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Tales from a Scenic Artist and Scholar. Part 1110 – Henry C. Tryon’s Little Brother, Spencer Tryon (1863-1912)

On January 30, 1883, “The Salt Lake Herald” reported, “Mr. Spencer Tryon is a brother and pupil of Henry C. Tyron, the artist of the Salt Lake Theatre. He is very talented, and although scarcely more than a boy in years, he has produced some very fine work here and at the Tabor Grand Opera” (page 8). At the time, Spencer was twenty years old.

*The Salt Lake Theatre in Salt Lake City, Utah*

*The Tabor Grand Opera House in Denver, Colorado*

Like his older brother, Spencer changed his last name from Hoornbeck to Tryon when he began working as a scenic artist. To learn more about Henry B. Hoornbeck’s name change to Henry C. Tryon, visit: https://drypigment.net2020/10/16/tales-from-a-scenic-artist-and-scholar-part-1092-henry-b-hoornbeck-and-henry-c-tryon-1847-1892/ Their brother William Hoornbeck also adopted the last name of Tryon while living with Henry C. in 1878.

In 1870, Spencer was living with his mother, Ann M. Hoornbeck, and two brothers (Henry and Dell) at 384 Lake Street. This was the last year that Henry Hoornbeck (later Henry C. Tryon) was listed in directories under his birth name. Mrs. Hoornbeck and her children had moved to Chicago after the death of her husband in 1864. Like Henry, Spencer was educated in Chicago public schools.

The earliest mention of Spencer working as a scenic artist is in 1882. At the time, he was listed as his older brother’s assistant and painting scenery for a hall in Springville, Utah. On Dec. 13, 1882, the “Deseret News” reported, “Not only is the intention to have this model theatrical hall up to the times in point of architectural construction, by the scenery is to be of the very best description. With this object in view Mr. D. C. Johnson, who takes a leading part in the management has secured the services of Mr. H. C. Tryon and Mr. Alfred Lambourne. The latter accompanied by Mr. Spencer Tryon – Mr. H. C. Tryon’s assistant – left for Springville to-day, to begin the work, and Mr. Tryon will follow in a few days. The institution will have thirteen scenes complete, with sidewings, etc., and an appropriate drop curtain. The fact that Messrs. Tryon and Lambourne will do the painting is a guaranty [sic.] that the scenes will be of the most excellent description” (page 15). The venue was described as “a genuine opera house in a theatrical hall. The extent of the stage from the footlights to the back is twenty-five feet, besides dressing and other rooms in the rear. The height of the stage from the floor to the rigging apparatus is twenty-two feet.”

The three artists were also credited with painting railroad scene a month later. Of the setting, the “Salt Lake Herald” reported, “A. Railroad Scene in ‘Forbidden Fruit.’ A feature in the performance, on Monday night, which was not scene in the original production, will be the grand office scene, just painted by Mr. H. C. Tryon, Mr. W. C. Morris and Mr. Spencer Tryon, and now shown for the first time, represent the waiting room for the Pennsylvania Central Railroad. A number of gentlemen who saw the artists at work on the scene consider it one of the finest efforts the painters have yet made. It will be seen in act II, of “Forbidden Fruit” (Salt Lake Herald, 26 Jan. 1883, page 8). A later article stated, “The railroad scene painted by Mr. W. C. Morris, of Salt Lake City, and Mr. Spencer Tryon – and displayed last night for the first time in “Forbidden Fruit” – called forth a well-deserved round of applause. It was excellently painted, being full of character, and although (from the nature of the subject) without any pretense of color, was beauty owing to its truth and solidity.” The “Deseret News: reported, “The office of the P.C.R.R.. a new interior scene, painted by the Tryon Brothers and W. C. Morris, Esq., will be exhibited for the first time” (26 Jan 1883, page 3).

On January 27, 1883, the “Deseret News” reported that the new office scene for “Forbidden Fruit” was by Mr. W. C. Morris and Mr. Spencer Tryon” (page 3).

By the spring of 1883, the Tryon brothers were back working at the Salt Lake Theatre. Interestingly, Spencer was erroneously listed as his older brother’s manager on the project. On May 31, 1883, “The Salt Lake Herald” reported, “Henry C. Tryon and his manager, Spencer Tryon, are still industriously engaged. At present, Mr. Tryon is working on one or two special scenes for Lawrence Barratt [sic.], when he appears at the Theatre in ‘Francisca.’ The borders and wood scenes are all finished, and there is any amount of new scenes which have never yet been in use, and which, if occasion came, would show how well stocked the Theatre is even now, when the work is far from finished” (page 10). Spencer would soon be left alone in Salt lake City, without his older brother’s countenance.

