Sosman & Landis: Shaping the Landscape of American Theatre – Page 10

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 38 – Thomas “Ed” Thompson

“Ed” Thompson and his son, Frank W. Thompson, were scenic artists at Sosman & Landis. In later years, fellow scenic artist John Hanny recalled that they specialized in Masonic scenery. This may be true as they were both at the studio during a peak period of production for Scottish Rite scenery (c. 1905-1920). I have yet to locate any Masonic affiliation for either man.

I am going to start with the life and career of the father – Thomas Edward Thompson. His name varies in historic records: Ed Thompson, Thos. Edward Thompson, T. Edward Thompson, Edward T. Thompson and Edward Thompson. Despite the name changes, it is always the same artist, with same wife, and same career. As a young man, he went by T. Edward. As an old man, he went by Thomas E. His middle life is all mixed up; as for most, life events may prompt us to change everything, especially how our names appear in print.

Thomas E. Thompson was born on October 19, 1854 in Indianapolis, Indiana. He was the eldest child of Eli Thompson (1831-1895) and Catherine A. Weir (1837-1910). His parents were married on Dec. 31, 1853, and their first child arrived the next year. The 1870 US Federal Census listed the following members of the Thompson household: Eli Thompson (head, 39), Catharine A. Thompson (wife, 33), Edward Thompson (son, 16), Mary Thompson (daughter, 14), John Thompson (son, 12), Fannie Thompson (daughter, 9), George Thompson (son, 2) and Mary Kellin (possibly a servant). Little is known of Thompson’s early childhood, but he was the first of the children to be apprenticed in a trade. I can only surmise it was some form of decorative arts or painting.

I am going to briefly describe the patriarch of the Thompson family, Eli, in Indianapolis. It helps set the stage for Thomas E. Thompson’s home and youth. His father Eli was the son of John Thompson, one of the earliest settlers in Indianapolis. The Thompsons were a very well-respected family in the region and Eli grew to be quite a popular public figure. Starting out as a carpenter, he soon entered the lumber business. As an active leader in several local organizations, Eli soon became a city marshal and later the Chief of Police. His obituary, published on Dec. 8, 1895, in the “Indianapolis Journal,” lists many of his accomplishments. Eli even built a workshop for Thomas A. Edison when Edison was only a telegraph operator.

As Thomas E. Thompson grew to adulthood, his father became a central figure in Indianapolis society, mixing with a variety of personalities and businessmen. I am fascinated that his eldest son soon entered the theatre profession, training as a scenic artist in nearby Cincinnati.

On Feb. 5, 1876, Thomas E. married Rhonda Wright (1859-1909) in Marion County, Indiana. Rhonda (sometimes listed as Rhoda) was the daughter of Annie Galassyre Wright and Hiram N. Wright, a blacksmith. After the Civil War, the Wrights relocated from Pennsylvania to Indiana. By 1874, the Wright family was living in Indianapolis, the city where Rhonda would meet her future husband Thomas Edward; they two were only two years apart in age. The year after Rhonda wed “Edward,” he was officially listed in the Indianapolis City Directory as an artist. This title quickly shifted to specify “scenic artist.” From 1879 to 1881, T. Edward Thompson was listed in the Indianapolis Directory as a scenic artist, living with his in-laws at 300 Bellefontaine.

The 1880 census listed Rhonda, Edward, and their six-month-old son Frank as part of the Hiram N. Wright household, 300 Bellefontaine Street. It was obviously a home full of people and professions, with very little space or privacy. The extended family included: Hiram N. Wright (head, blacksmith, 60) Frank M. Wright (son, attorney, 32), Henry Clay Wright (son, machinist, 30), Amada J. Wright (daughter-in-law, 29), Louise M. Wright (granddaughter, 3), Josephine Wright (daughter, 23), Rhonda Thompson (daughter, 21), Edward Thompson (son-in-law, scenic artist, 26), Frank M. Thompson (grandson, 6 months), Annie Thompson (daughter, 19) and Ruth (daughter, 10). In 1882, Thomas E. and Rhonda celebrated the birth of another son, Frederick (1882-1904). It was time for the growing family to move out and get their own place.

By 1884, Thomas E. and Rhonda relocated their small family to Cincinnati where their third son was born. Hiram Henry Thompson (Sr.) arrived on February 18, 1885. Thomas E. continued to seek employment as a scenic artist, assisting DeWitt C. Waugh at the Grand Opera House. This is an important connection as Thompson’s future success was likely based on this two-year assistantship at the Grand Opera House. Experienced scenic artists who were associated with a particular venue often took on a series of assistants; such was the case with Thompson began working at the Grand Opera House. Waugh became associated with Cincinnati’s Grand Opera House in 1879, working with various assistants over the years: Frank J. Duggy was his assistant from 1880-1881; James B. Quinn was his assistant from 1882-1883; and Thomas E. Thompson was his assistant from 1884-1885. The Cincinnati City Directory also noted that Thomas and DeWitt lived in Elmwood Place, Ohio. The 1884 and 1885 Directory listed: “Thompson, Thos. E. Thompson, ass’t scenic artist, Grand Opera House, res. Elmwood Place.”

DeWitt C. Waugh was not only a regional legend, but also a national legend; known for his incredible skill set, precision and speed. His 1894 obituary remembered, “DeWitt Clinton Waugh, widely known as one of the most capable scenic artists of later years, died at his home in Cincinnati last Tuesday afternoon and was buried Friday. He was born at Rock Island, Illinois, almost fifty-eight years ago, coming from a family prominent as artists, his father being a painter of no little distinction, and the latter’s brother one of the best panoramic artists the country has produced, “Waugh’s Picturesque Italy” being his masterpiece. DeWitt was apprenticed to a house and sign painter at his parent’s death, but he was afterward taken care of by his uncle the panorama painter. DeWitt crossed the plains with a caravan during the Pike’s Peak gold excitement, and failing of success in his search for gold, he became the leader of a small string band, which traveled about playing at the small mining towns. He was a fine musician, and could perform on almost any instrument. Later he became a leader of the orchestra of the first theater opened in Denver. While in that capacity need for a special scenery arose for the old play “The White Horse of the Peppers.” He remarked that he could do better than the local artist had done, was given an opportunity, made a great hit with the Denver public, and stepped into the pathway that led to fame. Wishing to enlarge his field after three or four years, he moved to Chicago. The famous Voegtlin was artist of the old Globe Theatre. After a row with the manager, Voegtlin resigned, leaving an unfinished immense “Gothic Interior.” Mrs. Waugh, who was playing at the theater, suggested that her husband could complete it and to the surprise of all, he did it to such satisfaction that no one could tell where the great Swedish artist had quit work and the American boy begun. From that day he rose to the front rank. His great drop curtain at Robinson’s and several at the Grand in Cincinnati gained the approval of the critics and scenic artists of the country.”

*DeWitt C. Waugh was also associated with Robinson’s Opera House in Cincinnati, Ohio.Cincinnati Public Library: https://digital.cincinnatilibrary.org/digital/collection/p16998coll6/id/1342/*

Waugh was the perfect mentor; one who shared both skills and connections. After working for Waugh in 1884-1885, Thomas E. struck out on his own. In 1886, T. Edward Thompson was listed in the “Cincinnati City Directory” as “artist, 92 Elm, res. Elmwood Place”. Other scenic artists listed in the City Directory that year included: Waugh’s previous assistant, James Quinn; John E. Leslie at Havlin’s Theatre; and local freelance artists E. T. Harvey, John Herfurth, Emil Bazzaine, Lewis Kreyehagen, Simon Frank, and George Federle. By 1887, the Cincinnati Directory listed “Edward Thompson” as a lead scenic artist at the Grand Opera House. He was still living in Elmwood Place.

*Image of the Cincinnati Grand Opera House, later destroyed by fire on January 22, 1901. Cincinnati Public Library: https://digital.cincinnatilibrary.org/digital/collection/p16998coll2/id/866/*

*Postcard of the Grand Opera House in Cincinnati, Ohio.*

Thompson continued to work throughout the region for the remainder of the decade and by 1889 relocated to St. Louis, Missouri. There, he was listed as an artist living at 20 Centre. However, there was incredible competition in St. Louis, especially the partnership of Thomas C. Noxon and Patrick Toomey who ran Noxon & Toomey. Noxon and Toomey morphed into Albert, Noxon & Toomey at this time, adding Ernest Albert. In 1902 the successful scenic studio became Toomey & Volland, after Hugo R. Volland entered the picture. Volland had the Masonic connections.

Thompson E. began to diversify his trade beyond scenic art; this was similar Waugh’s approach before settling in Cincinnati. Thompson became associated with the Hagan Opera House, located at Tenth and Pine Streets in St. Louis.

The Hagan Opera House, St. Louis, Missouri. Image from the Northwestern Illinois University Digital Library: https://digital.lib.niu.edu/islandora/object/niu-twain%3A8861

Now listed as “T. Edward Thompson” in city directories, he began managing all backstage activities for the venue. This did not mean that he stopped painting; he just gained more control and responsibilities. From 1893 to 1897, the “St. Louis City Directory” listed “Edward Thompson, stage manager, Hagan Opera House.” During this time, his home residence was located on Wyoming St.

In 1900, the Thompsons were still living at 4173 Wyoming Street in St. Louis with their two youngest sons, Fred and Hiram. Their eldest son, Frank W. Thompson, was working as a scenic artist St. Louis and living with his wife Emma at 4337 Juniata Street. Both Frank and his father remained integrally connected to the scenic art scene in the region. Frank’s younger brother Hiram (1885-1958) was also an artist, first working as a plate printer and later a commercial artist. Brother Fred (1883-1904) worked as a clerk for the Missouri Railroad and then entered law school.

The three brothers were not destined to grow old together, sharing stories of their theatrical father. After Fred Thompson entered law school in Indianapolis, he drowned at the age of 21 yrs. old in 1904. This tragic event may have been a catalyst that prompted the family to relocate to other cities. The Thomas E. moved north to Chicago where he worked at Sosman & Landis, while Frank moved to Milwaukee, initially securing employment as a sign painter.

In 1905, Ed Thompson was working for Thomas G. Moses at Sosman & Landis. Moses records that Ed Thompson worked on Old Mill Scenery for a Luna Park Project. Moses wrote, “I had to go to Cleveland to put in a lot of old mill scenery at Luna Park. Ed Thompson went with me and J. H. Young went to do the properties and papier mâché work. We also went to Pittsburg to do an old mill there for the same firm. We also did two small stages in the Pittsburg Park.”

*Luna Park, Cleveland, Ohio. Author’s collection.*

Thompson likely remained on staff at Sosman & Landis when work was plentiful for the firm. Sosman & Landis were notorious for cutting their staff as soon a work slowed down. In Chicago, information surrounding the life and career of Thomas E. dwindles. It is possible that scenic studio work swallowed up his name, as much art produced by a large firm seldom credits individual contributions to a project.

Thomas E. Thompson’s life and career become solely tied to census reports. A 1910 Census lists Edward Thompson living with his son Hiram and daughter-in-law Bertha “Birdie” Reichow Thompson (1887-1971). The census report noted that Hiram was a wholesale clerk and Edward was unemployed. This likely meant temporarily unemployed, yet there is no way to know if it was economic down turn, an accident, substance abuse, or something else.

Shortly after the census report, Hiram and his growing family relocated to Davenport, Iowa, and Thomas E. stayed behind in Chicago. By 1920 Hiram was working as a commercial artist in Davenport; a career that he would continue for the remainder of his life. In 1920, their growing family included three children: Dorothy (6), Jeanette (3) and Hiram Jr. (2). Hiram’s brood remained in Davenport for at least another decade, with the 1930 Census listing Hiram’s occupation as “artist” in the “studio” industry. Hiram continued to work as a commercial artist, eventually moving back to Chicago in 1935 and on to New York by 1940. Hiram Sr. is even included in “Jacobsen’s Biographical Index of American Artists.” His son, Hiram Jr., became an assistant production manager for the Dictaphone Company, later working for the Abbott Kimball Company in Los Angeles. Artistry flowed heavily from one Thompson to another.

For Thomas E., it was a different story. The 1920 US Census listed Thomas E. Thompson living at 338 Morgan St. in Chicago. His occupation was still listed as a “painter” in the “shop” industry. As the head of a two-person household, he was listed as living with a boarder named Clara Smith. Smith was a 42-yrs. old teacher. She was still living with Thompson in 1930, both of them now residing at 69 Lexington St. in Chicago. At the time, Thompson listed his occupation as “painting” in the “scene” industry. He was still listed as the head of household, with lodger Clara Y Smith [also recorded as Clara G. Smith]. Smith was still working as a teacher.

Thomas E. Thompson died on May 15, 1931 in Chicago. He is buried at Waldheim Jewish Cemetery in Forest Park, Illinois. I have yet to locate his gravesite or any information about his cause of death.

Waldheim Jewish cemetery was founded during the second wave of Jewish immigration to Chicago in the late-19th century. With immigrants insisting on their own Jewish cemeteries, these groups eagerly looked for a cemetery to sell its members plots in their own specially created sections. Beginning in 1870, over 280 cemetery sections representing various Chicago family groups, synagogues, vereins, landsmanshaften, and other organizations purchased sections in Waldheim Cemetery located in Forest Park, just 9 miles west of the Loop. Waldheim was unique in that, although it was one cemetery, it was comprised of 288 separate cemeteries with different owners, prices, rules, regulations and individual caretakers. Here is the link to the cemetery site:

https://jgsi.org/waldheim-cemetery

*Thomas E. Thompson was buried at Waldheim Jewish Cemetery in 1931.*

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 37 – William L. Nutzhorn

William “Willie” Nutzhorn was a scenic artist at Sosman & Landis Scene Painting Studio for approximately two decades, from 1894 until the early 1920s. He specialized in interior settings and took numerous assistants under his wing, including Art Rider and John Hanny.

