strong had been in poor health for the last two of three years and had been at times a great sufferer. The difficulty was an internal tumor.”
David Strong and Esther Homan were married on April 1, 1854 in New Haven. The couple lived with Esther’s sister Huldah and her husband Thaddeus Frisbie. Frisbie was also a local painter and frequently worked with Strong. Huldah Frisbie was the eldest of the three Homan children, followed by Charles, the middle child, and Esther. Strong and Frisbie formed a decorative painting company that lasted until Frisbie’s passing in 1859. In the years following Frisbie’s death Strong always took care of the Frisbie family, even after moving to Chicago. The Frisbies and Strongs eventually shared the same family grave plot in New Haven’s Evergreen Cemetery.
By the early 1860s Strong was an itinerant artist, traveling throughout the entire region for projects. However, he became increasingly associated with theaters in Washington D.C., Boston and New York. Strong soon specialized in burlesque pantomime and moving panoramas. His first significant panoramic work was entitled “Strong’s Washington and the War.” Advertisements stated that the exhibition included a series of representations of the City of Washington, with its street, houses, public buildings, fortifications, promenades, public levees, hospitals, stores, and hotels, heralding Strong as a genius. The panoramic exhibition opened on May 18, 1863. By May 22, 1863, the “National Republican” advertised that the event was “designed and executed by the celebrated artist Mr. David A. Strong.”
In March 1864, Strong delivered scenery for the “Grand Fairy Spectacle of the Seven Sisters and the Birth of Cupid in the Bower of Ferns.” This production played at Ford’s Theatre during November 1864. That year Strong was listed as living in Washington, D.C. at 334 E Street N. In Washington, D.C., he worked at various theaters, including Williard’s Hall, Grover’s Theatre, and Ford’s Theatre. For Grover’s Theatre, Strong partnered with fellow scenic artist John R. Smith and painted settings for “The Ticket-of-Leave Man.” Strong was credited as “the distinguished young artist of the theater” (“National Republican,” 18 Jan 1864, page 3). In later years, Moses recalled Strong sharing his recollections of Washington, D.C., and President Abraham Lincoln’s assassination. Upon Strong’s passing in 1911, Moses wrote, “He was employed and was at work in Fords Theatre in Washington on the night that Lincoln was assassinated. The Doctor who attended Lincoln was a personal friend of Strong’s, and as the Doctor was cutting Lincoln’s hair to get at the wound, he put hair in his coat pocket instead of throwing it on the floor. He forgot until sometime next day. He gave Strong a bit of it, which he kept to his dying day.” This is not that far-fetched, especially after examining Strong’s theater work in 1864. Interestingly a purported lock of Lincoln’s hair recently sold at auction.
. By December 1865, Strong was credited with the spectacle scenery for “L’Africaine.” A December 29, 1865, article in “The National Republican” commented that the settings were “greatly superior to the one given in London, and in every respect equal to the famous New York Scene.” It was Strong’s grasp of staged spectacle that propelled his career forward and brought him in contact with other well-known scenic artists at the time. Strong was one of the scenic artists who created the original scenery for the production of “The Black Crook” at Niblo’s Garden Theatre in 1866. On Sept. 12, 1866, the “New York Times” mentioned the “gorgeous and brilliant” new scenery by Richard Marston J. E. Hayes, Robert Smith, David A. Strong, Lafayette W. Seavey, and William Wallack. That same year, Strong also painted “Rip Van Winkle” with E. Hayes at the Olympic Theatre in New York. He continued to gain work and recognition not only in the east, but also in Chicago, Illinois. By 1868, Strong painted scenery for another Niblo’s Garden Theatre production, “The White Fawn.” On Jan. 20, 1868, the New York Daily Tribune” included a review of the “White Fawn” at Niblo’s, reporting, “The main credit of the ‘White Fawn’ belongs to the scene painters – Sachetti, Marston, Strong and Thorne” (page 2). On June 2, 1868, the “Chicago Tribune” reported, “Some of the principal scenes were brought from New York, but many of them were done here by Mr. Strong and are exquisitely beautiful, especially the Hall in the Palace of Safficallis and the Interior of the Dark Tower and he Enchanted Lake” (page 5).
