In 1885, Karl Boettger was listed as a Sosman & Landis employee, included in a list of employees who made donations that summer to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” listed Boettger as one of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). Karl Boettger donated $1.
Born in 1864, Boettger emigrated from Germany 1883. Boettger sailed from Antwerp aboard the Belgenland. On April 20, he arrived in New York. The ship was part of the Red Star shipping line, measuring 403’ x 40’ with compound engines, four masts, and an iron hull. In many ways, I know more about the ship that transported Boettger than Boettger himself.
After arriving in the United States, Boettger settled in Chicago and made quick in-roads into the midwestern scene-painting community. In America, Karl soon went by Carl Boettger, anglicizing his first name. By the fall of 1885, he was even listed as part of the Scene Painter’s show, mentioned in the “Art Union” article by John Moran: “…works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, Chas. Ritter, H. Buhler and John Howell Wilson.”
Within three years if his arrival in the United States, Boettger had secured employment, exhibited his fine artworks, and married. On July 10, 1886, Boettger married another German immigrant, Katharine “Katie” M. Rosener. Katherine was born on May 6, 1866, emigrating with her family in 1872.
In 1887, Boettger was living at 160 Crystal, Chicago, listed as a painter…and that is all that I have uncovered about his career!
Listing for Carl Boettger in the 1887 Chicago City Directory.
Boettger passed away on Dec. 4, 1888, just a few months before the birth of his first-born child, Charlotte.
His obituary was published on Dec. 6, 1888, in the “Inter Ocean” –
“BOETTGER – Dec. 4, at No 84 Crystal St, Carl, husband of Kate Boettger, aged 25 years, 3 months, and 4 days. Funeral to-day by carriages to Graceland” (page 8). Graceland Cemetery records list him as “Carl Boetocher, died 12/4/1888.” He is buried in Block 12, grave 451. This is the same person, but you can see how hard it is to trace the lives of some individuals. Many of the difficulties stem from a combination of poor handwriting, human error, and computer software that exacerbates misspellings. I have yet to locate a death certificate or newspaper article that identifies any cause of death. Boettger was only 25 yrs. old when he passed away.
Gravesite of Carl Boettger at Graceland Cemetery in Chicago, Illinois.
Boettger’s daughter, Charlotte P. Boettger, was born on Feb. 13, 1889.
His wife, Kate Boettger, remarried the next year, on May 3, 1890. Her second husband was William S. Bird, a mechanic and gas fitter. Bird was also an immigrant, born in England about 1852. The couple went on to celebrate the birth of two children.
In 1900, the Birds were living at 110 Stewart Avenue in Chicago and their household included: William (45), Katherine (33), Charlotte (11) and Beatrice (8).
Carl’s only child, Charlotte, was married to Frederick J. Nathanson on June 9, 1906; she was 17 yrs. old at the time. Frederick worked as a theatre musician and continued to do so for the next several years. The 1910 census listed Charlotte and Fred Nathanson living with their two children, Mildred D. (3 yrs.) and Richard W. (8 months) at 6800 Union Avenue; the same address as her mother, stepfather, and half-sister Beatrice. Beatrice eventually married Daniel Joseph Kelly, a mechanic who initially worked for Bennet & Davos Co., later becoming primarily a chauffeur. Beatrice and Daniel Kelly continue to live with Kate Bird at 6740 Sangamon. William S. Bird died on March 29, 1918. In 1920, the US Federal Census again listed the Nathanson and Bird families living at 6740 Sangamon in Chicago. The extended family continued to live in Chicago, at Sangamon, until the 1930s; Fred Nathanson was still working as a musician.
Kate Boettger Bord passed away in 1928 and is buried next to her second husband, William, at Evergreen Cemetery.
On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. For an understanding of the donations listed below, $1.00 in 1885 is equivalent in purchasing power to about $31.00 today.
The list of Sosman & Landis employees who made donations included:
Sosman & Landis $10.00
Thomas G. Moses $2.00
Henry J. Buhler $2.00
David A. Strong $1.00
George W. Dayton $1.00
J. C. Evans $1.00
Karl Boettger $1.00
Frank E. Gates $1.00
John Moore $1.00
Edward Loitz $1.00
C. W. Carey $1.00
C. M. Crouse $1.00
Frank Lewis $1.00
William Martin $0.50
Frank Ford $0.50
B. P. Lee $0.50
Julius Fehrman $0.50
Fred Miller $0.50
Hugo Schoessling $0.50
Mrs. J. S. Curran $0.50
Ed Donnigan $0.25
Kirke W. Moses $0.25
This post is about J. C. Evans who donated $1 to the Grant Memorial Fund in 1885.
I began researching Evans while waiting for a plane in the Minneapolis airport on January 9, 2023. My destination was Galveston, Texas. I had been hired by the Galveston Scottish Rite to examine the contents of their scenery collection. You could not have imagined my surprised when I began to track down the scenic art career of J. C. Evans (1841-1915), as he worked in Galveston, c. 1867-1880.
Advertisement placed by J. C. Evans in 1873.
The initials “J. C.” were for John Charles, but many people in Galveston called him “Charley.” It was a challenge tracking down the life and career of Evans as his ethnicity continued to shift. Even the end of his life presented more questions than answers.
There are two entries in the Cook County Illinois Death Index for John Evans; this is the same person, buried in the same cemetery. One entry lists his birthplace as Italy: the other lists Cuba. I encountered a very similar issue with the birthplace of Evans and his parents over the course of decades.
The 1880 US Federal census lists Evans mother as Spanish, with his father hailing from England. The 1900 Census indicates that Evans was born at sea, with his father from Spain, and his mother from England. The 1910 census lists his father as Spanish, and his mother from New York.
Spain – Cuba – Italy. I began to wonder if he was passing.
I took a deep dive into Evans’ life, examining name changes, directory listings, travels, and employment, all through the lens of enslaved Texans and the Jim Crow South. I traced the trail of Evans; male born in Texas, c. 1840-1841. I think that I located Evans and his family in East Texas. I certainly learned quite a bit about the region.
If I have tracked the correct J. C. Evans…eventual scenic artist at Sosman & Landis in 1885…here is his story:
As a young man, John C. Evans pops up in the small town of Angelina. You can’t find it now, as 1893 the town’s name was changed from Angelina to Durst. Angelina was in Angelina County, the only Texas county named after a woman. For geographical context, Angelina County lies in the angle between the Neches and Angelina Rivers, two waterways that provided access to Beaumont and other coast ports. Angelina County was also the ONLY East Texas County, and one of a select few throughout the state, that did NOT vote for secession in 1861.
The town of Angelina was settled before to the Civil War, with a post office opening in 1855. In 1850, the population of Angelina reached 1,165 with 196 enslaved residents, although I located only 130 on slave schedules for the county that year. The following slave owners were listed in the slave schedules filed in Angelina County: Solomon Wolfe (50 slaves), L. L. Ewing (35 slaves), Sammie Needham (9 slaves), John F. Robert (3 slaves), William Harrington (7 slaves), John L. Boman, (20 slaves), Gedas Weeks (4 slaves), W. W. Hankes (10 slaves), George R McClay (3 slaves), George Massingill (2 slaves), Gael Hill (6 slaves), Nathan Hicken (4 slaves), Mary Walker (4 slaves), Sarah Goodwin (2 slaves), Camelia Dalerhid (5 slaves), Ephraim Anderson (2 slaves), John Sessions (3 slaves), B Shelt (1 slave), S. Nearn (1 slave), James Ashworth (1 slave), L. F. McFaden (1 slave), A Almirall (7 slaves), Enoch Needham (3 slaves), Jameel Needham (14 slaves), E. H. Jennis (1 slave).
By 1859, the number of enslaved individuals in the Angelina County was purported to be 427, with an estimated value of $269,550. During this time, the cotton industry in the area occupied about 2,048 acres in the county land. Cotton and other goods were floated down the river. In addition to plantation owners, there were many very poor farmers who owned no slaves.
There are a few things to consider about the county of Angelina and the State of Texas between Evans birth in 1840-1841 and his work as a scenic artist by the 1860s. The 1850 and 1860 US Federal Census only reported the names of free black people.
This is only a very small portion of the population as so much of the black population was enslaved. Mixed-race cohabitation was also illegal in many areas and meant that census data may record a black individual as white, and vice versa. In many cases, passing necessitated that individuals physically distance themselves from family members (parents, spouses or children) who could not pass for white. It appears that John C. Evans left his family at the age of 18 and never returned. He headed to Galveston where he began working as a sign painter.
Galveston remained the only major port in Confederate hands at the end of the Civil War. In fact, on June 19, 1865, 2,000 US troops arrived in Galveston Bay, announcing that enslaved people in the state were free by executive decree. At the time, there were approximately 250,000 enslaved people in the State of Texas. Keep in mind that the Emancipation Proclamation was signed on Jan. 1, 1863. Juneteenth is the federal holiday commemorating the abolition of slavery in Texas on June 19, 1865.
This was the world where Evans was born, raised, and began his career as an artist.
Evans was the eldest son of John Evans and Mary H. Evans. His father was listed as a 37-yrs.-old carpenter in the 1850 Census, born in Mississippi. His mother Mary was listed as born in Tennessee. They were purportedly married in 1840 and celebrated the birth of their first child (J. C. Evans) in Texas the following year. According to 1850 and 1860 census reports, all of their ten children were born in Texas, although no county is specified.
The 1860 census listed an 18 yrs. old J. C. Evans as part of the Evans household. Other members included following Evans family members living in Angelina: Mary H. Evans (36), Sarah (16), William (14), Joel H (12), Polly (11), Marion (9), Latimore (7), Benedict (5), and Alice (3). Evans father had died earlier that year, but he may have left well before that. Interestingly, one family tree at www.ancestry.com lists a second spouse for John Evans Sr. – Citha Ann Smith, citing a marriage in 1854. However, I have only located only one marriage for Citha Ann Smith that same years to S. M. Tucker in Cherokee County, Texas; Cherokee County is directly northwest of Angelina County. Everything is a bit too close to completely discount this possible connection, especially since S. M. Tucker was living in Angelina, Texas, in 1850. I have encountered too many illegitimate children and bigamists to believe everything in a census report, especially prior to the Emancipation Proclamation.
18 -yrs.-old John C. Evans listed in the 1860 Census Report, Angelina, Texas.
There were numerous slave owners in the East Texas region with the last name of Evans, individuals who owned children, many listed as “mulatto,” sharing the same age as J. C. Evans, scenic artist. I have no concrete evidence to verify or disprove Evans’ race, especially when considering how enslaved people listed in slave schedules. I will say, there is something that hits you to the core when examining slave schedules; seeing thousands of human beings who are only identified by age, gender, color, and owner. This topic is central to American History, and any attempt to diminish its lasting legacy reveals an underlying desire to repeat it.
Portion of a slave schedule for Angelina County, Texas, 1850.
That being said, Evans’ theatrical endeavors made news by the fall of 1863 when he managed the Southern Dramatic Association. Keep in mind that the Civil War started April 12, 1861, and ended May 13, 1865. Evans first appears in a Houston newspaper on October 23, 1863.
Houston’s “Tri-Weekly Telegraph” published the following announcement:
“Notice. – The Southern Dramatic Association take pleasure in announcing to the ladies and gentlemen of this city and vicinity, that they have employed an efficient Police force to preserve strict order. Polite ushers will be in attendance to seat ladies. Smoking and other nuisances will be strictly prohibited. -J.C. Evans, manager” (page 1). On September 16, 1863, $3380 was raised in Houston by the Southern Dramatic Association to present silver battle medals. They were created from Silver dollars and the only Confederate wartime issued battle medals. These medals commemorated the Battle of Sabine Pass that allowed the Confederacy to maintain control of the Texas coastline for the duration of the Civil War. Here is a link to learn more about the Battle of Sabine Pass and the medals presented by the Southern Dramatic Association: (http://www.reaganscvcamp.org/Newsletters/Volume_8_Issue_7.pdf)
Perkin’s Hall became the home for the Southern Dramatic Association during the war. On January 28, 1864, the “Tri-Weekly Telegraph” reported, “The Southern Dramatic Association will play the thrilling drama called the ‘Guerilla Chief’ again this evening, at Perkins’ Hall. The play is founded on facts that have taken place during this war in Virginia and are of the most truthful and thrilling character. The Hall has been crowded nightly by delighted audiences, and all who have attended pronounce it the best play ever produced on the stage in this city. Mr. John English, the unrivaled actor, and Mrs. Sala sustain the leading characters. If our reader wishes to witness an interesting play, they should not fail to attend” (page 2)
He next appears as a theatre performer on May 2, 1866 (page 4). Mr. J. C. Evans was listed as performing a “comic song” after Mr. and Mrs. Bates production of “Leah the Forsaken; or the Jewish Maiden’s Wrong.”
J. C. Evans as a performer in 1866, Houston.
The first mention of Evans as a scenic artist was in 1866 at Perkin’s Hall in Houston. He delivered scenery for the “Camille” production on April 12, 1866. Houston’s “Daily Telegraph” reported, “J. C. Evans, the scenic artist, had contributed greatly to the success of the play.” Evans worked as both a scenic and decorative painter, initially specializing in fresco and sign painting.
On July 4, 1866, the “Tri-Weekly Telegraph” mentioned scenery by Evans at another Perkin’s Theatre Show, “Aladdin; or the Wonderful Lamp.” The advertisement announced, “Produced after weeks of preparation, and without regard to cost with NREW Scenery by J. C. Evans; New Machinery by J. G. Steele and assistants; New Properties and Appointments by W. L. Forrester; New Dresses and Wardrobe by Job Jameson.”
1866 advertisement listing New Scenery by J. C. Evans.
On May 17, 1867, Houston’s “Tri-Weekly Telegraph” announced:
“A solution. A correspondent sends us the following situation of the ‘Curious Fact,’ published in our columns yesterday: ‘Notwithstanding the removal of the Postoffice, the public are informed that they may still obtain letters of every description at its former locality by applying to J. C. Evan and E. S. Fendwick, house and sign painters. M.J.L.” (page 5).
This was Edward S. Fenwick; Fenwick’s father, Cornelius Cuthbert Fenwick (1815-1874), was an English painter, having passed along the trade to his sons, including Edward (b. New York, 1838), Charles (b. Illinois, 1852), and Fred/Fritz (b. Illinois, 1855). Evans partnership with Fenwick was short-lived, as Fenwick died from yellow fever that fall.
In 1867, Evans worked in both Houston and Galveston. On Aug 22, 1867, “The Galveston Daily News” reported, “Major Dick Dowling has just received from the easel of Charley Evans the handsomest sign in Texas – Evans is without rival in the Trans-Mississippi Department as a sign-writer, and Dick Dowling is a legitimate representative of Bacchus – ‘in a horn.’ (page 2).
Informal articles and stories refer to J. C. Evans as Charley or Charles; John Charles Evans used his middle name quite a bit in Galveston, until his only son came of age.
On Oct. 1, 1868, the “Weekly Telegraph” reported, “We have received from Mr. J. C. Evans, No. 84 Main Street, a bust of Horatio Seymour, executed in plaster. It is a striking likeness of the great statesman, and will place Mr. Evans as an artist, in a new light before the public. The bust is from a photograph recently taken in Utica, the home of Mr. Seymour, and therefore may be relied upon as correct. A specimen of this work can be seen at Marston & Hopkin’s store, on Main Street, or at the office of the TELEGRAPH. Mr. Evans informs us that he is now prepared to supply duplicates at reasonable rates” (page 6).
By the summer of1869, Evans became associated with a local Galveston business – Rice & Baulard.
Rice & Baulard advertisement mentioning J. C. Evans in 1869.
On June 16, 1869, a “Galveston Daily” advertisement announced:
“J. C. Evans, with Rice & Baulard.
Dealers in Paints, Oils, Glass, etc. Wall Paper and Window Shades.
77 Tremont Street, Galveston.
House, Sign, Fresco and Banner Painting.”
Joseph W. Rice and Victor Joseph Baulard established Rice & Baulard in 1850, advertising as dealers of ready mixed paints, window glass, wall papers, oils, and contract painters. Rice was the master painter, with Baulard first working as his assistant, c. 1845-1850. Their advertisements provide a sneak peak into the goods and services they were offering. On March 27, 1866, the “Galveston Daily News” included a Rice & Baulard advertisement noting: “Paints, oils, glass.-we are continually receiving fresh goods in our line from New York, such as WHITE LEAD. Different brands, French and American zinc, Linseed oil, raw and boiled, Turpentine, varnish. American and French glass, single kinds; together with Fire and Artist’s’ colors and tools and prepared canvas, etc. Work executed as usual” (page 4). The firm was later associated with the Galveston Paint Co.
Rice & Baulard’s firm in Galveston, showing a Galveston Paint Co. can of Ready Mixed Paints.
Evans continued to work for Rice & Baulard until the fall of 1868 when he struck out on his own. On Aug 11, 1868, “The Galveston Daily News” reported a series of transparent signs painted “by the skilled hand of our friend ‘Charley Evans’” (page 2). By Sept. 11, 1869, the “Galveston Daily” announced, “Mr. J. C. Evans, the popular sign painter, formerly with Rice & Baulard, has established himself at 220 Tremont Street. Mr. Evans, we understand, has been engaged as a scenic artist at the Galveston Theatre His card will be found in another column” (page 2). After Evans departure from Rice & Baulard, George W. Outterside joined the business.
Evans not only painted scenery for the venue, but also continued to advertise as a local sign painter. On Dec. 4, 1869, advertisement J. C. Evans Sign Painter 220 Tremont Street Galveston
J. C. Evans advertisement from 1869.
Sign painting was still listed as his primary occupation in 1870 Galveston City Directory: “J. C. Evans, Painter (Sign), 220 Tremont, or 23rd street.” This listing changed by 1872: “J. C. Evans, scene painter, Tremont Opera, res Ave. H, bet 18th and 19th St.” Around this time, Evans married and shared a home with his wife and child. Historical records suggest that the marriage took place in 1870, but the age of their child predates that date by several years. The only marriage certificate that I have been able to locate is dated Sept. 1, 1870, New Orleans; John Evans married Julia Kelly. I have yet to confirm these are the correct individuals, as Julia later went by Julia C. Evans or Julia E. Evans, remaining int the Galveston area with their son until the 1880s.
Oct. 16, 1869, “Galveston Daily News” (page 3). For Joe Jefferson’s “Rip Van Winkle”, Evans was credited with special scenery to accompany the touring production. The article reported, “The scenery has never been approached by anything ever put on the stage in this city. Aside from the difference in the size of the stage it would not be appropriate to compare the scenes with that of any other theatre in the country. From first to last they were true to nature, and finished with a degree of precision which can only be attained by a master hand, and being the production of Galveston artist, Mr. J. C. Evans, we take much pleasure in commending the work so faithfully and faultlessly performed. The scenery and effects are really beautiful, and deserving of all the praise that has been bestowed on them.”
A new playhouse was built in Galveston in 1870 on the corner of Tremont and Market, on the old site of Neitch’s. The new stage was described in detail by Joseph Gallegly’s “Footlights on the Border” (1962). Galleghy included an excerpt describing the theatre in his publication, writing:
“‘…in all its appointments an exact counterpart of Booth’s in New York’, extended the entire width of the building and was 39 feet nine inches deep, with a proscenium arch 45 feet in width. The scenery, mounted on rubber rollers, and all machinery for stage operations, were in imitation of similar devices at Booth’s. Footlights of white, red, and blue made possible interesting scenic effects.”
I included this description because it provides one more link with New York. Being a port town, Galveston was directly connected with New York, just like New Orleans. There was a constant stream of individuals traveling from the Gulf to the Eastern seaboard. Despite an ever-expanding network of railway transportation, a major exchange of goods and services was available at Galveston Island. Unlike many Texas communities that fell far inland, there was a close connection with major metropolitan communities linked by major waterways.
In addition to working as the scenic artist, Evans also became the stage manager. On July 25, 1872, “The Galveston Daily News” reported, “The general management of this entertainment devolves upon Mr. J. C. Evans, then whom no better man could possibly have been selected” (page 3). His role at the opera house was repeatedly mentioned in newspaper article. On August 2, 1872, “The Galveston Daily News” reported, “Mr. J. C. Evans, the stage manager, was, as he always is, up to his part. Charley has become an institution of this city, and if you wish to make an enterprise successful, all you have to do is to call on ‘Charley” (page 3).
Evans remained connected with the opera house, while continuing to work throughout the region. On July 4, 1873, The “Daily Mercury” of Houston, Texas, announced.” Artistic.
In another column will be found the card of J. C. Evans, the popular scenic artist and decorator. Mr. Evans has, as scenic artist of the Galveston Opera House, become well known to most people of our State, while his decorations and scenery at the Houston New City Hall and Theatre commands the admiration of every beholder.”
From the fall of 1873 to the spring of 1874, Evans placed advertisements in Houston and Galveston newspapers. On Sept. 27, 1873, the “Houston Daily Mercury” advertised:
“J. C. Evans, Scenic Artist and Fresco Painter.
Orders for public and private Theatrical scenery, Church, Theatrical and Public Hall Decorations promptly attended to Address, Galveston and Houston” (page 3).
On Sept 12, 1873, “The Galveston Daily News” reported on the opening of the remodeled opera house on Market and Tremont street (page 3): “By the way, our Houston friends are preparing for a brisk season. We had the pleasure of examining their new theatre the day before yesterday, under the guidance of scenic artist Mr. Chas. Evans, and find it a very pretty place indeed. The scenery and decorations, got up my Mr. Evans, are artistically executed and would do credit to a much more pretentious establishment than that at Houston” (page 3)…”Perkins Theatre had also been put in repair…” On Sept 16, 1873, “The Galveston Daily News” reported, (page 2) “The illumination of the Academy of music took place at 8 o’clock to-night. The electric light showed well. The scenery, painted by J. C. Evans was magnificent. The mayor and alderman, and many ladies of the city, were present. After the scenery was all shown, Mr. Evans was called out and made a neat speech.”
Evans continued to complete a variety of painting projects in Galveston, including banners for local fire stations. On March 29, 1874, “The Galveston Daily News” announced, “The beautiful banner, recently painted by Mr. J. C. Evans, for Star State Fire Company, No. 3, will be on exhibition tomorrow at Mr. Evan’s studio, No. 166 Twenty-second street. It is a splendid work of art and should be examined by all connoisseurs” (page 4). On April 11, 1874, “The Galveston Daily News” reported, ‘A beautiful banner for Island City Steam Fire Engine Company No. 2 has just been completed by Mr. J. C. Evans and will be exhibited at his studio on Monday next” (page 4).
By 1874, Evans was publicly acknowledged as a Galveston asset. On Feb 18, 1874, “The Galveston Daily News” published a letter to Mr. J. C. Evans in “New Advertisements. Complimentary.”-
“Mr. J. C. Evans:
Dear Sire – We the undersigned citizens of Galveston, having known and esteemed you for many years – both as a man and as an artist – and having witnessed the promptness with which you have always given your personal services to the calls of charity, and the alacrity with which you have contributed to the pleasure of our citizens, desire, in acknowledgment of these, to tender you for a complimentary benefit, and will be glad to have you name a time and place, for the evidence of your approbation” (page 2). A list of 48 names and Evans’ response followed:
“Gentlemen – It is with gratitude that I acknowledge the receipt of your note, tendering me a complimentary benefit. The obligation I feel for this mark of your approbation is enhanced by the feeling and delicate terms in which it is conveyed. Be pleased to accept my thanks; and, if it should suit your convenience, I will name Saturday, February 21, at the Tremont Opera House.
Like many American scenic artists, Evans continued to perform on stage. On June 25, 1874, “The Galveston Daily News” included an advertisement for an event at the Tremont Opera House for Louisiana Sufferers. J. C. Evans was listed as the stage manager and a performer of “Lamentable Facts” alongside, Messrs. Ketchum, Johnson and Shields” (page 2). On Nov. 19, 1874, “The Galveston Daily News” reported, “Mr. J. C. Evans, the well-known scenic artist, played one of the characters to DeBar’s Falstaff at the opera house Monday night” (page 2).
He also continued to complete fine art projects. On Jan. 15, 1875, “The Galveston Daily News” reported, “Portrait of General Lee. A life-size portrait of General R. E. Lee may now be seen in one of the windows of Shaw Brother’s jewelry store, on Tremont street. The portrait was executed by J. C. Evans, Esq. from a photograph of General Lee taken in Richmond, Virginia” (page 4). On Dec. 19, 1875, “The Galveston Daily News” reported, “Promenade Concert given under the auspices of the Mozartina and Island City Glee Clubs at Armory Hall, dec, 29 1875. On which occasion will be given away as prizes thirty-one oil paintings, executed by Mr. J. C. Evans.” (page 2).