*Arrow indicates William Nutzhorn in Sosman & Landis picture, identified by Nutzhorn’s one-time paint assistant John Hanny.*

Born on Nov. 23, 1873 in Chicago, Illinois, he was the fourth of nine children born of Gerhard Dietrich Nutzhorn and Antonie C. Wilnes (Wilms in some accounts). The couple emigrated from Germany in 1868 with their two young daughters, Amalia (1865-1951) and Augusta (1867-1925). Amelia later married an architect (Otto Runde, 1886), and Augusta later married a musical instrument merchant (Herman Sakrzewsky, 1889). When Gerhard, Antonie, Amelia and August relocated to the United States, they first settled in Manitowoc, Wisconsin. Shortly after their arrival, they celebrated the birth of Henry B. Nutzhorn (1868-1931). The family continued on to Chicago by the early 1870s.

Gerhard also went by Gerhart or G. D. and opened ran a grocery store, Nutzhorn & Praeger. He was naturalized on Nov. 1, 1873. By 1874, local newspapers advertised, “ G. D. Nutzhorn (formerly Nutzhorn & Praeger), wholesale and retail dealer in groceries, flour, food, and provisions, 568 and 571 Elston-av.; goods delivered to any part of the city; prices as low as the market; satisfaction guaranteed” (“Chicago Tribune,” 6 Dec, 1874, page 14). At the time, the family was living at 724 Elston Avenue. In 1875, twins were born to the couple, but neither survived infancy. More children followed, including Arthur Carl (1876-1940), Clara (1878-1942) and George (1879-1880).

In 1876, The Nutzhorn family was living right next to their business; the Nutzhorn grocery store was 725 Elston Avenue and their home address was 723 Elston Avenue. Gerhard continued to run a grocery store for the remainder of the 1870s. but by 1880 was running a saloon.

The 1880 the Federal Census listed Gerhard’s occupation as “saloon,” an occupation that continued to be listed in the Chicago Directory in 1888. It was located at 241 W. Chicago Ave.

On March 1, 1894, Gerhard passed away at the age 56 yrs. old, with his eldest son Henry becoming head of household. By 1900 the entire Nutzhorn family was living at 1075 Kimball Av. This included Henry (plumber), William (scenic artist), Arthur Carl (plumber), Clara (house work), and George (no occupation). It became obvious that William was striking out on his own in more ways than one. He was employed at Sosman & Landis as a paint boy, gradually making his way to paint assistant before securing his own palette.

On January 16, 1900, the Chicago Tribune” reported, “WOULD NOT ENFORCE THE LAW. William Nutzhorn, Being Examined for Service as a Juror, Gives an Answer that Excuses Him. “No, I don’t believe in the enforcement of the laws,” was the statement made yesterday in Judge Hutchinson’s court by William Nutzhorn, 1075 Kimbark avenue, who was being examined touching his qualification to serve as a juror in the case of James H. Bird, on trial for forgery. Mr. Nutzhorn would not qualify his answer in any way, but said he was no Anarchist. The court excused him from jury service.” This may have been a turning point for William, however, as he soon settled down somewhat.

On April 21, 1901, William married Rose Z. Stephens (1882-1918), and the two celebrated the birth of a daughter on January 10, 1905 – Clara A, Nutzhorn.

*Gravestone of William Nutzhorn’s wife, Rose.*

Around this same time, Art Rider became an assistant to Nutzhorn at Sosman & Landis. When Rider later left the studio to start a position at the Grand Opera House in Philadelphia, John Hanny became Nutzhorn’s new assistant; this was around 1909. Each young man started out as a paint boy, working their way up to journeyman status over the course of several years. Paint boys became assistants before receiving their own palette, projects, and pay raise. Moses records that he hired Hanny in 1906, starting him out at sixteen years old. However, Hanny first applied for the position when he was only thirteen years old in 1903.

A paint boy’s duties primarily included washing brushes, cleaning the palettes of older artists, and other odd jobs. In later years Hanny recalled, “As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful.” Hanny greatly appreciated his training and the role of Moses at the studio, writing, “He, like Mr. Nutzhorn, was a very patient and kindly man and I shall be ever grateful for the help and the encouragement they willingly gave me” (Excerpt from Hanny letter, July 14. 1976). Many of Hanny’s statements and recollections are based on a series of interviews conducted by Dr. John Rothgeb between 1976 to 1978. At the time, his student Rand Givercier Frank was working on a B.A. Thesis entitled, “The Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925” (University of Texas, Austin, 1979). Dr. Rothgeb had several students research specific topics as his continued to explore the history of scenic art in America. He conducted personal and telephone interviews with former Sosman & Landis employees, including Hanny and Art Oberbeck.

In a July 14, 1976, letter written by Hanny, he described that Nutzhorn’s trained in wood carving, so he was an expert on all styles of ornament and architecture. In Frank’s thesis, she wrote, “[Nutzhorn] made most of the designs for the so-called ‘Interior’ for the ‘sample case’ from which the selections were made by clients, and later produced in the Studio. These included what were called ‘Palaces,’ part of the equipment of most Vaudeville theaters. Aside from this he was an expert in wash water and did many floral pictures. As you may gather from this, he was a most able and accurate-exacting craftsman.”

In 1902, Sosman & Landis delivered an interior setting delivered to the Tabor Opera House in 1902. It is very possible that the interior was painted by William Nutzhorn, when considering the time period, and Nutzhorn’s specialty of interiors. Here are a few examples of a set that was possibly painted by Nutzhorn in 1902; I documented the setting at the Tabor Opera House in February 2020.

*Interior setting delivered by Sosman & Landis in 1902 tot he Elks Opera House (Tabor Opera House), possibly painted by William Nutzhorn and an assistant.*

*Painted detail from an interior setting possibly painted by William Nutzhorn in 1902. Tabor Opera House, Leadville, Colorado.*

In a telephone interview with Dr. Rothgeb on September 6, 1979, Hanny described his advancement at the firm and becoming Nutzhorn’s by 1909. Hanny recalled, “Those things come by chance. Somebody dies or goes away or something and you get a chance to fill in and if you make it you stay there. That’s all.” It is hard not to think George E. Snell’s (employee # 36) passing from a freak cable car accident after work. Snell was an upcoming star at the firm; one whose death provided an open slot for another aspiring paint boy.

Before Hanny, Nutzhorn’s assistant was Arthur Rider. However, Rider had a chance to join the Opera Co. in Philadelphia, therefore opening up a position for Hanny. On July 14, 1976, Hanny recalled, “It was perhaps the most fortunate thing that ever happened to me when I was selected from the paint boy group to be his assistant and learn from a ‘pro’ the fundamentals of good craftsmanship. I was with him for three years and then assigned a palette of my own at the journeyman’s pay ($35.00 per week).” Frank surmised Hanny’s training at Sosman & Landis: “From Nutzhorn he learned to be very exact and to measure correctly, an approach to painting that he found valuable. On interior scenes it was especially important that everything be laid out carefully on each piece. If this work were not done precisely, the mouldings and baseboards would not meet when the set was assembled” (pages 80-81, based on letter received from John Hanny, July 14. 1976).

By the second decade of the twentieth century, several Sosman & Landis artists joined the Brotherhood of Scene Painters and Sign and Pictorial Painters; Nutzhorn and his assistant Hanny were part of the group to join in 1912.

In 1915 the “Chicago Directory” listed William L. Nutzhorn as an artist, living at 3412 Cortland. St. in Chicago. A few years later, his WWI Draft Registration Card still listed his occupation as theatrical scene painter, with Sosman & Landis as his employer. At the time, Nutzhorn was described as short, with a medium build. His eyes were grey and his hair brown. This description, when combined with the 1910 studio photograph of Nutzhorn provides a pretty good picture of this talented interior painter in the early twentieth century.

Shortly after he registered for the draft in 1918, his wife passed away that fall. Records indicate she passed on October 7 and was buried at Forest Home Cemetery on October 10. This left Nutzhorn with a teenage daughter to raise, prompting a new living situation again. By 1920, he was living with his sister Clara and brother Henry again, but this time he was listed as head of household. His brother was still a plumber and his sister managed the household. Clara A. attended high school, completing coursework until her second year.

William continued to live with his daughter, even after she reached adulthood. In 1930 the two were living at 1510 N. Mansfield Ave, with William still listed as an artist and Clara A. as a homeworker. Daughter Clara was 25-yrs. old at the time. By 1940, however, each had their own home, with William living in the Saratoga hotel on 19 Dearborn Street. He was still listed as an artist in the art industry.

In a letter written by Mildred Nutzhorn (William’s niece) to Dr. Rothgeb in 1983, a little more information comes to light about William’s career in the 1930s. On August 26, 1983, Mildred wrote, “I’m sorry I can’t tell you too much about my uncle. I only know that he worked for the theatre during the Depression of 1933-1939 for the P.W.A. as a scenic artist. My father and I would attend several performances at the Blackstone Theatre. After that he painted ice for ice shows (Ice Follies?). My one cousin told me that he painted he mural about the proscenium of the stage at Medina Temple in Chicago ages ago when it was first built. Although I’m sure he wasn’t associated with the lodge.”

She also recalled his passing, “He wasn’t written up at his death because I attended his funeral. Here is his death date however, Dec. 1942. (69 years old). Nutzhorn passed away on Sunday, December 27, 1942 in Chicago. His sister Clara Nutzhorn preceded him in death by seven months on Feb. 28, 1942. As indicated by his niece, Nutzhorn was laid to rest without any fanfare. His obituary in the “Chicago Tribune” simply stated, “NUTZHORN- William Nutzhorn, suddenly, beloved father of Clara. Funeral services Wednesday, 11 a.m. at chapel. 4523 Broadway. For information Longbeach 2454” (29 Dec., 1942, page 22) He left this world in relative obscurity, his contributions to scenic art only recalled by a few individuals.

Two years prior to Nutzhorn’s passing, his daughter Clara was living on her own, working in sales. In 1940, she was listed as head of her own household and working as a saleslady, residing at 672 Sheridan Road. Clara soon changed her name to “Claire” A. Nutzhorn, and eventually became Claire Adams, dropping the Nutzhorn entirely. Keep in mind that this change occurred in the midst of WWII, and I have to wonder if antisemitic sentiment prompted the name change. I cannot help but think of the name-changing in New York City during World War II and the American documentary photographer Dorothea Margaretta Nutzhorn (1895-1965) who changed her name to Dorothea Lange.

Claire Adams passed away on Sept. 15, 1987, in Chicago. Little is known of her life.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 36 – Ralph I. Terwilliger

Ralph I. Terwilliger was a scene painter who worked for Thomas G. Moses in the late 1880s. Although their working relationship may have been short, the two remained close friends until Terwilliger’s passing in 1917. Terwilliger worked briefly at Sosman & Landis, but set his sights far beyond laborious theatrical work.

I was surprised to encounter Ralph Terwilliger’s name while researching another Sosman & Landis employee, Leroy R. Close (1846-1901); employee #34 in this series. Close worked at Sosman & Landis from 1895 to 1901. Prior to working for the Chicago-based firm, he ran the L. R. Close & Co. in Kansas City, Missouri, from approximately 1883 until 1894. In 1894, Close relocated north and began working as a scenic artist and traveling salesman for the Chicago-based firm. Here is the link to his tale: https://drypigment.net2021/07/03/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-34-l-r-close/

Close’s story intersects with Terwilliger’s story in 1902. After Close’s passing in 1901, Miranda W. Close was appointed administratrix of the Close estate, along with Ralph Irving Terwilliger and Sarah Elizabeth Terwilliger. It was at this time that Terwilliger transitioned from the insurance business to estate management. In the end, Terwilliger really made a name for himself as a Chicago banking and real estate magnate.

A picture of Terwilliger in Moses’ scrapbook is captioned, “R. I. Terwilliger, Founder and First President of the North-West Side Commercial Association.” Nearby, Moses wrote, “Paint boy for Burridge-Moses and Louderback during the years of 1887 and 1888.” In 1910 Moses wrote, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him. He was President of a city bank. He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week. He had prospered. With his wife and two daughters he enjoys a cottage near our camp.” Fox Lake was where Palette & Chisel Club members kept a summer camp.

*A clipping of Ralph I. Terwilliger was added to Thomas G. Moses’ scrapbook.*

The Terwilliger family is an interesting bunch who always seemed to be in the right place at the right time. Ralph Terwilliger was born in New York on October 18, 1865. He was the son of Peter Terwilliger (1836-1926) and Sarah E. Mead (1840-1916). The family moved west after the Civil War, soon settling in Chicago. Over the course of the next few decades the Terwilligers became extremely well-known and well-respected throughout the region. Ralph’s parents were even featured in the 1894 publication, “Industrial Chicago, Vol. III” (Goodspeed Publishing Co., pages 74-75). I am including their entry here as it sets the stage for Ralph’s success in Chicago.