The 1870 Federal Census lists Strong return to New Haven, Connecticut, where he and his wife were again living with the Frisbies (Hulda and her sons Frank and Frederick). The household also included Strong’s 71-year-old mother-in-law Esther Homan. In addition to painting stage settings for theaters across the country, Strong continued to paint panoramas. In 1871 Strong was credited with the “Panorama of Ireland.” Also advertised as the “Panoramic Mirror of Ireland,” his work toured for the next few years, making appearances at the Apollo Hall, Tony Pastor’s and the Republican Hall. Strong briefly returned home to New Haven in 1873, where he was again listed in the City Directory before moving west.
In 1874, the Strongs relocated to Chicago, where he secured work at the Adelphi Theatre, Haverly’s Theatre and McVicker’s Theatre. On August 10, 1876, Strong joined the Oriental Consistory. He entered the Fraternity in New Haven’s Hiram Lodge No. 1 on March 18, 1852. Over two decades later, he joined the Ancient and Accepted Scottish Rite of Freemasonry in Chicago (Oriental Consistory, 1876). At Sosman & Landis. Strong was instrumental in the development of Masonic degree productions for both the Northern Masonic Jurisdiction and Southern Jurisdiction of the Scottish Rite, even receiving the Honorary 33rd degree for his continued scenic contributions for degree work. Strong’s knowledge of stage machinery and spectacle was instrumental in successfully transforming Scottish Rite degree work into theatrical productions. Upon his passing, Moses wrote, “Strong was the “daddy” of all Masonic designs.”
By the early 1880s, Strong traveled throughout the midwestern region with his permanent residence remaining in Chicago. In 1880, he was also credited with the scenery for the Mastodon Minstrels. Of his settings, the “The work is from the pencil of Mr. D. A. Strong, the eminent scenic artist so long identified with Mr. Haverly’s Theatres” (Star Tribune, Minneapolis, MN, 22 Nov. 1880, page 6). During this time, Strong also worked with fellow scenic artists J. H. Rogers and Lou Malmsha for McVicker’s (Chicago Tribune, 4 Feb 1880, page 7). Upon Malmsha’s passing in 1882, Strong commented that his friend had only two equals in the country – Marston and Roberts of New York (New York Times, 21 Oct. 1882, page 4).
Strong continued to travel, and in 1882 painted scenery and a drop curtain for the new Opera House in Ottawa, Illinois (“Ottawa Free Trader,” 15 July 1882, page 2). The next year, he was credited with the new scenery for the Plumb Opera House in Topeka, Kansas (Daily Commonwealth, 29 July 1883, page 2) and the new Opera House in Aurora, Illinois (Inter Ocean, 22 June 1883, page 13).
Since its inception, Strong was also involved with the establishment of the Theatrical Mechanics Association (TMA). The TMA was founded in New York in 1866, the same time that Strong was working at Niblo’s Garden Theatre. The organization spread west and eventually reached Chicago where String was again involved with its establishment. Chicago Lodge No. 4 was organized on April 16, 1884 with its first president listed as John Barstow (also spelled Bairstow, a stage carpenter at McVicker’s Theatre). The first meeting of Lodge No. 4 was at the Grand Opera House, with approximately seventy-five charter members, including Strong. Certificates of organization were filed with Barstow, John E. Williams, and Frank F. Goss. In 1891, the national convention was held in Chicago. Chicago Lodge No. 4 members that attended the conference included Strong, James Quigly, John Bairstow, William Faber, Thomas McGann, John Foust, Frank Faber, L. B. Savage, F. V. Sauter, Frank A. Lathrop, and Wallace Blanchard. Grand Master James McCurdy, one of the original charter members, spoke about the history of the organization, explaining that it always included both managers from the houses and the men working as mechanics. The initial membership of sixteen rapidly increased to thirty by the end of their first year. A second lodge was organized in Boston and then Philadelphia. By 1891 there were 2,300 members. In 1891, a “Chicago Tribune” article about the TMA reported, “Perhaps the public does not know it, but it is a fact that the theatrical mechanics deserve as much credit for a successful performance as the actors themselves. If one will only stop to think of the improvements that have been made in the last few years, the worth of the mechanic must be recognized. The ugly, heavy, and unyielding scenery which twenty years ago littered up the stage has given place to scenery that is the work of artists and that is handled by skilled mechanics. No longer are there dreary waits between acts. All this was accomplished, and much of it due to the association, by means of which have been given and taken.”