Evans listed occupation in the Galveston Directory shifted over the years.
The 1874 Galveston Directory listed, “Charles Evans, painter, 171 e Postoffice.”
The1875 Galveston Directory listed, “J. C. Evans, painter, Opera House, bds. Av. E or Postoffice, bet. 21st and 22d.”
The 1876 Galveston Directory listed decorative painter, bds. 114 e Pst [Postoffice]. Res es 22nd, bet Post and Church.
The 1877 Galveston Directory listed, “J. C. Evans, portrait painter, res 36 Winnie, bet 18th and 19th.
The 1878 Galveston Directory listed, “J. C. Evans, scene painter, res 36 Winnie, bet 18th and 19th.”
In 1878 Evans began to travel farther and farther away from Galveston. On Oct. 27, 1878, the “Galveston Daily” reported, “Mr. J. C. Evans, the artist, has returned to the city from Dallas, where he has been engaged for several months” (page 11). On his return, he established a boarding house. On Oct 28, 1877, “The Galveston Daily News” published the following:
“Two and a half story house, fourteen rooms, newly repaired, suitable for boarding house. J. P. Evans” (page 1). Despite a variety of investments and painting projects, Evans was still associated with the opera house as its business and stage manager.
. On July 6, 1879, the “Galveston Daily” reported,
“Improvements at the Opera House.
A News reporter visited the opera house yesterday and was shown through the entire building by J. C. Evans, scenic artist of the theatre, who has been engaged on the scenery for some time past. Mr. Evans was up to his eyes in work when the reporter called upon him and was demonstrating that the scenery would. Be finished in the highest style of art, and in a manner which not only would reflect credit to him as an artist of the first rank, but resound to the honor of the city and the opera house. All of the scenes will be renewed, as well as the drop curtain. The auditorium is to be renovated throughout. All of the interior scenes are to be modern patterns and complete sets for such standard dramas as may be necessary to be presented, have been provided. All of the scenes will be complete in every particular, which has never before been attempted in this city. The number of new sets will number about twenty-eight. The parquette circle previously has contained three rows of chairs outside of the supporting posts of the auditorium. The intention now is to remove the circle about one-half the distance toward the stage and change the directions of the aisles in a manner that will not only improve the appearance of the interior, but greatly conducive to the comfort of the audience. The seats in the circle are also to be increased six inches in distance from each other, thus making the matter of ingress and egress much more convenient than formerly” (page 11).
On October 5, 1879, the “Galveston Daily News” reported:
“The Opera-House. During the past summer manager Evans has devoted not more attention to the securing of a list of first class attractions for the approaching theatrical season than to a renovation and remodeling of the interior of the opera-house. By liberal expenditure of money he has through the services of a competent artist and skilled workman carried out a comprehensive series of improvement. On Friday evening the whole was exhibited to the representatives of the press by gaslight for the purpose of informing the public of what has been done and of showing how everything worked. The performance passed off satisfactorily to the manager and was the subject of comments from others present. The stage has been supplied with a new stock of scenery out and out – new in in frame, canvas, gear, design and painting – and for the first time the opera-house was built a complete stock. The scenic artist Mr. J. C. Evans has been engaged several months in the work of painting the scenes. He has executed every design with care and skill, and has worthily illustrated his genius in several, the most significant of which is the drop curtain. In the center of this is a picture from which a copy of the picture by Barth furnished the design, representing the casket scene in the Merchant of Venice.
[This print by F. Barth, Casket Scene – Merchant of Venice” was published in “Harper’s Bazar in 1875. The article then includes a quote from the play, Act II, Scene iii].
“Bassanio stands before the open casket, in one of which is enclosed, ‘Fair Portia’s counterfeit.” More music plays, while the lover comments to himself on the caskets – which shall be three, the gold the silver or the lead;”
[The next quote in the article is from “Merchant of Venice”,]
Thou gaudy gold, Hard food for Midas, I will none of thee; Nor none of thee, thou pale and common drudge ‘Tween man and man: but thou, thou meagre lead, Which rather threatenest than dost promise aught, Thy paleness moves me more than eloquence; And here choose I; joy be the consequence!
“What find I here?Fair Portia’s counterfeit.“
“The picture is one that will hardly over tire the playgoer, especially if he has the critical faculty which always finds renewed pleasure in seeing a true work of art. The rest of the curtain is finished in hangings of crimson velvet and claret silk, profusely ornamented with gold drages and tassels. At the bottom of the richly carved framework surrounding the picture is a medallion portrait of Dante, supported on either side by figures holding cornucopias of flowers and fruits. The front of the stage has been lowered and the footlights sunk so that the floor is the stage may be seen from every seat. The auditorium is changed much for the better. The parquet circle has been enlarged to contain one hundred fifty to one hundred seventy-five more seats, reducing the parquet to one hundred fifty seats. The result is that there are over two hundred seats now facing the stage, the occupants which were heretofore under the necessity of twisting their bodied. In the large-parquet circle no two seats of adjacent rows are immediately in line with each other and the stage, so that hereafter nigh bonnets will be no obstruction to the view of a rear neighbor. The rows are six inches wider apart, giving room for the comfortable disposal of long limbs, they rise above each other at a rate of 5 ½ inches as you recede from the stage and the outer row is twenty inches above the old grade of the same. Much good sense has been brought to bear in the improvement of the auditorium. The credit is bestowed upon F. C, Yeager, the stage carpenter, for the manner in which he has performed his work; also upon Mr. Tom Boyle, the gas-fixture man, who has shown himself an artist in the graduations of lights and shades” (page 12).
The 1880 Galveston Directory and US Federal Census provides a snapshot into Evans’ last years in Galveston. Listed as a portrait painter, he is living with his wife, Julia E. Evans, and 16-yrs.-old son Charles Evans. His father is listed as being born in Spain and his mother being born in England.
In 1880 the Evans family were living at126 Avenue E or Postoffice Street; the same address listed for Evans in the Galveston City Directory. It is important to note that Evans was listed in Heller’s Galveston City Directory, 1880-81 containing the addresses of all white persons in and out of the city limits, with a classified Business Directory, Post Offices and Counties in this states, money-order offices, &c. Compiled and published by John H. Heller, 511 Broadway, bet. 15th & 15th. His listing notes that he was employed at the opera house, whereas his son was a clerk at a dry goods store, P. J. Willis & Bro., cotton factors and importers and dealers in groceries, dry goods, notions, dress good. Boots and shoes and hats. This was the last time that Evans was listed in the Galveston Directory, although his wife would remain in town for at least the next four years.
By the summer of 1880, Evans was traveling, working as a scenic artist. His first project was in Brenham, Texas, approximately 76 miles northwest of Houston. On June 17, 1880, “The Galveston Daily News” reported, “Contracts were closed to-day for the remodeling of the Brenham opera-house. Mr. G. A. Dickey, of Houston, is architect, and Mr. J. C. Evans, of Galveston, scenic artist” (page 1). On that same day, the “Brenham Weekly” reported:
“THE OPERA HOUSE –
Mr. J. W. Webb, contractor, will this morning begin the work of remodeling the interior of the opera house in accordance with the plans of Mr. Dickey. Mr. J. C. Evans will also begin work on the new scenery. When complete the interior of the house will be second to none in the state” (page 3).
On July 1, 1880, the “Brenham Weekly Banner” reported:
“THE DROP CURTAIN. Yesterday, through the politeness of Mr. J. C. Evans, the artist, a BANNER reporter had the pleasure of viewing the drop curtain, which has just been completed by him. It is a beautiful landscape representing Missisquoi, near Shelton Springs. The foreground is rocks and trees, then a beautiful river with valley and mountain sin the distance. The perspective and coloring are truly artistic, and the naturalness of the picture is apparent to the eye of anyone who admires the beauty of nature. At the top and on both sides of the picture are rich curtains, while at the bottom is some beautiful scroll work, in the center of which is a splendid likeness of Col. Sam Stone, the owner of the opera house In this piece of work, Mr. Evans shows himself to be artist, in the full sense of the word. The Brenham Opera House now has one of the most handsomest as well as the most artistically executed drop curtains in the state of Texas” (page 3).
In 1881, Evans was listed in the New Orleans City Directory as “J. Charles Evans.” He had partnered with fellow scenic artist and German immigrant, Harry Henry Dressel (1850-1905), to briefly form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882.
Dressel was born in Hanover, moved to the United States with his family as a young boy, and became a scenic artist and decorator. His active years in New Orleans were approximately 1875 until his passing in 1905. Dressel is listed as an artist in a few publications, including “German Immigrant Artists in America” by Peter C. Merrill (1997).
H. H. Dressel’s grave in New Orleans.
Meanwhile his wife and son were still living in Galveston, listed in the 1882 City Directory, as “John C. Jr., clk Leon & H. Blum, home Mrs. Julia Evans” and “Julia Evans (Mrs. John C) r 210 22nd bet Ave E and F.” Her last listing at the address was in 1884: “Julia Evans (Mrs. John C.) r 160 E Winnie bt 21st, 22nd”. Evans occasionally returned to visit his family. On April 17, 1881, “The Galveston Daily News” reported, “Mr. J. C. Evans arrived from New Orleans yesterday on a visit to his wife and son, to stay during Spagerfest Week” (page 4).
Evans partnership with Dressel ended by 1883, with Dressel becoming the proprietor of Brown’s Hotel. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again.
1883 listing: Charles Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1884 listing: John Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1885 listing: Charles F. Evans, painter, r. 196 Palmyra
Meanwhile, Julia continued to struggle in Galveston without her husband. The few mentions of Mrs. John C. Evans trace the collapse of her finances and living situation. On June 26, 1884, “The Galveston Daily News” published:
“For Rent – a furnished 2-room cottage, to gentlemen only. Possession given July 1. Next to Casino Hall. Mrs. J. C. Evans.”
By the fall, everything was being auctioned off at a public sale. On October 14, 1884, the “Galveston Daily News” announced:
“AUCTION NOTICE
We will sell on Wednesday October 15, commencing at 10 a.m. The residence of Mrs. J. C. Evans, Winnie Street…Bedroom suit, parlor, dining room, kitchen furniture, glassware, ornaments, shades, three singing canary bords and miscellaneous articles. Immediately thereafter we will sell at the cottage on Winnie Street…marble and walnut suit, kitchen, dining room and parlor furniture…”
On Dec. 31, 1884, she advertised in the Situation Wanted section of the “Galveston Dily News”: “WANTED – Position as saleslady, seamstress, housekeeper, or governess for small children in city or country. Mrs. J. C. Evans, Winnie & 21st (page 17).
In 1885, Evans relocated to Fort Worth. On Nov. 30, 1885, “The Galveston Daily News” reported, “Mr. J. C. Evans, an old resident of this city, left yesterday to accept a business position at Fort Worth” (page 4). It remains uncertain as to when Julia Evans left Galveston to rejoin her husband. The next time that I have them together in the same residence in 1900.
We do know that in 1885, J. C. Evans is listed as an employee at Sosman & Landis who contributed to the Grant Memorial Fund. It is possible that his work in Fort Worth was for a Sosman & Landis regional branch office.
His wife Julia remained Galveston for at least another two years, making the local news again in 1887. It is at this point that I discovered Julia was also an artist. It is quite convenient that her initials were the same as her husband’s Julia C. Evans. March 20, 1887, “The Galveston Daily News” reported, “Photo painting on glass taught for $3. Printed directions and complete outfit going 24 pictures sent to any address for $5. Groups of any size painted by Mrs. J. C. Evans, next to Casino Hall. Orders can be left at J. E. Mason’s, L. C. Levi’s and Rose & Schmedling’s Photograph Gallery”.
Tracking her husband proved to be much more problematic in the late 1880s. Both Charles Evans and John Evans periodically pop up in the Chicago City Directory, each listed as painters in 1889. Then they disappear until 1896. On March 19, 1896, “The Chicago Chronicle” announced, “John C. Evans of New Brunswick, N. J. is at the Auditorium” (page 6). If “Auditorium” were not in the announcement, I would be skeptical.
The 1900 US Federal Census confirms this address. John C. Evans is listed as a scenic artist in the Chicago Directory by 1898, living at 504 Van Buren Street, at this address for the next two years. In 1900, the US Federal Census confirms this address. His household includes his wife Julia and a servant named Alma Anderson. Information listed in this census is a little scrambled. In this public records. For example, Evans lists his birthplace as “at sea,” Jan. 1840. The birthplace of his parents has been swapped; now his mother is born in England and his father is born in Spain.
John C. Evans Jr. is also living at 504 Van Buren with his wife (Nellie), two children (Milton and Charlotte), and sister-in-law (Maggi). Evans Jr. lists his birthdate as Jan 1864, Texas. His wife Nellie was born in Wales, January 1877. Their two children, Milton L. (3) and Lottie (7 months) were both born in Illinois. Their household also included Maggi Thomas, Nellie’s 20-yrs.old sister. In 1910, Evans Jr. was working as a bookkeeper in an undisclosed industry. Evans Jr. had been living in Chicago for quite some time. In 1891, John C. Evans Jr. was listed in the Chicago directory as a clerk, working at 46, 5 Wabash Ave, and living at 61 Pearce. By the end of the 1890s, Evans Jr. was again living with his parents are 504 W. Van Buren, working as a bookkeeper. In 1901, Evans Jr. is living up the street at 516 W. Van Buren.
All the Evans were still in Chicago during the 1910 census report. Evans Sr.’ and Julia are now living at 503 Claremont Avenue, Evans is listed as a scenic artist. His birthplace is listed as “Spain” with the note “A Cit.” for “American Citizen.” The report lists that they have been married for 49 years, with Julia having given birth to only one child: one child still surviving. Evans Jr. and his family are living at 2712 Gladys St. IN Chicago.
Evans passed away on Feb. 23, 1915. I have yet to identify any obituary or article that mentions his death. As I mentioned at the beginning, there are two death records with conflicting information. Both list the name of the deceased as John Evans, each were born in 1841, and each died on Feb 23, 1915, in Cook County, Illinois. One states that the deceased’s occupation was “scene painter” and the other lists “house painter.” One lists birthplace as Italy and the other Cuba. Both records indicate that the bodies are buried in Forest Home Cemetery. It is possible that he was living two lives, but both of his wives would have been named Julia.
After her husband died, Julia lived with her son and his family; they were also living in Chicago at the time. They were still living together at the time of the 1920 US Federal Census. At the time, their household included John C. Evans Jr. (55), Nellie Evans (42), Milton Evans (22) and Charlotte Evans (20). Their household is located at 2720 Jackson Blvd. Grandson Milton Lewis Evans was working as a commercial artist.
Julia passed away on April 14, 1924. Her last residence was listed as 2720 Jackson, Blvd. She was buried on April 16, 1924, in Woodlawn Cemetery.
John C. Evans Jr. remains in Illinois, passing away on March 8, 1952. His obituary was published in the “Chicago Tribune” on March 10, 1952: “John C. Evans of 3305 Jackson Blvd, formerly of Clarendon Jills, Ill., beloved husband on the late Nellie Evans, father of Milton L. and Mrs. Charlotte La Nove, grandfather of six, great-grandfather of seven. Services Tuesday, 1:30 p.m. at chapel, 3159 Jackson boulevard, at Kedzie. Interment Woodlawn. Member of Blarney lodge, No. 271, AF&AM, and honorary member of Hinsdale lodge AF & AM Kedzie” (page 59).
George W. Dayton Jr. was the first-born child of scenic artist George Washington Dayton and Julia A. Sails born, born in 1862. He followed in his father’s footsteps; first, working as his father’s assistant and later as a full-fledged scenic artist. He was born and raised in New York. Watching first-hand as his father gained a local, regional and national reputation as a scenic artist. During his formative years in New York, Dayton Sr. worked at a variety of venues, including Grand Opera House. The 1870 US Federal Census listed the Dayton household as including George W. Dayton (35 years old, painter), Julia A. (31 yrs. old). George W. Jr. (8 yrs.) and Charles E. (4 months old, born in Feb.). Sadly, Charles passed away that same year; an event that must have been traumatic for his older brother. Another sibling would not be born for another four years. By the time his younger sister Florence arrived in 1874, George was already 12 yrs. old. By this age, many young boys entered apprenticeships. It would have been unusual for Dayton Jr. to not work as an assistant to his father at this point. Some of his early tasks would have been making glue, mixing colors, swiping down palettes, cleaning buckets, and sweeping up the paint area.
The Dayton family moved to California in 1876, and by 1878 Dayton Jr. was listed in the San Francisco Directory as a scenic artist at Baldwin’s Theatre. By this time, he was sixteen years old. His father’s scenic art works constantly made the news, praised in a variety of local papers. Whenever Dayton Jr. was mentioned in an article, he was still referred to as an “assistant”; a title that would remain constant for almost a decade. This was how the apprenticeship system worked. “Pot boys” eventually became scenic art assistants, before being given a palette of their own. Once they were allowed a palette, they became full-fledged scenic artists and were assigned their own assistant. It would have been unusual if Dayton Jr.’s training did not follow this pattern. If anything. Dayton Jr. may have remained his father’s assistant for longer than necessary, if he proved to be a good one. It may have been difficult to break away from his father and strike out on his own in the scenic art field.
Dayton Jr. was first listed as a scenic artist in the 1878 San Francisco Directory: “Dayton. Geo W. Jr., Scenic artist Baldwin’s Theater, r. 11 O’Farrell av.” At the time, he was living with his parents, with his father also listed as a scenic artist at Baldwin’s and also living on O’Farrel av.. He continued to be listed as a scenic artist in 1879 (Dayton, Geo W. Jr. scenic artist Baldwin Theater, r. Brooklyn Hotel) and 1880 (Dayton, Geo W. Jr. scenic artist Baldwin Theater, r. Brooklyn Hotel).
Between the summers of 1879 and 1880, the Dayton family relocated from California to Illinois, settling in Chicago. Dayton Sr. had secured employment at Hamlin’s Opera House.
On August 15, 1880, the “Chicago Tribune” mentioned both Daytons painting scenery for Hamlin’s Grand Opera House. The article announced, “Mr. George W. Dayton, the scenic artist at the new Grand Opera House (Hamlin’s), began his labors last Monday, being assisted by his son.” On September 5, 1880, the “Chicago Tribune” listed both father and son as part of the backstage staff: “George W. Dayton, scenic artist; George W. Dayton, Jr. assistant.” They were again mentioned in another “Chicago Daily Tribune” article on that same day (page 16). The article reported, “The principal officers of the house will be John A. Hamlin, Manager; William H. Davis, associate manager; George W. Dayton, scenic artist; George W. Dayton, Jr., assistant…”.
1880 US Federal Census listed George W. Dayton Jr. living with his parents and two younger siblings. Both he and his father were listed as artists. Despite working in Chicago, the Daytons maintained two homes: one in Chicago and one in Harmony, Maryland. In the census report, George W. Dayton Sr.’s occupation was listed as “Artist Oil,” with George W. Dayton Jr.’s occupation listed as “Artist App.”
By 1883, only one Dayton was listed in the New York City Directory, listed as an artist and living at 766 Ninth av. By 1884, father and son were accepting individual projects in the east. Each began going by George W. Dayton, often without the distinction of Jr. or Senior. Both were listed as painters in the Brooklyn Directory, living approximately six miles apart. Dayton Jr. was listed living at 28 Whipple; his father was at 133 22nd .
In 1885, work brought at least one George W. Dayton back to the main studio of Sosman & Landis in Chicago. Both were in Chicago that year, however, as each exhibited artworks at the 1885 Scenic Painter’s show. Both Dayton Sr. and Dayton Jr. were involved in the event, listed as part of the planning committee. 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). Both Dayton’s were also mentioned in John Moran’s article about the event, published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Moran wrote,” “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr.” Dayton Jr. was mentioned again on Oct. 5, 1885 in the “Detroit Free Press” (page 5). He was listed as a contributor to the “first exhibition by the American Scenic Artists, now in progress at Chicago.” George Dayton Jr., “of Albany”, was listed alongside Matt Morgan, John Rettig, Thomas G. Moses, C. E. Petford, R. Merryfield, James Hamilton. Walter Burridge, Earnest Albert, John Howell Wilson, and L. Malmsha.
It was also in 1885 that Dayton’s mother, Julia, passed away. I have yet to locate her death certificate, so I am uncertain as to whether she passed in New York or Illinois. Dayton Sr. remarried; his second wife was Mary McCarty. Dayton Sr. and Mary went on to celebrate the birth of three children: Irvin W (July 1888), Eugene H. (July 1891), and Oscar V. (Sept. 1897).
During this time, both Dayton Sr. and Dayton Jr. are working as scenic artists in both Chicago and New York. They are each listed in the Brooklyn Directory for 1889; albeit at separate addresses. George Dayton Sr, was still at his 1884 address – 133 22nd . George Dayton, Jr., was living at 203 Varet St.; almost seven away from his father.
It must have been difficulty, sharing the same name and profession with a father who was extremely, well-known, well-respected, and well-liked. I have yet to come across and praise that was showered upon Dayton Jr. for his scenic art. I am not hinting that Dayton Jr. was lacking in any way, but he certainly transitioned from scenic artist assistant to scenic artist under his father’s shadow. I hope that his artworks also gained recognition over the years.
On Nov. 27, 1887, Dayton Jr. married Helena “Lena” Cohen in Manhattan, New York. This was likely the same year that his father also remarried Mary McCarty.
Marriage certificate for Geo. W. Dayton, Jr. and Helena “Lena” Cohen, 1887.
In 1887 Dayton Jr. was living at 141 Easy 17th Street, with his fiancée, Helena, living at 183 Ludlow. Born in Hamburg, Helena was the eldest daughter of Fanny and David Cohen. Her father was Dutch emigrant who worked as a tailor in Manhattan. George and Helena celebrated the birth of four children: George Washington Dayton (b. Dec. 25, 1888), Arthur Vaulkan Dayton (b. April 17, 1890), Julia Agnes Dayton (b. Nov. 3, 1892), and Jerome John Dayton (b. Feb 2, 1895).
By 1889, Dayton Jr. begins working for William F. Wise’s studio in Tyrone, Pennsylvania. By this time, Dayton Jr. was about 29 yrs. old. In 1889, George W. Dayton was listed as an artist in the New York City Directory, living at 3309 E 77th.
On September 17, 1889, the “Tyron Daily Herald” reported, “Two young men named Leon Moan and George Dayton, scenic artists who have been in the employ of W. F. Wise in Tyrone for nearly three months had their room in the building of Mr. Scullin, the tailor. About a month ago they broke a large French plate mirror in their room. They promised to pay for the damage done, but last night it was discovered that they were trying to sneak away on Philadelphia Express. Mr. Sculin did not care as far as the price of glass was concerned but he deemed it right to put a quietus on such a mean trick. Accordingly, he armed officer Snyder, with a warrant and together they went to the depot for the men. The fugitives were in hiding on the hill side of the railroad, and when the train arrived, they endeavored to board without being seen. Mr. Scullin and the officer made a dash for their men and secured Dayton, but Moan succeeded in eluding his pursuers. Dayton was taken before Esquire Taylor and settled the affair by paying the damage and costs” (page 2). Not to excuse any behavior, at the time, Dayton Jr. was supporting his wife and two infant children.
Both George W. Dayton Sr. and George W. Dayton Jr. were employed by William F. Wise at his studio in Tyrone, Pennsylvania.
Regarding their employer, Wise & Co., the firm advertised as architects and artists. Like Sosman & Landis, the not only operated a main studio, but sent some of their artistic staff on the road. William F. Wise began as a finisher, living in Brooklyn in 1873, and residing at 149 Navy. From approximately 1879-1882, he worked as a painter in Philadelphia. Although later business letterheads suggest that Wise & Co. was founded in 1876, that is likely when Wise transitioned from decorative painting to scenic art. In 1888, W. F. Wise and W.B. Stewart. purchased an old church, converting it into a scenic studio. By the next year, Dayton Jr. was working for Wise, traveling from one project to the next. It remains unclear as to whether both father and son were working for Wise at this time.