“Peter Terwilliger was born in New York, June 4, 1836, and after reaching man-
hood came to Illinois, locating first at Aurora, where he remained for five years, then coming to Chicago. He early learned the trade of a carpenter. He chose for his wife Miss Sarah Mead, of Orange County, N. Y., in 1865, and they have one son, Ralph, who is now a member of the firm of Terwilliger & Cox, engaged in the fire insurance business. [Notice that Ralph left a career in the theatre with Moses to establish a fire insurance company].
Peter Terwilliger’s parents were James I. and Prudence (Knight) Terwilliger. The former was born in New York State in 1808, and died in Orange County, N. Y., in 1875. The latter was born in Sullivan County, N. Y., in 1817, and is yet living at Huguenot, Orange County, N. Y. Her ancestors, representatives of the English family of Knight, settled in Orange County, at an early day. The family of Terwilliger is of Holland Dutch extraction, and the first settlement of one of its members in this country was quite early in the colonial period of our history. Peter Terwilliger was reared and educated in Orange County, and was graduated from the Fort Edward Academy in 1855. His father was identified with the Delaware & Hudson canal, almost from its inception until nearly the end of his life, latterly a section superintendent. With this great inland improvement Peter Terwilliger was also connected for some years. In September, 1861, he enlisted in the Twentieth New York battery as first sergeant, and, after three years’ service with that organization, helped to organize the One-Hundred-and-Sixty-eighth New York infantry, and was second lieutenant of Company G, in that regiment. He served gallantly until discharged in 1865, and, from first to last, took part in many hotly-contested engagements.
He removed to Illinois in 1867, and from that time until the fall of 1871, was in the grocery trade at Aurora. In the spring of 1872 he came to Chicago, where he has since lived. He is an influential Republican and has been active in politics in Chicago since 1875.”

Growing up, Ralph watched his father transition from a grocer to salesman in the 1870s. It was during this time that he became associated with William McGregor & Co. The first mention of Ralph in the city directory is in 1887. That year he was employed as a clerk, but still living with his parents. The family home was located at 348 Hermitage Avenue in Chicago. His father Peter worked as a secretary at W. McGregor & Co.; a firm located on 55 S. Clinton Street. Something happened between 1887 and 1888 that detoured Ralph from following in his father’s footsteps. A spark, maybe even a rebellious one, was lit and Ralph entered the scenic art profession. He moved out of his parents’ home and started a new career. This was such an exciting time in Chicago for scenic artists as work was plentiful and wages fare; a drastic departure from clerking to be sure.

By 1888, Ralph was listed in the Chicago directory as a scenic artist, now boarding at 290 W. Madison. This coincides with Moses’ mention of Ralph working for him at the studio. Moses had left Sosman & Landis to form another scenic studio with Walter W. Burridge and well-known art dealer J. D. Louderback. It had all the promise of success, but infighting between Burridge and Louderback split the firm. By the beginning of 1888, Burridge left Moses, Burridge & Louderback, reducing the name to just Moses & Louderback. Regardless of the name change, the firm’s offices remained at 214 Lake in Chicago. Burridge returned to his former position at the Grand Opera House, leaving Moses to handle an extraordinary amount of work. The firm soon closed, and Moses returned to his old position at Sosman & Landis, likely taking Terwilliger with him for a short time. Terwilliger’s career as a scenic artist was very short-lived and by 1889, he returned home and became a bookkeeper for his father at W. McGregor & Co.

By the early 1890s Terwilliger opened a fire insurance company, Terwilliger & Cox. On August 9, 1892, Ralph married Louisa Salomon (1868-1945) and the couple celebrated the birth of two children: Louise E. (1894-1990) and Irene Beatrice (1895-1981).

In 1900 the Terwilligers were living at 232 W. Division St., with Ralph still working as an insurance agent. However, he soon added a new role as administrator of estates, hence his involvement with the L. R. Close probate case in 1902. Terwilliger’s next step was banking. On May 3, 1903, the “Chicago Tribune” announced the opening of a New State Bank. The auditor of public accounts issued a permit to organize the Mechanics Trust and Savings Bank at Chicago. The organizers were Ralph I. Terwilliger, Iver L. Quales, James Davis, Max Klee, William J. New and William A. Wiebolt, with a capital of $200,000. Their new establishment was located on Milwaukee Ave near Paulina Street. Terwilliger’s career began to soar at this point.

On March 18, 1908, the “Chicago Tribune” mentioned Terwilliger’s involvement with the West Side Association, reporting, “20,000 Join Tax Cut Move. Landlords all over city will aid west side association. May Mean Fight in Court. Property Owners Threaten to Organize for Political Campaign. West Side Landlord’s Protective Association was joined yesterday by the Chicago Landlord’s Protective Association, an organization embracing more than 20,000 members in all parts of the city with headquarters at 232 West Division Street [232 West Division was Terwilliger’s home address]. West Side Association, which was incorporated on Monday and is made up of more than 100 Bohemian property owners in the “Pilsen” district is determined, if necessary, to carry the fight for reduced taxes into the County court. “We are glad to join any movement that will help reduce the present high taxes,” said Ralph I. Terwilliger, secretary of the Chicago Landlords’ Protective association” (page 9)

Terwilliger continued to expand his interests, and in 1911 organized the Home Bank and Trust Company with a capital of $300,000. Located at 1225 N. Ashland Ave, it was just north of Division Street.

Neither his personal life nor health paralleled his business success. His wife passed away in 1916, with Terwilliger following the next year. He was only 52 years old at the time. Terwilliger passed away at the Biltmore Hospital in Asheville, North Carolina on August 22, 1917. Pernicious anaemia was listed as the cause of death. This condition means that body cannot absorb enough vitamin B-12 and make enough red blood cells. The condition is often classed as an autoimmune disease and symptoms may include fatigue, shortness of breath, rapid heart rate, jaundice or pallor, tingling and numbness of hands and feet, unsteadiness, bleeding gums, impaired sense of smell, and confusion. Severe or long-lasting pernicious anemia can damage the heart, brain and other organs in the body, causing problems such as nerve damage, neurological problems and digestive tract issues.

Terwilliger’s obituary in the “Chicago Examiner” reported, “Ralph I. Terwilliger, founder of the Home Bank & Trust company, Milwaukee and Ashland avenues, first president of the Northwest Side Commercial association, widely known in Chicago real estate circles, died yesterday at Biltmore, N. C., according to word received in Chicago. The Terwilliger residence is at 3104 Logan boulevard. The body will arrive tonight (Vol. 15, no. 210, page 15).

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 35 – George F. Snell

George F. Snell (1873-1891) was a scenic artist at Sosman & Landis Scene Painting Studio. Snell’s artistic career was a short one, ending tragically on November 19, 1891 after suffering severe injuries from a cable car accident. He was barely nineteen-years old.

Snell grew up in Chicago, one of four children born to Frederick B. Snell (1847- 1898) and Catherine “Kate” Kearne (b. 1846-1892). Although his grandfather worked as a Chicago blacksmith, George’s father and uncles entered the painting profession. His parents met and married in Chicago in 1868. By 1869, Frederick was listed as a painter in the Chicago Directory, living with his wife, widowed mother, and older brother Julian. The Snell family was living at 121 ½ Superior Street. In 1870, the couple celebrated the birth of their first son, Richard L. Snell. George was born three years later in 1873, with a sister following in 1878. It does not appear that his sister was named, or lived long after birth. George’s youngest brother, William J. Snell, arrived a decade later in 1882.

It was George’s father, Frederick B. Snell, who first entered the Chicago painting scene, well before any other member of the family. However, it remains unclear if he was working as a scenic artist, decorative painter, or both, at the time. George’s uncle, Julian Otis Snell, followed his younger brother into the painting profession after attempting an early career as a fish monger. Trading the scent of fish for animal hide glue must have been a delightful perk for the entire family. In time, George’s older brother Richard L. Snell, and Richard’s son, George, also entered the painting profession. Like his namesake, the second George F. Snell became a scenic artist.

The Snell family’s association with Sosman & Landis first came onto my radar in a random search a few years back. I was exploring various Sosman & Landis projects during the early 1890s. The tragic nature of the story prompted me to jot down the citation, noting “another S&L employee.” Here is the story of George F. Snell, as reported in newspaper accounts at the time.

On November 20, 1891, the “Chicago Tribune” reported:

“Cable Collision in Tunnel. One Man Loses a Leg and Another a Thumb – Fatal Accidents. The grip of a Lincoln avenue train broke in the La Salle street tunnel when traffic was heavy Thursday night and collided with a Clybourne avenue train. George Snell, living at 115 Locust street, who was standing on the coupling bar, was jammed between the dash boards and had his right leg crushed. His limb was amputated at the Alexian Brothers’ hospital. He is a scenic artist employed by Sosman & Landis, 236 South Clinton street. Fifteen minutes after the accident, a thumb was found in the tunnel. It belonged to Ernest Braumer of 17 East Division street, who was knocked down by another train” (page 3). The incident made regional news and was republished in the “Muscatine News-Tribune” in Iowa, “The Times Herald” of Port Huron, Michigan and “The Waukesha Daily Freeman” in Wisconsin.

A few days later on November 23, 1891, the “Chicago Tribune” reported “George Snell Dies from His Hurts.” The article continued, “Fatal Result of a Cable-Train Collision in LaSalle Street Tunnel. George Snell, No. 115 Locust street, who was badly crushed in a cable-train collision in LaSalle street tunnel Thursday night, dies at the Alexian Brothers’ Hospital Saturday night. At the time of the accident, he was standing on the coupler of a Clybourn avenue trailer, when a Lincoln avenue grip broke loose, and rushing down the incline, crashed into a trailer and crushed Mr. Snell’s right leg. He was removed to the hospital, where his leg was amputated.”

*Chicago cable car line routes in 1895. From Chicago Tribune article, “Five Hundred Miles of Electric Street Railroad in Chicago,” 19 May 1895, p. 44.*

*Photo from http://www.encyclopedia.chicagohistory.org/pages/3752.html For more information about cable car lines in Chicago, visit http://www.cable-car-guy.com/html/ccchi.html*.

The ensuing investigation by the coroner kept this tragedy in the headlines for weeks. On November 25, 1891, the “Inter Ocean” announcing, “Progressing Slowly, but little is shed on the LaSalle Street Tunnel.” Detailed information pertaining to those involved with the accident was brought to light: “John M. Roach, Superintendent of the North Side Cable line, William B. Keep, attorney for the road, and his assistant, John R. Elley, were witnesses yesterday before the Coroner’s jury which is inquiring into the death of George Snell. Mr. Roach testified that in the wreck, in which young Snell met his death, were the cars, conductors, and gripmen here named: Lincoln avenue grip car No. 409, H. Slack, conductor and M. Galvin gripman; car No. 281, P. D. Probert, conductor; grip car No. 771, James McCurdy, conductor and D. Myers, gripman; car No. 471, E. E. Leach, conductor, and H. Menze, gripman; car No. 211, J. O’Hearn, conductor, and car No. 192, E. L. Houghton, conductor. He said that he thought that car No. 281 was smashed in the wreck. Messrs. Keep and Elley refused to testify. They alleged that all they knew of the cases had been told to them by their clients, whom they could not betray. Mr. Keep also intimated that the jury had its verdict already before the witness had to be examined. There being no other witnesses before the jury, an adjournment was taken until 9 o’clock this morning to give time to subpoena the witnesses named by Superintendent Roach” (page 5).

On November 26, 1891, the “Chicago Tribune” reported, “After two full hours deliberation over the evidence, the Coroner’s jury in the Snell inquest returned the following verdict late yesterday afternoon.”

The article headline announced:

“WHERE BLAME LIES.

Verdict of the Coroner’s Jury in the Snell Case.

CENSURE FOR THE ROAD.

North Side Cable Company Held to Be Responsible.

SUGGESTIONS FOR ALDERMEN.

Many Recommendations Made to the City Council.

EVIDENCE HEARD AT THE INQUEST.“

Summarizing the Coroner’s Jury outcome, the article reported, “The deceased came to his death at the Alexian Brother’s Hospital Nov. 21 from shock and hemorrhage caused by injuries received by being run over by grip-car No. 409, belonging to the North Chicago Street railway company, in the LaSalle street tunnel Nov. 21, 1891.

We, the jury, find the evidence that deceased was knocked over the dashboard of trailer car No. 281, said trailer-car being attached to grip No. 409. The cause of deceased being knocked over the dashboard was due to the brakes and grips of some of the cars ahead of grip-car No. 409 being out of order and not in good working condition and not fit to run on the incline of LaSalle street tunnel, where said cars could not be held stationary on the incline, and they rolled back and crashed into the train upon which deceased was a passenger.

And in view of the above facts, we cannot too severely censure the said company for gross negligence, and we hold it responsible for deceased death.

And we recommend that the City Council take immediate action and pass a stringent ordinance compelling street railway companies to better protect the lives of passengers by the following method – to wit:

That grip cars shall be closed on both sides, leaving a small entrance, so that it would prevent people from standing on the side-steps of cars; and that dashboards be made higher, and that men be compelled to be at brakes while running through the tunnels; that each car be provided with a block to stop cars on the inclines, in case the brakes fail to work, and that it be made a penal offense to allow any person to stand on platforms of cars.

After witnesses.

Deputy Coroner Monaghan yesterday resumed the inquest upon the remains of George Snell, the victim of the tunnel accident of Thursday night. He had spent many hours endeavoring to find witnesses, trainmen and railway employees who knew anything about the accident except by published rep[orts. His quest had been all but vain, and that in the face of the promise of Supt. Roach to do everything in his power to assist in finding important witnesses.

“The company’s assistance was all a farce, “ he remarked to Attorney Foster as he surveyed the half dozen witnesses, he had been able to get together. “Instead of assisting me, the company has done everything under the sun to make my work impossible.”