Strong’s understanding of stage mechanics enhanced his ability to successfully produce scenic illusion for the stage. However, it was his approach to scenic art that may have been the greatest asset to Sosman & Landis. In the larger context of American theatre history, Strong represented the Düsseldorf School. On Dec. 18, 1892, the “Chicago Tribune” included Strong is an article entitled, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (page 41). The article reported, “David Strong, ‘Old Trusty,’ still at work in this city, is the only survivor of the good old Dusseldorf school. Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays.” It was this “quality of opaqueness” that greatly differed from scenic artist that applied a series of thin glazes. For context, the Düsseldorf School referred to a group of painters who either taught or studied at the Düsseldorf Academy (now Düsseldorf State Academy of Art). An extension of the German Romantic movement, it had a significant influence on nineteenth century landscape painting from the 1830s through the 1860s. This approach to easel art was also incorporated into scenic art for the stage. Düsseldorf School artworks were characterized by dramatically lit landscapes, with the focal point of the compositions falling in the middle ground. This light and action in the middle ground was framed with darker foreground masses on the sides. They employed roads, trails, streams, and other visual paths to draw one into the artistic composition.
On February 28, 1886, Strong was featured in a “Inter Ocean” article entitled “Up in the Clouds” (page 9). A short biography of Strong was included underneath his portrait: “Among the oldest and best-known scenic artists in Chicago is David A. Strong, whose name adorned Haverly’s bills in the latter’s palmy days, but who is now in the Sosman & Landis establishment. He was born so far back that he skillfully dodges the issue when questioned as to the exact time. His professional career was commenced in Howard’s Atheneum in Boston twenty-five years back, He was then engaged several years stocking the larger New England theaters with scenery. He painted in the National Theatre in Washington for four years during the war. Then went to the Chestnut at Philadelphia, under Len Grover’s management, He then worked in New York at the Olympic and later at Niblo’s. While at the latter place with Marsden he got up the original scenery for the ‘Black Crook.” He then painted the panorama, ‘The Mirror of Ireland,’ famous in the East some time ago, and traveled with it for four and a half years. When Grover and Call opened the old Adelphi in this city, Mr. Strong was induced to come West, and has remained here ever since, working in several of the first-class theaters.”
On February 19, 1888, “The Saint Paul Globe” of St. Paul, Minnesota, heralded Strong’s work as a scenic artist in an article entitled “Stage and Scenery.” In the section, “LOCAL AND GENERAL TALENT,” the article stated, “Among the elder scenic artists of the country are David A. Strong, of Chicago, formerly of Niblo’s Garden, New York, should be mentioned as one of the best colorists, and indeed is an artist of high rank.”
Strong passed away on Feb 5, 1911. On Feb. 8, 1911, the “New Haven Evening Register” reported, “The funeral of David A. Strong, who died in Chicago, February 5, will be held at the sanctuary chapel of Hayes & Pierce on Thursday afternoon at 2:00 o’clock. Mr. Strong was born in Windsor, Conn. In 1830 and came to New Haven a young man, where for several years he was well known as a decorative painter. Later he developed a great talent as a scenic artist and painted and arranged the scenery for the first theater ever opened in this city. Eventually he became noted throughout the country as an artist of the greatest ability in. his especial line. He was a 32nd degree Mason and a member of Hiram Lodge, No. 1 F. and A.M. A man of sterling character and wide sympathies, he never forgot a brother in adversity and in his death all who knew him best can truly say that they have lost a generous and devoted friend.”
His wife Esther predeceased him on April 13, 1894, and Striong never really recovered from this loss. In 1900, the Federal Census listed Strong living at 295 Wabash Ave in South Town Chicago, one of many boarders at the residence of Mary LaRoche. By 1910, the Federal Census listed Strong living in Van Buren Street, again as a lodger. His occupation was still listed as “artist-painter.”
The significance of Strong’s passing in 1911 was more than the loss of an individual artist at Sosman & Landis, it signified the end of a generation at the studio. Moses wrote, “Our beloved David Strong fell dead on the Street February 5th. He was a grand old man – past 80 years.” Strong’s influence in the production was replaced by a younger generation of artists who employed an increasingly impressionist approach. Even under the supervision of Moses, there was a shift in both color palette and painting techniques. The “old guard” that was once represented by both Strong and Joseph S. Sosman quickly slipped away. Strong’s work represented an older generation of scenic artists, with a romantic rendition of picturesque landscapes and palatial interiors. Amazingly, some examples of Strong’s work survive and are still used at Scottish Rite theaters across the country. His stage art can be found at Masonic theaters in Austin, Texas, Yankton, South Dakota and Deadwood, South Dakota, Portland, Oregon, and Pasadena, California. Although Strong’s painting for commercial theater disappeared over a century ago, his work still lives on in Masonic degree productions.