By 1893, Wise purchased land for a new building. On March 15, 1893, the “Tyrone Daily Herald” announced “New Scenic Studio to be built” (page 4). The article reported, “W. F. Wise this morning purchased of Harry Wands the lot. Of ground 75×170 feet, bounded by Muncy street, the Juniata river and Bald Eagle creek, upon this plot he will immediately begin the erection of a scenic studio which will be 55×130 feet in size. Mr,. Wise has secured an advantageous location for his new building, where it will be in full view of the railroad and other approaches to the town. The transfer was consummated through the active instrumentality of W. Fisk Conrad who in knowledge of real estate and its management is par excellence. The scenic painting business of W. F. Wise & Co. has long since outgrown their present studio at the corner of Washington Ave and Twelfth Street, and crowded with orders, they have from some time been looking for larger quarters. Many tempting offers from New York and elsewhere were made them to locate in other places, but our people will be gratified to note that the present transaction insures the permanency of their business in Tyrone. It is an industry which inures to the benefit of the town. The studio is the only establishment of the kind between Philadelphia and Pittsburgh and one of the very few extensive scenic studios in the United States, in reputation standing the peer of any. W. F. Wise & Co. are known the country over for their scenic and spectacular painting, and church hall, and theatre decorations” (page 4). In 1906, the company advertised that they had 30 years’ experience and were prepared to furnish drop curtains, scenery, decorations, models (to scale), architectural plans, carpentry work, stage traps, theatrical, hardware and lighting equipment and more.
By 1889, George W. Dayton is listed as an artist in the New York City Directory, living at 330 E 77th. By 1891, only George W. Dayton, Jr. was listed in the New York City Directory, living at 324 E 85th St. In 1892, he was living at E 117th St. #513 in Manhattan when his daughter Julia was born. In 1895, the Daytons were living at W. 118th St. in Brooklyn when Jerome was born that February. They remained at 264 W 118th until 1897 when Dayton Jr. passed away after battling tuberculosis for three months.
George W. Dayton’s New York Death Certificate form 1897.
Dayton Jr. died at the age of 34 on April 5, 1897. He had been sick for three months before his passing. On April 7 he was cremated and buried at Fresh Pond Crematory and Columbarium in Middle Village, Queens County, New York. He left wife and four children, between the ages of 2 and 8 yrs. old. Lena remained with her children in New York, listed in the1899 directory as “Lena, wid George, h. 2374, 2d av.” The 1900 US Federal census listed her occupation as a candy shop worker..
Her eldest son, George W. Dayton III, briefly followed in his father’s footsteps. The 1910 US Federal Census listed 21-yrs.-old George W. Dayton working as an artist for the newspaper industry in New York City. His address was listed as 21 110th St. W, Manhattan. George was still living with his mother and three younger siblings. His aunt, Emily E. Cohen and a boarder, Daniel Ahernas, were also listed as part of the household. George’s foray as an artist did not last, and by 1917 he listed his occupation as “auto mechanic” on his WWI draft registration card. A few months later, he was serving in the Supply Dept., of the Commissary Division, in the Panama Canal Zone. Both he and his younger brother Arthur worked Panama.
Arthur V. Dayton and his wife Adelina. Arthur was the son of George W. Dayton, Sr. Photograph posted to ancestry.com.
Arthur was the first to head south in the fall of 1909, working as a clerk for $100/month. That’s the equivalent of about $3200/month today. By 1930, Arthur worked as a dump inspector in the dredging division, passing away there six year later, on July 27, 1936; he is buried at Corozal, Distrio de Panamá. Both he and his wife died the same year, leaving two daughters, ages 18 and 14; Cecilia and Carmen both moved to Texas where they each married and celebrated long lives. Dayton Jr.’s youngest son, Jerome, remained in New York his entire life, where he primarily worked as a shoe salesman and cared for his mother.
Jerome Dayton, youngest son of George W. Dayton, Jr. and Helena Cohen Dayton. Photograph posted to ancestry.com.
Their mother outlived her father by 42 years.
On Sept, 2, 1939, her obituary was published in “The Miami News”-
“MRS. HELENA DAYTON. Mrs. Helena Dayton, 69, of 46 N. E. Fifth st., died yesterday at her home after a short illness. She came to Miami from New York eight years ago. She is survived by a daughter, Mrs. Julia Munch, Miami; two sons, George W. Dayton, Canal Zone, and Jerome J. Dayton of New York. Funeral services will be held in the Flagler funeral chapel at 5 p.m. today. The body will be cremated” (page 10).
Her eldest son, George W. Dayton III, remained in Panama until 1967. Nine months before his passing, he relocated to Daytona Beach, Florida. Dayton’s obituary reported, “Mr. George W. Dayton, 79, 2418 Tulane Ave., Daytona Beach died Tuesday. A native of New York City, he moved to Daytona Beach nine months ago from the Panama Canal Zone. He was a retired security officer and a member of the National Association of Retired Civil Employes. Survivors include widow Josephine Maria; son George K, daughter, Mrs. Elsie Trofashu; one grandchild, all of San Diego, Calif.” (page 10).
The Dayton’s only daughter, Julia Agnes, married Joseph H. Munsch in New York. She was Munsch’s second wife. They moved to Miami, where Julia cared for her mother during the 1930s. Aftre her mother’s passing, the Munschs relocated to National City, California. Although I have yet to locate an exact date, Musch’s WWII draft card lists National City as his residence in 1942. Julia remained in California for the remainder of her life, passing away on July 23, 1971. She is buried next to her husband at Fort Rosencrans National Cemetery in San Diego; Joseph Munsch served as a Private in the US Army during WWI.
Julia and her mother. Photograph posted at ancestry.com
Fortunately, I am in contact with some of the George W. Dayton’s descendants, but they have yet to locate a photograph of either father or son. I have not uncovered an extant artworks by either Dayton Sr. or Jr.
While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune.” The article made me both celebrate and curse. On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. This meant that I had to track down at least thirteen more individuals to include in the Sosman & Landis staff. That number immediately increased to fourteen, as George W. Dayton, could have been either the father or son; both were journeyman scenic artists, working in Chicago at the same time.
In 1885, George W. Dayton donated $1, the same amount as all of the other journeymen artists, with exception of Thomas Moses ($2) and Henry J. Buhler ($2). Dayton donated the same amount as fellow journeyman and one-time New York scenic artist, David A. Strong. Both Strong and Dayton were around the same age, and extremely well-respected by the theatre community, each well-versed in painted illusion and stage machinery for stage spectacles.
I am starting with George W. Dayton Sr., as he came first, and we share the same birthday.
George Washington Dayton, Sr. was born on June 19, 1839, in New York. The actual location of his birth varies, with some records suggesting Greene County and others New York City. Regardless of his birth location, his mother’s family (the Tompkins) was from Greene County. She was born, raised and married in Greene County, New York. For geographical context, Greene County is approximately 54 miles southwest of Albany, New York.
George was the youngest son of John Harvey Dayton (1797-1849) and Charlotte E. Tompkins (1794-1868). At the time of his birth, his parent’s had been married for over two decades and already celebrated the birth of eight children: James Harvey (1819-1820), Daniel (1821-1823), James Lewis (1824-1891), Mary Elizabeth (1825-1826), Oscar Veniah (1827-1898), George Washington (1829-1829), John Harvey Dayton (1830-), and Julie Ann “Emma” Dayton (182-1835). In examining both birth and death dates, many of the Dayton children did not survive infancy or early childhood. Little is known of Dayton’s youth, or any moment that prompted him to seek a career in scenic art. His father passed away in 1849, when Dayton was only ten years old. Five years later, Dayton was working at the Bowery Theatre in New York City; a 15-yrs.-old scenic art apprentice. For theatrical context, this is the second Bowery Theatre; the one designed by architect John Trimble that opened on August 4, 1845. The structure lasts until 1929. For geographical context, the Bowery Theatre was located on the Lower East Side of Manhattan.
I have yet to track down any early connections between the Dayton family and the Bowery theater, any tie to the theatre that may have prompted the selection of this occupation. However, the Bowery Theatre repeatedly placed want ads for scenic artists. April 9, 1856, “The New York Daily Herald” advertised:
“SPECIAL NOTICE – WANTED AT THE BOWERY theatre, a first-rate scenic artist; also a good property man. Apply, personally or by letter, prepaid, to Geo. H. Griffith, Acting Manager, Bowery Theatre, New York” (page 7). In 1856, the interior of the Bowery Theatre was featured in the Sept. 13 issue of “Frank Leslie’s Illustrated Newspaper.”
The Bowery Theatre Stage in 1856
Dayton was likely still living at home when he worked at the Bowery Theatre in 1857. His mother was listed in the New York City Directory: “Dayton, Charlotte, widow, h. 168 W. 37th.”
The Bowery lost a scenic artist the year before Dayton began there. On March 11, 1854, “New York Daily” announced that Bowery Theatre, Hamilton, scenic artist left for Australia (page 2). J. Thorne also worked at the Bowery in 1854. John Thorne was credited with painting scenery for the “Seven Temptations” at the Bowery Theatre as part of a “Grand Scenic Spectacle” of June 1855. This means that Dayton most likely assisted Thorne when he first started at the Bowery Theatre that year. In 1855, Thorne and Samuel Culbert were credited with new scenery for “A Grand Military Spectacle” (“New York Herald” 16 Aug. 1855, page 3). Thorne & Culbert had also painted scenery for the pantomime “The Enchanted Temple,” performed at the Bowery Theatre in 1854. In 1859, John Thorne was one of only two scenic and panoramic artists listed in the New York City Business Directory; the other was Oscar F. Almy.
As Dayton gained experience, he began securing employment elsewhere, working for George Christy at Dayton at Niblo’s Garden by 1857. About this same time, David A. Strong also worked at Niblo’s. By 1858, Dayton relocated to Boston where he briefly worked at the Howard Anthenaeum. In1860, he was again actively engaged at Wallack’s Theatre in New York, then American Theatre in Philadelphia.
It was during this time when Dayton married his first wife, Julia A. Sails. The couple soon celebrated the birth of their first child, George W. Dayton, Jr., in 1862. Dayton Jr. would continue in his father’s line, working as a scenic artist.
Between 1862 and 1867, Dayton worked as a scenic artist at the Grand Opera House in New York. In 1867, Dayton became associated with New York’s Broadway Theatre, credited with painting scenery for Tom Robertson’s “Caste.” Dayton continued to paint at a variety of venues throughout the region.
In 1871 Dayton returned to the Grand Opera House, painting scenery for several Augustin Daly productions. Dayton and Louis Duflocq assisted Richard Marston on several productions, continuing to work with Heister until the mid-1870s. They painted scenery at various venues throughout the region, including a production of “Macbeth” at Boston’s Globe Theatre.
However, On June 9, 1871, Dayton’s work at Pike’s Opera-House was mentioned in “The American Israelite” (page 10). The article reported, “For the past few months, it is well known to our citizens that the enterprising Mr. S. N. Pike has been remodeling his concert hall with a view to its conversion into an opera-house that might equal, if not eclipse, in beauty and elegance of finish the former structure…The scenic artist is Mr. Joseph Pigott, and Mr. George Dayton, of the Grand Opera of New York, has been engaged to paint several scenes with special reference to the opening night.” Purportedly, it was James Fisk (managed of the Grand Opera House) who sent Dayton to the newly-constructed Pike’s Opera House in Cincinnati. Years later, Dayton recalled that when he arrived at Pike’s, “there was nothing but the bare wall.” Over the course of six weeks, he painted enough scenery to stage five operas. Interestingly, articles from the time note that the set pieces and wings were constructed of sheet iron.
In 1868, Dayton’s mother passed away in New York. At the time, Dayton was 29 years old; his career was taking off and he was making quite a name for himself. Her obituary simply announced: “DAYTON. – On Tuesday, March 10, Charlotte Dayton, aged 73 years, relict of John H. Dayton and daughter of Hon. Nehemiah Tompkins, of Greene County, N. Y. Funeral on Thursday morning at eleven o’clock from the residence of her son, 128th street and Seventh avenue.”
In 1869 the couple celebrated the birth of their second son, Charles E. Dayton. By 1870 Census Dayton household as including George W. (35 years old, painter), Julia A. (31 yrs. old). George W. Jr. (8 yrs.) and Charles E. (4 months old, born in Feb.). Sadly, Charles passed away the same year.
In 1872, Dayton was listed as an artist in the New York City Directory, living at 274 W 19th.
In New York, Dayton was also associated with Niblo’s Garden Theatre. This association was mentioned after a riding accident made the newspapers. On Aug. 24, 1874, “The Brooklyn Union” reported, “Mr. George W. Dayton, scenic artist of Niblo’s Theatre, Miss Margaret Clinton, and actress, Dr. Spier, and his wife of New York, visited Cypress Hills yesterday. While the carriage in which they were riding was descending one of the steep paths in the cemetery, a portion of the harness broke and the horses became frightened and ran away. The carriage was upset near the entrance and the driver and all the occupants were thrown out and sustained more or less serious injuries.”
This same year the couple celebrated the birth of another child, Florence Estelle Dayton (1874-1955). Florence was born in Flatbush, Long Island, New York. A section of her obituary notes her lineage: “Florence E. Dayton, born September 19, 1874, at Flatbush, Long Island, was descended from an old family who first settled in this country in 1629. Her grandfather, Jonathan Dayton, was the youngest signer of the Constitution of the United States, and her great uncle, Daniel Tompkins, was twice Governor of New York State and Vice-President under President Monroe.” This is not accurate, as her grandfather was born in 1797. I have yet to verify any connection to Johnathan Dayton (1760-1824), the 26-yrs.-old signer of the Constitution from New Jersey.
In 1875, Dayton was credited as one of the scenic artists credited with painting scenery for Charlotte Cushman. Her farewell performance at the Globe Theatre on May 15, 1875, listed George Heister, George W. Dayton and Joseph Schnell as scenic artists, as part of the executive staff.
As with many scenic art families, the birth of each Dayton child helps track the family’s travels. Sometime between the birth of Florence and the birth of Arthur, the Daytons moved from New York to California. By 1876, the Daytons relocated to California. Arthur B. Dayton was born in San Francisco that year. At the time, Dayton Sr. was listed as the scenic artist for Baldwin’s Academy of Music (also known as Baldwin’s Theatre). The remained in the area for three years. During this time, Dayton Jr. began assisting his father. In 1878, George W. Dayton, Jr., was also listed as a scenic artist at Baldwin’s Theatre, working as an assistant to his well-known father.
Geo. W. Dayton worked as a scenic artist at the Baldwin Theatre in San Francisco.
Dayton Sr. was making headlines in 1878 and was featured in “The Footlight,” a San Francisco Journal. The article about Dayton Sr. provides an abundance of details about his career up until this point. His portrait was included with the article and remains the only known image of the artist.
“The subject of our illustration, Mr. George Washington Dayton, whose scenery of Joaquin Miller’s California Drama, “The Danites,” lately produced and now being performed at Baldwin’s Theatre, has brought him prominently before the San Francisco public, belongs to a family of artists. His brother, Oscar V. Dayton, was scene painter for Maguire in 1849 and ’50, and may be said to have been a pioneer scenic artist in California. Old ‘49ers can remember with what pleasure the stage pictures, made to illustrate the plays, produced at the Jenny Lind Theater were viewed.
One of the most celebrated American scenic artists, Minard Lewis belongs to a branch of the Dayton family, being to George W., whose style closely resembles that of Lewis.
Possess of inherent and natural abilities to become eminent in his profession, Dayton has been quite fortunate in the school wherein he has gained knowledge and experience. At the age of 15, in 1855, he was employed at the Bowery Theatre, New York, then under the management of Messrs. Eddy and Johnson. In 1856 and ’57 under the direction of Mr. Lehman, he assisted in the production of the ‘Red Gnome’ and ‘Green Monster’ series of pantomimes by the Ravels, probably the most gorgeous spectacle of the kind ever brought out in the United States. In the same year, Dayton painted scenery for George Christy, next or to Niblo’s, and in the following year, 1858, we find him at the Howard, Boston, for a short session of six months, under engagements to J. M. Nixon. Returning, however, to New York, he was engaged in1860 at the Broadway Theater (then named the Wallacks) thence for a short season to Philadelphia at the American Theater, and back again to the Broadway Theater, New York under manager Wood and Barney Williams; from there to the Grand Opera House, managed by James Fisk, where he remained five years, and was sent by him in 1867 to Pike’s Opera House, Cincinnati. When Dayton commenced work at Pike’s Opera House, there was nothing but the bare walls and in six weeks he had scenery sufficient for the production of five operas, the set pieces and wing boards being painted on sheet iron. The Fisk engagement was followed by one of one year under Augustin Daly, as the Globe Theater, Boston, which brings his dates to 1875. From there he went for short season to Concord, N. H., where Tom Maguire the shrewd manager of Baldwin’s, who always keeps track of all kinds of first-class talent, until a favorable opportunity of securing it occurs, found and imported him expressly for Baldwins theater. The result has fully justified Maguire’s good judgement. Theater goers are familiar with the work Dayton has placed on view since his advent at Baldwin Theater and those possessed of aesthetic taste readily recognized the hand of a master craftsman. The modesty of the artist prevents his asserting his just claim to recognize.”
Th article is a remarkable compilation of events, constructing Dayton’s scenic art career from 1856-1878. This, combined with other historical records, give a detailed account of Dayton’s travels.
The Dayton’s were still living in San Francisco the following year. Dayton was still associated with the Baldwin Theater, but was also painting for the Grand Opera House. On April 9, 1879, “The San Francisco Examiner” announced, “Baldwin’s Theatre. – Another crowded house witnessed A Scrap of Paper at this place last evening. The play was admirably produced and the actors, with one or two exceptions, filled their roles to the entire satisfaction of all present. Mr. Dayton, the scenic artist, has surpassed all his previous efforts by the second and third scenes of the play. The formerly is arranged, and we understand that the articles on the stage used in the ornamentation are valued about $6,000” (page 3). On May 5, 1879, “The San Francisco Examiner” listed George W. Dayton as the scenic artist for ‘Aida’ at the Grand Opera House (page 2).
On August 16, 1879, “The Pacific Bee” mentioned Dayton in an article entitled “Stock Speculations” (page 2). The article announced, “He is interested in the actors’ mine known as Uncle Same, at Bodie, and has also bought a large farm in Maryland, where there will be quite a theatrical colony, since Lewis Morrison, Dayton (scenic artist) and many others have purchased land in the same district” (page 2). They kept a home in Harmony, Caroline County, Maryland in 1880, the US Federal Census listed the Dayton family in Harmony. The census was taken on June 3, 1880. George W. Dayton Sr. and Jr. were both listed as artists. Other members of the Dayton household included: his wife, Julia Dayton; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). The 1880 US Federal Census listed the Dayton Household in Chicago too, and including: head of household, George W. Dayton, Sr.; his wife, Julia Dayton; his eldest son, George W. Dayton, Jr.; and his younger children Florence (6 yrs.) and Arthur B. Dayton (3 yrs.). Both Sr. and Jr. George W. Dayton worked as artists. The census listed both George W. Dayton Sr George W. Dayton Jr. as artists.In both census reports, Dayton Sr. was listed as 35 years old, and Dayton Jr. was listed as 19 yrs. old. In fact, Dayton Sr. was 41 years old. Daytons work in Chicago makes sense. This is the same time that Sosman & Landis began to expand their scenic art staff. Sometime between 1878 and 1880, Dayton relocated his family east, both he and his son continue to work as scenic artists.
Between the summer of 1879 and the summer of 1880, the Dayton family relocated with Chicago. Dayton Sr. was soon featured in the Chicago Tribune.
On August 15, 1880, the “Chicago Tribune” reported:
“Hamlin’s Scenic Artist.
Mr. George W. Dayton, the scenic artist at the new Grand Opera House (Hamlin’s), began his labors last Monday, being assisted by his son. As very much of the success of the new theatre will depend upon the efforts of Mr. Dayton, a short sketch of his career as an artist is appended. Mr. Dayton comes from a family of artists, his brother, Mr. Oscar V. Dayton, having been the first artist in Maguire’s ‘Jenny Lind.’ Theater in San Francisco in 1849. Minard Lewis, recently deceased, was his cousin. Possessed of inherent abilities for his profession, Mr. Dayton has gained great knowledge and proficiency. At the age of 15 he was first employed at the Old Bowery Theatre, New York, then managed by Eddy and Johnson. In 1856 and 1857 he assisted in the production of the “Red Gnome” and the “Green Monster,” under the direction of Mr. Lehman. These painted pantomimic spectacles, which introduced the celebrated Ravel family, were at that time considered the most gorgeous ever produced in America. In 1857 he also painted the scenery for George Christy’s Minstrel Hall, next door to Niblo’s. In 1858 he went to the Howard, Boston, then under the management of James M. Nixon. In 1860 he returned to New York, engaging at the Broadway Theatre (then named Wallack’s). Thence he went to the American, Philadelphia, but returned to the Broadway when Wood and Barney Williams assumed its control. From Broadway he went to the Grand Opera-House with James Fisk, where he remained five years. Going to Cincinnati during that time to fit Pike’s Opera House with a stock of scenery. After the Fisk engagement he went to Boston with Augustin Daly as artist for the Globe Theatre. Mr. Dayton was then sought by manager Tom Maguire for Baldwin’s magnificent Academy of Music, San Francisco. Mr. Hamlin secures him direct from the last-named house.
Mr. Dayton is unknown to Chicago, but when it is understood that the scene for McKee Rankin’s “Danites,” which have so often received praise here, were originally designed by Mr. Dayton, there will be a favorable opinion of his merits as an artist. He was complimented with a call for each scene when they were first disclosed at Baldwin’s Theatre. There is no mean praise, coming as it did from the forty-niners themselves.
Mr. Dayton will have a new drop-curtain ready for the approaching opening of the new house.”
Both Hamlin and is son were also working as scenic artists at the new Grand Opera House. On September 5, 1880, the “Chicago Tribune” reported that “the entr’acte curtain has been painted by Mr. Dayton” (page 11). Later in the article, Dayton was again listed as part of the backstage staff: “George W. Dayton, scenic artist; George W. Dayton, Jr. assistant; John Foust, machinist; John Dolan, master of properties.” Dayton was mentioned in another Chicago Daily Tribune” article on that same day (page 16). The article reports, “In the way of a drop curtain a new departure has been made, one of a dark crimson cloth, with deep Roman fringe, having been chosen, while an entr’acte curtain has been painted by Mr. Dayton…The principal officers of the house will be John A. Hamlin, Manager; William H. Davis, associate manager; George W. Dayton, scenic artist; George W. Dayton, Jr., assistant…”.
However, George W Dayton Sr. and Jr. are counted in the 1880 census twice. The same happened in 1900.
On Oct. 2, 1880, the “Chicago Daily Telegraph credited George W. Dayton as painting scenery for T. W. Keene (p. 4). The article reported, “The plays in Which Mr. Keen has the honor to make his stellar debut in Chicago will be produced under the immediate supervision of the veteran Charles Webb, of Drury Lane Theatre, London. New and brilliant scenery by George W. Dayton.” I am relatively certain that the article is referring to Dayton Sr., despite the fact that he was continuously assisted by his son. In 1880, Dayton Sr. is 41 yrs. old, and Dayton Jr. is 18 yrs. old. Five years later, it was a different story. Age and experience in Dayton Jr.’s part brings his name into play.
Both Dayton and his son continue to paint scenery in both Chicago and New York. By 1882, Dayton Sr. is associated with New York’s Standard Theatre, where he worked alongside Phillip Goatcher, G. Heineman, John Mazzanovich and J. W. Rough. In 1883, Dayton paints scenery for “Michaëla,” with his son listed as an assistant. Other New York shows include painting with Mazzanovich to deliver scenery for “The Rajah” at Madison Square Theatre in 1883. The following year Dayton painted scenery for “Sea of Ice” with William Voegtlin and his son at the Buffalo Academy of Music. On September 9, 1883, “The Philadelphia Times” announced, “The scene in the Polar regions, which has been painted by George Dayton, the scenic artist at the Union Square Theater, for “The Sea of Ice,” to be presented at the Walnut, has been made from drawings furnished by an old arctic explorer. It is described as very novel and effective” (page 3).
In 1884, both Dayton Sr. and Jr. were listed in the Brooklyn City Directory:
George Dayton, painter, h. 28 Whipple
George Dayton, painter, 133 22nd.
The George Dayton at 133 22nd would retain this address until 1898, suggesting that this was the address of Dayton Sr; Dayton Jr. passed away in 1897.
In 1884, Dayton is working in Hartford, Conn. At the Opera House. On July 30, 1884, the “Hartford Courant” reported:
“WELCOME IMPROVEMENTS.