Peter Stromberg, the boss of the wrecking crew, was first put on the stand. His story was, in effect, that a Lincoln-Wells train struck at the mouth of the tunnel on account of a broken grip. He endeavored to pull it out with a train, but failed; so, telling the conductor to uncouple the trailer, he made another effort to get the grip up the grade. For some reason the trailer brakes did not work, and the car started down the incline. It collided with a Clybourn avenue grip and both ran down the incline. Halfway up the slope there was a Lincoln and Clark train. The Clybourn train crashed into this one and bore down to the foot of the tunnel where it collided with another train. There must have been trouble with the brakes, he said, for they did not control the cars. The witness had heard the gripman of the Clybourn avenue car say that a bolt was loose in his cable shoe and that he could not hold the rope. Stromberg was altogether innocent of any information about Snell.

Stories of Other Witnesses.

John Larson, a member of the wrecking crew, had forgotten all he ever knew about the accident. Ole Bartels confessed on the stand that he had supposed he was subpoenaed to testify about the murder of A. J. Snell and professed ignorance of the matter in point. E. L. Crawford, assistant barn boss at the limits barn, admitted that the report of the accident passed through his hands, but he did not read it.

Michael Garvin, gripman of car No. 409, said he saw the conductor lift Snell from under the wheels, but knew nothing of the manner in which he received his injuries. W. H. Slack, the conductor of car No. 409, testified that took Snell from under the wheels but did not see him fall.

Ernest Broms, who lost a thumb in the collision. Was placed on the stand, but his knowledge of the affair was rather cloudy.

In the afternoon John T. Finn, and East Chicago policeman, gave the substance of Snell’s ante-mortem statement, which was made in the presence of doctors and others at the hospital. It was in substance that Snell was standing on the front platform of a Lincoln avenue trailer and that the collision threw him over the dash-board under the wheels. Deputy Monaghan at this point informed the jury that he would secure other witnesses if it was deemed necessary, but the jury, after consultation, announced that it was satisfied that deliberation upon the testimony already given would enable it to formulate a verdict and the case rested” (page 1).

The Coroner and the Snell family continued to fight the railway company. On Dec, 6, 1891, the “Chicago Tribune” reported, “Coroner Hertz sent a communication to State’s-Attorney Longenecker yesterday which may result in getting President Yerkes into trouble. It was in regard to the George Snell case. The Coroner told the State’s-Attorney that he respectfully submitted for his consideration the verdict of the Coroner’s Jury in the Snell case. “In part,” he wrote, “the jury said: ‘We cannot too severely censure the North Chicago Street railway company for gross negligence and hold the company responsible for the death pf the deceased.’”

“Did you send the letter for the purpose of having the State’s-Attorney bring the case before the grand jury?”

“I simply wanted the State’s-Attorney to know what the Coroner’s jury thought of the case and the company’s responsibility for the death of Snell. It would not be becoming to remind a public officer of his duty. I think the State’s-Attorney knows what his duty his duty is and will perform it in this case.”

The Coroner thinks that Mr. Yerkes can be tried criminally for the death of George Snell and bases his opinion on Sec. 48 of the Criminal Code entitled, “Criminal Carelessness.” This section in effect says that whoever has control or management of a public conveyance used for the common carriages of persons and is guilty of gross carelessness or neglect whereby the safety of any person shall be endangered shall be imprisoned not longer than three years, or be fined not more than $5,000 or both. [$5,000 in 1891 is equivalent in purchasing power to $150,719.78 in 2021].

State’s-Attorney Longenecker said he received the Coroner Hertz’ communication and that if upon investigation he found grounds for an indictment he would place the matter in the hands of the grand jury. “However,” he continued, “the Coroner does not lay the blame upon anyone. If it is as the jury states that there was gross negligence it should have been found out by the person or persons were – whether Mr. Yerkes or some of his employees – and held them to the grand jury. Then it would have been imperative for the grand jury to take action. But, as I said, I will look over the evidence and if there is ground for an indictment the matter will be taken up by the grand jury.”

Two days later on Dec. 8, the “Chicago Tribune” reported, “State’s-Attorney Longenecker sent to Coroner Hertz yesterday for the evidence in the case of George Snell, who was killed in the LaSalle street tunnel a few weeks ago. Mr. Longenecker says that someone is undoubtedly responsible for the death of Snell, and he wants to find out who it is if possible” (page 7).

Meanwhile, the estate of George Snell entered probate. On December 17, 1891, Snell’s parents, Frederick B. and Kate Snell, were listed in probate records with the State of Illinois. George’s uncle, Julian O. Snell, was appointed the administrator of his nephew’s estate. The entire extended Snell family was still living and mourning together under one roof.

On January 5, 1892, an announcement appeared under “Court Notes”: “Julian O. Snell, as administrator of the estate of George E. Snell, sued the North Chicago Railway Company for $5,000” (page 12). That same day, the “Chicago Tribune” announced, “Julian C. Snell as administrator of the estate of George E. Snell sued the North Chicago railway company for $5,000 damages. George Snell was the man who was killed in the La Salle street tunnel and in learning the circumstances of whose death the Coroner had so much trouble with the street railway officers” (page 10).

On Dec. 16, 1894, the “Chicago Tribune” announced the judgement in the Superior and Circuits Courts Sections: “JUDGE FREEMAN – 2,752 – Julian O. Snell, admr. estate of George F. Snell vs. North Chicago St. R. R. Co.; on ver., $3,500; appld.” [$3,500 in 1892 is the equivalent purchasing power to about $105,503.85 in 2021].

I have yet to locate any other information pertaining to the George Snell case, or if the family ever received anything from the railway company. Regardless, the Snell family continued in the painting business. By 1910, Julian was listed as a decorator, running his own business, and now living with his nephew’s family on Locust street in Chicago. His nephew, Richard L. Snell was also listed as a painter and running his own business. Richard’s youngest son, George F. (George F. Snell’s namesake), was working as a scenic artist in the theatre industry.

Uncle Julian lived until 1930. At the time of his passing, his occupation was listed as a stage manager. On January 23, 1930, the “Chicago Tribune” reported, “SNELL – Julian O. Jan 21. 1930, of 3736 Clifton ave., uncle of Richard L. Snell. Funeral services at chapel, 2701 N. Clark St. Thursday at 3 p.m. Interment Graceland” (page 14).

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 34 – L. R. Close

Leroy R. Close worked at Sosman & Landis from 1895 to 1901. Prior to working for the firm, Close ran L. R. Close & Co. in Kansas City, Missouri (c. 1883-1889). He worked as a scenic artist in Kansas from approximately 1883 until 1894. In 1894 the Kansas City Directory listed that Close relocated to Chicago. In Chicago, Close worked for the Sosman & Landis Scene Painting Studio as a scenic artist and traveling salesman. Here are a few articles that I have located to date, linking Close with Sosman & Landis.

On Feb. 8, 1895, the “Muscatine News-Tribune” reported,

“L. R. Close, agent for Sosman & Landis, the noted scenic artists of Chicago, was in the city yesterday and spent the time in taking measurements of the stage of the New Grand, which his firm has contracted to furnish with a complete stage equipment. He took orders for over forty pieces of new scenery, which include parlor arches, parlor settings, chamber, rustic and plain kitchen, horizon, woodland garden, bridge and prison scenes, set pieces and houses of all descriptions, new draperies, etc. New borders and electric lighting for the stage are also to be put in, making the cost of the stage equipment alone worth not less than $1,600. The work of tearing out the old stage will be commenced next week and the erection of the new stage will be under the direct supervision of Architect Zeidler, and the new scenery is expected to be here within three weeks. Mr. Munroe, who is to be the manager of the New Grand, says the Muscatine theatre-goers will be more delighted with the superb scenery when they see it, as well as with the whole new stage and the general transformation which the house is soon to undergo. All that is promised, and more, too, will be realized, so that the new theatre will be one in which our people will take unfeigned pride” (page 1). This same article was published again on Feb 13, 1895 (page 15).

The next mention of Close’s work for the firm was on Nov. 8, 1896, in the “Chicago Chronicle.” In the article entitled, “WORKS A NEAT TRICK But is Caught at it,” an interestingly story is told of thievery:

“George R. Clark will appear before Justice Underwood next Thursday to answer a charge of larceny. Two weeks ago, a canvas containing a telescope valued at $1,000 was stolen from L. R. Close, traveling salesman in the employ of Sosman & Landis, scenic artists. The day the telescope was stolen a young man walked into the Revere house with the telescope under his arm and registered under the name George R. Clark. He remained there for several days and then jumped his board bill and left the telescope in his room. Sosman & Landis immediately after the telescope was stolen advertised for it, offering a reward for information which would lead to its recovery. The same day that Clark left for Revere house a telephone message was received by Sosman & Landis saying that the telescope could be found there. Mr. Landis recovered the stolen article and later Clark received the reward. Thursday Clark was arrested and Mr. Landis identified him” (page 9). For context, Chicago’s Revere House was located on N. Clark Street, a short distance from the previous Sosman & Landis studio location (c. 1879-1886).

On Feb. 25, 1900, Sosman & Landis placed a want ad in the “Chicago Tribune” –

“Wanted – one good second-hand boiler, 60×16; one engine, 12×18 or 20; a 100 b.-p. good condition. All must be in good condition. Call or address L. R. Close, 236-238 Clinton-st., Chicago.” 236-238 S. Clinton Street was the main studio address for the firm (page 24).

. FYI- The Chicago street numbering later changed from 236-238 Clinton Street to 417-419 S. Clinton Street.”

One of the last mentions of Close’s work for the firm was just a few months before his passing when he was working in Wilmington, North Carolina. On Feb. 10, 1901, the “Wilmington Morning Star” reported, “Mr. L. R. Close, of the scene painting studio of Messrs. Sosman & Landis, 236 and 238 South Clinton Street, Chicago, arrived in this city yesterday to paint the scenery and other stage accessories for Mr. Pembroke Jones’ extensive pavilion which is being built by contractor Shepard at ‘Airlee,’ Mr. Jones’ handsome county seat on Wrightsville. Mr. Close is an artist of reputation and his contribution to the series of private theatricals which Mr. Jones will have at his place will be valuable” (page 1).

Close passed away only three months later on May 8, 1901. On May 10, the “Chicago Tribune” published his obituary:

“CLOSE- May 8, 1901. Le Roy Close. Aged 55 years. Funeral Sunday at 11:30 a.m. under the auspices of Dearborn Lodge No 310 AF&AM, from his late residence 879 Jackson-blvd. Interment at Westfield, Pa. At 11:30 a.m., under the auspices of Dearborn Lodge No. 310 A.F.&A.M., from his late residence 879 Jackson-blvd. Interment at Westfield, Pa.” (page 5). Close was buried at Mount Pleasant Cemetery in Westfield, Pennsylvania (Tioga County).

At the time of his passing, Close’s occupation was listed as “traveling salesman.”

Close’s life moving to Chicago is complicated, messy and bit difficult to decipher. Tracking down the records of his birth, early life, marriage/s and a various theatrical occupations posed quite a challenge. Keep in mind that over the years his first name also varies from Le Roy, Leroy R., Lee R. and L. R. His last name was Close, but his parents and a few siblings have historical records with the alternative spelling of Cloos and Clore.

However, here is what I have managed to piece together about Leroy Close’s life…

Leroy R. Close was the son of David Jacob Close (1809-1863) and Maria Sweet Close (1816-1891), born in Westfield, Pennsylvania, on February 10, 1846. The 1850 census listed Leroy as one seven children living on the Close farm near Westfield. The seven children were Ambrose (15 yrs., 1835-1916), Noah P. (13 yrs., 1838-1881), Marietta/Marie “May” E. (11 yrs., 1839-1910) Amelia (9 yrs., 1841-1892) Albert “Byron” (7 yrs., 1843- 1891), Leroy (5 yrs., 1846-1901) and Mathilda (2 yrs., 1848-1929). Not listed at in the 1850 Census were Albert (the eldest child who died in infancy, 1833-1834), the twins Bernard and Burnette E. (b. 1851), Maria (b. 1855) and Cora (b. 1857). There were two Alberts; the one who was born in 1833 (died in infancy), and Albert “Byron” (b. 1843) who was three years older than Leroy. Early on, Albert Byron is listed as Byron, and later as A. B. Close; same guy though.

In 1860, the Close family was still farming in Westfield, with the children in the household listed as Marietta (20 yrs., a teacher), Amelia (18 yrs.), Albert “Byron” (16 yrs., farms), Leroy (14 yrs.), Matilda (12 yrs.), Bernard (9 yrs.), Burnett (9 yrs.), Maria (5 yrs.), Cora (2 yrs.).

Albert Byron and Leroy left home by the 1860s when they came of age, unlike their sisters. Albert Byron enlisted in the Union Army and mustered out on August 22, 1862. He was part of the 136^th Division, Pennsylvania Infantry. Achieving the rank of First Lieutenant, he later served in the 207^th Division. I have yet to verify whether Leroy served in the military during the Civil War. In the post-war years, however, both Albert Byron and Leroy moved west. I tracked the two living in Oswego Kansas during the early 1870s. This is when Albert Byron became listed as A. B. Close.

In 1870, A. B. was working in Oswego, Kansas as Notary Public, dealer in Real Estate and Insurance agent. He was now listed in a variety of advertisements and newspaper articles, well-known as the brother of Leroy Close. With an office on Merchant Street in Oswego, advertisements in the “Kansas Democrat” listed A. B. Close as representing the Home Insurance Company of New York, the Kansas Insurance Company of Leavenworth, and Equitable Life. Initially, his main office was in Oswego, Kansas (8 Sept 1870, page 1).