On September 17, 1883 the “Deseret News” published a farewell letter to Henry C. Tryon: “Good Bye – Mr. Henry Tryon, the skillful scenic artist, leaves for the East to-morrow. Beside his remarkable talent he is the fortunate possessor of a genial disposition and a mind remarkably free from that species of petty jealously by which otherwise capable men too often dim the lustre of their capacities. He has made numerous friends here whose best wishes he carries with him. Good bye” (page 3).

I have to wonder what was worse for Spencer; living in his famous brother’s shadow or painting at the same venue renowned for your brother’s artwork. Regardless, Spencer remained in Salt Lake City area for at least another year after his brother’s departure in 1883. For a while, he worked at the Salt Lake Theatre, but soon began working at the venue’s competitor – the Walker Opera House.

*The Walker Opera House in Salt Lake City*

In 1884 Spencer was working, and sleeping, at the Walker Opera House. The Walker Opera House was located on the south side of 200 South Street between Main and West Temple streets. Unfortunately, the venue caught fire one night as Spencer slept inside. On October 16, 1884, “The Salt Lake Herald” headlined “A Narrow Escape. The Opera House Barely Saved from Destruction” (page 8).

*Sanborn Fire Insurance Map from 1884 for the Walker Opera House*

The article continued:

“On Wednesday morning at about 4 o’clock, Nightwatchman Henry Heath in passing the Walker Opera House noticed that the glass windows of Evans & Spencer’s gun store wore a peculiar color. On looking closer he perceived the appearance was caused by the store being full of smoke, Hastily running down stairs to the saloon owned by Mr. A. G. Bechtol, he saw that its interior was also black with smoke, With all possible dispatch he hurried to the rear of the building and awoke Dave McElroy and Spencer Tryon, who were sleeping in the Opera House, rigging the hose from under the stage and in the parquette circle, and going to the rear door of the saloon himself, and upon bursting open the door he was almost stifled by the smoke, but throwing himself upon his face, with a hose in each hand, he turned a stream of water upon the ice chest and billiard table, from whence the flames were issuing. With the assistance of Messrs. McElroy and Tryon the fire was gotten under control before the fire brigade was summoned. The firemen made good time to the scene, but were not needed.” Interestingly, the 1884 Sanborn Fire Insurance Map provides a basic floor plan for the building. The two-store front were occupied by an ammunition shop and a confectionary. Records indicate that the scenery on stage was non-combustible; this means treatment with a product considered to be a flame retardant. Layout (https://utahtheaters.info/Theater/Facts/250/Walker-Opera-House).

*Spencer Tryon’s narrow escape from the Walker Opera House made headlines in 1884*

After Spencer’s near miss at the Walker Opera House, he seems to fade away from published history. Spencer remained out of the spotlight for the remainder of his life, unlike his older brother who continued to receive recognition at theatres across the country. I have yet to uncovered any mention of either Spencer Tryon or Spencer Hornbeck between 1885 and 1890. By 1891, however, he was back in Chicago and listed in the city directory, having resumed his birth name of “Spencer Hoornbeck.” Interestingly, 1891 is the same year that the Walker Opera House burned down.

The 1891, the Chicago City Directory listed, “Hoornbeck, Spencer, painter, h. 621 N. Stephenson (P).” Within the next year, both his mother and his brother Henry would pass. At the time of Ann M. Hoornbeck’s passing, she was 68 years old and living with a son in Pullman, Illinois. Her internment was at Sandusky, Ohio, next to her husband. Sandusky was also the birthplace of their children.

By 1900, Spencer was again working under the name Tryon. The 1900 US Federal Census listed Spencer Tryon as boarding at 128 Throop Street in Chicago, working as a paper hanger and painter. Ten years later, he was still working in the same capacity and living alone, lodging a boarding house on Wabash in Chicago. Spencer passed away in 1912 at the age of 49 yrs. old. His older brother Henry had been only 45 yrs. old when he died the decade before. At the time of Spencer’s death, he was listed as a painter, boarding at 19 E. 18^th Street in Chicago. The next day, Spencer was buried at Mt. Greenwood cemetery.

Just like his mother Ann and older brother Henry, Spencer exited this world without fanfare or any published remembrances. I have to wonder if he had any loved ones to mourn his passing.