On June 1, 1893, Thomas G. Moses hired Fred McGreer to work at the Sosman & Landis annex theatre on the West Side of Chicago. He joined the West Side Force that included A. J. Rupert, Frank Peyraud, and Harry Vincent. Moses recorded that McGreer “proved to be a good man.”
Frederick B. McGreer pictured in 1898.
Frederick Beesley McGreer was born in Muscatine, Iowa in 1866. He was the son of John McGreer and Louisa Beesley. The couple celebrated the birth of three children, with Fred being the oldest. The younger children were Eva (1869-1934), Rob Roy (1879-?) and Essie (1882-1966). Rob, Fred and their father all became artists. The family tale is quite something, beginning with John’s arrival to Muscatine, Iowa as a young man. Upon his passing on June 13, 1908, the Muscatine “News-Tribune” remembered John’s artistic abilities: “his greatest claim to distinction was as a comic picture painter. His skill with the brush was something marvelous and his comic designs were strikingly and peculiarly inimitable and original.” John did not have to fortune to begin his life as an artist, he began his career in mercantile pursuits, and engaged in the grocery trade with his stepfather Charles Drury. During the Civil War, John McGreer worked as a sutler, furnishing provisions to Union soldiers. It was near the end of the war that he married Louisa, with the first son arriving the next year. After the end of the war, John managed the City Hat Store. His success in the hat business allowed the family to move to Chicago 1870 where he established a pictorial printing office. Despite being burned out and losing everything in the Great Fire of 1871, he pursued his new occupation and was later acknowledged as a pioneer in this line.
John and Louis McGreer (front). Image from www.ancestry.com
John McGreer’s obituary remembered, “Much of his time and talent was devoted to the painting of comic pictures for which work he was especially gifted and won celebrity.” His listings in the city directories were either as artist or publisher, and by 1885 was associated with the Cartoon Publishing Co. in 1885. The McGreers frequently returned to Muscatine for family visits and were extremely close to John’s sister, Mrs. Henry Geiss, remained a resident of the town. Over the years, McGreer sent illustrated articles and cartoons for the Muscatine paper, including those that highlighted the artistic careers of his two sons, Fred and Rob. Fred McGreer had the good fortune to come of age in an artistic home with good press. His father’s publishing career greatly helped his sons’ artistic ambitions, keeping them very visible in the public eye. By 1884, Fred McGreer worked as a lighting artist at the World Cotton Centennial in New Orleans. Later records would indicate that McGreer began working as a scenic artist at Sosman & Landis in 1887. Like many other scenic artists, he not only painted scenery for the firm, but also picked up extra work while on site. Additional work for scenic artists ranged from sign painting and decorative work to art exhibits and art classes.
On April 10, 1887, the “Inter Ocean” included a notice in the National Union section, announcing that McGreer was providing “an hour’s divertissement” in rapid oil painting at the Continental Council No. 55 (page 20). McGreer continued in this vein for the next two years as the couple celebrated the birth of their only son, Earl Milton McGreer on 3 May 1888. McGreer continued to work as a lighting artist, partnering with his cousin Ernest Cooke that summer. In August, the two were featured at E. W. Viall’s store on Main Street in Oshkosh, Wisconsin. Each showed how fast paintings could be created and also gave lessons. Their class sizes numbered 20 students, with the two also holding classes in Elgin and Janesville, Illinois. By the fall, McGreer became a featured artist at James Wilde Jr. & Co., located on the corner of State and Madison Streets. If customers, spent more than $10 at the store, McGreer painted a complimentary 8×10 oil painting in ten minutes or less. He was advertised as “the most Wonderful Artist in the World – the rapidity of his work is marvelous. Hundreds of thousands of people visited him at the New Orleans Exposition” (Nov. 28, 1888, page 8). Every afternoon between 1 and 5pm, McGreer was stationed in the Children’s Department of the store. Regardless of his travels as an itinerant artist, McGreer started a family in 1885. On July 14, 1885, Fred married Minnie Ella (Elma) Hunt in Ravenswood, Illinois. Minnie was from Cedar Rapids, Iowa (b. 1865). The two lived in Cedar Rapids before moving to Chicago a few years later. Within three years the couple celebrated the birth of their only son, Earl Milton McGreer on May 3, 1888.