A. B. and Leroy also tried their hand at other business ventures, including the sale of school supplies throughout the region. On May 2, 1873, the “Kansas Democrat” announced, “Mr. L. R. Close brings cheering reports of his late business trip to Howard and Cowley counties!” (page 5). Later that fall, the “Kansas Democrat” announced, “Mr. Leroy Close, at A. B. Close’s old stand in agent for all the most popular school books, also the celebrated programme clock. He has all the necessary apparatuses for furnishing schools complete. Teachers will do well to pay Mr. Close a visit” (Sept 19, 1873, page 4). On April 3, 1874, the “Kansas Democrat” announced, “Leroy Close, Esq. is in the city for a few days” (page 5). This may have been the changing point when Leroy shifts professions, becoming a painter/scenic artist. This timing also coincides with his brother’s move to Topeka, Kansas.

In 1874, A. B. moved from Oswego to Topeka, and then Independence, Kansas, becoming a land agent for the Atchison, Topeka & Santa Fe Railroad. His return visits to Oswego, however, still made news in local papers. A. B. Close even briefly returned to live in Oswego, but soon relocated to Elmira, New York. This was a big move, and he continued to work with the emigration of individuals westward. By 1876, A. B. Close was consistently listed in the Elmira City Directory as an agent for the next few years. By the 1880s, A. B.’s work permanently relocated him to San Antonio, Texas, where he would remain for the rest of his lived. In 1887, he was listed as an emigrant and locating agent, now for the Southern Pacific Railway System, his office at 327 Austin. A. B. Close passed away in 1891 and is buried in the San Antonio National Cemetery.

Leroy Close also left Oswego during the 1870s, first moving west to Peru, Kansas, and then heading north to Kansas City, Missouri. Newspaper articles indicate that Close’s career as a theatre professional commenced in 1880. By 1883, Leroy Close was listed as a painter in the Kansas City Directory, working at 525-527 Main Street and boarding at 952 Wyandotte. He was listed as only one of two scenic artists listed in the Kansas City Business Directory at that time. The other scenic artist was W. O. Thomas & Co., also working at the same studio address on Main. Work was plentiful, and on August, 24, 1883, Close published a want ad in the “Kansas City Star”:

“WANTED – Boy to work in Studio and learn to paint scenery, apply at 527 Main St., third floor. L. R. Close & Co.” (page 3). In 1884, Close and Thomas were again listed in the Kansas City Directory, still working at 527 Main.

On 21 March 1884, “The Chatauqua Journal” of Sedan, Kansas reported, “Leroy R. Close, Esq., ‘scenic artist’ of Kansas City was in Howard again on Tuesday. He has probably got the contract to furnish the ‘drop curtain’ and stage scenery for McKay & Eby’s opera house. We hope he will get the contract as we believe he will do good work and give satisfaction. Leroy is an old Kansas boy, having been one of the pioneers in Oswego and later Peru, Howard county.- Courant” (page 3).

He secured the contract for the opera house on May 16, 1884, the newspaper reported, “L. R. Close & Co., scenic artists of No. 527 Main Street, Kansas City, Mr. Close has been in Howard for a week superintending the work of putting up scenery and we are informed by Mr. Eby that everything is being done as well, if not really better than is called for by the contract. Mr. Close is engaged extensively in this line of business and he takes great pride in doing his work well and giving satisfaction to his customers.”

By 1885, Close enlarged his studio staff again. That year, the Kansas City Directory listed Ben Dunn as working for L. R. Close & Co. Shortly after starting with Close, Dunn partnered with fellow artists Oldham and Tschudi, to open their own scenic studio.

On Oct. 21, 1886, the “Garden City Daily Herald,” reported, “L. R. Close, a scenic artist from Kansas City, Mo., the gentleman who put the scenery in the Stevens opera house in this city and the originator of the Western Sport, a theatrical paper at Kansas City, called on the HERALD to-day. He is well please with Garden City and says that we are now in shape to secure the best attractions on the road.”

*L. R. Close & Co. advertisement in the 1887 J. R. Clancy catalog.*

In 1886 Close moved his studio location to another multi-story building, now on Broadway in Kansas City. The 1886 Kansas City Directory, included listings for Leroy Close and L. R. Close & Co., but now his business was located at 516 Broadway. Interestingly, a former Sosman & Landis employee, Lemuel L. Graham, listed his studio at 527 Main; it was like the scenic studio shuffle. It remains unclear whether Close’s move to 516 Broadway was a step up or step down. Keep in mind that by 1884, Sosman & Landis established a branch office when former employee, scenic artist Lemuel L. Graham, also founding Graham & Davis scenic studio in Kansas City, represented the Chicago firm. Close continued to land one job after another, but the competition continued to increase, especially with the new firm established his former employee Dunn – the Kansas City Scenic Co. (the second iteration of the studio name).

Throughout 1886 and 1887, L. R. Close’s studio remained at 514-516 Broadway, with Lemuel L. Graham’s studio at 525-527 Main. Competition increased in the city and soon Edward Lowndes was also listed in the scenic artist section of the Kansas City Directory; his offices were at “306 ½ e 12^th.”

Close continued to plug along with work, and on May 30, 1887, a “Kansas City Star” include a want ad placed by Close: “WANTED – A good stout boy wanted to work in a studio. Call at 516 Broadway, L. R. Close & Co.”

*One of many want ads placed by L. R. Close in Kansas City newspapers.*

Something happened at this time, as Close set his sights on other business ventures in St. Joseph, Missouri. He starts leasing and managing performance venues in the region.

On Nov. 24 Nov. 1887, the “St. Joseph Gazette,” reported:

“The New Theatre. The statement was made in an evening paper yesterday that a deal had been closed by which L. R. Close and A. J. Axtle of Kansas City, had secured the lease on the Natatorium building for five years, and that it would be opened for a theatre soon. The publication was premature, to say the least. The Gazette has been aware for several days that negotiations looking to the end above indicated were pending. They are still pending, no definite understanding yet having been arrived at by the parties interested, and it is possible that nothing will come of them” (page 5). And yet, Close just plugged along and found a partner to invest in his idea.

On Sept. 27, 1888, the “St. Joseph Gazette,” published:

“The New Theatre” – converting Natatorium into an opera house…Mr. L. R. Close, the well-known scenic artist of Kansas City, and one of the lessees of Streckebein’s garden, has leased the building for a term of five years, and proposes to supply the city of St. Joseph with one of the finest and best arranged popular-price places of amusements in the West. The new theatre will be called the Grand Opera House, and will be managed by Mr. Close in person, and he will be assisted by Mr. Wm. T. Duncan, press agent of the Eden Musee” (page 4).

At the beginning of 1889, Close’s investments in the St. Joseph opera house was included with building investments and improvements being made throughout 1888. On Jan. 1, 1889, the “St. Joseph Herald” reported, “A Fine Showing. Over $1,600,000 expended in buildings during the Year…L. R. Close. Remodeling building for an opera house, southwest corner Fifth and Jule streets…$8,000” (page 27).

The same issue included another article about Close’s business activities:

“The Grand Theatre. Mr. L. R. Close, the lessee and manager of the new house, was one of the proprietors of the St. Joseph Summer Garden, and the support which was given the attractions presented assured him that a new popular priced theater would be well supported. The old Natatorium building at the southwest corner of Fifth and Jule streets, was accordingly leased with the privilege of buying and the work of remodeling it commenced. At first it was only intended to expend $3,000 or $4,000 in fitting up the new building, but as work progressed, new improvements suggested themselves, and as a result $15,000 will be spent before the theatre is formally opened. When completed the theatre will be one of the handsomest in the West. It will have a seating capacity of 1,800, will be lighted be electricity and have fifteen dressing rooms. The first floor will seat 800 people, the balcony 400 and the loges and boxes 200. Two bathrooms for the performers is an innovation which Manager Close thinks is the “greatest thing out.” The stage is 40×60 feet and the curtain opening is 26×30.”

*1889 advertisement listing L. R. Close as manager of the Grand Opera House in St. Joseph.*

On January 20, the “St. Joseph Herald” featured the Grand’s opening reporting, “Mr. L. R. Close, has been in the theatrical busines for nine years, and has been remarkably successful. He is the head of scenic studio of L. R. Close & Co. of Kansas City, and has fitted up in the United States over 600 theaters.” Close’s asst. manager was “Mr. W. T. Duncan, well-known in St. Joseph, will be the assistant manager and treasurer. Mr. Duncan has grown up in the theatrical business and is familiar with its every detail. He bore the same relation to Mr. Close with summer garden and was also press agent for Eden Musee. These two gentlemen are thoroughly acquainted with the St. Joseph theatre-going public and will furnish first-class attractions.”

Another article on Jan. 20, 1889, in the “St. Joseph Gazette” reported, “The theatre is a jewel and is bound to prove a success. The stage is probably the main feature and theatrical companies will call the management blessed. It is fifty feet deep by sixty feet wide and there are fifteen dressing rooms. These are sixteen complete changes of scenery, only two of which will be used for the opening attraction. Mr. Close himself conducts a studio in Kansas City and has fitted out some of the principal theaters in the country, among them the Gillis and Ninth street theaters, Kansas City. The drop-curtain is a scene of Monaco, very artistically executed, above which is a picture of William Shakespeare…Mr. L. R. Close the proprietor and manager, has been a prominent scenic artist for many years, with headquarters in Kansas City. He fitted up the Warder Grand, the Gillis, the Coates and the Ninth Street theatre of Kansas City, besides many throughout the western country. He conducted the summer garden here last summer, which was a pronounced success. He opens a cosy little theatre here. The house is to be run as a popular price house, yet Mr. Close promises only first-class attractions.”

He was riding a wave that soon crashed. Something radically changed and then his venue caught fire.

On March 1, 1889, the “St. Joseph Gazette” reported:

“And the Grand Too.

Mr. L. M. Crawford Secures Managerial Control of Another Opera House.

Mr. Lester M. Crawford, the Napoleon of the theatrical, as the Kansas City Times delights to call him, completed arrangements yesterday by which he will become manager if the Grand March 25, for a term of five years, Mr. L. R. Close, returning to his studio in Kansas City.

When Crawford came to St. Joseph, the knowing ones predicted that inside of a few months, he would secure possession of the Grand. When it comes to securing an opera house, it is always safe to say that Mr. Crawford will get it in time. Mr. D. A. Latshaw who has been the manager the Warder Grand in Kansas City and C P. Crawford will have charge of the two St. Joseph houses. Mr. Crawford will have charge of the new house for a term of five years at which time his ease on Tottle’s will expire. Mr. Crawford has the complete managerial contract of the following houses beside booking the attractions for a number of others: Warder Grand, Kansas City; Grand, Omaha; Funk, Lincoln; Lewis, Fremont; Kerr, Hastings; Price’s, Atchison; Crawford’s, Leavenworth; Crawford’s, Topeka; Crawford Grand, Wichita; Fifth Avenue, Arkansas City; Grand, Winfield; Ragsdale, Newton; Bowerstock, Lawrence; Tootle’s and Grand, St. Joseph.

Sometime between Crawford showing interest in the venue and taking over the lease, the opera house burned down. Close was still left in charge of the theater.

On June 6, 1889, the “St. Joseph Herald” reported, “L. R. Close says he will soon commence rebuilding the Grand Opera House…L. R. Close, manager of the Grand Opera House up to the time it burned, arrived in the city Tuesday. He was met on the street yesterday by a HERALD reported and in response to the question as to whether he was going to rebuild the Grand or not said: “Yes, sir; I intend to rebuild and remodel the opera house in a manner that will make it a ‘dandy.’ The roof will be raised, the front improved and the interior will be thoroughly and completely changed in every way possible to make it a first class house.”
“Are you booking any attractions for next season””

“Nearly every day, and there is nothing ‘rotten’ with any of them, as I am taking especial pains to book nothing but the latest and the best attractions I can get.

Mr. Close is now having the plans and specifications of the new house made and will give them to the public in the near future. As soon as they are completed work on the house will commence” (page 3).

It appears that Close lost the building within the year and was forced to returned to Kansas City in his old role as scenic artist. Much of his decision may have been a result of a court case. On May 24, 1890, the “St. Joseph Herald,” reported “J. W. Powers vs. L. R. Close et al., jury waived and case submitted to the court. Testimony heard and judgement rendered for the plaintiff against L. R. Close for $149.36, and lien on property mentioned in the petition” (page 3).

Close returned to Kansas City and was again listed in the 1891 Kansas City Directory. Listed as “Lee R. Close,” he was again a scenic artist at 525 Main, residing at 630 Locust. Close continued to work as a scenic artist in the city for the next three years. In 1894, when the Kansas City Directory listed “Lee R. Close moved to Chicago.”

In the Windy City, Close was listed as a commercial traveler (salesman) from 1896-1901. In 1896, he was living in the 669 Jackson hotel, but soon settled at 680 W. Jackson Boulevard. The 1900 US Federal Census also listed this address, so little changed until his passing.

By 1900, Leroy was living with his wife, Luella (b. 1857), of twenty-six years. For context, Luella Close was born in Ohio and the couple did not appear to have had any children. In 1900, the couple was living with lodgers Emanuel Mandi (broker) and Allen J. Straight (clerk). By the spring of 1901, Leroy passed away.