When the entertainment season at the opera house reopens, a few weeks hence, the patrons of this place of amusement will observe and appreciate many improvements. Just now the stage is piled up with work benches and the paraphernalia used by scenic artists and stage carpenters, and on every hand sections of scenery are stacked in confusing order. High upon the wall back of the stage, on an improved platform, scene painters are working on the new drop curtain for the proscenium arch, which is to take the place of the green cloth curtain that had done service since the opera house was opened. The subject for the new curtain is the popular picture by Carl Becker of ‘Othello’s Story.’ The Moor leans against the railing of the Venetian balcony recounting his exploits to Brabanco, and Desdemona sits at her father’s feet a charmed listener, while in the distance, across the grand canal, loom up the Campanile tower and the church domes, just as they now do in sleepy old Venice, and as Becker believed they did when Othello was moving the susceptible heart of Desdemona. The curtain will be 45 by 39 feet square. It is being painted by Mr. George W. Dayton of the Star theater, New York, a scenic artist of considerable reputation, and whose work is known to Hartford’s theater-goers by the few sets of new scenery introduced at the opera house last season and the year before. Mr. Dayton has been at work at the opera house for the past six weeks, and among the new scenes that he has painted are a mediæval castle gateway, hemmed in with battlement walls; an interior prison scene – very effective in drawing and perspective; a street scene specially adapted for pantomime tricks; a baronial chamber of the Norman period; with its stone walls and tapestries; and attic scene, and others of minor nature. All these scenes have the necessary border drops and wings. The auditorium of the theater has been renovated and freshly painted and the entrance from Main street is made more inviting by a fresh coat of paint. Mr. Roberts is to be commended for giving his opera house these new touches, and he will no doubt reap a compensating patronage from them” (page 2).
In 1885, Dayton and his son primarily work and exhibit their fine art in Chicago. This is what makes the 1885 Sosman & Landis staff list difficult to interpret. In 1885, Dayton Sr. had been working as a scenic artist since 1856. His son had been listed as a scenic artist since 1878. Although Dayton Sr. Had much more experience, 29-yrs.-old Dayton Jr. was also a journeyman artist. Both were listed in the Scene Painter’s show of 1885. Dayton Sr. and Dayton Jr. were even part of the planning committee. 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). Both Dayton’s were also mentioned in John Moran’s article about the event, published in “Art Union, a Monthly Magazine of Art” (Vol. 2, No. 4, 1885, p. 85). Moran wrote,” “Other works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr.” I would suspect that BOTH George Dayton Sr. and George Dayton Jr. were part-time employees at Sosman & Landis in the mid-1880s. During this time, Sosman & Landis also ran a branch office in New York. Many of their employees shifted between the two regions; heading wherever their skills were needed. Such was the case with Dayton Sr. and Dayton Jr. By 1885, they had consistently worked together since 1878. It seems unlikely that only father or son would work at Sosman & Landis, as they worked as a pair.
On April 15, 1885, the “Buffalo Morning Express” mentioned Dayton’s continued scenic art work in New York (page. 5): “Mr. J. C. Rother, who ranks among the foremost portrait artists of Buffalo, had not yet moved to New York, as has been stated. On his recent visit to New York, he made arrangements with Mr. George Dayton, the celebrated scenic artist, formerly of the Standard and Star Theatres, New York, whereby he is enabled to furnish scenery for theatres and halls from the cheapest to the most elaborate and artistic. Mr. Rother has moved his studio from the Austin building to his old stand, No. 366 Main Street, so that he can personally supervise his sign and decorative establishment, and will also continue his portrait painting, Mr. Rother’s abilities as an artist are too well known to need further comment. If he goes to New York to live it will not be until autumn, and in the meantime, he will receive orders for portraits as heretofore.”
It was in 1885 that his first wife passed away. He remarried two years later. His second wife was Mary McCarty (1866-1931). The couple celebrated the birth of three of whom survived infancy. Their children were Irvin W (July 1888), Eugene H. (July 1891), and Oscar V. (Sept. 1897).
In 1887, Dayton was again working in New York with Voegtlin and delivering scenery for “Peg Woffington” at the New York Lyceum. He was also working with George Hineman. On May 26, 1887, “The Morning Journal-Courier” announced their work at the New Haven Opera House: “Two scenic artists of acknowledged ability, George W. Dayton and George Hineman, have already arrived and begun the work of adding important improvements in the scenic department, under Manager Wall’s direction” (page 2).
In 1889, Dayton Sr. and Dayton Jr. were again living out east, each listed as a painter in the Brooklyn City Directory, with George Dayton Sr, residing at 133 22nd and
George Dayton, Jr. at 203 Varet St.; their residences located quite far apart. Dayton and his father soon began representing the William F. Wise studio in Tyrone, Pennsylvania.
On September 17, 1889, the “Tyron Daily Herald” reported, “Two young men named Leon Moan and George Dayton [Jr.], scenic artists who have been in the employ of W. F. Wise in Tyrone for nearly three months had their room in the building of Mr. Scullin, the tailor. About a month ago they broke a large French plate mirror in their room. They promised to pay for the damage done, but last night it was discovered that they were trying to sneak away on Philadelphia Express. Mr. Sculin did not care as far as the price of glass was concerned but he deemed it right to put a quietus on such a mean trick. Accordingly, he armed officer Snyder, with a warrant and together they went to the depot for the men. The fugitives were in hiding on the hill side of the railroad, and when the train arrived, they endeavored to board without being seen. Mr. Scullin and the officer made a dash for their men and secured Dayton, but Moan succeeded in eluding his pursuers. Dayton was taken before Esquire Taylor and settled the affair by paying the damage and costs” (page 2).
By 1889, George W. Dayton is listed as an artist in the New York City Directory, living at 330 E 77th. By 1891, only George W. Dayton, Jr. was listed in the New York City Directory, living at 324 E 85th St.
In 1891, the Dayton family lived in Pennsylvania, as a son, Eugene was born in Philadelphia that July.
From 1892 to 1894, the Daytons lived in New York, as “George Dayton, artist,” was listed in the directory, living at 513 E 117th St.
In 1894, Dayton’s past affiliation with Wallack’s Theatre in New York was mentioned in various newspaper articles about Henry Arthur Jones’ touring production of “The Silver King.” On Dec. 7, 1894, “The Clinton Register” reported that “All of the beautiful scenery for which the ‘Silver King’ is famous, is carried completed and was painted by George Dayton, former scenic artist of Wallack’s theater in New York” (page 2). On Oct. 16, 1895, the “Argus and Patriot” advertised the show at the Blanchard Opera House in Montpelier, Vermont. It noted, “All of the beautiful scenery for which ‘The Silver King’ is famous is carried complete, and was painted by George Dayton, former scenic artist at Wallack’s Theatre, New York” (page 3).
Interestingly, in 1896, the former residence of George W. Dayton was mentioned in the “Brooklyn Citizen” (2 Aug. 1896, page 23). The home and grounds were described in great detail. The article reported, “Patrick Ford lives on the Coleman place, now called ‘Dayton’s’ because it was once owned by George W. Dayton, the scenic artist, who during his occupancy of the place entertained some of the stage celebrities of the times.”
In 1897, however, both Dayton’s were listed in the NYC Directory:
Dayton Geo W artist h 1088 Park av
Dayton Geo W artist h 264 W 118th
That year, Dayton Jr. died of tuberculosis laryngitis at 34 yrs. old on April 5, 1897. He had been sick for three months before he passed. Dayton Jr. was buried in Middle Village, Queens, New York, he left a 2 yrs. old son (Jerome J. Dayton) and five-yrs. old daughter (Julia Agnes Dayton) daughter. Dayton Sr. had only a little time to grieve the passing of loved one. Three weeks later, he was bas at work. On April 28, 1897, the “Tyrone Daily Herald” of Tyrone, Pennsylvania, reported, “George W, Dayton, the veteran scenic artist, with a. corps of assistants, has begun work upon the extensive scenery to be used by the Harry M. Dry Pyrotechnic company in their new spectacular production ‘The Bombardment of Fort Sumter or the Siege of Charleston,’ which will be ready for presentation on the road in a few weeks. Altoona is anxious to be the first city to witness this gorgeous pyrotechnic festival, and it may be that the season will be opened there” (page 4).
Dayton Sr. had relocated to Tyrone. This move was recalled by his son, Oscar Dayton, years later. On Dec. 22, 1976, the “Tyrone Daily” published an article about the loss of the Wilson Theatre, entitled “The Curtain Comes Down” (page 6). Much of the artist focused on George W. Dayton, Sr.:
“Oscar Dayton’s father was a member of the Wise Studio, and a superb painter. Originally from New York City, the elder Dayton was employed by a very industrious organization of that city as a scenic painter and artist. When the Wise Studio came into being during the 1880s, George W. Dayton was contacted by Wise to come to Tyrone and further his professional technique by joining Wise’s staff in his studio on 12th street. The offer was accepted, and the Dayton family moved to Tyrone, where living conditions were less expensive than the larger, metropolitan areas, and, yet, the wages were most attractive. George W. Dayton continued his profession until his death in 1908. The Wise studio was a very busy establishment, painting scenery for theatres over a vast area. In fact, orders were well ahead of the work and became so prominent. That Wise drew in professional painters from many large cities.”
Oscar Dayton reminisced, “Ten professional painters worked from dawn to dark. It was a tremendous business, since scenery was an exclusive part of stage settings, and was in constant demand.”
George Dayton Sr. and the Wise Studio made headlines again in 1993. On July 24, 1993, the “Tyrone Daily Herald” published an article on the renovation of the oldest building in Tyrone (pages 1-2). On the second page of the article, the history of the building was examined: “The Woodshop building, which looks similar to a big old red barn, has a long history in the community, being the oldest building now standing in the borough. Built in 1855 it was first used as a church by the former United Brethren Congregation (now First United Methodist Church), and later became a Civil War hospital. The next occupancy of the building came in the form of scenic artists and a theatrical studio for W. F. Wise Co. and for George Dayton. Eventually Miller Brothers (Hardware) used it for storage for about sixty years, selling it to Lee Wertz, who also used it for storage. Mr. Anderson purchased the property in 1992 with a goal of restoring the building and using the second floor for his custom woodwork shop. Among his talents, Mr. Anderson makes moldings for other people restoring buildings.” The building stands at the corner of 12th Street and Washington Avenue. It was the theatrical posters uncovered during Anderson’s restoration that brought this building into the public eye again. On Feb. 27, 1993, the “Tyrone Daily Herald” reported, “Some pulley fixtures used for lifting scenery were found on the second floor. They were unique because of the four cut-out heart designs on each side of the pulleys. Samples of wall covering in which old wall paper was used as the canvas have been given to the historical society” (page 1). Here is a link to a photo gallery for Tyrone’s Oldest Building: https://tyronesoldestbuilding.com/gallery/
Additional research revealed that in 1888 the church building was sold to W.F. Wise and W.B. Stewart. The building was again sold in 1895 to A.A. Stevens and it would never again be in a position of importance to the community until it became the oldest building in Tyrone. After the purchase of the building by A.A. Stevens in 1895, it changed hands 11 more times.
On Feb. 24, 1898, the “Tyrone Daily Herald” included two articles about Dayton. The first was a letter written by Dayton entitled “A Strong Team” (page 4). It reported, “After frequent solicitations of a number of my friends who wished me to teach the art of drawing and painting in their several branches, I write this to all those who wish to take lessons, that I have associated myself with the Penn Art Co. school as one of their instructors and will faithfully do my part to educate all pupils who study with me, and if they will prove as studious and apply themselves on their part, they will have no cause to complain; attentive pupils will certainly attain such progression that they will be more than pleases with their venture. – Geo. W. Dayton.”
The second article reported, “The fine suite of rooms comprising the second floor of the First National Bank building is now occupied by the Penn Art company, of which M. D. McOmber is manager. The four rooms have been newly papered and renovated, presenting an attractive appearance. The front rooms will be occupied as the main office and clerical department, and the rooms facing Tenth street will be devoted to the teaching departments in charge of George W. Dayton and William H. Kellogg. The Penn Art company have for a long time been negotiating with some of the well-known artists of the country and have finally secured the services of these two experienced artists, who are known throughout the United States, and their paintings have been recognized and acknowledged by the artists of the world as masterpieces. As experienced teachers they probably have no superiors” (page 4).
Dayton Sr. continued to be listed in the newspaper. He was mentioned in a multi-page article entitled “How a Play is Staged.” On Aug 21, 1898 the “New York Times” reported, “Scenic artists have for years used the device of model scenes – that is, they have roughly constructed a small model as guides to the carpenters in making the larger scenery’ but Josef A Physioc, the young scenic artist of the Garrick Theatre, claims to have been the first to use the miniature stage, complete in every detail, for the guidance of actors, managers, carpenters, and ‘utility’ men. The accompanying picture of the model stage, set for the first scene in ‘Tess of the D’Urbervilles,’ illustrates the miniature stage as used by Mr. Physioc…Another picture shows the model stage set for a scene in ‘Couried Into Court. These miniature scenes are constructed in the ‘model room.’ The picture shows Mr. Physioc and George W. Dayton. An ‘exterior’ painter, at work upon a sketch preparatory to transforming their idea into a model. On the walls, on the table – everywhere – are models, sketches, and the countless suggestive things that litter up the studio.” (p. 27). Dayton Sr. was noted as simply “an exterior painter.”
By that fall, the Dayton family had moved again. On October 3, 1898, the “Altoona Tribune” announced, George W. Dayton, 623 West Washington. The scenic artist, with his family has removed to Thomastown” (page 3)
Dayton Sr. was listed as still living at Park Ave., confirmed in the 1900 US Federal Census. That year, the Dayton Sr. household at 1088 Park included: Geo. Sr. (Jun 1840, 59 yrs., married 12, scenic artist), Mary (Aug 1866, 33 yrs., mother of 4), Irwin W. (July 1888, 11 yrs.), Eugene (July 1891, 8 yrs., Philadelphia), Oscar V (Sept, 1897, 2 yrs.), Florence E (Sept 1874, 25 yrs.), Arthur B. (Nov 1876, 23 yrs., California, artist), Mary McCarty (Mother-in-law, May 1843, 57 yrs., mother of 13).
They were also counted in a second census report that year. In 1900 the Dayton family was also listed as living in Snyder, Blair, Pennsylvania. The Dayton household included George, Mary, Irwin, Eugene, Oscar V., Florence, Arthur, and his mother-in-law Mary McCarty.
On March 31, 1904, the “Tyrone Herald” reported, “George Washington Dayton, Tyrone’s boss artist, Vail’s central station postmaster, and the general community’s greatest jokester was in town Monday with four telescopes, a monster magnifying glass, a double-action six shooter Colt’s army revolver and a belt full of cartridges, looking for a lot which he purchased recently and upon which he advanced one-third of the purchase money but failed to get information as to the location of the property” (page 5).
On Sept. 11, 1904, “The Brooklyn Daily Citizen” reported, “The veteran scenic artist, George W. Dayton, painted the scene for Milton Nobles’ new comedy, ‘The Days of ’49.’ In 1875, Mr. Dayton got up the first scene for ‘The Phoenix,’ when Milton Nobles came forward as a star, in the now famous play of that name. Mr. Dayton has painted nearly one-half of the cycloramas that have been exhibited in this country since the Civil War” (page 3].
George W. Dayton Sr. passed away shortly after his 80th birthday, He died in Snyder Township, Blair Country, Pennsylvania, on June 25, 1909. The cause of death was listed as “Chronic Interstitial Nephritis,” an ailment that had lasted for approximately 6 months. His occupation was listed as “artist.” Dayton was buried in Grandview Cemetery, Tyrone, Blair County, PA. His obituary was published in the “Tyrone Daily Herald on Jan. 27, 1909 (page 4). It stated:
“FAMOUS ARTIST GONE. On Monday afternoon at 8:30 o’clock, George W. Dayton, the famous scenic artist. Died at his home at Vail. Mr. Dayton had been in failing health the past years from complication of diseases and was unable to leave his home the past two months. He gradually grew worse until death claimed him at the above-mentioned time. He was a kind, affectionate husband and father and will be greatly missed in the home. George W. Dayton was born in New York City, June 19, 1839, making his age 69 years, 7 months and 6 days. Mr. Dayton was married twice. His first wife preceded him to the grave in 1885. Two children were born to this union. His second wife, Mary E. Dayton, and the following children survive’ Mrs. William Ruhe, of China, Arthur B. Dayton, New Milford, Ohio, Irving. Eugene and Oscar, at home. The funeral will occur on Thursday afternoon at 1:30 o’clock. Services conducted at the home by Rev. George T. Gunter. Interment in Grand View Cemetery, Tyrone.”
His Eulogy was also included in the article:
“Eulogy of Geo. W. Dayton. One more friend is gone, one more father less, one more familiar face missed from among us. George W. Dayton passed away Jan. 25the. He has left a vacancy in the world of painters, for he was no common craft. His hand that held the brush was of cunning skill, as he stood high among the galaxy of old school painters fast fading from our midst. Although old it be, yet it was glorious in its day, as it has pointed the way to the newer school of painters. Just as from Chaucer sprang the renaissance of English literature, so from men of Dayton’s day evolved the present school of scenic art, He painted great scenes. He put his brush to a white mass of canvas and behold, trees rustled in the breeze, mountains swam in the hazy distance, mosses clung to magnificent architecture, shapely columns and sweeping arches gleamed among cypress and cedar. His touch had magic in it; his color was sweet and harmonious – never jarring or gaudy. An artist who stands high in his profession, said to me not long ago, ‘If I could handle the difficulties of scenic art as Dayton once did, I should consider myself a master.’ One of the charms of Mr. Dayton was his unfailing cheerfulness. His life had its ups and downs, its smiles and tears, but through all, he never changed. In my long association with him I never heard him condemn. ‘If you can’t speak well of anyone, hold your tongue,” was his oft-repeated advice. He was born in New York city considerably over a half century ago. In his early youth he showed decided talent for his chosen profession. There is much that is somewhat obscure in his early days. A hint or two he let drop led me to believe that his first venture was a turn in a circus, but of this I am not sure. The first definite knowledge we have of him was when he was about eighteen years of age. Then owing to the undoubted talent he displayed he was installed as a scenic artist of the old Bowery theatre in New York. This position he filled for three or four years. When his marked ability became apparent, his services were in demand. After a prosperous career here, he was offered an engagement in the principal theatre of San Francisco, his salary being among the highest in those days, paid in gold. He, owing to his genial disposition and talent, was presented with a handsome gold watch in token of esteem. All artists are more or less nomadic; so later we find him holding positions in many of the principal cities of the country. He was in Chicago immediately before he came to Tyrone. About twenty years ago he became a member of the corps of artists in the studio of Wm. F. Wise & Co. Many remember some of the drop curtains he painted and how his ability was felt by all. Now his eventual life is ended. When he lay upon his bed of death, his hands clasped by two of his friends, he looked up at us and with a flicker of his old time smile, joked even then, and after a pause, he turned to his wife and said, ‘I do not fear death.” There was no pain and he passed on a few days later into a calm and peaceful sleep. -A friend.”
While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune,” one that made me both celebrate and curse. It was a list of Sosman & Landis employees who made contributions to the Grant Memorial Fund that year.
As I read through the list, my heart sank. Although I had written biographies for several of the artists, the majority of names were entirely unrecognizable. This discovery means that I have thirteen more biographies to write. Yay! Argh!
Can you sense a hint of disgust with my jubilation?
Here is the article as it was published in the “Chicago Tribune” on Aug. 2, 1885 (page 9):
“Rolling it up.
Thousands contributing their dollars and dimes to the memorial fund.
There will be $50,000 in Bank before Old Commander is Laid to Rest.
Those who contribute should do so immediately – yesterday’s list of subscribers.
A committee from the clubs and prominent commercial lines to solicit donations. Following were the subscribers to the Grant Memorial find at the Tribune office yesterday:“
Here is the section on Sosman & Landis…
Following is a list of the employees of Sosman & Landis who subscribed to the fund:
I’ll keep you posted on my progress as I slowly work my way down the list, starting with George W. Dayton. There is no way to know whether it is George W. Dayton Jr. or Sr., as both were scenic artists.
This is my last Sosman & Landis employee biography – number 100!
I began this journey on March 28, 2021, with the story of Frank Landis, Perry’s younger brother and salesman for the firm. At the time, I had a few dozen names and planned to spend only a couple months researching and writing biographies. Fortunately/unfortunately, new names continued to pop up all over the place as I read newspaper articles and searched various databases. Never in a million years could I have anticipated writing one-hundred biographies over the course of twenty months.
As planned, I have a garnered a great sense of the various personalities who passed through the studio over the course of several decades.
This last employee – A. M. Paton – ties many loose ends together. I first encountered Paton in a Sosman & Landis newspaper article while researching George Wood and Lawrence Donohue. His tale really sums up the experience of so many artists who left everything familiar and settled in the United States during the 1880s. In my opinion, this particular decade was a golden era – the perfect time to begin work as a scenic artist in America. There was a greater demand for scenic illusion than scenic artists to paint it, especially in the western United States where the construction of new theaters offered endless opportunities and high profits.
Paton, like both Joseph S. Sosman and Perry Landis, also invested in a variety non-theatrical business endeavors. I have now encountered numerous artists who dabbled in newspapers and real estate. How brilliant, as good publicity and a good location remain key to the success for many artists and businessmen.
From Newcastle-on-Tyne, England, to Ulysses, Kansas, in the United States, here is Paton’s tale.
Advertisement in the Ulysses Tribune. March 14, 1888, page 1.
Alexander M. Paton was born in Edinburgh, Scotland, in 1858. He was the son of Alexander Paton Sr. (1818-1894) and Margaret Russell (1820-1891). One of ten children born to the couple, his siblings included: Jane (b. 1843), Genia (b. 1844), John (b. 1845), William (b. 1847), Elizabeth (b. 1848), Mary (b. 1849), Agnes (b. 1850), Margaret (b. 1855), Robert (b. 1860) and Richard (b. 1963). Between the births of the two youngest sons, Robert and Richard, the Paton family moved from Edinburgh, Scotland, to Berwick upon Tweed, England. Berwick is a town at the mouth of the Tweed River, approximately 56 miles southeast of Edinburgh and 65 miles north of Newcastle upon Tyne. For geographical context, the Tweed River is the demarcation line between Scotland and England along the east coast of each country.
Paton came of age working for his father in Berwick. He worked alongside his younger brother, Robert, in their father’s bookstore. A. Paton & Sons, bookseller, was located at 51 High Street in Berwick-on-Tweed in England. The 1879 Post Office Directory of Durham and Northumberland listed Alex Paton as a stationer in on High St., Berwick-on-Tweed, with the Trade Section of the Directory listing Paton as a bookseller – A. Paton, High St., Berwick-upon-Tweed. Berwick’s town center is Mary Gate and High Street, placing the Paton’s in the center of town.
The 1881 England Census listed the Paton family living at 49 Mary Gate, listing Alexander Paton Sr. as a bookseller and printer. The occupations of his three sons were as follows: Alexander Paton Jr. (23 yrs., bookseller), Robert R. Paton (20 yrs., printer and compositor), Richard Paton (18 yrs., chemist and druggist). Other members of the household at the time included Alexander M. Paton Sr. (62 yrs., bookseller and printer) and Margaret R. Paton (25 yrs., housekeeper).
Sometime in 1886, or early in 1887, Alex Paton Jr. began reading the “Grant County Register,” published in Ulysses, Kansas. Possibly sent by a friend, this newspaper was first published on July 21, 1885, for a town of approximately 500 settlers. At the time, A. Bennett was the editor and proprietor, with Charles D. Majors as the general manager. Grant County’s “Register” began as an eight-page folio, with the first number printed in Lakin, Kansas; the printing press was late upon its arrival to Ulysses. For geographical context, Ulysses is located in southwestern Kansas, about halfway between Wichita, Kansas. and Pueblo, Colorado; 45 miles southwest of Garden City, Kansas.
Map showing the Kansas towns of Ulysses and Surprise in Grant County, 1887.An early photograph of Ulysses, Kansas.
On June 1, 1887, the “Ulysses Tribune” reported, “A. M. Paton of Newcastle-on-Tyne, England, arrived in New York on the 23d ult., and is now located in Ulysses. He is an old friend of Harry King and T. D. Hind, who were glad to greet him.” Both Harry King (1858-1946) and Thomas D. Hind (1848-1940) were fellow Englishman. Hind moved with his family from England to Illinois in 1877, continuing west to settle in Kansas by 1878. King also emigrated with his family to the United States (by way of Canada) in the 1870s, settling in Kansas and starting a family by 1880.
On June 4, 1887, the “Grant Country Register” also announced Paton’s arrival (page 5). The article detailed, “A.M. Paton arrived Monday from Newcastle on Tyne, England, and is the guest of his old friends, Mr. and Mrs. T. D. Hind, of Riverside hotel. This is Mr. Paton’s first introduction to America, and he says it suits his taste better than old England. He read the Register across the waters, and the contents of the paper induced him to make the voyage. He was disappointed at every city he visited in Kansas except Ulysses, which agreeably surprised him. Mr. Paton will make this city his future home.”