By 1889, McGreer was listed as an artist in the Chicago Directory, living at 584 W, Van Buren. and working at 263 State. Interestingly, Walter C. Hartson and Harry Vincent also listed 236 State Street as their business address. I have yet to identify this business, but these were the three that eventually formed the West Side Force for Sosman & Landis Studio in the early 1890s. In 1896 McGreer was still representing the Sosman & Landis studio when the firm was contracted to produce scenery for Green’s Opera House in Cedar Rapids, Iowa. On August 29, 1896, “The Gazette” reported, “The scenery was painted by Sosman & Landis, the well-known Chicago artists, the work being done by Fred McGreer who formerly resided in this city and who has developed artistic talents that place him among the foremost painters of the country” (page 3).
By 1897, McGreer traveled with Thomas G. Moses and Edward Loitz for Sosman & Landis, painting scenery for the English Opera House (Indianapolis, IN), the Grand Opera House (Columbus, OH) and the Valentine Theatre (Toledo, OH). Of these projects and his crews, Moses wrote, “I think we did some good work.” Sosman & Landis then offered Moses Pike Theatre Stock Company work in Cincinnati, Ohio. He accepted, writing, “I accepted $75.00 per week and went, taking McGreer and Loitz from Chicago.” It appears as if McGreer never left Cincinnati and soon became the scenic artist for the Pike Theatre, sending for his younger brother, Rob, to be his assistant.
The next year, the artistic success of the McGreers was published in their old hometown of Muscatine, Iowa. On Dec. 25, 1898, the “Muscatine News-Tribune” article was entitled “John McGreer’s Boys. Two Muscatine Brothers who are Winning Laurels in the Theatrical Art World” (page 16).
Here is the article in its entirety, as it provides a wealth of knowledge about the two:
“While the News-Tribune’s friend Mr. John McGreer, has been busy preparing the illustrated article which is a prominent feature of this edition, the management has taken the trouble to gather some facts and photographs that will show “Johnny’s boys,” Fred and Rob, their friends in Muscatine, the home of their birth.
Fred the eldest, is an exceptionally clever scenic artist, at present located in Cincinnati. When he visited Muscatine with his father some twelve years ago they gave what was called ‘lightning art exhibition.’ The late Geo. W. Van Horne, while watching Fred at his painting said: ‘Well Mr. McGreer, you ought to be proud of that boy. He has the making of a great artist, especially in the line of broad effects, as cyclorama, or scenic painting.’ Mr. Van Horne’s art criticisms were not made without a knowledge of art, for he had visited and studied in the Vatican, the Louvre, and all principal art centers of Europe.
The fine asbestos drop curtain that was in Hooley’s theatre, was the creation and execution of Fred. It was highly complimented be the entire Chicago press, and admired by patrons of the theatre. Fred has autographic letters complimenting his work from many leading lights of the stage, among them John Drew, E.M. Willard, Henry Irving, Joe Jefferson, Modjeska, Nat Goodwin, Augustus Daly, and others. The ‘Cat Concert’ drop curtain in the roof garden theater of the Masonic Temple was a unique and catchy production painted by Fred. The fine drop curtain which many Muscatine visitors to Cedar Rapids have seen in Green’s Opera House was also painted by Fred several years ago.
‘Rob,’ the youngest (just out of his teens) shows really more natural talent than Fred did at his age, but has not had the experience. His forte runs rather more to cartoon and figure painting, after his father, but with better opportunities for cultivation. His sketches show boldness, character, and originality.
Rob McGreer pictured in the 1898 article.
“Scenic painting nowadays is a very important factor in the theatre, as all plays of importance require special scenes to harmonize with the play. Whereas in former years one set of scenery had to answer for everything.
At present the McGreer brothers are scenic artists for the Pike Theatre, in Cincinnati, and are winning both the applause of the public and the praise of the press.
In speaking of a recent production of ‘Alabama’ at the Pike, the ENQUIRER has this to say:
“Mr. McGreer, the scenic artist, has given what the people one of two settings that will bear comparison with anything the best stage of the country has ever known. His first act is not so good, lacking in harmony and completeness, as well as exact fitness in atmosphere and surroundings for the poetical character of Mr. Thomas’ writing, but the third act is almost a scenic masterpiece, and merited even better applause that that vouchsafed it last night, liberal and demonstrative as it was. In this respect nothing is wanting in Pike’s Alabama.’”