Now this is where is gets a little odd. There is no question that this is the same Leroy Close who worked as a scenic artist and theatre manager in Kansas. In Chicago he was a salesman for Sosman & Landis. On Leroy’s Illinois death certificate there is the same birthdate (Feb 10, 1846), same birth place (Westfield, Pennsylvania), and same parents (David and Maria). All of the details match in corresponding documents too, including siblings. Chicago newspaper obituaries even report that his remains are brought to Westfield, Pennsylvania. Close was buried at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.

Gravestone of Leroy Close at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.

Then I came across the probate court records and I started to wonder what was going on…

The estate of Leroy Close went through probate, again same birth and death dates. He left personal property valued at $7,000, all part of a $14,000 estate. However, there was another woman listed as his widow – Maranda W. Close, not Luella. Maranda was appointed administratrix of the Close estate, along with Ralph Irving Terwilliger and Sarah Elizabeth Terwilliger. On May 29, 1902 (the probate record date), Miranda’s address was listed as 919 Jackson Blvd, Chicago. The Terwilligers address was 232 W. Davidson St. in Chicago. I cannot find any connection between Leroy, Luella, Maranda and the Terwilligers. Except, I recalled the name Terwilliger, as it is unique.

Ralph Terwilliger was a paint boy to Thomas G. Moses in the 1880s and remained close friends until his passing. Moses even pasted a newspaper clipping of Terwilliger in his scrap book years later writing the caption “Paint boy for Burridge, Moses and Louderback during the year 1887 and 1888.” In 1910 also Moses wrote, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him. He was President of a city bank. He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week. He had prospered. With his wife and two daughters he enjoys a cottage near our camp.”

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 33 – William C. Maier

William C. Maier worked for Sosman & Landis from approximately 1910 to 1920. Thomas G. Moses mentioned Maier in his 1917 memoirs but did not mention his role at the firm. Maier was mentioned by Thomas G. Moses in his 1917 memoirs. He wrote, “Closed a contract for two scenes with Gatts and Company, $825.00 for ‘Katzenjammer Kids.’ We hustled it out. Maier and I went to Michigan to put it on and nearly froze coming back. 14 degrees below zero. As there was no train, we had to ride home in the trolley.” This is the only mention of Maier in Moses’ memoirs. Here is my post about their 1917 project: https://drypigment.net/2020/03/27/tales-from-a-scenic-artist-and-scholar-part-944-thomas-g-moses-and-the-katzenjammer-kids-1917/

Five years earlier, in 1912, Maier was listed as a technical director at Sosman & Landis. That fall, Maier was representing the firm in Davenport, at the Lyric theater on Perry Street at E. 2nd Street. Previously known as the Princess Theatre, the building was extensively renovated and began featuring high-class vaudeville. J. Harry Blanchard was the new manager of the New Lyric, with Sosman & Landis delivering new scenery and stage machinery. On Nov. 2, “The Daily Times” reported, “The stage has been enlarged to meet the requirements of all vaudeville acts that will be brought here.”

Less than a week later, Maier was featured in another “Daily Times” article on Nov. 7:

“HE PRAISES THE LYRIC.

William C. Maier Thinks the New Theater is a Charming Place.

Wm. C. Maier, technical director for Sosman & Landis, America’s leading scenic directors, today paid a glowing tribute to the new Lyric theater. Mr. Maier’s duties take him from coast to coast and he has seen the interior of practically every theater in the country, therefore his opinion is of more than ordinary value. In his conversation today Mr. Maier stated that the decorations and color effects in the lyric effects in the Lyric were as charming and harmonious as he has ever seen. The stage of the Lyric, he claims, is as large as that of the Princess in Chicago, and is the best equipped, both as to the comfort of the actors and the handling of scenery, he has ever come in contact with” (Davenport, Iowa, page 7). This same article was also published in the “Quad-City Times” on Nov. 7, 1912 (page 3).

Maier was still working for the firm in 1918. His draft registration card listed his occupation as “stage craft,” with his employer being Sosman & Landis. At the time, his physical appearance was described as tall, medium build, brown hair and brown eyes. He was recently married and listed his residence as 703 Kilbourne in Chicago.

*1918 Draft registration for William C. Maier (1879-1929).*

Maier had married Louisa A. Wiehle on June 17, 1917, each 38 years old at the time. In various historical records, Louisa is also listed as Louise, and her maiden name as Weihle, Wieble, and Wickle; all a result of software regognition systems. Born in Illinois, Louisa was the daughter of German immigrants Ernst W. Wiehle (1842-1922) and Susana Hennen (1853-1924). She was one of four surviving children born to the couple, with her siblings being William C. (b. 1875); Amelia (b. 1883) and Annie (b. 1887). In 1910 the US Census listed Louise as a dressmaker, still living with her parents and two of three siblings, William and Annie. At this time, her father and brother were working as harness makers.

Maier was also a German immigrant, one of many working at Sosman & Landis. He was born on February 10, 1879, in Stuttgart, Württemberg, Germany. His parents were Wilhelm Conrad Maier (b. 1848) and Eva Dorothea Gläser (also recorded as Dorothy Glaeser/Glaser). The couple was married in 1875 and emigrated to America with their infant son in 1880. Interestingly, Maier’s German birth and baptismal records indicate that he was christened Karl Willhelm Maier. Although his birth date, birthplace and the names of his parents remain consistent, his name was changed to William C. Meier in America; no junior added. This may have occurred upon entry to the United States, possibly starting as a typographical or registration error. Regardless, his new name, William C. Maier, would remain consistent for the remainder of his life, including his death record and obituary.

In 1899, Maier became a naturalized and later registered for the WWI draft, but I have yet to find any indication that he served in the military.

The 1920 US Federal Census also listed similar information for William C. Maier, but his official occupation was now “Stage Manager,” however still working in the Theatre Industry. Little is know of Maier after Sosman & Landis closed or his work in the 1920s.

Maier passed during the spring of 1929. His obituary was published in the “Chicago Tribune” on May 8 (page 45): MAIER – William C. Maier. Dearly beloved husband of Louise A., nee Wiehle, fond brother of Sophie Brown, Elizabeth Clavelle, and Charles Maier, Member of Union Park Lodge, No. 610, A.F. & A.M., Lincoln Park chapter, No. 177, R.A.M., St. Bernard Commandery, No. 35, K.T., Medinah Temple. Funeral Wednesday, May 8 at 2 P.M., from late residence, 1117 S. Mayfield-av. Interment Waldheim.”

*Sosman & Landis technical director, William C. Maier.*

After the passing of her husband, Louise’s brother, William C. Wiele, moved into their home. Lousia was still listed as the head of the household, remaining at her previous residence, 1117 Mayfield Ave. S.

Louise passed away June 30, 1956. She is buried next to her husband at Forest Home Cemetery in Forest Park, Illinois.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 32 – Charles H. Ritter

Charles H. Ritter worked at Sosman & Landis sporadically throughout the 1880s and 1890s. Like most of the artists on staff, he was also affiliated with other theaters and even ran his own business during this time. He was part of the Sosman & Landis labor pool that produced a massive amount of scenery during this time. Although a definitive start date remains unknown, he was working for the firm in 1885 and moved into the new studio in 1886.

On Feb. 28, 1886, Ritter’s portrait was included with those of David A. Strong, John H. Young, Walter W. Burridge, Thomas G. Moses, and Henry C. Tryon in the “Inter Ocean” Newspaper. All were featured in an article entitled “Up in the Clouds” (page 9). The article included “Brief Sketches of Chicagoans Prominent in Difficult and Exacting Art.” All of the scenic artists featured in the article were associated with the Sosman & Landis studio at the time.

*Portrait of Charles Ritter that accompanied the article.*

Under Ritter’s portrait was the caption:

“Chas. H. Ritter who is a present engaged at Hooley’s stand’s deservedly high in the profession, and has painted scenes at that house for the past five years. He was born in New York and studied with Richard Marston at the Union Square Theater for a period of eight years during the management of Shook and Palmer. He is the inventor of a foreground for the cylindrical panoramas, which adds much to the illusion by rendering the line between the foreground of properties as now used and the painted distance without possible detection.”

One month before the article appeared in the “Inter Ocean,” the new Sosman & Landis studio opened on South Clinton Street. Costing over $50,000, the new building remained the permanent home for firm until 1923. Moses and Strong were the first employees to work in the space during 1886; their project, a panorama. Of this new studio, Moses wrote, “Our new studio on Clinton Street was now ready for us and Mr. Strong and I started on a very interesting panorama of Grant’s trip around the world. 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.” Ritter was part of that force and had recently patented a structure for panoramas and dioramas.

Many of the scenic artists at Sosman & Landis were familiar with the painting and mechanics for both moving and stationary panoramas. Ritter applied for a patent for “Dioramic or Panoramic Structure” on September 19, 1885. His patent was filed on March 16, 1886. Here is the link, https://patents.google.com/patent/US337869A/en?q=panorama&before=priority:18870101&after=priority:18860101

This was a little difficult to track down as the recognition software erroneously translates his last name as Bitter, not Ritter.

The mid-1880s were an exciting time for scenic artists in Chicago. The first exhibition of watercolor paintings by American Scenic Artists were the feature for “The Scene Painters’ Show during the fall of 1885. During the spring of that year their exhibit was planned. On August 1, 1885, the “Inter Ocean” reported, “The scenic artists of this city held a meeting this week at Parker Galleries and determined to hold an exhibition and sale of works in distemper at those galleries early in September. Among the artists present were Ernest Albert, John Mezzovico, Walter Burridge, David A. Strong, John Howard Rogers, Henry Tryon, George Dayton, Thomas Moses, John Howell Wilson, H. E. Bucky, Charles Ritter, and others” (page 4).

Well-known scenic artists from all over the country descended on the Windy City and stayed. Sosman & Landis was able to hire the best and advertised this fact in their catalogues. By 1894, the firm advertised, “Our artists are selected with reference to their special abilities. Some excel in designing and painting drop curtains, others in landscapes, and others in interior scenes; so we divide out work that each is given what he can do best.” They streamlined the process by working toward the strengths of each employee. Ritter was especially well known for his exterior painting abilities.

Ritter was born in New York in approximately 1845. He was first listed as an artist in New York by 1867, residing at 128 Eldridge.

He first studied with Richard Marston at Shook & Palmer’s Union-Square Theater in 1871. Subsequent listing from 1875 to 1880 in the New York Directory continued to included Ritter at 69 Fourth Av. and then 202 B 16^th. He remained at the Union Square Theare for eight years before moving west to Chicago where he became associated with Hooley’s Theatre, the Grand Opera House and Sosman & Landis. By 1888, Ritter was prominently listed in the Chicago Directory as Hooley’s scenic artist, boarding at the Southern Hotel. His affiliation with Sosman & Landis was still mentioned when Ritter painted scenery in Indianapolis a decade later. The firm placed Ritter at the Grand in Indianapolis at the same time they placed Fred McGruder at the Pike Theatre in Cincinnati, Ohio. This was after the establishment of Sosman, Landis and Hunt, a theatrical management firm. They staffed their new theaters with some of their best scenic artists to paint scenery and other shows for the season. This was brilliant, as it also provided regional offices to efficiently produce scenery.

On November 2, 1898, the “Indianapolis Journal” reported,

“The man who had a prominent hand in the beautiful stage settings seen at the Grand during the past three weeks and who has, up to this time, been unknown here, C. H. Ritter. Mr. Ritter came from the studio of Sosman & Landis, at Chicago, six weeks ago, and will remain all winter at the Grand, getting up scenery for each production. While, of course, he has been furnished every week with an outline of just what is needed for the coming week’s play, the artistic portion of the painting is altogether his own. He has given ideas here and there, but, in the main, the beautiful scenery, which affords so much pleasure each week to the eye, can be credited to his brush. Mr. Ritter is said to be one of the best scenic artists in the country. For nine years he was the artist at the Union Square Theatre, New York, and for seven years was engaged in a similar capacity at Hooley’s Theatre, Chicago. He painted all of the stock scenery of the Grand Opera House, Chicago, and his more notable achievements for stars and road companies include all of the settings for Richard Mansfield’s production of “The First Violin,” Modjeska’s plays, Roland Reed’s plays, “The Devil’s Island” and the last act of “The Moth and the Flame,” which was seen at English’s last week. Sosman & Landis regard Mr. Ritter as one of the most capable scenic artists ever in their studio, and they selected him for the Indianapolis work with a view to giving this city the best possible results in the scenic line. Mr. Ritter, with the help of one assistant, gets up all the scenery for the stock company’s production” (page 5).

As with McGruder in Cincinnati, the artistic process was described in detail for an upcoming production. It was a brilliant marketing move. On March 29, 1899, the “Indianapolis News” reported:

“GRAND’S SCENE PAINTER.

A Visit to His Workshop in the Theater.

A Network of Ropes and Much Apparent Rubbish Turn Out to be Parts of an Ordinary System of Scenic Arrangement.