Thomas D. Hind was part of the Kansas, Land, Loan, Irrigation & Investment Co. of Hutchinson County, Kansas.
One of many advertisements placed by Hind in newspapers during 1886.
Hind was named in advertisements in 1886 attempting to entice settlers to Surprise, Kansas promising, “the benefit of good schools, churches and the best of society” (The Surprise Post, 6 July 1886, page 8). Surprise was purportedly located twenty miles due south of Hartland. In 1886, Hind not only was an official agent for the Surprise Town Company, but also was proprietor for The Prairie Queen hotel there.
Hind’s ads in “The Surprise Post” stated:
“T. D. Hind,
Agent for the Surprise Town Company,
Is empowered to offer special inducements to investors. The lots have been placed at low prices, in order to build up the town and make money for the purchasers. Come early and secure choice lots in one of the most promising towns in Southwest Kansas. Correspondence solicited. Address T. D. Hind, Surprise, Hamilton County, Kansas.” (The Surprise Post, 10 June 1886, page 8).
Although Hind initially promoted the new town of Surprise, Kansas, he soon set his sights on Ulysses, Kansas. Ulysses is located approximately 14 miles south of Surprise
On Oct. 30, 1886, the “Grant County Register” announced, “T. D. Hind, formerly town agent of the Surprise Town Co. and landlord of the Prairie Queen hotel at Surprise, has rented and taken personal charge of the Riverside hotel, Ulysses, which he is giving a thorough renovation. Mr. Hind is an experienced hotel man and will run the Riverside in a creditable manner. The table is first class” (page 1).
One of Hind’s Riverside Hotel advertisements in the “Ulysses Tribune,” 1887.Hind remodeled the Riverside Hotel during the summer of 1887.A. M. Paton stayed at the Riverside Hotel as a guest of Thomas D. Hind upon his arrival to America in 1887.
Interestingly, Hind was not always popular with everyone.
I am including a few more articles about Hind to “set the stage” for Paton’s arrival in 1887. On Nov. 19, 1886, the “Garden City Daily Herald” included an article entitled “Pistol Practice” about Hind reporting:
“A shooting scrape occurred at Ulysses Wednesday between T. D. Hind and A. D. Hunt which came very near to resulting in the fatality as to the latter party. Hunt followed Hind into the post office and commenced abusing and applying all sorts of offensive ephithels to him when Hind pulled out his revolver and fired five bullets at him. The first two shots went into the ceiling, but the third and fourth shot struck Hunt in the right side, just under the arm, the bullet coming out of the back under the shoulder blade. Mr. Kiarney stepped in about this time and caught Hind, but was unable to control him until he had emptied his revolver. None of the shots, however, took effect. The shooting caused intense excitement. Hind was arrested by the constable, Daniel Springer, and was bound over to appear at the district court in the sum of five hundred dollars. At last accounts he had not succeeded in securing bonds and will probably have to go to jail. Mr. Hind has a wife and two children and is running the hotel at Ulysses. We are informed that he has but few friends in the community. It is thought that with good care Mr. Hunt will recover, although his wound is very painful and only missed the heart a few inches” (page 1).
On Feb 12, 1887, the “Grant County Register” reported, “We were glad to see T. D. Hind return to Ulysses Sunday. Mr. Hind was bailed out by the Ulysses Town Company” (page 8).
In the spring of 1887, Hind was living at his Riverside Hotel, but began to expand his real estate acquisitions. On April 16, 1887, the “Grant County Register” reported, “Joseph Bittiker’s house has been rented by T. D. Hind, of the Riverside, who will use it for sleeping accommodations for his numerous guests” (page 5).
Although Hind lived at the Riverside hotel, he was building a large home on the outskirts of town. During construction, his wife and children lived in a “shanty” at his land claim. On April 20, 1887, “The Garden City Sentinel” provided a little glimpse into Hind’s shanty (page 3):
“T. D. Hind went out to his claim with a covered hack to bring his family into town, and on arrival at the shanty he found his wife and children in a sad predicament owning to the water running into the house. The house is five feet in the ground. It was not made waterproof. Mr. Hind is building a fine residence on the southeast corner of the claim, in full view of Ulysses, Cincinnati and Surprise.”
A few months later, Paton was Hind’s guest at the Riverside Hotel. After deciding to stay in the area, Paton placed an advertisement for work in the “Ulysses Tribune.”On June 11, 1887, Paton’s advertisement listed that he was a “sign painter, decorator, and artist in oil colors [who] undertakes all kinds of work in this line. For moderate estimates apply at the Riverside Hotel.” His advertisement was also mentioned on the front page: “Read the advertisement of A. M. Patron, artist, in this issue.” There are a few things to consider. The first is that when Paton arrived in Ulysses (at the age of 29), he advertised himself as a painter. I highly doubt that he embarked on an entirely new career at this time. In other words, his advertisements as an easel artist, sign painter and decorative painter suggest some training and past experience in England.
On July 23, 1887, the “Grant County Register” reported, “Mr. A. M. Paton, who lately arrived in Ulysses from England, is in receipt of several letters from his father, who cannot for the life of him, in merry England, conceive how a habitable house can be built here for ten pounds. To give Mr. Paton’s inquiries, his surmises and doubts, would fill an interesting column. We ask him to address a letter to the Register.” This was the same paper that Paton first read in England, likely the same newspaper that was still being sent to his father’s bookstore. It indicates that his family knew where he was and stayed in contact.
Nineteenth-century photograph of frame houses in Ulysses, Kansas.
Some of Paton’s earliest painting projects in the area were contracted by Hind. On June 15, 1887, the “Garden City Sentinel” reported, “A. M. Paton, a new arrival in Ulysses, from England, has a painted picture of the Riverside hotel and is at present engaged on one of Dr. C. B. Core’s new residences. Mr. Paton will also paint the signs for the new Edwards hotel.” Hind also owned and managed the Edwards hotel in Ulysses. He remained associated with the property until the fall of 1887, when “The Grant County Register” reported, “T. D. Hind has withdrawn from the management of the Hotel Edwards, his successor being G. S. Hoffecker.”
Paton’s name continued to appear in local newspapers, providing insight into not only his past life, but also his current activities in Kansas. On October 12, 1887, the “Ulysses Tribune” reported, “At the literary Wednesday evening, Mr. A. M. Paton read ‘Tam O’Shante’s Tale’ in the Scotch dialect. Mr. Paton is a native of Edinburg, and his rendition of this popular poem was easy and natural and the dialect perfect.” Here is a link to “Tam o’Shanter” by Robert Burns: https://www.scottishpoetrylibrary.org.uk/poem/tam-o-shanter-tale/
By the fall of 1887, Paton began to diversify his employment and investments in the region. On Nov. 9, 1887, the “Ulysses Tribune” announced, “Mr. A. M. Paton has accepted a position with this paper in the capacity of business manager, and will lend his time and labors toward increasing the patronage and circulation of the Tribune.” This was only six months after the newspaper was founded by George W. Perry, providing Paton with a wonderful opportunity to promote both himself and his various activities.
A, M, Paton listed as the business manager for the Ulysses Tribune in 1888.
In addition to the newspaper position, Paton began investing in local business enterprises. On Dec. 21, 1887, the “Ulysses Tribune” reported, “A. M. Paton and Wm. Brown will erect a building on Central Avenue to be used as a barber shop and bathroom. Work is to be commenced at once.” The bathhouse opened, listing Paton as the sole proprietor. He placed a series of advertisements in the “Ulysses Tribune” for several weeks.
An advertisement placed by A. M. Paton for his bathhouse in Ulysses, Kansas.
By the beginning of 1888, Paton began to travel throughout the region. On Jan. 21, 1888, the “Garden City Register” announced, “H. G. King, A.M. Paton and W.B. Rorick were in Garden City this week” (page 5). All the while, he continued to paint. On March 7, 1888, the “Ulysses Tribune” announced, “A. M. Paton has painted a very handsome sign for H. G. King’s real estate office” (page 1). By this time, Paton, King, and Hind were all investing in land. In the end, however, they failed to pay the necessary taxes and were subsequently listed as delinquent tax payers. This prompted a swift relocation for all parties involved.
By the fall of 1888, Hind and Paton had left town. In October, Paton put his house up for sale and moved west to Kansas City, Missouri. He placed advertisements for his frame house, measuring 12×16, in the “Ulysses Tribune”. The advertisement listed – “House for sale. A 12×16 frame house for sale belonging to A.M. Paton. House now located at the east end of Prospect Avenue, Ulysses. Will be sold cheap for cash. Apply at this office.”
Similarly, Hind moved from Ulysses to Hutchinson, Kansas. On Nov. 23, 1888, “The Larned Eagle-Optic” reported, “Mr. T. D. Hind, of Hutchinson, a professional dresser and trimmer, who learned the business in London, England, and subsequently followed it to New York and Philadelphia, spent last week in this city dressing the show windows and decorating the interior of the Boston Store, and completed the work in genuine metropolitan style, displaying rare genius in the artistic arrangement of draperies and the harmonious blending of colors. The Boston Store in consequence presents a most beautiful and attractive appearance, equal to anything that can be found in our largest cities. Mr. Hind, we are informed, will pay this city another visit shortly before Christmas and dress the Boston Store in its holiday attire” (page 3). There is absolutely no mention of his stay in Surprise, Ulysses, or any past land investments.
As for Paton, by the spring of 1889 he was living Kansas City, Missouri. Paton was listed in the City Directory as working at 124 Commercial block, and rooming at 717 Penn. He continued to take out advertisements, marketing himself as a Scottish artist.
On April 7, 1889, he advertised in the “Kansas City Times”:
“Personal – Alec Paton, artist, from Edinburgh, Scotland, gives lessons in oil painting morning or evening, 50 cents per lesson. Visitors are invited to the studio. Room 124, 1108 Main st.” For geographical context of the location, the W. W. Findlay art store was located a few doors away at 1112 Main. Findlay ran a well-known establishment, originally founded in 1870.
Advertisement in the Kansas City Directory for W. W. Findlay.
Paton continued to run advertisements that spring, each with a little variation:
April 16, 1889, “Kansas City Times” – “Aleck Paton, artist, teaches drawing and oil painting in a few lessons; 50 cents a per lesson, room 124, 1108 Main.”
May 15, 1889, “Kansas City Star” – “Aleck Paton, artist, gives lessons in painting daily; pupils always successful; exhibition of work shortly; visitors invited. Studio 1108 Main st.”
May 18, 1889, “Kansas City Star” – “Enlarge your own photographs life size – Crayon, pastel or oil portraiture taught in 5 lessons: proficiency guaranteed. Paton, artist, 1108 Main st.”
May 31, 1889, “Kansas City Star” – “A. Paton, artist, gives lessons daily in drawing, painting and art decorating; 3 hour lesson 50c; materials provided. Studio 1108 Main st.”
Paton did not remain in Kansas City for long, and moved to St. Louis, Missouri by the fall of 1889. Paton traveled quite a bit during his time, advertising in many other newspapers across the country, including the “Tarborough Southerner” in North Carolina, always listing his home residence as 1114 Olive Street.
Advertisement by A. M. Paton in 1891.
In addition to offering art lessons, Paton began advertising “crayon portraits,” rapid sketches in pencil or charcoal. Paton’s new home and studio was located at 1114 Olive. He advertised in both St. Louis and St. Joseph newspapers. On March 16, 1890, the “St. Louis Globe-Democrat,” mentioned A. M. Paton performing as “the crayon artist” as part of the Arcade Club Entertainment at West St. Louis Turner Hall, located on the corner of Beaumont and Morgan streets (page 8). Paton’s artistic performance was listed alongside musical entertainment for the evening. His title as “crayon artist” changed to “lighting artist” the next month. On August 6, 1890, the “St. Joseph Herald,” listed Mr. A. M. Paton as a “Lightning Sketch Artist” who was part of Ideal Mandolin Club Plays program (page 7). Lightning artists were very popular at the time, recognized as stage performers who entertained crowds with quick sketches. Their performance often includes narrations by the artist and funny tales, while drawing, painting, or sculpting clay.
It was likely his Lightning artist act that brought him into contact with P. J. Toomey of Noxon & Toomey, St. Louis. Paton soon began representing the firm as a scenic artist and decorator. On April 6, 1891, “The Kearney Hub” reported, “Decorators Here. The opera house decorators did not arrive Friday as expected, but are here now. A. M. Paton, representing Noxon & Toomey, scenic artists, of St. Louis, and Messrs. Parquette and Coldewe arrived last night, The latter gentlemen were melting glue and grinding colors to-day, and to-morrow will begin the work on the ceiling. The foreman will be here ton-night” (page 3). He returned with Toomey for opening night at the Opera House and was again mentioned in “The Kearney Daily Hub” on May 2, 1891 (page 1): “In the other box of the second tier were seated P. J. Toomey, of Noxon & Toomey, the scenic artists, A. M. Paton, their representative here, and Miss Helen Harney.”
Interior of the Kearney Opera House on opening night, 1891.
This is quite significant and indicates the value that Toomey placed on Paton’s work. It is unusual for a studio owner to very publicly attend an event with an employee unless that individual is a great asset to the firm. By 1901, Paton is still working with Toomey, listed as the Secretary of the Toomey & Volland Co. However, Paton’s employment as a scenic artist in America tales many twists and turns before that.
In 1892, Paton partners with another artist named Keller to establish Keller and Paton. The two place the following advertisement in the “St. Louis Globe-Democrat” on July 10, 1892 (page 20): “Keller & Paton, artists, studio, 307 Hagen Opera House, Specialty – Fine Portraits; inspection invited.”
There were quite a few Midwestern artists who shared he last name of Keller. However, the likeliest candidate seems to be Jacob Keller, a German-born artist who worked in St. Louis from 1880-1915. In 1880, Keller was listed as a fresco artist in the St. Louis Directory. He remained in St. Louis, working as an artist until his passing in 1915. Both of Keller’s son’s, Arthur and George, followed in their father’s footsteps and were listed as “sign writers” in the 1900 US Federal Census. In 1892, Jacob Keller was 45 years old, and Alexander Paton was 34 yrs. old.
A month later, the “St. Louis Globe-Democrat” mentioned Keller and Paton transparency paintings in an article entitled “Panorama of Light” –
“The illumination test last night was a magnificent success, and the down-town thorough-fares looked like street of Candy Town in Fairyland. Thousands upon thousands of many-colored globes shed their mellow lines upon the enchanted crowds that thronged to see them; electric lights almost without number flashed in gorgeous festoons from every meeting of the vast network of wires on Broadway, Twelfth and Olive streets, Washington and Franklin avenues; and dozens of colossal set pieces told in pictures of flame the story of the nation’s discovery, growth and prosperity. The beauty and colossal proportions of the display outrivaled anything ever before attempted in the world. For without electricity competition would be in vain; and the present is the most costly and extensive electric illumination ever contracted for.
The ‘test’ display of last night was begun a few moments before 7 o’clock and lasted until 8:30. The arches, gas and electric, on Broadway, Olive street, Washington and Franklin avenues were first turned on, making the several streets light as noon. The green arch of the Presidents on Broadway, between Pine and Chestnut, the transparency of the sailing and landing of Columbus on Broadway and Locust street and the accurate likeness of Washington at Broadway and the avenue of his name all inspired unbounded admiration. The Columbus portrait at Thirteenth and Olive streets looked natural as life. The painting of the transparencies was executed by Keller and Paton, and are really admirable from an artistic stand-point. The greatest terrestrial globe at Broadway and Olive was somewhat tardy in lighting up, but at 7:45 it began to whirl on its axis, and the oceans, islands and continents, sprung out in bold relief. The globe is the Kohinoor of the illumination. The Santa Maria arch at Twelfth and Market streets, vying for supremacy with the great globe in point of beauty, created a decided sensation when finally lit. The quaint old-style ship, riding over gloriously tinted waves- and waves. Too, that seemed to swell and heave in brisk gale – was a sight certainly unique. The statue of Liberty in a new dress of bronze lifted her blazing beacon to the world as patiently and proudly as during the last year.
“Owing to the fact that the final touches had not been put on the star of the Western World set piece at St. Charles and Twelfth streets and the Grants flags, these two prominent designs were not illuminated. The electric power was found to be more than enough on the ‘Globe’ at Broadway and Olive, many of the small incandescent burning out completely and a large rent being made in the surface of the miniature earth. When the grand affair began to hiss and sputter threateningly the big jam at the intersection of the streets below resolved itself into a panic-stricken mob. The wife of a real estate man fainted and fell to the pavement. But for the timely assistance of Officer N. C. Vaugn the lady would have been trampled to death by the throng. She was revived at a drug store and was none the worse for the experience. Two little boys were knocked down by horses on Twelfth street, near Olive, but neither were injured on account of the slowness of the beasts.
“It is estimated that fully 80,000 people were on the streets last night. Nothing like the throng has been seen since last year’s Veiled Prophet’s parade, and it is doubtful if the thoroughfares were more ‘jammed’ then. The next illumination will be given on September 1.
“The illumination was the occasion of a large number of visitors to the new Globe-Democrat building, while waiting the grand display of electric lights and gas-jets, took advantage of the opportunity to inspect the largest and most perfect newspaper establishment in the world. They were shown through the mammoth building and viewed with interest the complicated machinery and latest appliances of modern invention to be found in an office building, as well as the intricacies of the interior workings of a great newspaper” (August 16, 1892, page 12).
In St. Louis, Paton purchased a home. On Jan. 17, 1893, He was listed in “St. Louis Globe-Democrat” when he purchased a home from the Tuxedo Park Land improvement Company for $500 (page 5). With a St. Louis home, Paton became subject for other civil duties in the cities, including jury duty. In the end, he was excused as he was not a US citizen. The article “St. Louis Post-Dispatch” from April 24 announced, “Are Not Citizens.” The article continued, Alexander M. Paton, an artist living at 10 South Sixth Street, and John T. Mooney, clerk at Scruggs, Vandervoort & Barney’s, residing at 2215 Sidney street were summoned to act as jurors in the Criminal Court this morning, but were excused on the ground that they were not citizens of the United States.”
Article announcing Paton’s excuse from jury duty on the grounds of non-citizenship statues, 1893,
He continued to work as an artist, and became secretary of the St. Louis Sketch Club (18 Feb 1896, St. Louis Globe-Democrat, page 4). Paton continued performing on the stage too. A very interesting article about his sculpture work made newspapers across the country. On Dec. 11, the “Albany Democrat” in Oregon described Paton’s latest performance:
“We hear a great deal about mud slinging during a political campaign. The St. Louis Republic tells of a case of genuine mud slinging that is very interesting and beats politics at every corner. At am entertainment the unique feature of the program was a surprise sprang by Mr. A. M. Paton, the well-known artist. He was down on the program for lightning sketch and modeling, and after the usual display of rapid picture making he had his assistant bearing forward a table covered with about 50 balls of mud. Standing in front of the platform he began throwing the balls at the surface of his modeling board, and before the audience quite understood the meaning of the queer proceeding, he had shaped the conglomerate mass of clay into the shape and features of a human head and face. With a few rapid strokes of his deft fingers a wrinkled face appeared, with hollow cheeks and sunken eyes of old age, the sweep of a comb, and a matted beard and mustache was there on an aged face, leering from the board. The artist was greeted by surprise applause, and without removing the clay changed the plastic mass, into the typical faces of all the races of men. The Scotman, Irishman, negro, Englishman and Chinaman, gave way to the American Indian, and them to the well-known face of Uncle Same. The face presented was the common in the end to all, the grinning skull.”
Paton continued to return to England and appears on the Outward passenger lists from the UK and Ireland on Jan. 5, 1901; sailing on the Umbria. Paton continued to live and work in St. Louis where he remained associate with P. J. Toomey’s scenic studio. Remember that in 1891 he represented Noxon & Toomey.
On May 10, 1901, Paton was working for Toomey & Volland at the Stone City Opera House in Bedford, Indiana. On May 10, 1901, “The Bedford Weekly Mail” reported, “Mr. A. M. Paton, Secretary of the Toomey and Volland Scenic Co., of St. Louis, has for several days been placing the scenery upon the stage of the new Stone City opera House, for its approaching opening and future mission. By courtesy of Mr. Paton we were permitted to view the splendid array of scenery, and were lead into a full detail of its arrangement, which owing to the complete and modern construction of the house, the gentlemen claim, will make a most satisfactory showing when completed – which we were informed will be about the last of this week – will constitute one of the most elegant and perfect working stages in Indiana.
“The Toomey and Volland Scenic Co., of St. Louis, enjoys the distinction of being the first in scenic art and stage equipment, and the management of the new Stone City has been very fortunate in securing work of their execution, and their personal services in dressing the stage.”
There is a little backstory that will provide context for Paton’s work at Noxon & Toomey and Toomey & Volland in St. Louis. All of the players really shape Paton’s scenic art experience. Patrick J. Toomey (1851-1922) was born in Limerick, Ireland and immigrated to St. Louis with his parents as an infant. He apprenticed himself to Thomas C. Noxon at Deagle’s Varieties. The two established Noxon & Toomey in 1869, with Ernest Albert joining them in 1881 to form Noxon, Albert & Toomey. Although it was a short-lived firm, it shows indicates the high quality of scenic artists passing through the studio doors at the time. At the time of his death, the “St. Louis Post-Dispatch” reported that Toomey was “considered one of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March 1922, page 14).
Studio stencil for Toomey & Volland.
Noxon passed away in 1898, but the firm of Noxon & Toomey continued for the next threeytears. In 1901 the name changed to Toomey & Volland, reflecting the new second partner, Hugo R. Volland. Volland rose through the ranks in a similar fashion to Thomas G. Moses at Sosman & Landis. Both Moses and Volland eventually took over the running of each firm. Toomey was a close friend of Thomas G. Moses of Sosman & Landis. Prior to the death of Toomey in 1922, the two studios shared both projects and artists over the years. So, when Paton begins working for Noxon & Toomey in 1891, it is under the leadership of senior partner Noxon. Toomey was the junior partner who frequently traveled for the firm, hence why he attended the 1891 opening of the Kearney opera house with Paton. Noxon & Toomey become Toomey & Volland after Noxon’s passing in 1898, but it takes a few years. At this point, Toomey becomes the senior partner, and Volland is the junior partner. The dynamic of the studio shifts. After Toomey’s passing, Toomey & Volland is immediately renamed Volland Scenic Studio.
Portrait of PO. J. Toomey from 1896.
The studio’s namesake, Hugo R. Volland, was born on May 6, 1866 in Großenbach, Germany. He was first listed as a St. Louis resident in 1888, living with his brother Otto Volland, and advertising as a painter. He first worked for Noxon & Toomey as a scenic artist and later secretary for the firm by 1892. By 1901 be was listed as vice-president of Toomey & Volland, with Paton stepping in as Secretary for the firm.
Volland Studio Stencil.
In regard to scenic projects that occurred during Paton’s time at both Noxon & Toomey and Toomey & Volland, it greatly varied as in many studios at the time. However, Toomey was best known for his electrical floats, and excelled in this line for over 25 years, placing his studio staff at the forefront of many projects. Paton likely gained much of his electrical knowledge from Toomey in the 1890-1891. This was immediately before he partnered with Keller on the Panorama of Light project in 1892.
In 1902, Paton briefly works with Sosman & Landis on a project in Bowling Green, Ohio. Although the newspaper misprints the initials of his first name, this is the same guy. On August 6, 1902, “The Daily Sentinel-Tribune” of Bowling Green, Ohio, reported, “F. A. Paton, representing the Sosman & Landis company, scenic artists of Chicago, was here yesterday making arrangements for the scene and curtain painting for the new Chidester theatre. The work will be handsome and attractive when done.” (page 5). The venue opened Dec. 19, 1902.
Sosman & Landis studio project pictured in the “Chicago Tribune, 2 Feb 1902.Sosman & Landis catalogue, 1894.
In 1904, Paton again relocates his home and business, heading west with many other scenic artists who recognize the untapped potential of the West Coast. In addition to an abundance of work, California’s temperate climate was ideal. Many Chicago scenic artists moved to the west coast, after apprenticing in Chicago. On Nov. 27, 1904, Paton sells his Tuxedo Park home at a loss, receiving $100 less than he originally paid for it (St. Louis Globe-Democrat, page 32). He journeys we where he purchases several properties from the Jacob Heyman Co. in San Francisco (San Francisco Chronicle and San Francisco Examiner real estate transactions, July 1905). He also buys property in Los Angeles from H. W. Wilson (Los Angeles Herald, 4 Nov. 1905, page 7).