Pike’s prize play, ‘The Charity Ball,’ was recently given, and the COMMERICIAL GAZETTE says this of the scenery:
“Mr. McGreer, the chief artist of the house, gave three scenes to the play that were marvels of their kind, while all of the accessories were not only handsome, but so carefully chosen as to deserve the warmest and most sincere commendation.”
The CINCINNATI POST gives the brothers this complimentary notice regarding their work:
“From a plane of minor importance, the scenic artist has attained a position second to none about a theater. If the average person were asked the reason of the great success of the productions of the Neill Stock Company at the Pike, the answer would be, “The excellence of the company and the beauty of the scenery.” Two gifted artists are responsible for the elaborate stage settings that have been seen at this house. They are Frederick B. McGreer came to Cincinnati from Hooley’s Theatre, Chicago, and as an artist of exceptional talent and splendid taste in color and design. Robert McGreer, his brother, worked most of his life with Augustin Daly’s artists in New York. They form a duo whose combined work is the admiration of every patron at the Pike.”
The portraits accompanying this article are reproduction of recent photographs, but will scarcely be recognized by their many Muscatine friends who knew them in early boyhood days.”
In 1900, McGreer was still successfully employed at the Pike Theatre and listed in the1900 Cincinnati Directory was the chief scenic artist for the Pike Opera House, boarding at the Burnet House.
On April 15, 1900, McGreer described his artistic process to the “Cincinnati Enquirer” in an article entitled, “Vast Amount of Artistic Labor Contributed by Scenic Artist Fred McGreer Toward the Success of Many Pike Productions” (page 12).
Fred McGreer at the Pike Theatre in Cincinnati, Ohio. From the “Cincinnati Enquirer,” 1900.Fred B. McGreer, 1900.
Although lengthy, it is a wonderful snapshot in time of McGreer and his scenic art process from 121 years ago:
“Perched up in a little room on level with the head of a big white lady who holds a cluster of electric lights, over the right proscenium box at the Pike, is a small room in which an unseen factor in many successes at that house toils industriously day after day making for success on the Pike Stage.
The potent influence is Mr. Fred McGreer, the capable scenic artist, whose stage settings at the Pike have been a prominent feature of the 60 odd productions seen at the house during two seasons he has worked there.
The writer, after climbing up a narrow flight of winding stairs and stumbling over bits of scenery reached this little den the other day, and found Mr. McGreer hard at work sketching out the stage plan for Nero’s banquet hall which will be seen there this weekend in ‘Quo Vadis.’ Rich in scenic opportunities, Mr. McGreer had spread himself on this big production, and judging solely by the care and work he has lavished on it, the scenic side of the piece promises to be a triumph. Leading man and lady, villain or adventuress, or the others have thrilled with the applause at the Pike for their efforts, but Mr. McGreer who has contributed a great share to the stock company’s weekly offerings, seldom hears the same applause for his art as distinctly worthy as that of the players.
If the reader will follow we will take journey into his little den off the third landing of the winding stairs and see if we can’t get a faint peak at the amount of work a new production means to the indefatigable artist. You can imagine you climbed the stairway and arrived at the room, him half out of breath, with the writer who felt how sadly he had neglected his athletics. A generous part of the room is Mr. McGreer, a young man attired in a well-frescoed pair of shoes highly daubed overalls pulled over his other clothing. His sketches are works of art and marks the backdrops used in the course of a season, while at the other end a big roll of paper stands awaiting instructions.
When the photographer arrived, Mr. McGreer had just finished the elevation for the Nero palace. He gave clear insight into the business side in painting a theatrical setting, which the average playgoer sitting in front would never realize from simply looking at it. ‘We’ll begin at the beginning,’ said Mr. McGreer when told that his description of how a scene is built up was wanted. ‘The first thing that I do is to read the manuscript of the play to be put on. Then comes a consultation with the stage director regarding the practical openings for each setting of the play as every exit and entrance must be letter perfect so that the players will be kept within the point or sight and at the same time be able to make their exits properly. This done I map out the stage plans for the carpenter with the elevations for each set, and he sets to work to make the wooden frames for the various scenes.’
On these plans the frames are all cut out and placed just as they go. Then the heavy drill cloth is fastened to the braces which are attached to the paint frame. This is worked by a windlass that can raise or lower the canvas at will. The artists work on what is called the bridge while painting the scenery. This is a narrow platform suspended about 30 feet above the stage at the rear wall and the paint frames operates up or down close to this so that we can work up to the height on the drop merely by moving the windlass in whatever direction desired.