The beautiful scenery used at the Grand Opera House, which has become so much a feature of every play, Is the work of Charles H. Ritter, head of the scene-painting department of the stock company. To reach Mr. Ritter’s workshop, a long, narrow, rickety flight of stairs must be mounted. The place looks like a neglected attic, with rubbish scattered about In apparent confusion. A network of heavy ropes confuses the senses. The piles of “rubbish” are soon seen, however, to be articles useful in decorating a stage or portions of scenes, while the network of ropes become an orderly, systematic arrangement of “stays” and “guys” by which pieces of scenery are raised or lowered. Immediately behind this mass of cordage Is a platform, about five feet wide, supported by large cables at either end. On this narrow, swinging base, the men who paint the scenery that pleases comfortably-seated audiences nightly, are obliged to stand while they work. On each side of this platform Is a “paint-frame.” which Is also suspended by guide-ropes. One of these paint-frames is twenty feet high and forty feet long, while the other is twenty-six feet in bight and forty feet In length. These frames are the supporting background for canvas, while it Is being transformed, by the artist’s strokes. Into interior and exterior scenes of greater or less beauty, as the exigencies of the play demand. Bold relief and strong coloring being required for scenic effects, there is considerable difference between the Implements employed by a scene painter and those found in the studio of a landscape or portrait artist. Mr. Ritter and his two assistants, when seen at work, were laying on colors with brushes that resembled those used by house painters. When work on a scene Is first begun, the effect is as though the coloring were being literally daubed on the canvas, but in a short time a realistic picture takes form. The first step In painting a scene of any description is to “lay on” the background. After this is done, the details of the scene are blocked out, to be filled In later.

*Illustration that accompanied the article.*

Works by a “Plot.”

Mr. Ritter receives a “plot” each week of how the completed scene should appear, from Stage Manager Bellows, telling whether the scene is to be an Interior or an exterior, and, If an Interior effect, the locations of the various walls, doors, etc. In the “plot” reproduced, which is the scene shown in act 2 of “The Charity Ball,” a drop curtain at the rear of the stage Is called for, in which, through the windows of the room represented on the stage, the audience can see a street or park In winter— a street, housetops being shown. Having received this “plot,” Mr. Ritter then devises some form of “Interior” or “exterior.” If he Is to paint a room, he must get up appropriate designs to represent wallpaper and celling decorations. Understanding that he is to paint a winter scene for the background. he is left to choose what kind of scene it shall be. For interior settings he finds the sample-books issued by wallpaper manufacturers, for use by their traveling salesmen, very helpful in choosing designs for mural decorations. He also picks up Ideas from his dally observations. For example, he frequently sees an arch over the front of a private house that suggests to him a valuable Idea for a similar piece ml decorative work to be used on the stage.

Liquid paint is not used by scene painters. The coloring employed by them comes In the form of powder, contained In large paper sacks. When used this powder is mixed with “sizing” or glue, which performs the function of holding the color firmly to the canvas, and thus a quickly mixed liquid paint Is obtained.

Mr. Ritter’s Career.

Charles H. Ritter has been in the scene painting business all of his working life. He obtained his first Instruction at Shook & Palmer’s Union-Square Theater In 1871 from Richard Marston, one of the greatest scenic artists of that period. After remaining at the Union Square for nine years. Mr. Ritter went to Hooley, of Chicago. He remained there seven years, when the rapid development of traveling companies made unnecessary the employment of a local scenic artist. Mr. Ritter then opened a studio in the Grand Opera House at Chicago. While thus engaged, he did work for prominent people in the theatrical world, and assisted In the production of many plays. Rice and Dixey engaged him to paint the scenery for their “Adonis.” Robson and Crane had him furnish the settings for “The Two Dromio’s.” Mr. Ritter cherishes a commendatory letter which he received from Stuart Robson, In regard to the scenes painted for this play. Richard Mansfield drew on Mr. Ritter for some of the scenery in “The First Violin.” Perhaps the most recent notable work Mr. Ritter has executed previous to his engagement with the Grand stock company, was the scenery employed by James H. Wallhick In producing “Devil’s Island,” which was seen at English’s Opera House recently” (page 11).

By 1910, Ritter was living in New York. The 1910 Census still listed Ritter as an artist in the painting industry, now 65 yrs. old. The report clearly lists him as divorced (“D”), and living with fellow artist James Wilson on West 24^th Street. James Howell Wilson had also worked in Chicago and participated in the planning of the 1885 Scene Painters show. Their participation was mention by John Moran in his article about the Scene Painter’s Show for “Art Union, a Monthly Magazine of Art” in 1885 (Vol. 2, No. 4,p. 85): “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Masha, C. Better, Chas. Ritter, H. Buhler and John Howell Wilson, whose “Country Road ‘76” is especially fresh, verdurous and bright. It is to be hoped that this is only the forerunner of many like exhibitions and it marks a decided growth in the national art spirit.”

I have yet to find any specifics concerning Ritter’s birth, marriage or death. There were many men named Charles H. Ritter who lived at this time; the majority remained farmers their entire lives.

*Clipping of Charles H. Ritter pasted in the scrapbook of Thomas G. Moses.*

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 31 – Albert B. Mason

Albert B. Mason was another Sosman & Landis scenic artist who worked at the studio for approximately eight years, from 1887 to 1895. Mason was added to the studio staff shortly after the main studio was constructed in 1886.

Walking home from the studio on February 9, 1895, Mason was assaulted and robbed. During the attack, Mason’s skull was fractured, and he died shortly thereafter from an arterial hemorrhage. In regard to his location, the Sosman & Landis studio was located at 236 South Clinton Street and Mason lived only a short distance away at 130 West Van Buren street. The area was well known as a rough neighborhood.

At the time of his passing, Mason was working on a drop curtain for the newly constructed Auditorium Theatre in Newark, Ohio.

The Auditorium in Newark, Ohio, was constructed between 1894 and 1895.

On February 17, 1895, the “Newark Daily Advocate” published included an article entitled, “The Artist Who Painted the Auditorium’s Drop Curtain, Murdered in Chicago” (“Newark Daily Advocate,” 17 Feb 1895, page 1).

Here is the article in its entirety:

“The drop curtain for the Memorial auditorium arrived from Chicago yesterday. The delay in sending the curtain was due to an unfortunate occurrence in Chicago a few days ago. Albert B. Mason, one of the best artists in the employ of Sosman & Landis, was engaged in painting the curtain and on his return home from work he was attacked by footpads [nineteenth-century term for robber or thief], receiving injuries from which he died. Another skillful artist was secured, and the curtain finished as soon as possible. Concerning the murder of Mr. Mason a Chicago paper says: Albert B. Mason, scenic artist, lies dead at his home, the result of wounds received in a fight with two thugs who assaulted and tried to rob him. On the way home when crossing the alley between Jefferson and Desplaines streets he was jumped on by thieves and knocked down. The blows and fall dazed him for a moment, but he quickly regained his feet and made for the two men to fight them off. But they followed up their attack, one on either side, hitting him in the face and neck. He was a big, strong man and his assailants were also of large build as well as desperate characters. He made a brave fight, but they were getting the better of him. As quickly as he could Mr. Mason drew his revolver. As shots were heard it is supposed he commenced firing, thinking this would cause the villains to run away. Instead, however, they wrested the weapon from him, and while one held his arms the other pounded him over the head with it until he fell unconscious to the ground; then they took his watch and ran. Two policemen captured them a few moments later. With the assistance of those who came to his rescue, Mr. Mason, stunned and bleeding, managed to get home and send a doctor. It was found that he had been wounded on the top of his head, from the effects of which he died at 1 o’clock yesterday morning. It is said to be a clear case of murder and the murderers are held at Desplaines Street Station. The police know them as O’Brien and Lyons, two of he toughest of the many tough footpads that infest the South Clinton, Desplaines, and Halsted street districts. They were arrested by Patrolmen Hickey and Hoffman, of the Desplaines Station force shortly after their attempt to hold up Mr. Mason. The latter appeared at the station and identified his assailants. Albert A. Mason has been painting theatrical scenery for the firm Sosman & Landis, No. 236 South Clinton street, seven of eight years and was one of their best artists.”

Harry Lyons, alias “Butch” Lyons and Cornelius O’Brien were apprehended after the attack and held without bail. In March of that year the Grand Jury indicted both on a charge of murder. Lyons was given a death sentence, and O’Brien received a sentence of twenty years in prison. Lyons was hanged at the County jail that fall. An article on October 12, 1895, in the “Chicago Tribune,” described all of the grizzly details of the murder, court case, and execution (page 14).

I have located very information about this relatively unknown Sosman & Landis artist.

Mason was born in Michigan in 1858. He was the son of Canadian-born Stephen Mason (1811-?) and Laura Green Mason (1823-1907). His mother’s family hailed from Pennsylvania. His siblings were Mary D. Mason Harrington (1838-1918), Harry Mason (1838-918), Stephen Mason (1840-1873), Bertha Sarah Mason Homser (1851-1927), George Mason (1853-1944), Harriet Mason (1856-?), James Mason (1861-?), Emma Elenore Mason Fox (1864-1950) and Eunice Mason (1864-1878).

By 1860, 2-yrs.-old Albert Mason was living with his mother and three siblings in Blissfield, Lenawee County, Michigan. The Mason household included Laura (37 yrs. old), Elizabeth (14 yrs. old), Sarah (9 yrs. old), George (7 yrs. old) and Albert (2 yrs. old). All three of Albert’s siblings were born in Ohio, whereas Albert was born in Michigan. His mother was working as a weaver, listing her birthplace as Pennsylvania.

Ten years later, the Mason family was still living in Blissfield. The 1870 US Federal Census did not list Albert’s father as part of the household, only his mother (46 yrs.) and siblings, George (17 yrs.), James (9 yrs.) and Emily (5 yrs.). George and Albert were listed as working in a “stage factory.”.

By the age of twenty-one, Mason was living in Toledo, Ohio. The 1879 City Directory listed him as a painter and boarding with his mother. His brother James Mason was also listed as a painter, living in the same household. Their mother was also in the directory and listed as the widow of Stephen Mason, residing at “s s Germania 3 e of Heston.” In 1879, Mason married Ellen O’Neil in Monroe, Michigan.

By 1880, 22-yrs.-old Mason was living with his wife “Ella” in Defiance. The couple lived on Harrison St. with Mason’s younger sister, Emma. It remains unclear when or why Mason moved to Chicago, but he began working for Sosman & Landis between 1887 and 1888.

His death was reported in “The Evening News” of Defiance, Ohio (page 8): “Albert B. Mason, a respected citizen assaulted by two thugs. He is shot twice in head-Notorious Butch Lyons and Con O’Brien are remanded to jail.

(Chicago Mail, Feb. 13, 1895)

“Albert B. Mason, one of our oldest and most valued employes lies dead at his home at 130 West Van Buren street, form the effects of an assault by two thugs who robbed, beat and shot him last Saturday evening on Van Buren Street, near Jefferson. So wrote Sosman & Landis, whose scene painting studio is 236 and 238 South Clinton street, to the Mail this morning. At the very moment that the letter was being written, Harry Lyons, alias ‘Butch’ Lyons, and John O’Brien, alias Con O’Brien, were being remanded back to jail at the Desplaines street police court without bail to await the action of the coroner’s jury tomorrow morning, when it views the dead body of Albert B. Mason. The latter died at 11 o’clock this morning from the effects of an assault which Butch Lyons and Conb O’Brien are being charged with having made upon the defenseless man.

Happened four days ago.

Mason was held up and robbed Saturday night at 9:30 on Van Buren by Lyons and O’Brien, who stepped out of an alley between Jefferson and Desplaines streets as he was passing and assaulted him.

Mason drew a revolver and Lyons is said to have wrenched it from his hands and fired two shots. One of the bullets grazed his forehead. Mason was also struck on the head with the butt of the pistol. As Lyons and O’Brien started away they ran into officers Hickey and Hoffman, of the Desplaines street station, who had been attracted by the shots. The pair were locked up at the station and Mason was taken home.

Mason appeared in court Monday morning with his head bandaged. He identified Lyons and O’Brien as the robbers. They were placed under bonds in the sum of $4,400. This morning as the men were arraigned again, Capt. Gibbons brought in word that Mason was dead. The wound had not been considered serious until morning when a blood vessel burst in his head, due, it was reported, to the injuries, and the doctor stated that he could not live.

At the coroner’s inquest the jury brought the verdict of willful murder against Lyons and O’Brien and remanded them back to jail without bail awaiting the action of the grand jury.”

Albert’s mother died on March 19, 1907, and was buried in Lambertville Cemetery, Lambertville, Monroe County, Michigan. Sadly, the cemetery records were destroyed in a fire. It is possible that Albert was also buried in Lambertville Cemetery.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 30 – J. C. Blaine

J. C. Blaine is part of the prequel to the history of Sosman & Landis. He worked as a scenic artist and stage carpenter for J. S. Sosman, and was later associated with the firm in the 1890s. I posted new information to my blog on June 4, 2023; the link is below. Here is what I originally wrote in June 2021:

“I first came across Blaine’s name in an article about Sosman in 1875. The two delivered scenery to Semon’s Opera House that year. Afterwards, they painted a billboard featuring local businesses. Their work was published in the “Fairfield Ledger” on October 28, 1875:

“Very Pretty.- We mean that bulletin board painted by Messrs. Sosman & Blain, the artists who painted the scenery for the new Opera House. The bulletin board is about 10×20 feet in size, and contains the cards of a number of enterprising business men. It will be put up on the southeast corner of the Park, and will prove a handsome and attractive advertisement. The work is a credit to Messrs. Sosman & Blain.”

*From the* Fairfield Ledger, *Oct. 28, 1875.*

A few weeks later their work was again mentioned in an article entitled “Business Chart.” On November 4, 1875, the “Fairfield Ledger” reported, “The most beautiful and attractive business chart ever seen in Fairfield is the one now on the north side of the P. O. building. In size it is 18×16 feet, and contains the business cards of about twenty of Fairfield’s business men. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blaine, who so handsomely painted the scenery in Semon’s Opera House.”