Paton is listed in both the 1905 San Francisco Directory and the 1906 Fresno Directory, working as a scenic artist and living at 609 Jones. Other scenic artists listed in these two directories included:
Barr, A. L., 426 Eddy
Bell, George R., 660 Castro
Brooks, Joseph M., 361 Geary
Cutler, Frank E., 522 Van Ness Av.
Duran, Edward C., 8 Gough
Dye, Clarkson, 1418 California
Englander, Edward, 536 O’Farrell
Engwer, Charles F. 1117a Filbert
Fest, Oscar L., 1616 Turk
Grabach, Charles, 631 O’Farrell
Porter, W. T., 507 Mason
Rose, Charles F., 1117 Filbert
Sheppard, Arthur F., 676 Hayes
Williams, Edward S. 1281 O’Farrell
By 1910, Paton was listed in the San Diego Directory as a scenic artist at the Garrick Theatre, 1614 Front Street. The Federal Census confirmed Patron’s employment as a scenic artist, working on his “Own Account.” At the time, Paton was living as a boarder at 1614 Front in San Diego. He was boarding with a 40-yrs.-old widow, Maude M. Kelly, and her two teenage sons, John R. Kelly (son, 18), and James H. Kelly (son, 16). The census report listed Paton’s date of immigration as 1890, and that he was a naturalized citizen.
During the fall of 1910, Paton sold his Los Angeles property at the northwest corner of W 10th and Fedora Street. In the real estate transaction listing, he again listed his business residence as the Garrick Theatre in San Diego. Between 1911 and 1912, Paton also sold several of his San Francisco properties. This was likely to finance a new business venture with stage carpenter Thomas B. Wylie. The two established Paton & Wylie scenic studio in 1911. The 1911 San Diego Directory listed that the Paton & Wylie (AM Paton and TB Wylie) was located at 203 5th. In 1912, Wylie was listed as the stage carpenter for the Isis Theatre in San Diego, living at 1329 8th.
This partnership did not last for long. In 1912 Paton was listed solely as a scenic artist at the San Diego’s Savoy Theatre, living at 1431 First. He continued to reside at the same addressfor the next few years. By 1913, Paton partnered with fellow scenic artist, Frederick Rickeman (1874-1951) to form Paton & Rickeman. At the time, Rickeman was living in the Point Loma neighborhood of San Diego. In 1914, Paton & Rickeman, listing their studio as the Empress Theatre. Rickeman was listed in the 1915 San Diego Directory as living at 715 10th. By 1916, Paton & Rickeman listed Spreckels Theatre as their new business address. Interestingly, Spreckels Theatre was constructed in 1912 to commemorate the opening of the Panama Canal.
Rickeman was the son of German immigrants who had moved to California by 1911. Born in Phillipsburg, New Jersey on July 29, 1874, Rickeman worked as a scenic artist all over the country before heading west. His US Passport applications from 1890 and 1900 describe him as 5’-8” tall, with blond hair, blue eyes, Roman nose, round chin, oval face, fair complexion, and a moustache. A trip to France in 1903 resulted in marriage to his first wife Gabrielle. The two returned to the United States were Rickeman worked in New York as a decorator by 1905. In 1918, Rickeman married in second wife, Eva Minosa Forneri (b. 1890 in Minneapolis, Minnesota). The Rickeman’s celebrated the birth of two sons, David E. (b.1919, Indiana) and Donald J. (b. 1929, San Diego). After ending his partnership with Paton, Rickeman moved to LA where he continued to work as a scenic artist. At the time of his passing in 1951, Rickeman’s obituary identified him as a “film studio scenic artist.”
Paton remained in San Diego for the remainder of his life, continuing to work as a scenic artist on various projects. Unfortunately, Paton’s projects seem to dwindle in the post WWI years. The last mention of his work that I have located to date is from 1924; this is just one year before his passing. On Feb, 22, 1924, the “Weekly Times-Advocate” announced that Paton was one of two scenic artists working on the Escondido Fruit exhibit for San Diego County at the National Orange Show in San Bernardino, California. The article reported, “A. M. Paton and E. E. Knight, San Diego artists, were put in charge of the construction, and the exhibit was built there and taken in sections to San Bernardino, where the finishing touches were applied by Mr. McLean, Mr. Knight, and M. E. Salsberry, horticultural inspector at Escondido, who had charge of the mechanical end. C. E. Bell, assistant manager of the San Diego-California club, is now at the orange show, distributing San Diego literature and ‘selling’ the city and county to interested inquirers” (page 2).
Paton died the following spring on April 28, 1925. I have yet to locate any obituary or gravestone.
George Pat Wood (left) and Victor Hubal (right) in 1912.
Victor Hubal & George Wood are pictured together in a 1912 photograph; each working as a scenic artist in Winnipeg at the time. The caption written on the photograph reads, “Dad [Hubal] in 1912 at Winnipeg, Canada, Scenic Studio. His Pal Scenic Artist George Wood.” At the time, Hubal was 24 and George was 21 yrs. old; both were associated with Sosman & Landis. As with many artists at the Chicago-based firm, they traveled all across North America, rapidly painting scenery as they journeyed from one venue to the next. Although Sosman & Landis was known for shipping scenery to distant locations, many of their projects still continued to be painted on site. Much had to do with the fact that despite the large size of their main studio and additional paint spaces at various annexes, some projects were still completed on site.
It has taken me quite a while to track down George Patrick Wood, as there are several George Woods who worked as artists from the mid-nineteenth century to the mid-twentieth century, including his father, George Wood Sr.
George Patrick Wood was born in Chicago on April 10, 1891, although his birth was not registered with the State of Illinois until July 31, 1891. Later in life, he would go by George Pat Wood in newspaper article. He was one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (also erroneously listed as Donahue/Donaghue/Donigan in many historical records), Della Bridget Donohue was born about 1870 and named after her maternal grandmother Bridget (McDermot) Donohue.
Wood had two younger brothers: Arthur Francis Wood, born in Feb. 1893, and Walter James Wood, born in Feb. 1895.
I have uncovered very little about their early childhood, or the Wood family’s activities between 1895-1900. However, sometime between the birth of Walter Wood in 1895 and the US Federal Census in 1900, the Wood family moved from Chicago to St. Louis, Missouri. They likely followed Della’s older brother, Lawrence E. Donohue, who worked as a scenic artist and moved from Chicago to St. Louis in 1895. L. E. Donohue was listed as an artist in the St. Louis Directory from 1895-1897. Two of his younger children were born in St. Louis, suggesting that his family also relocated from Chicago to St. Louis. By 1899, however, Donohue returned to Chicago where another child was born that fall. He continued to work as a scenic artist throughout this entire time.
It remains unclear as to whether Della Wood returned with her brother to Chicago at the same time. However, by 1900, neither George Wood nor Della Wood were living with their three children in St. Louis. They both appear to have vanished from public records, with George Sr. never reappearing in the lives of his wife or children. My gut instinct says that George Sr. passed away, Della became a single parent, and could not provide for her sons, leaving them at an orphanage. My theory is based on the 1900 US Federal Census.
St. Louis Home of Refuge where George Pat Wood, Arthur Wood and Walter Wood lived as “inmates” in 1900.
In 1900, George, Arthur and Walter Wood are all listed as “inmates” at the “St. Louis Home of Refuge.” The term “refuge” is a little misleading, as the home was well known as an abusive penal institution for juvenile offenders, as well as orphans. It remains unclear as whether all three boys were arrested for delinquent acts or committed by a family member, but their young ages suggest the latter. The ages of the three boys were listed as 9, 7, and 5 yrs. old. I have no idea how long they stayed at the St. Louis Home of Refuge or remained in the St. Louis area. They, like their parents, disappear from public records for about a decade.
By 1913, George and Arthur are again living with their mother, now in Chicago. I have no idea when they returned to the Windy City, or where their youngest brother Walter during this this time.
Newspaper accounts from 1913 indicate that George Wood worked as a scenic artist with his maternal uncle, Lawrence Donohue. Both painted scenery for the Empress Theatre in Des Moines that year; a Sosman & Landis project.
The Empress Theatre in Des Moines, Iowa, became the Pantages Theatre.
On July 8, 1913, the “Des Moines Tribune” reported:
“Rushing work for Empress Theatre.
Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
I am going to pause here as newspapers are rife with misspellings, especially last names. As this was a Sosman & Landis project, Lawrence Donahue would have been the head scenic artist, with his tow assistants – George Wood and Art Oberbeck. This was very common for the studio at the time; a master artist and two assistants on site. In many ways it was cheaper to put up three staff members, than painting and shipping scenery from Chicago, especially during busy periods.
The Des Moines article continued:
“All is activity in the Elbert & Getchell building studio. More than thirty house sets of scenery will be provided for the Empress stage in addition to the settings that are carried by larger acts on tour. The management promises that there will be no better dressed stage in the country than that of the new Empress. Elbert and Getchell leave that latter part of the month for New York and other eastern cities, where they have many of next seasons musical comedy company for the Princess tentatively under contract. It is their purpose to complete the company on this trip and to bring the members back with them about Aug. 10 when stage director Wedgewood Nowell will be here to begin rehearsals. The new company will number fifty and the management promises a surprise when the roster is announced.” The Empress Theatre opened in September 14, 1913. It was located at the intersection of 8th and Locust Street.
From 1913 to 1914, George, Arthur, and Della Wood were listed in the Chicago Directory, living at 736 Wrightwood. Della Wood was listed as the widow of George Wood, and her sons, were each listed as an “artists.”
George Wood divided his time between Chicago and New York while working for Sosman & Landis. In August 1915, he left the firm’s New York branch to take a design an painting position at the Grand in Fargo North Dakota in 1915. On Aug. 14, 1915, The Fargo Forum and Daily Republican listed George Woods in a list of individuals secured for the upcoming season (page 8). The article announced, “The scenery will be designed and painted by Geo. Wood, who comes direct from the Sosman & Landis studio, New York City.”
By the onset of WWI, however, Della and her sons all returned to St. Louis, Missouri. In St. Louis, George, Arthur and Walter all registered for the WWI Draft. Walter joined the Navy, and Arthur served in the Army for both WWI and WWII. It doesn’t appear as if George was ever drafted into the military.
The gravestone of George Pat Wood’s younger brother Arthur F. Wood.The gravestone of George Pat Wood’s youngest brother, Walter J. Wood.
Wood registered for the WWI draft in St. Louis eleven days after his wedding, listing his wife and mother as a draft exemption. His draft card listed that he was living at 2215 Benton in St. Louis, MO, working as a scenic artist for himself. Wood also requested a draft exemption to “support wife and contribute to mother.” In regard to his occupation, Wood listed his present trade as “scenic artist” and current employer as “himself.” He was described as medium height, medium build, light brown hair, and grey eyes.
George Pat Wood’s WWI Draft Registration Card, dated June 12, 1917.
It was on June 1, 1917, that George P. Wood married Alice V. Chalfont (1898-1981) in Jackson County, MO; he was 25 and she was 19 yrs. old. Their marriage was announced on Sept. 21, 1917, in the “St. Louis Star and Times” – “George P. Wood, 1825 North Garrison avenue; married June 1” (page 3). George and Alice Wood celebrated the birth of their only daughter the following year. On August 29, 1918, Joy Patricia Wood was born in Kansas City, Missouri. Unfortunately, their marriage was extremely short lived, ending in divorce by 1920. The 1920 US Federal Census listed Alice and Joy Wood living in St. Louis, Missouri, with Alice’s parents, Julian O. Chalfant (1857-1932) and Virginia “Dolly” Wetzel Chalfant (1857-1931). In 1920, George was again living with his mother.
Della Wood married her second husband, Rudolph Luedewink, by 1920. The census that year listed George Wood and Arthur Wood the Luedewink’s step-sons. At 48 yrs. old, Luedewink was also a painter, employed at the J. W. O. C. Painting Co. The same census listed George as an artist and Arthur as a paperhanger.
George’s ex-wife Alice also remarried. The first name of her second husband remains a mystery, but his last name was Knox. I have yet to locate a marriage license or anything else that indicates when Alice V. Wood and Joy P. Wood became Alice V. Knox and Joy PP. Knox, however they began using the last name of Knox by 1921. In 1930, Alice V. Knox and Joy Knox were still with Julian and Virginia Chalfant in St. Louis, Missouri.
George continued to work as an itinerant artist, going from one project. In 1921, he was working at the Orpheum Theatre in Montreal, Canada. On Sept. 24, 1921, “Billboard” announced, “George Pat Wood is again at the Orpheum Theatre, Montreal. Mr. Woods went there at the end of last season, and after a short vacation resumed work for the coming season” (page 21). This means that he arrived in Montreal during the spring of 1921 and stayed until the spring of 1922. By 1923, he relocated to Cincinnati, Ohio, and was listed in the City Directory as a scenic artist, rooming at 3422 Ibsen Av. There was no mention of his wife, but it was common for itinerant scenic artists to list themselves in a directory when working in one area for an extended period of time.
In Cincinnati Wood became associated with the Stuart Walker and his touring company. It was a successful working relationship that would last for six years. On August 26, 1924, “The Post” (Covington, Kentucky) listed Wood as the scenic designer and artist for Alice M. Bradley’s new play “Three Roses” at the Cox Theater, produced by Stuart Walker. The article reported “the scenes are designed and executed by George Pat Wood.” Peggy Wood starred in the three roles -Rose Lovejoy, Rose Payne and Rose Frely. The article reported, “Peggy Wood, guest player, who portrayed each of the three Roses …has a certain vitality, and intensity, which is of great assistance to her in interpreting the high courage and independence of the various Roses. She as in addition a charming personality, and in her acting is quite free from theatricalism.” On July 2, 1921, the “Indiana Daily Times” announced that “Mr. Walker has engaged Peggy Wood herself, to appear in her own play ‘Artist’s Life.’” (page 7). I have yet to locate that George was related to Peggy Wood in any way. However, George did remarry in the 1920s. I have no idea what her first name was or when they were married.
On July 2, 1926, an amazing article was published in the “The Kentucky Post and Times-Star that indicated BOTH George Pat Wood and his wife were working as scenic artists (page 30). It also discusses the importance of lighting on stage scenery.
I am including the article in its entirety as female scenic artists were seldom mentioned in the press at this time:
“Only three or four people were sitting in the theater Monday morning when Stuart Walker called a scene rehearsal of ‘The Swan.’ Painters, carpenters, property men, and others were rushing around putting on finishing touches or checking over lists. When on the day of an opening performance Walker orders all scenery set and the stage arranged for the various acts, nothing must be missing.
These scene rehearsals usually constitute Walker’s first view of the settings. He has conceived what they should look like, for he himself has drawn the designs, selected the furniture and properties and visualized the whole play.
He walked in, looked over the first sets, approved it with some minor suggestions and ordered the second scene put up. The work began. Two men carried out a superfluous piano. Two others dragged in a throne chair which they stood against the back drop in the banquet scene. Two others lugged in great tall pillars, apparently of black Italian marble. These they handled easily. There were six of them in all.
Then came the banquet table, covered with lacy cloths, brilliant silver candelabra and so on. A man walked in with two enormous champagne collers which caused sarcastic remarks from everybody on the stage.
Then a spontaneous touch of realism was added when the chef from the Havlin Hotel, in cap and white apron walked upon the stage with two huge platters, on which were the broiled salmon and the salad needed in the dinner scene. He proudly submitted these ‘properties’ for inspection and the praise he received delighted his artistic soul. Then he brought out the bullion and set the 10 or 12 cups on the table.
Boyd Again, property man and actor, practical person that he is called to ‘Jack,’ a stage hand, and said, ‘Put this soup some place where it won’t get dusty. Jack grinned and obeyed.
Finally, the beautiful scene, which throughout the week has evoked applause from the audience, was ready for inspection.
‘Somebody call Mr. Walker,’ directed Again and everyone stood about in expectancy mixed with some anxiety. Finally Walker, appearing from somewhere, walked down the aisle of the theater. A moment of silence, then,
‘Where’s Mr. and Mrs. George Pat Wood?’ The call was taken up by those standing at the rear of the stage. Finally it reached the place where the Woods, scenic artists, happened to be.
A droll figure walked out and stood before the footlights. It wore a cap pushed back over short hair. Its body and legs were covered with paint smeared overalls, much too large. The bottoms dragged on the floor, concealing what appeared to be very small feet. But under the visor of the cap were two very alert, if startled eyes.
The figure looked like a larger edition of Jackie Coogan. Seeing it, Walker said in a somewhat positive tone, ‘Mrs. Wood, that is not the set I designed. It is nothing like it.’ So, the little figure was a woman, it seemed.
Mrs. George Pat Wood went one step forward and said quietly, “I’m sorry. I’ll come down where you are.’ And she scrambled into the darkness of the auditorium. There was something in her bearing which suggested a shattered dream, a keen disappointment.
A few moments later two bobbing heads were seen near one of the boxes. Then the petite Mrs. Wood scrambled back onto the stage and disappeared thru a door at the rear. After that came a readjustment of the lights, a softening of the tints, a mellower effect generally. And finally the voice of Walker again.
Oh, Mrs. Wood.’ The call again was repeated and Mrs. Wood, very feminine despite her overalls, came forward.
‘I spoke too soon, much too soon,’ said Walker generously. ‘It’s lovely.’
Mrs. Wood executed a sprightly little jig, just a few steps which indicated immense relief and pleasure.
And that was that, and all of it. But it showed that Walker makes his amends just as publicly as he does his criticisms.
The whole episode was just one of those little things which are a happening constantly around a repertoire theater but which not many people see.”
Portrait of Pat Woods in the article “Born to Blush Unseen,” 1927.
On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush Unseen” (page 33). The article reported:
“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.
From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.
Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.
And so this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.
Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’
‘Pat,’ as he is known by members of the Stuart Walker Company got his start in the scene-painting business when he visited his uncle in Chicago. This uncle, one Peter Donegan, is a sort of scenic baron in the Windy City, doing the stage sets for the Chicago Opera Company and for most of the large theaters. His studio proved a fascinating place to hang out, and presently the nephew began dabbing in paint. Soon he was a regular member of the force. And so he began, rather far up the line as scenic artistry goes, by designing stage sets for the Chicago Opera. Following other successful positions, Pat was retained to assist in fashioning stage sets for Max Reinhardt’s first production of ‘The Miracle,’ the most stupendous and magnificently stages spectacle the American stage has ever seen.
In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season.
Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”
George Pat Wood pictured in the “Cincinnati Commercial Tribune” in 1928.
On July 15, 1928, a portrait of Wood accompanied an article in the “Cincinnati Commercial Tribune” entitled, “Busy Building Italian Scenes For First Play on New Stage” (page 38). The article reported, “While members of the entire Stuart Walker forces are busy preparing to move to their new home at the Taft Auditorium at Fifth and Sycamore street, one member, George Pat Wood, artist of the Stuart Walker Company, is particularly busy at the Taft designing and painting the settings for ‘The Firebrand.’ For the past few weeks Mr. Wood and Stuart Walker have been panning the final arrangements for the scenery for this lavish production.
‘We have studied many old books and looked through volumes of Renaissance art to get the correct details for the production of ‘The Firebrand.,’ said George Pat Wood. ‘We really started brushing up on our early architecture last spring, when it was decided ‘The Firebrand’ would be one of the plays to be presented in Cincinnati this summer. In designing a setting there are many details that must be perfectly worked out. Color schemes must be in harmony with the spirit of the play as well as with the costumes that will also blend with it. In a play of a period, such as ‘The Firebrand,’ arches, windows, vases, lights and all very small trinkets that are seen from the audience must harmonize with each other.
‘In a period play the exact date of the piece will determine its architecture, naturally, but all the other articles, naturally, but all the other articles in the room must also be of the same period and keep the unity. There must be no anachronism, nothing that will break the illusion.’
When asked if he ever ran out of ideas in designing stage settings Pat Wood merely replied: As no two homes are ever alike, so no two stage sets are ever alike. If we study the spirit of the play we will know very nearly how the characters think, and with a little imagination we can picture their homes. That much accomplished, all there is left to do is to execute it. So you see it isn’t so very bad.
‘The scenery for ‘The Firebrand’ is dated about the early fifteen hundreds, and as the locale is Florence it calls for some very rich settings at the time when Medicis were in all their glory. The scenery must express the feeling of age, the romance and gayety of the Court of Florence, and the richness of the beautiful city. All this must be brought out without making the audience realize that they are being told all this as the curtain goes up and brings them into a new atmosphere. We hope that the settings for ‘The Firebrand’ will do all things.’
The beautiful stage settings of the Stuart Walker productions have been one of the charmingly distinctive features. Already this season the productions have brought forth no end of favorable comment on each play. Particularly attractive sets this year have been in ‘The Jest,’ a charming costume play presented earlier in the season, ‘Interference,’ ‘Crime,’ ‘Her Cardboard Lover,’ ‘The Baby Cyclone,’ and last week’s revival of ‘The Dover Road.’
All of these sets owe their beauty and charm to the combined work of Mr. Stuart Walker, George Pat Wood, and George Kinsey, the stage manager” (page 38).
George Wood and Stuart Walker enjoyed a very successful run. I have not uncovered any additional information about Mrs. George Pat Wood at all.
However, George Pat Wood continued to work for Stuart Walker. Their working relationship was the subject of a newspaper article on Jan. 29, 1929, published in the “Cincinnati Post” (page 2):
“Venice.
Although Stuart Walker still clings to house slippers and a chair by the fire because of his flu failings, he calls his players to his house every day for rehearsal. And he has worked out in his characteristically elaborate setting for the Venetian scene of the first act of “The Big Pond” for next week.
One sometimes suspects that his sets cost Dr. Walker more beads of hearts blood than do his artists. A performer can be tossed a script early in the week, then whipped, cuffed and cussed toward steady improvement. If he or she looks deplorable on Wednesday a director can strive for a better appearance by diligent application of the lash, so that a presentable portrayal may be forthcoming by the following Monday.
But a set is different. Once “cast,” it’s done. You can’t expect it to grow doggier or any worse.
Consequently, the aesthetic Mr. Walker ties himself 18 knots every time he evolves instructions for a stage scene.
When [Stuart Walker] and his artist, George Pat Wood, conferred in the Eden Park mansion of the producer it must have been almost terrifying, considering the fury with which Mr. Wood blasts smoke and sparks from his pip even when calm and the zeal with which Dr. Walker flagellates his soul when thinking up eyeful settings.
The two of them wrestle beauty for every show, almost always turning out something convincing. One of the very few times when they have felt they missed their mark came in the set for “Treasure Island” which showed an English quay. Somehow that did not look exactly British and it seemed a trifle too lovely in a Latin way for the situation.
But since Dr. Walker knows more about scenery that your deacon ever will dream of, we take it that his quay set had in it something artistic which passed quietly over our brow. The Venetian scene for the next week is to show a palace in which lives a bizarre American family. The set must be persuasively imposing to bring out the artistic shortcomings of the Ohio people moving through it. It is exactly the thing on which Dr. Walker likes to cast up wave on wave of devotion.”
After years of existence, the Cincinnati Stuart Walker Company was incorporated on July 1, 1929, in Cincinnati. It only lasted a few years, and was dissolved on Dec. 29, 1931; it did not survive the economic downturn.
The last article that I have located about George Pat Wood as a scenic artist is from the fall of 1930. On Nov. 16. 1930, “The Cincinnati Enquirer” reported, “George Pat Wood, scenic artist at the Taft, designed and painted his settings for “Monna Vanna” from color plates used in Stuart Walker’s earlier production of the Maeterlinck play here three years ago” (page 71).
This is the last reference that I have found citing Wood as a scenic artist. As with many theatrical scene painters at this time, it is likely that Wood sought work as a decorative painter to keep afloat during the Great Depression.
At some point, Wood returned to his remaining family, as Rudolph and Della Luedewink were still living in St. Louis. His move may have been prompted by aging parents.
In regard to Wood’s mother and stepfather …
Rudolph Luedewink was still listed in the 1931 St. Louis Directory as a painter a 4245 St. Louis Ave. This is about the time that George Wood returned home.
His mother passed away in 1934, with her obituary published in the “St. Louis Post-Dispatch” on March 7, 1934 –
“Luedewink, Della (nee Donahue) – Entered into rest Mon. March 5, 1934, 4:20 PM, beloved wife of Rudolph Luedewink, dear mother of George Pat, Arthur F. and the late Walter J. Wood, our dear grandmother and aunt. Funeral from Arthur J. Donnely’s Parlors, 3840 Lindell bl. Thurs., March 8, 9 a.m., to Notre Dame Church, Interment Calvary Cemetery. Alton (Ill) and Chicago (ILL) papers please copy.”