The illustrations accompanying this show Mr. McGreer and his assistants at work on the paint bridge as well as several other phases of the work incidental to making the scenic productions for the famous play.
‘I am able to outline the scenes after they have been coated with glue priming, for which a particular glue is used that will not crack. After the priming had dried I sketch the outlines with charcoal, and meanwhile the assistants are mixing their paints in buckets, and when I have concluded they set to work painting the scenery. In this process, first the broad colors are laid in and then comes the ornamentation, such as the figures on the walls of interiors, or colors for the moldings to get the lights and shadows. This is ended with the detail work of what we call bringing the scene together. It is like the finishing touches you see the rapid-fire artists put on their pictures in the vaudeville theaters when a form emerges out of what is apparently a chaos of conflicting colors. At this period, I may discover too much red at the base of a scene, or not enough red beneath the cornice of an exterior, and these must be toned down.
With the scene painted it is again hustled off the paint frame to make room for another act. The painted set goes back to the carpenter to be cut out and attached to the lines running to the rigging loft, there being three lines to each drop. The columns and solid sections which will be noticeable in ‘Quo Vadis’ are made of what we call profile board. It is a wooden veneer and is pre-hinged to a stand shipping. These columns also stand by themselves as though apparently part of the setting.
In the first scene for ‘Quo Vadis’ the case is different. The entire scene was originally painted on one big drop and then after it was completed I ‘red lined’ the whole scene. This is to outline the columns and vases with a delicate red line, which the carpenter follows in sawing out these separate sections. They are then all placed in position on the stage and the stuff that has been cut out is fastened together with a delicate netting which is invisible to the audience. The perspective created the impression that they are standing alone though really the entire set is one big drop. Some idea of the work required can be gained from the explanation that a single drop of this description generally requires the efforts of the carpenter and four assistants an entire evening to fix up. On the drop for this garden scene, we used 1080 feet of cloth and about 75 pounds of paint. In order to attach them to the rigging loft about 300 feet of rope is also used. Now another heavy scene is in the arena setting for the last act, in which over 700 feet of platform space is required, built up to a height running from two feet and reaching the topmost platform 15 feet above the stage. These platforms are all hinged and made so they will fold for shipment as the piece goes on the road after it is used here.
In ‘Quo Vadis’ every scene is numbered and arranged so that it can be put together hurriedly and when brought into a theater is very much like the animal puzzles that are so popular with the Children at Christmas. Only the stagehands will just know where every piece goes without being puzzled.
Mr. McGreer in conclusion estimates that he has painted over 30,000 feet of canvas for the big production this week and used about 2,000 pounds of paint in doing it, in addition to five barrels of whiting alone was used, while the paint was distributed among 20 or more colors. For ‘Quo Vadis’ everything had to be made new as nothing like it had been produced at the Pike.
Mr. McGreer during his two seasons at the local theater has mapped out and painted over 220 stage settings, and of these the ratio ran about three interiors to one exterior. The mere mechanical work of making the scenes is antedated by studies of the costumes as the ladies dresses and the scene colors must harmonize, and historical research as historical accuracy is demanded in these times. In all his stay, nothing has been used over much, excepting the solid doors that figure in Pike productions. These doors have been doing service for three seasons. They have been slammed by the impetuous Nigel or gently brought to by the careful Todman, but in all that time the same old doors groaned under the weight of added paint until now they are so heavy it takes a firm grasp and a long pull to draw them open.
But this is digressing from Mr. McGreer. Next week this popular artist will bid adieu for the summer, at least to his den back of the big white lady. He goes to New York, having been engaged by Gates and Morange, the scenic artist there. If long and varied experience will count for aught, Mr. McGreer is sure to make his mark there for few visiting attractions as the first-class houses have exhibited scenery which compares to that which has been in evidence so frequently at the Pike.”
During the summer of 1900, McGreer painted scenery for the Sosman, Landis & Hunt production of “Quo Vadis.” Of the production, Moses wrote, “It was not a success, as another company with the same play got in a week ahead of this production at a better theatre, which naturally killed the Herald Square Show.” The artists for the Herald Square production included Thomas G. Moses, Will Hamilton, John H. Young, Fred McGreer, and Gates & Morange.
McGreer left New York soon after this and headed to San Francisco. By January 1901 McGreer accepted a position as the scenic artist at Morosco’s Grand Opera House in San Francisco, California. He remained at the chief scenic artist for the venue until his passing in 1902.