I want to take a moment to examine Semon’s Opera House, as it is representative of so many stages at that time. The new theater was described in detail on October 7, 1875, in the “Fairfield Ledger” (page 6). The article reported:

“The stage is 44×20 in size, ample space being given for dressing rooms. There are two entrances to the stage from the audience and one by the outside stairway. It is circular in front, and the footlights, of which there are about 15, give plenty of light. The scenery was painted by Mr. J. S. Sosman of McComb [sic.], Ills., and bears evidence of the work of a master painter, and a man skilled in his profession. It consists of a magnificent drop curtain, representing the Bay of Naples. At the right and in the foreground of the scene is a ruined arch covered with ivy, the whole being surrounded by a beautiful Etruscan border sixteen inches wide. The parlor scene is a representation of gorgeous panel work, and the flat is supplied with practical doors on either side which are beautiful columns with handsome arches extending above the doors and resting upon the pilasters. The street scene presents a brick residence and a garden in the foreground, while in the distance appear business houses, churches, residences, &c. In the wood scene is a heavy wood, with a beautiful lake in the perspective. The kitchen shows us a dilapidated room with rough plastering and a number of holes in the walls which have a natural appearance, and various articles of household use. At the sides of the drop curtains is more panel work, the entire curtain being surmounted with rich crimson and garnet drapery, giving a perfect finish. The drawing is on canvas fastened on the flats which are 10×16, sliding in grooves, and the wings are 4×10 in size. The painting is a great credit to the artist, and all pronounce Mr. Sosman a painter of ability.” I am going to pause here for comment; this is almost identical to what was initially used at the Tabor Opera House in Leadville, Colorado. It is even the exact same size of wings and shutters.

Between 1875 and 1876, Sosman met and partnered with Perry Landis, future co-founder of Sosman & Landis Scene Painting Studio. Both had served in the Union Army and then ventured west during the post-war years, with Sosman settling in Macomb, Illinois, and Landis settling in Fairfield, Iowa. Neither was immediately drawn to the theater, with each testing the waters of another profession. Sosman’s scenic art career did not even commence until 1873. He came to it quite late in his career, when he assisted T. B. Harrison, a Chicago-based scenic artist who was hired to paint scenery for the New Chandler’s Opera House in Macomb, Illinois. At the time, Sosman was twenty-eight years old. The majority of scenic artists began their apprenticeships at the age of sixteen.

Their probable meeting was in Fairfield, Iowa, when Sosman was painting the scenery for Semon’s Opera House, During this time, Landis returned to Fairfield after another extended stay in Denver, Colorado. On August 19, 1875, the “Fairfield Ledger” announced, “Perry Landis is with us again – and from Colorado” (page 5). By 1876. Sosman & Landis were traveling together, while making their permanent home in Fairfield. On June 11, 1876, the “Fairfield Ledger” announced, “Perry Landis and J. S. Sosman spent a few days in the city last week” (page 3). The two were remembered by Fairfield residents them long after they moved the Chicago in 1879.

Landis had previously lived in Fairfield before venturing further west to Colorado. On March 18, 1875, the “Fairfield Ledger” reported, “Perry Landis has been spending a few days with his many friends in Fairfield…Davey Beck leaves for Denver to-day in company with Perry Landis. He goes to remain some time” (page 5). Even after settling in Denver, Landis continued to update his friends and family about the western scenery and opportunities. He submitted articles to the “Fairfield Ledger,” occasionally working as a newspaper correspondent for various cities.

Meanwhile, Sosman worked as an itinerant scenic artist and began making a name for himself throughout the region. Years later, the town remembered their beginnings in Fairfield. On June 20, 1894, the “Fairfield Ledger” recalled the pair living in town, reporting, “Sosman & Landis, the scenic artist, both of whom formerly resided in this city, are the lessees and managers of the Masonic Temple Observatory and Roof Garden, Chicago. This twenty-one-story building is one of the wonders of the metropolis of the west, and its roof affords a view superior to that from any other point in the city. Messrs. Sosman & Landis have added an electric theater, similar to that presented at the World’s Fair, and have ready for reproduction many of the interesting sights of the great exposition. Their place is one of the attractions of the city.”

Their previous residency in Fairfield was again mentioned the following year to when a new theater was being planned in Washington City. On Jan. 2, 1895, the “Fairfield Ledger” reported, “Western capitalists are here to build a large and handsome theater at Washington City. Sosman & Landis of Chicago, both former residents of Fairfield, are among the projectors of the enterprise. These gentlemen are said to have the largest scene painting studio in the world…” (page 3).

In the beginning, Sosman & Landis accepted any project that came their way, crisscrossing the country from one city to another. By 1879, the two had secured enough funding to open a scenic studio in Chicago. They placed advertisements for mail-order scenery in newspapers across the country, while maintaining a permanent studio space. They also assembled crews to work in both Chicago, New York and many other cities.

Like Sosman, J. C. Blaine worked as a decorative painter and a stage carpenter. He traveled from town to town throughout the Midwest, completing a variety of projects. On July 5, 1883, the “Independence-Journal” of Ottawa, Kansas, mentioned Blaine’s ornamental work. The article reported, “Have you noticed the water color decoration in the parlors of the Centennial House? This work was done by J. C. Blaine. Notice it” (page 3). Blaine remained in the area and by 1907 was listed in the Painter and Paperhangers section of the Ottawa City Directory. At the time, his place of business was listed as 1212 E. 7^th.

By the 1890s, Blaine represented the Sosman & Landis studio, working as both a scenic artist and stage carpenter for the firm. On October 9, 1891, the “Salina Weekly News” reported, “Scenery Here. The new scenery for the Salina Opera House is here. It is elegant in design and finish. Mr. J. C. Blaine of the house of Sosman & Landis is also here as stage carpenter and at work. He was given notice while at Sulphur Springs, Arkansas and came on immediately. The work will require one week to finish as the plans for carpenter work in the hanging did not come in time for Contractor Gilbert to complete before the arrival of Mr. Blain. The chairs are elegant and comfortable and are now being lined upon the floor in a large Semi-circle” (page 4).

I have uncovered very little about Blain’s personal history to date, other than that he moved west to California by 1910, where he continued to work as a painter in National City with James C. Blaine. It remains unclear whether James G. was a brother or son.” —

Here is the updated post about Joseph C. Blaine and his son James G. Blaine:

Sosman & Landis, Shaping the Landscape of American Theatre: Sosman & Blain, 1875

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 29 – John Toner

I am back from a two-month break after spraining both wrists on May 1, 2021. I panicked a bit, wondering if it were a career ending injury, so I took taking my sweet time recovering. Although I would like to think that I truly relaxed and enjoyed the break from constant research and writing, I really went a bit stir crazy. Yes, I still worked on projects, painted small things, traveled and carefully gardened, but my wrists just couldn’t handle the daily strained of typing and maneuvering a mouse. I am doing much better, but I am a returning to blog postings at a much slower pace.

I return to Sosman & Landis Scene Painting Studio staff biographies with employee No. 29 – John P. Toner.

*Sosman & Landis Studio, c. 1910. From the Theatre Collection of Wendy Waszut-Barrett.*

Toner worked as a scenic artist at Sosman & Landis around 1910. The Census that year listed Toner as a Chicago scenic artist. This places him in the right place at the right time. Last month, I even purchased a photograph of the studio building from 1910. That year, Toner was thirty-two years old and lodging at 2832 Indiana Avenue, just south of the Sosman & Landis studio. Other information in the 1910 census identified Toner’s birthplace as “Ire-England” in 1878. He emigrated to the US in 1889.

By 1928, Toner was mentioned fellow scenic artist Wat Williams, another former Sosman & Landis employee. Williams worked at Sosman & Landis between 1909-1916. In 1909, Thomas G. Moses wrote, “Wat Williams came into the studio and worked as my assistant. Pretty good, but very careless.” There is no indication as to when Toner was hired, or how long he worked alongside Williams in the studio. However, their employment at Sosman & Landis was mentioned many years later. Toner, like Williams, moved to New York in the 19-teens, where he continued to work as a scenic artist and became involved in the United Scenic Artists Association.

On March 1, 1928, “The Scenic Artist” published an article entitled “Wat Williams Speaking” (Vol. 1, No. 11, page 1). The newsletter was described as the “Official organ of the United Scenic Artists Association,” with the publication’s headquarters at 161 West 44th Street, New York City.

Below is Williams mention of Toner when he discussed an upcoming national conference in 1928. Here is the excerpt:

“My Dear Editor:

You are going on to the first coast to coast conference with Bro. Toner: John Toner and I used to work for the well-known Sosman & Landis of the City of Chicago where you will meet.”

Williams’ letter to the Editor continued, “You were telling me the other day of your experience in Chicago (in the day of the wooden sidewalk) and your experience as an impresario for real bottled beer. Beside the Chicago boys you will probably, I hope, have Truman Curtis, the president of the Los Angeles Local, as one of the delegates. Truman was my first art patron, having bought a couple of my studies when we were studying at ‘Smith’s Art Academy.’ Truman got me my first job in a scene painting place (don’t hold it against him) with Walter Burridge, then in Chicago. This goes back about a quarter of a century. At that time the urge to form some organization of the scene painter was dreamed of but that it should extend from coast to coast was not thought of. I should like you to bring attention to the fact preached to us by Walter Burridge that it is not simply a job of scenery; but that the main purpose of the artist in the theatre is a service problem; that of making the stage ensemble a work of art as truly as any picture of designs. The second thought would be to bring to the attention of the conference the desirability of establishing Examining Committees to stop the entry of people who will finally be a drag to the organization and themselves. These two problems are just as alive now as a quarter of a century ago.

Can I tack on a little about due collection? Nels Astner and myself are planning a drive to have our members see the desirability of paying their dues three months or more in advance instead of quarterly in arrears. It will not only lighten the burden of housekeeping but stop the damage that suspension brings to our members. On each month a third of our members are notified that they will be suspended if payment is not made at the end of the month. I believe that they will really see that the advance payment plan is desirable for all concerned.

I would like to make a personal appeal to our members to make their payments direct to the Financial Secretary of mail it, addressed to him. The habit of giving it to anyone else, especially without forwarding book at the same time, may cause everyone connected with it loss of money as well as extra work for those, already busy up to their neck.

We are making no new laws – simply enforcing those now on the books. Laws are not flexible or open to interpretation to suit individual cases – by officers less than anyone. Individual cases needing special construction will be laid before the Executive Board and a member’s chance for serious and just consideration of his appeal will not be depending on his nearness to the local. If you don’t advise us, we do not know your troubles.”

A follow-up article was published in the “The Scenic Artist” that April (No. 12, page 1), and was entitled “The Chicago Conference.” It reported, “The report of the Chicago and New York delegates to the Scenic Artists Conference in Chicago held at Chicago on the last three days of last month has been read to their several members and approved by them.” Toner was a New York delegate at the time.

The article continued, “They recommendations are clear, concise and easy to understand.

It may be hoped that every scenic artist regardless of what special line he follows, will see the advantage of a uniform basis upon which we as a craft may sell our services.

By a commonly accepted definition of the term stock, production and presentation, we shall without causing the slightest flurry, neither in our own of the producer’s ranks, have arrived at a definite way of knowing how to classify what a member is doing. Not what he must do – or must not do; but simply made it possible to really know whether work – of any sort – is being done according to Union rules or not.

Productions must of course be done under rules laid down for a Studio – let the Studio be permanent or temporary – old established or primitive; no one presumes to dictate as to the shape or nature of the building. The rules concerning Studios are as before as regards to charge-man, artist and helpers. Scenery traveling from place to place is of course a production: – or else what is?

Members running Studios shall not contract for Stock in such places as our rules clearly state that an artist shall be employed on contract.

Stock, as far as our craft is concerned, is scenery built and painted for a theatre to which a member is under contract.

The salary of the artist is stipulated with that specific clause being clearly understood.

As before, an artist under stock contract shall – by organization – be required to limit his work to the theatre he is employed in, and shall not engage in outside contracting or production work during the time of such employment.

Presentations may be done by one artist if necessary, provided it is only for one house.

A member may design and contract for as many presentation houses as he can handle provided his work is carried on according to the rules of the association. A rising scale of pay based on equity and economy was agreed on and a field very apt to run wild, and for that matter pretty difficult to control properly, has been defined.

Every angle of the craft was given close attention and where necessary thoroughly discussed. The object of the conference was not to inject a lot of new kinks, but for the explicit purpose of arriving at a uniform wording and interpretation of all rules, by-laws, contracts etc. thereby making the first great step toward a unification of the entire craft. The ambition of single members to rise and soar is fine; but it should have a proper take-off. Too often the member who throws his lot with the side to whom he has to look for monetary returns makes a fatal mistake. Agreed that he has the right to conduct business, even to destroy himself; but he has no right to jeopardize the livelihood of fellow members. It would be better all-around if he should lend all his strength to his organization and help to convince purchasers of our work that the best way is the cheapest after all.

There is no call for individual members of our craft to make frantic efforts to cheapen either our standards or our product. The cheapening of scenic art may be safely left to those who are not members of our craft.

The rules are there. The rules are simple; it only remains with the members to take advantage of them.”

In 1928, Toner was listed as one of the New York delegates with other noted individuals including: Chas. E. Lessing, NY; Orville Lyman; Chicago, Peter Donegan, Chicago; Herman Bartels, Chicago; and G. VC. Fisher, New York.

Tracking down any information pertaining to Toner has been quite a challenge, despite mt break. The problem is that there are too many John Toner’s who worked as painters, whether they were in the housing or automotive industries. There are just too many likely candidates for me to narrow my focus down to one individual. If I am ever able to refine my search, I will update this post.

It’s good to be back.