Her son Arthur was listed as the informant on her death certificate when she passed away from pneumonia. At the time of her passing, Della was living with her son Arthur at 1328 Annie Ave. By 1930 Arthur F. Wood was employed as a mail carrier, a profession that he continued for the remainder of his life. He married Mabel Eppley late in life, celebrating the birth of a son late in life, James A. Wood.
George Wood’s WWII Draft Card listed him as running his own Interior Painting & Decorating business. His wife was listed as Frances Wood and the two were living at 5645 Summit Place, St. Louis. I have yet to locate another other significant mention or further information about the couple.
George Patrick Wood died in Dec 1980 and is Buried at Calvary Cemetery and Mausoleum in St. Louis. His first wife, Alice V. Chalfant Wood Knox, was laid to rest in the same cemetery a year later. Their daughter, Joy Wood Knox MacKinnon (1918-2007), is also buried at Calvary Cemetery and Mausoleum.
The gravestone of scenic artist George Patrick Wood.
Victor Hubal was associated with Sosman & Landis between 1905 and 1917. Hubal began working as a scenic artist at the age of 17 in 1905, starting with the firm about the same time as John Hanny and Art Oberbeck. Like Hanny and Oberbeck, Hubal’s scenic art career spanned for decades. His scenic art appeared in a variety of venues across the country.
Victor Hubal (right) pictured with George Wood (left) in Winnipeg, 1912.
Hubal’s employment at Sosman & Landis was mentioned in a Kentucky newspaper at the beginning of 1912. At the time, Hubal was painting scenery for the Garside Stock Co. at the Kentucky Theatre in Paducah, Kentucky. On January 12, 1912, Paducah’s “News-Democrat” announced, “Mr. Victor Hubal, of the Sosman-Landis studio, Chicago, has been engaged to paint all scenery and is now hard at work at the Kentucky on the first production. ‘The Devil’s Kitchen.’” Two days later, the same newspaper reported, “Mr. Victor Hubal is the scenic artist, and has been connected for several years with the Sosman & Landis Studio in Chicago – which is proof positive that theater-goers of Paducah will have an opportunity of seeing some beautiful scenery twice a week at this popular playhouse” (page 6).
This meant that in 1911 Hubal was selected from the Sosman & Landis staff to paint the new scenery for the Garside Stock Company. Operated by James S. Garside, the company secured a a fifty-week engagement at Paducah’s Kentucky Theater, performing two plays each week. Hubal painted much of the stage settings on site The Garside Stock Company’s 1912 repertoire included “The Devil’s Kitchen,” “Love and Honor,” “Dora Thorne,” “In the Rogue’s Gallery,” “Driven From Home,” “A Soldier’s Sweetheart,” “The Bowery Girl,” “Thorns and Orange Blossoms,” “The Queen of the Ranch,” “To Be Buried Alive,” “A Romance of Fort Riley,” “Brother Against Brother,” “A Struggle of Life,” “Her Cowboy Visitor,” “The Power of Woman,” “St. Elmo,” “The Embezzler,” and others. On Dec. 1, 1912, a picture of Hubal’s painted setting for “The Embezzler” was published in the “News-Democrat” of Paducah, Kentucky (page 6).
Victor Hubal’s scenic art in 1912.1912 advertisement for the Garside Stock Co. in Paducah, Kentucky,
Another article about Hubal’s scenic art for Garside was published on January 15, reporting, “Each play will be a production from a scenic point of view, as Mr. Vic Hubal, of the Sosman & Landis studio, Chicago, has been engaged to paint all the scenery, and is now hard at work at the Kentucky on the first production of ‘The Devil’s Kitchen,’ which will be the bill for the first three days, Monday, Tuesday and Wednesday.”
Throughout 1912, newspaper articles provide a glimpse into the scenery carried by the Garside Stock Co., as well as Hubal’s career. On March 28, 1912, the “Dubuque Telegraph Herald” reported, “Car Load of Scenery Arrives – The Burlington passenger train from St. Paul brought a carload of stock scenery for the plays to be presented by the Garside Stock company. The company will produce two new plays next week and return to the road tour, returning here for the summer season at the Airdome in June. Mr. Victor Hubal, the scenic artist, who made all the scenery for the Airdome productions has been with Mr. Garside all winter and will return here for the summer” (page 5). On July 29, 1912, the “Dubuque Telegraph Herald” review of Garside’s “The Heart of Arizona” production, reporting “Victor Hubal, the scenic artist of the company is deserving of praise for the scenery” (page 8).
On June 8, 1912, “The Dubuque Telegraph Herald” heralded Hubal’s scenery for “St. Elmo” at the Airdome, produced by the Rosenthal Summer Theatre. The article reported, “Victor Hubal, the scenic artist of the company outdid himself in making new embellishments for this play, and included a beautiful church interior setting showing the full figure of Christ in stained glass with lighting effects to make it stand out beautifully in the act” (page 5). He also painted special scenery for “An American Girl” at the Airdome that summer (“Dubuque Telegraph Herald” 11 July 1912, page 2).
As most Sosman & Landis scenic artists, Hubal crisscrossed the country, even venturing into Canada. Family photos picture Hubal with Fellow scenic artist George Wood, both painting for the Winnipeg theatre. At the time, Hubal was 24 years old (see first photo in this post).
Victor Hubal (left) and fellow scenic artists in front of an ad drop. No definitive date, but my guess is 1906-1909. From the family album.Victor Hubal (sitting left) and fellow scenic artists in front of a stage set. No definitive date, but my best guess is 1920. From the family album.
Although I have written quite a bit about Hubal in past posts, here it is again…
Victor J. Hubal was born in Chicago on May 10, 1888. His father, Felix Hubal (b. Nov. 1861), was a Czech immigrant and baker. His mother, Theresa Mary Koranda (b. 1864), was born in Illinois and worked as a seamstress. By the age of 22 yrs. old, Victor Hubal was still living with his mother and two siblings, Otto (20 yrs.) and Lucy (18 yrs.). Their address was 3528 W. Cortland St.
The 1910 census report listed that Hubal was an “artist”; he was actually working as a scenic artist. His sister worked as a stenographer, while his brother was unemployed that year. Although Hubal’s scenic art career began in 1905, little is known of his early work, but this is understandable since he was apprenticing to older artists at the time. As the Paducah newspaper article suggested, Hubal had worked at Sosman & Landis for “several years” by 1912.
Hubal continued to live in Chicago until 1917, when he married In 1917, Hubal met a married Eloise L. Strenlund (1897 – 1984). The couple’s first address was 5030 Hutchinson St. This was the same address listed on his WWI Draft Registration card. Hubal’s draft registration card listed that he was as scenic artist. Although currently unemployed, Hubal listed that he was planning to work for the Joy & Cannon Scenic Co. in St. Paul, Minnesota. He also claimed exemption from the draft due to “kidney trouble.” On August 20, 1917, Hubal’s name and address were part of the draft list published in the “Chicago Examiner” (page 12).
It was likely familial ties that prompted the Hubals to move from Illinois to Minnesota. Eloise grew up in Minnesota, daughter to a Swedish immigrant. Her father, Anton Strenlund, emigrated in 1887 at the age of sixteen. He gradually made his way west, working as a carpenter and finally settling in Minnesota where he married Alise Oberg on August 21, 1897. The couple celebrated the birth of Eloise on November 12, 1897. Two more children followed: Arthur (1900) and Ernest William (1903). By the age of 17 yrs. old, Eloise moved to St. Paul where she began working as a clerk, residing s at 1010 Euclid Ave. She was listed in the 1915-1917 St. Paul Directories. Immediately after marrying Hubal, the couple set up house in Chicago where Hubal continued to work and travel as a scenic artist.
In Minnesota, Hubal worked at three scenic studios in Minnesota – Joy & Cannon Scenic Co. (St. Paul), Universal Scenic Studio (St. Paul), and the Twin City Scenic Co. (Minneapolis). I’ll start with the obscure and short-lived firm, Joy & Cannon Scenic Co. of St. Paul. This is the firm listed on Hubal’s WWI Draft registration card.
Joy & Cannon Scenic Co. stamp on backside of roll drop at Triune Lodge in St. Paul, Minnesota, c. 1916.Joy & Cannon Signature on backside of an ad drop, now at the Anoka County Historical Society.
Joy & Cannon was established by Boyd Phelps Joy and Gerald V. Cannon, scenic artists during 1916. Their shops were located in the Metropolitan Opera House in St. Paul. Although relatively short lived, the firm was still being advertised in the “Film Yearbook of 1922-1923.” Despite the firm appearing active, the two founders went their separate ways, with Cannon working as the first United States Marine Corps. camouflage artist and Joy founding Universal Scenic Studio. Joy’s firm was first founded in Sioux Falls, South Dakota, in 1919. However, by 1920, Joy moved his operation back to Minnesota by 1920, again appearing in city directories and was listed the president of Universal Scenic Studio, Inc. in the St. Paul City Directory. Joy later opened a branch in Milwaukee, Wisconsin. A catalog from the Milwaukee branch of the Universal Scenic Studio was found among the personal belongings of Victor J. Hubal, Sr.
Hubal also worked for Joy and Cannon’s competitor, the Twin City Scenic Co. In fact, three of Hubal’s designs are part of the Twin City Scenic Co. Collection at the University of Minnesota Libraries Performing Arts Archives. The collection contains almost 2,000 items produced by the Twin City Scenic Studio, including designs for backdrops, leg drops, cut drops, borders, tormentors, painted curtains, olios, picture sheets, sample interiors, model pieces, sales books, business records, and company scrapbooks.
Scene Design by Victor Hubal for the Twin City Scenic Co.Scene Design by Victor Hubal for the Twin City Scenic Co.
The best summarization of Hubal’s later contribution to American scenic art and theater history is his 1972 obituary. Victor J. Hubal Sr. passed away on Feb. 15, 1972, and was buried at Union Cemetery in Maplewood, Minnesota. On Feb. 20, 1972, the “St. Paul Dispatch” included a lengthy article about Hubal and reported, “His work graced some 50 productions of the St. Paul Civic Opera, as the organization was then known, from the initial one, ‘Samson And Delilah’ in 1933, to ‘The Merry Widow’ in 1963. He also did the decorations and designs for a number of the International Institute’s, “Festival of Nations” at the Auditorium and was responsible for the mounting of major productions at Andahazy Ballet Borealis.” Hubal’s numerous stage settings for Lorand Andahazy and Anna Adrianova included “Slavonic Scenes,” “Les Sylphides,” “Swan Lake,” “Spectre de la Rose,” “Aurora’s Wedding,” “The Miraculous Stag” and “Scheherazade.” A 1954 article from the “Star Tribune” provides additional detail about Hubal scenery for “Les Sylphides” –
“The setting, a woodland glade, by Victor Hubal, had a spacious, semi-transparent effect which enhanced the quality of the ballet.” The article also noted that the ballet company was composed of 40 dancers and
In regard to Hubal’s “Swan Lake” scenery, an entertaining tale was later published in the “St. Paul Dispatch.” Purportedly, Andahazy accidentally upset a pail of dye onto the canvas when Hubal was painting “Swan Lake.” Andahazy immediately apologized and Hubal responded, “Never mind.” The article reported, “with deft strokes he converted the dark blotch into a rocky formation and balanced the composition by converting some trees into more rocks on the other side.” The “Dispatch” article also described Hubal in detail – “A man of artistic sensitivity and great skill and accumulated knowledge of his craft, Hubal labored largely in obscurity, for he was shy and retiring by nature and had no talent for self-promotion. But the contributions to the community to which he made in his self-effacing way for so many years were great, and they can be remembered with respect and gratitude.”
Another article about the St. Paul Civic Opera’s production of “Rigoletto” mentions Hubal’s brief work for film –
“When the curtain rises Wednesday it will be on the work of a man who might have been prominent in his field in motion pictures as Wallace Beery and Charlie Chaplin are in theirs, had it not been for the fact that he found black and white too monotonous. He is Vic Hubal, scene designer for the opera association. When the motion pictures were in their infancy, Hubal, already an accomplished scene designer for some of the largest production and road shows in the country, wandered into the old Essanay Film company’s lot in Hollywood. There he went to work on designing backgrounds against which Charlie Chaplin, Ben Turpin and Beery were to cavort. But the backgrounds were all black and white, because those were the only colors to film well. There were relieving incidents once in a while, as he when he would be called down from his scaffold to take the part of a cop, or when he was called into the dressing room to make up Turpin for his monkey roles, but on the whole, black and white was too confining for a true scenic artist.” The article also noted that Hubal trained with Fred Scott, Ansel Cook and Fred Lewis, all who worked at Sosman & Landis when Hubal was associated with the firm.
Hubal’s obituary in the “St. Paul Dispatch” mentioned Hubal’s work for the Josef Meier Passion Play, both the touring productions and the permanent one at Spearfish, S.D.” Of the Black Hills Passion Play, a 1944 article in the “Queen City Mail” noted “Victor Hubal of St. Paul, scenic artist, was in Spearfish last week redecorating the play scenes for the winter performances” (Spearfish, SD, 21 Sept. 1944). Over the years, Hubal was repeatedly connected with the production as the sets were repaired and new elements were added.
Passion play postcard that shows details of Victor Hubal’s scenic art for the Black Hills Passion Play.
Meier brought his Passion Play to the United States in 1932. Born in Lünen, Germany, he was the seventh generation of his family to portray Jesus in the biblical drama. Meier translated the production from German to English and brought a small company to the United States, premiering the show in New York and then taking the production on tour. By 1939, Meier found a permanent home for his production in Spearfish, South Dakota, building a 6000-seat amphitheater. Even after settling in Spearfish, later toured the United States and Canada until 1964. The production was performed in more than 650 cities over the years, becoming an annual event for many cities. Meier remained part of the production until 1991, when he retired after performing in 9000 performances. Meier passed away eight years later at the age of ninety-four. The Black Hills Passion Play outlived its founder, lasting until 2008 when the summer performances finally ended. For more information about the show, there are amazing photographs available to peruse online, part of the Fassbender Collection. Here is the link: https://www.historicblackhillsstudios.org/keyword/Black%20Hills%20Passion%20Play/
Interestingly, no one in the Spearfish Community seems to recall what happened to any of the Passion Play scenery…
My own life intersects with Hubal’s on many fronts. He first came onto my radar as an undergraduate at the University of Minnesota. Prof. Lance Brockman recommended me to repair some of Hubal’s work at a local ethnic hall. In 1917, Hubal painted stock scenery for the Česko-Slovanský Podporující Spolek (C.S.P.S.) Hall in Saint Paul, Minnesota. His work includes roll drops, wings, flats and profile pieces. The roll drop curtain depicting Praha (Prague), and stage settings include street scenes, landscapes, woodlands, rustic interiors and fancy interiors. The interior box sets had interchangeable flats, being double painted to provide endless variety for a number of shows.
Roll drop by Victor Hubal for the CSPS Hall in St. Paul, Minnesota.Scenic art detail by Victor Hubal at the CSPS Hall in St. Paul, Minnesota.Roll drop and cottage by Victor Hubal for the CSPS Hall in St. Paul, Minnesota.
Theatre was an integral part of the Minnesota Czech community. A third floor was added to the 1887 building in 1917, featuring a stage and auditorium/gymnasium.
The CSPS Hall with gymnasium and stage. 2016.
The auditorium/gymnasium is still primarily used for gymnastics and general physical fitness; this is part of the Sokol mission “a sound mind in a healthy body.” On the stage, Czech plays continued to be performed, preserving the language and heritage of this immigrant community. For more information on Sokol origins, please visit www.american-sokol.org/history/.”
Hubal and his family were members when he painted the beautiful roll drops for the Hall. Over the decades, many of the drops fell into a state of disrepair from constant use. During the 1990s, I restored Hubel’s roll drops, first encountering Hubel’s grandson, Victor J. Hubel, Jr. (1923-2012). Over the years I have periodically returned to repair any new damage.
Repairing damage to the bottom fabric and roller in 2016.
Hubal’s scenery is well loved and well used to this day. The drops always make an appearance at social activities, concerts and plays. However, as with many stewards of historic backdrop collections, it is difficult many members to understand the historical significance of these painted scenes. In regard to Hubal’s legacy, gymnastic equipment often brushes the delicate scenery, and this constant contact takes a toll on the longevity of each piece. The edges of roll drops fray as performers brush by during set-up and teardown of a band. Cups of beer are tipped over during musical performances, damaging the fabric and wood on the bottom roller. This is a similar scenario across the country in Czech halls. Often the well-loved scenes are treated as standard stage scenery and not large-scale artworks created by nationally recognized artists. When historic backdrops are regarded as “old backings”, their artistic value and cultural significance is diminished; their repair may seem optional. In the end, these historic artifacts are roughly handled and damage continues to occur over time. In 2016, I repaired fabric damage and re-attached rollers. When I examined Hubal’s scenery a few years ago, I noticed that much of the collection was was rapidly deteriorating from excessive contact. In fact, many of the drops were in far worse shape than when I first examined them in the 1990s.
There are things to consider when pondering the value, cultural significance, and use of historic scenery. First of all, you need to think about the creator and artistic provenance.
An entire scenery collection produced by a scenic artist is remarkable in its own right. Most scenery collections were painted by many scenic artists, with multiple hands creating the various scenes. When a piece of scenery, or entire collection, is created by a single individual, it adds to the rarity and provenance of the artworks. When that person is well-known, having enjoyed a long and successful career, especially one that is integrally linked to a variety of nationally-recognized productions, there is an added culturally significance.
Hubal was very important in the scope of American theatre history, as well as several regional histories, including Minnesota and South Dakota. His scenery at the SOKOL Hall in St. Paul may be some of the last examples of his scenic art.
Although scenery can last for decades, even centuries, the eventual deterioration is based on both environment and continued use; both are currently working against Hubal’s painted legacy in St. Paul.
Make a point of visiting the hall now to see Hubal’s scenic art. It will not survive the test of time.
James R. McNair was a scenic artist at Sosman & Landis during the late nineteenth century. On March 12, 1895, “The Standard-Herald of Warrensburg, Missouri, reported, “Mr. McNair was formerly with Sosman & Landis, Chicago, and has probably furnished more scenery for country opera houses than any man of his age in the business.” Little is known of McNair, beyond a few directory listings and a handful of newspaper articles that mention his scene painting projects from 1888-1911.
By 1887, James McNair was working as a scenic artist in Kansas City, Missouri, at L. R. Close’s firm. Both the 1887 and 1888 City Directories listed McNair’s employer L. R. Close & Co. The only difference was that McNair roomed at 516 Broadway in 1887 and 117 w. 5th in 1888. 516 was actually a studio address. Itinerant artists would designate a permanent mailing address for the year, often with their employer to ensure that their mail was delivered. Otherwise, their names were constantly listed in the uncollected letter sections of newspapers across the country.
Throughout 1886 and 1887, L. R. Close’s studio was located at 514-516 Broadway, with former Sosman & Landis scenic artist, Lemuel L. Graham’s studio at 525-527 Main. For context, the Main St, address was Close’s previous studio address in 1884, This was before his firm moved to the Broadway studio space. 1884 was also the same year that Graham left his scenic art position at Sosman & Landis to establish a studio in Kansas City and managed Sosman & Landis’ Kansas City Branch. They were all dipping into the same scene painting labor pool.
Sosman & Landis, Graham, and Close frequently employed the same scenic artists, as well as subcontracted work to one another. Again, there was a greater demand for theatre scenery than a supply of scenic artists to paint it.. Work was abundant and the profit margin quite high. In later years, Perry Landis would recall that the profit margin for theatre scenery in the 1880s was often 45% or more.
This is where McNair fits into the Kansas City scenic studio puzzle. Scenic artists employed by a firm home-based out of a studio, and also contracted individual projects. Sometimes it is hard to determine whether the artist was representing himself or the studio on the project. Many communities heralded the arrival of a scenic artist, frequently mentioning their skill and artwork in local newspapers.
Two of McNair’s 188 projects were for small opera houses in Broken Bow, Nebraska and Tombstone, Arizona. This was also considered a Sosman & Landis territory, managed by their western offices. On April 26, 1888, the “Custer Country Republican”, of Broken Bow, Nebraska, announced, “J. R. McNair a scenic artist is engaged in painting a drop curtain for the new opera house. It is the finest piece of work of that character ever done in Broken Bow and is a credit to Mr. McNair and adds much to the appearance of the scenery in the opera house” (page 8).
On July 21, 1888, the “Tombstone Weekly Epitaph” reported, “Jay McNair, a scenic artist of Kansas City, is at present at work on a new drop curtain for the Elite Theatre. It is very handsome, and will contain a number of advertisements” (page 3). The Elite Theatre was originally known as the Birdcage, built by William Hutchinson in 1881. Hugh McCrum and John Stroufe were the next owners, who in turn, sold the venue to Joe Bignon in 1886. Bignon refurbished the building and renamed it the Elite Theatre. It was during this period that McNair painted and advertising curtain for the stage. The venue closed only four years later in 1892.
Tombstone’s Bird Cage Theatre was briefly known as the Elite Theatre when J. R. McNair painted scenery for the venue.
These two projects could have been contracted by either Sosman & Landis or L. R. Close & Co. Studio artists were often sent on site for a variety of projects, with the individual artists receiving press and not their employer. This was a practice that shifted by the early twentieth century, as more and more work was completed at a metropolitan studio and shipped across the country.
Also, when the main studios were booked solid, and an adjacent annex was either cost-prohibitive or unavailable, employees and supplies were simply shipped to the venue.
In regard to McNair’s Kansas City employer in 1888…
Close operated a scenic studio in Kansas City for a full decade. Establishing his firm in 1883, Close did not remove to Chicago until 1894. In the Windy City, Close remained associated with Sosman & Landis until his passing in 1901. At Sosman & Landis, Close was listed as their agent, traveling salesman, and scenic artist over the years. His association with the firm likely started when the firm opened their Kansas City Branch Office in 1884. Close, McNair, and many other Kansas City scenic artists were often subcontracted by Sosman & Landis throughout the 1880s and 1890s.
The firm’s main studio also transported scenic artists from Kansas City to Chicago during busy periods, especially leading up to the 1893 Columbian Exposition. After the close of the World Fair, dozens of Sosman & Landis employees found themselves out of work and on their own. This was likely when McNair began working on his own, traveling as an independent scenic artist. In 1894, McNair was painting at a small theater in Kentucky.
On June 12, 1894, the “Hopkinsville Kentuckian” announced, “A traveling scenic artist, J. R. McNair, painted last week a beautiful and appropriate banner to be used in decorating the Union Tabernacle for the commencement exercises of the Hopkinsville Public Schools. The manner in which this work was executed shows him to be an artist of more than ordinary ability” (page 5). By the 1890s academic theaters representing a growing clientele. As new schools opened, their designs included theatrical stages.
By 1895, McNair was credited as a former Sosman and Landis employee, now associated with the Grand Opera House in Dallas, Texas.
On March 12, 1895, “The Standard-Herald of Warrensburg, Missouri, reported, “ The Scenery Arrives. The special scenery to be used in the production of ‘Pinafore’ at the Magnolia Opera House on April 19, arrived Monday. It consists of a backdrop, ocean horizon, with a view of Portsmouth in the distance: a cabin, bulwarks, mast and wings, and all the necessary surroundings for the proper production of the opera. It was painted by Mr. James R. McNair, one of the finest scenic artists in the country, of the Grand Opera House, Dallas, Texas, and is an everlasting credit to that gentleman’s ability. Mr. McNair was formerly with Sosman & Landis, Chicago, and has probably furnished more scenery for country opera houses than any man of his age in the business. The special setting of “Pinafore” gotten up by him for the company, which is to produce the opera in this city, will add greatly to its success, besides being a piece of work of which he may well be proud” (page 1).
McNair painted scenery for Warrensburg’s Magnolia Opera House in 1888.
On April 30, 1897, the “Centralia Fireside Guard” of Centralia, Missouri, reported, “J. R. McNair, a scenic artist of rare ability and great skill is engaged in painting a new drop curtain for the opera house. His workmanship cannot be surpassed. The curtain will be beautiful in design and a credit to the city” (page 5).
McNair’s arrival was mention in the “Centralia Fireside Guard” on April 16: “A first-class scenic artist will be here next week to paint a new advertising drop curtain for the Opera House. Mr. Rodemyre has made special arrangements to bring him here from the east” (page 5).