Fred McGreer is buried at Chicago’s Graceland Cemetery.
Fred McGreer’s gravestone at Graceland Cemetery in Chicago, Illinois.
On January 18, 1902, the “Muscatine News-Tribune” reported his passing:
“Noted Scenic Artist is Dead. Mrs. Henry Geiss departed last evening for Chicago, in response to a message announcing the death of her nephew, Fred McGreer, the descendent is a son of our former townsman, John McGreer, the News-Tribune’s special artist. The Chicago Record-Herald, in its last issue, prints a fine portrait of this noted scenic artist and says:“ Fred B. McGreer, whose death occurred last night Monday at the German Hospital in San Francisco, was one of the best scenic artists in America. His first work was with Sosman & Landis, Chicago, fifteen years ago [1887], and since then has been identified with many of the leading theatres of the country. The drop curtain at Power’s theater in this city was painted by Mr. McGreer. One year ago, he took charge of the scenic studio of the Morosco Grand Opera House in San Francisco. The remains will be brought to Chicago for burial. The funeral will take place from Graceland Chapel next Monday afternoon at 2 o’clock.” (page 1). No cause was listed.
Fred’s son Earl continued his artistic legacy and by 1918 his occupation was listed as manager of Commercial Art School. He served in the army during WWI, achieving the rank of Sergeant and then moved Los Angeles California where he lived until his passing in 1954.
Earl Milton McGreer. Photograph from www.ancestry.com
His uncle Robert McGreer also lived in California and continued in the theatrical trade after his older brother’s passing. Robert had accompanied his older brother to California in 1901 and was listed in the San Francisco Directory that year as an artist for the Grand Opera House. When Fred died in 1902, Robert traveled the world. From 1902 to 1910 Rob McGreer visited the “Orient, Australia and South Africa.” During this trip he married an Australian actress named Beattie in 1904. The two were still married and living in San Francisco in 1910. However, in 1912 he married another woman Olive Mary King in Honolulu, Hawaii. He departed for Hong Kong in 1913 without his young wife. Interestingly, his 1919 passport application lists a second trip for “theatrical work” with stops in Japan, China, Hong Kong, Australia, New Zealand, Tasmania, Burma, India, Ceylon and elsewhere. McGreer departed San Francisco on October 22, 1919. Overall, Rob McGreer could be the topic of a whole separate post, so I will stop here.
Rob McGreer’s passport application. From www.ancestry.com
However, during Rob’s first absence (1902-1910), his father went to live with their sister in New York and met his own tragic end.
John McGreer’s passing at the age of 69 yrs. old made headlines in newspaper across the country. The aged artist died while sketching the Hudson River. On June 13, 1908, newspapers described the horrifying incident:
“John McGreer, a landscape artist, of No. 602 West One Hundred and Thirty-second Street, was drowned in the Hudson River yesterday afternoon. He had his easel on an old barge anchored near the shore at the foot of that street, and was seated upon a pile of bricks upon the scow. Laborers who were working in the vicinity were suddenly startled by the shouting of the artist’s grandson, who cried out that his grandfather had fallen overboard. The laborers saw that the Albany, one of the steamers of the Albany Day Line, had just passed down the river, and they also noticed that the barge upon which the artist had been painting was rocking and rolling in the big swell from the passing steamer. They ran to the deck of the boat, where the little boy told them that his grandfather had been thrown into the water by the rolling of the barge in the swell. Two of the men leaped into a small boat near at hand. They had scarcely done so when they say that Mr. McGreer’s head appeared above the surface of the water about thirty feet distant from the barge. Before they could reach him he sank and was seen no more. John McGreer, the nine-year-old grandson, ran home and told has what had happen. The West One Hundred and Twenty-fifth Street police station was notified by the dead man’s daughter-in-law, and efforts will be made to recover the body. The artist’s wife went to Atlantic City several day ago, and word was sent to her last evening. Robert McGreer, a son, is now in Manila. Two daughters of the artist are Mrs. L. N. Semper of this city and Mrs. Harry Crosby of Chicago. Mr. McGreer had been working upon his painting of the river for several days. The picture was a medium sized canvas showing a section of the Palisades and the Hudson with a schooner in the middle distance. The artist’s brushes and easel and picture were found upon the barge, and were taken to the home of his daughter-in-law. Mr. McGreer was sixty-nine years old and a civil war veteran. He lived, until recently, in Chicago”