McNair never seemed to settle in any one place for long, but roamed throughout the country. In 1904, however, he listed Denver as his permanent residence. On March 25, 1904, “The Bainbridge Search Light” of Bainbridge, Decatur County, Georgia, mentioned McNair in an article entitled, “Opera House Improved” (page 1). The article reported, “Mr. J. R. McNair, and expert scenic painter of Denver, is now at work here on the drop curtains. He is reputed to be a very skillful artist and his work on curtains will be watched for with interest. Theatre goers have gazed upon the impossible nymphs and distorted cherubs engaged in the delightful pastime “swinging in the grape vine swing” adnauseum and will no doubt enthusiastically welcome a change of scenes. The work will be completed early April, and then perhaps some summer attractions will be put on.”
I have yet to locate him in the Denver City Directory during this time. Early twentieth-century scenic projects, however, continued to lure McNair east. On September 30, 1905, the “Bluefield Daily Telegraph” of Bluefield, WVA, reported, “J. R. McNair, a scenic artist of note, is here remodeling the interior of the opera house and when finished it will be one of the most modern and up to date playhouses in Southwest Virginia or Southern West Virginia” (page 6).
Then there appears to be a five year gap, where I have yet to locate McNair’s residency or any theatre projects. He resurfaces in 1910. On May 6, 1910, “The Mobile Daily Item” of Mobile, Alabama, reported, “Painter J. R. McNair is busy painting the new curtain for the stage in the high school. It will be completed before the commencement exercises are held” (page 12). The following year, McNair was “of New York,” suggesting that he relocated east. On April 5, 1911, the “Keowee Courier” of Pickens, South Carolina” announced, “J. R. McNair, scenic artist, of New York, is here to paint a drop curtain for the high school auditorium” (page 1).
I have yet to discover any other information about McNair until his passing in 1924. Sometime between 1911 and 1924 McNair returned to the south, relocating to Louisiana. I have yet to determine whether this was a permanent move, or just another temporary residence. He passed away mid-project, while working on scenery for the Goldonna High School.
On Jan. 29, 1924, “The Times” of Shreveport, Louisiana, announced his death: “J. R. McNair. Lake Charles, Jan. 28 – J. R. McNair, 60 years old, a scenic artist and interior decorator, dropped dead in a restaurant here Saturday night” (page 12). The Louisiana Death Index listed his birthdate as “abt. 1854,” suggesting that he may have been actually 70 yrs. old.
McNair’s 1924 obituary published in Shreveport’s “The Times” is the only one that I have located to date.
McNair’s possessions went into probate, and provide a little more information about this itinerant artist. On April 17, 1924, Louisiana Wills and Probate records state, “To the Honorable Judge of the Fifteenth District Court of the state of Louisiana, in and for the parish of Calcasieu:
The petition of E. C. House Clerk of said Court, respectfully represents that on or about the 26th day of January, A.D. 1924, one J. R. McNair, departed this life, in the City of Lake Charles, Calcasieu parish, Louisiana. That deceased was a resident of Calcasieu parish, Louisiana, and that so far as is known, said deceased left no heirs, relative or kindred to inherit his estate or to administer same; said estate consisting of personal property, to the value of about two hundred dollars and described as follows, to-wit:-
(1) Check of Goldoma [sic. Goldonna] High School, P. A. Griffon, Principal, on Peoples Bank of Natchitoches, LA, dated April 3, 1924, – for $108.20
(2) Miscellaneous lot of tools, brushes, paints, etc., per list attached, value at about $100.00”
The probate record continued with McNair’s debts:
“That said estate of J. R. McNair owes the following debts and accounts to-wit:-
To H. B. Barnes, 526 R. R. Ave., Lake Charles, La., For expenses connected with drop at Goldoma High School, per statement, $21.92
To Gill & Trotti, Undertakers, Balance due account of funeral expenses, per statement, $29.80
To Robert Dalovisio, 2 mos. Rent, 526 R. R. Ave, @$15,00 Total $30.00.”
McNair’s probate file details all of his worldly possessions, including his scenic art supplies.
List of McNair’s scenic art supplies that was included in his probate file from 1924.
The list provides an amazing snapshot into an itinerant scenic artist’s work in 1924.
Here is the transcribed list of his work supplies:
Oil stove, $1.00 [for making hide glue]
6 water buckets, $1.50
87 brushes, $10.00
2 boxes charcoal, 25 cents
7 closed pkgs color, $2.50 [dry pigment]
6 sponges, 90 cents
33 open pkgs color, $5.00 [dry pigment]
1 saw, $2.00
32 new brushes, $5.00
16 new brushes, $2.00
9 bits and braces, $2.00
1 square, 50 cents
1 hammer, 50 cents
1 chisel, 50 cents
1 cold chisel, 50 cents
1 broom, 75 cents
26 oz Bronze, $3.00
2 dividers, $15.00
2 pliers, 50 cents
1 trunk, $2.00
6 pencils, 25 cents
5 large brushes, $9.00
Package stationary, private
48 stamped envelopes, 96 cents
42 used brushes, $4.20
1 lot lumber, $3.00
5 Strips of cloth, 32 ½ yds, $28.00
Lodge banners, $5.00
bundle strips, $1.50
1 movable ladder, $3.50
Rollers, screws, rope, nails, saw benches, $2.50
1 used drop, $10.00 [possibly the old drop from Goldonna HS that they were replacing]
I am absolutely fascinated with his 182 brushes (42 used) and 40 packages of dry pigment. It makes me fill a little better about my own supply, and less like a hoarder.
“The Lake Charles American Press” also published the probate notice for McNair for seven days, beginning, April 23, 1924. Much of the handwritten list from the probate records was submitted, with the addition of clothes and other personal sundries.
When McNair passed away in 1924, he was working with fellow scenic artist H. B. Barnes. They were painting a new drop curtain project for the high school in Goldonna, Louisiana. This also gives some sense of the scenic artist’s onsite expenses at the time. Barnes submitted a request for payment by the probate court, expenses owed to Barnes at the time of McNair’s passing. Specifically, Barnes requested McNair’s estate to pay for the following debt:
Travel (railroad fares to and from Alexandria, Louisiana), lodging in Goldonna, meals, and project supplies. In the end, Barnes also submitted a bill for “Keepers fees,” as he held onto McNair’s possessions long after his passing, from Feb 1 to May 17, 1924. These items were eventually sold at auction, with Barnes hoping for some of the proceeds to pay his project expenses.
I tried to track down a little more information about Barnes, hoping that it may shed light onto his colleague’s life and scenic art career. Hiram P. Barnes was the son of Solomon D. Barnes and Susan O. Joslin. Born in New York on April 20 1862, Hiram Barnes moved to Indiana with his parents as a child. The 1870 US Federal Census listed the Barnes Family living in Union, LaPorte, Indiana. Barnes would return to LaPorte, Indiana later in life, continuing to work as a scene painter until his passing on Nov. 10, 1935. His cause of death was listed as multiple sclerosis and respiratory paralysis.
Neither Barnes, nor McNair, made the history books. Their work is only mentioned in a handful of newspaper accounts, yet they represent the vast majority who worked as scenic artists during the late-nineteenth century and early-twentieth-century. Communities across the country received many traveling scenic artists as them as heroes, raved about their artistic skills. As they passed through many left small communities a little better than they found them. Painting large-scale artworks that helped transport many to distant locations. There was something new to gaze upon each time they attended the theatre. Unfortunately, many of their artworks have failed to stand the test of time, and once celebrated artists were quickly forgotten.
Max Greenburg was a scenic artist who worked for Sosman & Landis at the turn-of-the-twentieth century. I recently stumbled across his name while cross-referencing studio projects from 1900.
Max Greenburg was the middle of three children born to Joseph Greenburgh (1833-1908) and Frances Scherek (1847-1925). His parents were both Jewish immigrants who initially settled in New York. The 1900 US Federal Census listed Joseph Greenburg’s birthplace as Poland. Frances’ was “born at sea” with her parents from German. In later years, their children simply listed “England” as their parents’ birthplace.
Of the three Greenburg children, Gilbert (1871-1931) was the oldest, born in Brooklyn in 1871. Max arrived the following year and was also born in New York. Their younger sister did not arrive until after the family relocated to Maine. Pearl Greenburg was born in 1888 in Lewiston, Androscoggin County.
I have yet to track down when, or where, Max entered the theatre industry. However, by the time Greenburg was 23 yrs. old, he moved from Maine to Massachusetts. In 1894 “Max Greenburg of Boston,” was mentioned in his brother’s wedding announcement (“Sun-Journal” on Nov 22, 1894, page 8). Sometime between 1894 and 1899, Max moved from Boston to Chicago. His move to Chicago likely coincided with his first working for Sosman & Landis.
In 1899, Greenburg married Mary “May” Higgins in Saint Joseph, Berrien, Michigan, on August 12, 1899. Both Max and Mary listed Chicago as their permanent residence on their marriage certificate. Mary was the daughter of Charles “Charlie Higgins (b. 1845) and Delia A. (Cowers) Higgins (b. 1859), both still living in New York at that time. Mary appears to be one of twelve children born to the couple in New York. I have yet to locate any further information about Max’s first wife – at all.
Shortly after marrying Mary, Greenburg began assisting Sosman & Landis scenic artist, Fred McGreer, at the firm’s Cincinnati theatre space. Sosman, Landis & Hunt were a theatrical management firm that managed Cincinnati’s Pike Theatre and Indianapolis Grand Opera House. Sosman & Landis staff painted the necessary scenery for not only the two venues, but also the touring stock companies. This was in addition to their various regional branches in Kansas City, Detroit and New York City.
During the spring of 1900, Greenburg painted stock scenery at the Pike Theatre. On April 15, 1900, McGreer and two of his fellow scenic artists (Fred and Robert McGreer) were pictured in “The Cincinnati Enquirer” (page 12). In 1900, Greenburg was listed as a scenic artist in the Cincinnati Directory, boarding at the Burnet house; the same place that housed McGreer. At the time, McGreer was working as the chief scenic artist for the Pike Theatre, having first started working at the venue in 1898 under the supervision of Thomas G. Moses. When Moses left, McGreer became the head scenic artist, with Greenburg assisting him.
Max Greenburg is pictured painting on the drop. Fred McGreer, and his little brother Robert are discussing the design.
After completing his work at the Pike Theatre, Greenburg ventured east to visit his brother in Naugatuck, Connecticut. On April 27, 1900, the “Naugatuck Daily News” reported, “M. Greenburg, a scenic artist in the employ of Sosman & Landis of Chicago, is visiting his brother, G. Greenburg of Church Street. He is a clever painter, and judging from the samples of his work shown to a News man today, is sure to acquire fame as a scenic artist. Mr. Greenburg is a young man of 27 years but he is old in experience in scene painting. He always had a fondness for painting and at the age of 12 commenced the study of scene painting. His drop curtain work is especially fine and he has painted some very realistic street scenes for some of the large theaters. He recently finished painting some of the scenery for a large theater in Cincinnati. After spending a few days with his brother, Mr. Greenburg will return to Chicago where he will resume work with the brush” (page 4). Greenburg left Naugatuck by the end of April. On April 30, 1900, the “Naugatuck Daily News” reported, “Max Greenburg, who has been visiting his brother G. Greenburg of Church street, left this morning for Chicago.” (page 4).
As with most scenic artists. Greenburg was one the road a lot, bouncing back and forth from one job to the next, going wherever his skills were needed. That summer, Greenburg painted scenery for the “Great Ruby” at the National Theatre in Rochester, New York. On June 14, 1903, the “Democrat and Chronicle” reported, “the scenic investiture that distinguished the original production of this melodrama will be richly reproduced at the National. Mr. Max Greenburg, the scenic artist, has been working on the place for several weeks” (page 16). In 1904, Greenburg was listed as a scenic artist in the Rochester Directory, boarding at 261 Lyndhurst.
He remained associated with Sosman & Landis in 1903, but was also the primary scenic artist for the Cleveland Theatre. He was credited with painting scenery for Nance O’Neil’s production of “Jewess;” her version of “Leah, the Forsaken.” On Nov. 7, 1903, Chicago’s Polish newspaper “Dziennik Chiogoski” reported, “Cleveland’s new theater – Wabash av. and Hubbard Court for next charter week on Sunday evening, November 8, Miss Nance O’Neil in the delicious and rich production of ‘The Jewess.’ This is one of the strongest and most popular plays in Miss O’Neil’s repertoire, and it is everywhere by all classes of amateur theater enthusiasts. Miss O’Neil won the greatest triumphs in the personification of the ‘Jewish woman’. Ms. E. J. Ratcliffe and the whole community will help her Cleveland Theater. Mr. Ralph E. Cummings will also perform for the first time as a member of this troupe. Scenery will be brand new and under the brush of Misters Sosman and Landis, and Max Greenburg, the stage artist of this theater. The entire production will be under the personal director Mr. McKee Rankin” (page 5).
By 1905, Greenburg was credited as the “Forepaugh scenic artist.” This was the Forepaugh Stock Company of Philadelphia, managed by George F. Fish. On Oct. 23 1905, the “Cincinnati Commercial Tribune” reviewed “Twelfth Night,” starring Miss Viola Allen, at Robinson’s proclaiming it to be “A Hit” (page 7). The article reported, “Mr. Max Greenburg, the Forepaugh scenic artist, with his assistants, produced results in pictorial embellishment of the play that exceeded in beauty and real artistic value anything ever before exhibited at Robinson’s, and it would be difficult to recall any stock mounting of a Shakespearean drama that fairly equaled this Forepaugh achievement.” Greenburg maintained a residence in Cincinnati from 1906-1907, listing, “Greenburg, Max artist bds flat 9 n e c 7th and Central Ave.”
By1908, Greenburg became associated with the Vaugh Glaser Stock Co. On April 16, 1908, the “Detroit Times” reported “Theodore Johnston, who has directed the Vaughn Glaser productions for the past four years, will still direct the stage for this company during its coming engagements in the Lyceum Theatre, while the scenic artist will be Max Greenburg, recognized as the foremost scene painter now engaged in stock work in America” (page 5). He was still with the company in 1909. On October 2, 1909, “The New York Dramatic Mirror” listed Max Greenburg, as the scenic artist for the Vaughan Glaser Stock Co. in Cleveland (page 21). He remained in Cleveland until 1911 when he temporarily relocated to St. Louis, Missouri, establishing his studio in the Princess Theatre. His focus shifted to movie screen improvements.
On July 16, 1911, the St. Louis newspapers announced, “A new picture-screen invented by Max Greenburg, formerly scenic artist at the Cleveland Hippodrome, said to be the first of its kind ever used in St. Louis, has been installed at the Princess. It brings out facial expressions and the high lights of photographs in a remarkable manner”(page 20). On August 6, 1911, the “St. Louis Star” published a detailed description of his invention (page 52).
Advertisement for the Princess Theater when it opened in 1910.
Unfortunately, the digitized copy was damaged, so much of the information is missing. What I was able to decipher notes that Greenburg was formerly the scenic artist at the Hippodrome in Cleveland. His new picture screen allowed projected images to remain visible when all of the auditorium lights were on, maintain an unprecedented clarity to the projected image. That summer, Greenburg was arranging a series of exhibitions at his studio for local moving picture exhibitors to see his new invention.
Fellow Sosman & Landis scenic artist William M. Minor also took an interest in movie screen development. On Sept. 14, 1910, the “Salt-Lake Herald-Republican” reported:
“Moving Picture Screen.
William M Minor, scenic artist at the Salt Lake Theatre, has applied for a patent on an invention which he calls Minor’s Wonder Moving Picture Screen. It is a cloth screen with a burnished metallic surface that adds distinctness to the picture that is thrown upon it. Last evening at the Orpheum theatre, preceding the regular performance, a test was made of the invention which impressed a score of invited spectators favorably. Seven by twelve feet of the entire scene was of the new material, and the remainder was the usual cotton cloth. This arrangement afforded opportunity for comparison between the two surfaces, and the mirror-like distinctness of the pictures on the metallic surface argued well for the success of the invention. Mr. Minor has experimented with the screen for about three months and since he received a receipt from the patent office, on Saturday last, has been testing the invention before private audiences. On Monday night it was tried at the Murray opera house.”
Although Greenburg purportedly filed for a patent in Missouri, he soon returned east and was living in New York by the end of the year.
In regard to his personal life, Greenburg’s first marriage failed. Sometime between 1900 and 1911, Greenburg divorced his first wife, Mary. After returning to New York in 1911, Greenburg married his second wife, Ethel Hooper. On Dec. 14, 1911, the “Baltimore Sun” reported, “Ellicott City. – Max Greenburg, of New York city and Miss Ethel B. Hooper, of Boston, were married at the parsonage of Emory Methodist Episcopal Church, this city, on Tuesday by Rev. Vernon N. Ridgley” (page 13). Miss E. Hooper was a Canadian immigrant who sailed from Halifax to Boston in 1902. At the time, she was listed as single and 19 yrs. old. By 1911, Ethel was 28 yrs. old. The couple would not celebrate the birth of a child for another decade though. In 1922, the one and only daughter, Helen Hooper Greenburg was born in Boston on Nov. 20.
Greenburg continued to bounce from one project to the next after his second marriage. In 1913, Greenburg and his wife briefly relocated to Winnipeg, where he accepted a scenic art position at the Winnipeg Theatre. On Aug 12, 1913, the “Winnipeg Tribune” reported, “Stage Director Johnston still occupies his old position with credit, and is assisted this season by John Daly, Max Greenburg is the new scenic artist, and Augustus Hughes, the music director, exploits agreeable orchestral music as usual between acts.” (page 6). The couple did not stay in Canada for long, and soon returned to New York where Greenburg became quite successful.
In 1918, his work caught the eye of Maude Fulton.
Maude Fulton, ca. 1914.
On Dec. 22, 1918, the “Oakland Tribune” announced, “Max Greenburg, the scenic artist who has been brought from New York by Maude Fulton to supervise the scenic department of the Fulton playhouse has done himself proud with the sets for ‘Sis Hopkins,’ and it is promised, that they will be a revelation” (page 43). Greenburg remained in California for about three years.
March 14, 1919 “Oakland Tribune” – “The Scenic Artist. We come now to the wizard of the paint brush, Max Greenberg, the scenic artist whose remarkable skills is in evidence each week in the painted scenes that make the frame work where shine the stars of the Fulton company. Much of the credit for the distinction of the Fulton productions belongs to Mr. Max Greenberg. Miss Fulton brought him to Oakland from Boston, where he was deemed the peer of scenic artists. His name in Boston and New York, in his line, is one to conjure with. It is a unique art – scene painting – and Max Greenberg is a master of that art” (page 10).
The Greenburgs were still living in California during the 1920 US Federal Census. At the age of 44 yrs. old, his occupation was listed as scenic artist in the theatre industry. By 1921, the Greenburgs returned to the East Coast. On July 2, 1921, “The Billboard” announced, “Max Greenburg was in New York City last week. He is working on the Plymouth Pageant to be held in August. Mr. Greenburg is planning on having several boys on from Boston, as well as several more on from New York, to form his crew when production gets to that point.”
By 1922, the Greenburg’s were again living in Boston, where his daughter Helen was born. She would also become an artist. Her 1989 obituary listed her profession as “commercial artist” (“Indian River Press Journal,” Vero Beach, 22 Feb 1989, page 3).
Helen H. Greenburg married Joseph L. Ferano in 1944, becoming Helen G. Fermano.
In the 1924 Boston Directory, Greenburg was listed as residing at 376 Riverway. His reason return east may have been partially prompted by his aging mother. In 1925, his mother, Frances Scherek Greenburg passed way in Lawrence, Massachusetts. At the time, she was living with her daughter Pearl. On August 20, 1925, the “Sun-Journal of Lewiston, Maine” reported, “Obituary. Mrs. Frances Greenberg. Funeral services for Mrs. Frances Greenberg, widow of Joseph Greenberg, formerly of Lewiston, were held in Auburn Wednesday from the Congregation Beth Jacob Synagogue. Rev. S. Segal officiated the service and interment was at the Congregation Beth Jacob Cemetery. Mrs. Greenberg died suddenly in Old Orchard on Monday. She had been in rather poor health for some years but her condition was not considered serious and so her death was a distinct shock to her family and friends. For the last 10 years she has made her home with her daughter, Mrs. James D. Brown of Lawrence, Mass. Previous to that she had made her home in Lewiston and with her husband was among the best-known and most highly respected residents of the city. She leaves two sons, Gilbert Greenberg, Naugatuck, Conn.; Max Greenberg, Boston, Mass; four grandchildren, Adrian Greenberg, Hollywood; Mrs. Clarence Leventhal, Jamaica, Long Island; Helen Greenberg, Boston; and Ruth Brown, Lawrence, Mass,” (page 12).
The following year, Max was listed as a scenic artist in the Quincy Directory, living at 160 E. Elm in Quincy, Massachusetts. For geographical context, Quincy is about ten miles south of Boston. Meanwhile, the three children closed their mother’s estate in Lewiston, Maine. In 1927, Max’s siblings, Pearl and Gilbert, sold their interest in Lewiston land and buildings to Max (Sun-Journal, 11 Feb 1927, page 15).
By 1930, the US Federal Census listed Max, Ethel and Helen Greenburg living in Boston at 36 Burroughs. St., Jamaica Plain. This would remain their permanent address for the rest of their lives. Greenburg continued to be listed as a scenic artist in the Boston Directory until his passing in 1934. On Dec. 13, 1934, “The Boston Globe” announced, “Greenburg – In Boston, Dec. 11, Max Greenburg of 36 Burroughs St., Jamaica Plain, husband of Ethel Hooper Greenberg. Services from the chapel of Jacob H. Levine, 200 Washington St., Dorchester, Thursday, Dec. 13 at 2 P.M.” (page 35). Ethel Greenburg continued to live at their home on Burroughs St., even after Helen married Joseph L. Ferano in 1944. On Feb. 12, 1952, “The Boston Globe” announced, “GREENBURG – In Jamaica Plain, Feb. 10, Ethel B. (Hooper), widow of the late Max Greenburg; Mother of Mrs. Joseph Ferano. Funeral Service from her home, 27 Burroughs St., Wednesday at 1:30. Visiting hours 2-4 and 7-10 pm. Relatives and Friends invited.”
There is one other interesting tidbit to add to the life and career of Max Greenburg. His nephew became a well-known Hollywood costumer and fashion designer. I encountered the connection while tracing the lives of Max’s siblings. While looking for information about Gilbert senior, I stumbled across his son’s passport application. On the passport application, Greenburg listed that his professional name was “Gilbert Adrian.”
His older brother, Gilbert Greenburg, had two children: Beatrice (b. 1895) and Gilbert A. Greenburg (b. 1903). Gilbert Sr. ran a milliner’s shop in Naugatuck, where both of his children worked while growing up in Connecticut. Adrian was the costumer for “The Wizard of Oz.” Many books have been written about “Gowns by Adrian” and his legacy. Adrian passed away in 1959, his obituary reporting, “Adrian, a native of Naugatuck, Conn., was head designer at Metro-Goldwyn-Mayer for many years. He designed gowns for such stars as Great Garbo, Norma Shearer, Joan Crawford, Myrna Loy, Hedy Lamarr and Rosalind Russell. In 1942 he opened his own custom dressmaking salon in Beverly Hills and the label “Gowns by Adrian” became internationally famous. He won a number of awards, including the coveted American Fashion Critic’s award for excellence in design. Adrian studied art in Paris and got his start in the designing field when Irving Berlin asked him to create costumes for the Music Box Revue in New York. His creations, in subsequent shows, caught the eye of Mrs. Rudolph Valentino, who hired him to design costumes for Valentino’s pictures. While at M-G-M he met Miss Gaynor, winner of the first Academy Award in 1928. They were married in 1939. Adrian and Miss Gaynor abandoned Hollywood in 1952 and went to live on a frontier ranch they purchased in Brazil. For five years they divided their time between apartments in New York and Beverly Hills” (Oakland Tribune, 14 Sept, 1959, page 13)
For a short read…There is a very interesting article entitled “Adrian: The Costume Designer Who Made Hollywood High Fashion. Here is the link: https://www.lofficielusa.com/fashion/costume-designer-adrian-hollywood-fashion-impact). The article reports, “After getting his start at New York City’s Parson’s School of Design, Adrian moved to Hollywood at the height of the Golden Age. He briefly worked for film director Cecile B. DeMille’s independent film studio before signing on as chief costume designer at MGM…From 1928 to 1941, Adrian designed costumes for over 250 films, collaborating with some of the biggest Hollywood icons of the time…screen credits usually read as ‘Gowns by Adrian.’”