To be continued…

Travels of A Scenic Artist and Scholar: The Cox Scenery Collection at the Tabor Opera House, Leadville, Colorado.

In America, many nineteenth-century opera houses repeatedly purchased stage scenery, updating and expanding their existing stock. Scenic artists and their stage work drew crowds, just like popular stage personalities. The names of scenic artists were prominently displayed in many advertisements. Articles described their work and the scenic art process in detail, placing their contribution to a production on par with the leading performers.

Last February, I led a group of volunteers to document all of the scenery on stage at the Tabor Opera House in Leadville, Colorado. It was the first phase of the project, with the second phase occurring in September. The second phase focused on a much older scenery collection stored in the attic, placed there after the stage was renovated by the Elks in 1902. There were several pieces painted by Tignal Frank Cox in both locations. The first piece that we discovered was a tree profile, constructed of roughhewn lumber and coarse cotton fabric. On the backside of the tree was a charcoal sketch; a cartoon depicting a scenic artist in coveralls. Above the scenic artist was the caption: “Frank Cox, Scenic Artist Jan. 30 ‘88.” Cox also painted his initials on the front of the tree. They appear to be carved into the trunk, alongside other initials.

*Set piece painted by T. Frank Cox for the Tabor Opera House in 1888.*

*Cartoon on the backside of a set piece painted by T. Frank Cox for the Tabor Opera House in 1888.*

*Initials painted by T. Frank Cox on a set piece for the Tabor Opera House in 1888.*

Keep in mind that it is extremely rare to find a piece of stock scene signed and dated by the artist. Some pieces carried a studio mark, but seldom an individual artist’s name. Occasionally, individual artists and studios marked the corner of the central composition on a drop curtain (painted front curtain). Until my trip to Leadville, I had not encountered a signed and dated piece of nineteenth-century stock scenery.

*Signature on the back of a cut shutter at Tabor Opera House in Leadville, Colorado, 1888.*

Beginning in 1881, the Tabor Opera House was managed by J. H. Cragg. Cragg secured the painting services of Cox near the end of 1887. Cox completed his work for Cragg at the end of January 1888, and then headed to DeRemer’s Opera House in Pueblo. Cox painted a forest scene for both DeRemer’s Opera House and the Tabor Opera House.

To date, I have identified three extant settings painted by Cox for the Tabor Opera House. This “Cox Scenery Collection” includes a forest scene, a street scene and a Rocky Pass. The forest setting consists of two full shutters, two cut shutters and a tree profile. Both the street scene and the Rocky Pass scene are composed of only two shutters.

*Two wood shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

*Two street scene shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

*Two rocky pass shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

Cox’s painting project for the Tabor was part of a much larger vision that involved the 1888 establishment of the Silver Circuit. In 1881, J. H. Cragg became manager of the Tabor Opera House in Leadville; the same year that H. A. W. Tabor built the Tabor Grand Opera House in Denver. By 1884, Peter McCourt (Baby Doe’s brother) became the manager at the Tabor Grand, and was responsible for booking both the Tabor Grand and Tabor Opera House productions. McCourt soon expanded his bookings to other venues, establishing a Colorado Circuit, also known as the Tabor Circuit. Stops in the circuit included opera houses throughout Colorado, Utah and southern Wyoming. By March 1888, McCourt announced the official formation of a “Silver Circuit,” targeting the wealth associated with mining areas. Keep in mind that McCourt announced the establishment of a Silver Circuit only two months after Cragg hired Cox to paint the new scenes. The “official inauguration” of the Silver circuit, however, did not occur until July 1889. In the end, it included thirteen stops: Denver, Leadville, Aspen, Salida, Colorado Springs, Pueblo and Trinidad in Colorado; Salt Lake City, Provo, Ogden and Park City in Utah; and Evanston and Rawlins in Wyoming.

On January 14, 1888, the “Leadville Evening Chronicle” reported, “Frank Cox, a New York artist, is engaged painting several new scenes at the opera house. Manager Cragg has engaged him for a short time, and his productions are something unusual in the scene painting line. Mr. Cox painted the scenes that were so much admired in acts III and IV of Ingomar” (page 4). Act III of “Ingomar” was set in a mountain camp, likely using Cox’s recently painted rocky pass shutters. Act IV was set on the edge of a forest that possibly used Cox’s new forest setting. Lillian Olcott was featured in the touring production of “Ingomar” during 1887 and the beginning of 1888. She and her company performed both “Ingomar” and “Theodora” in Leadville at the beginning of January. The Tabor Opera House was one of her last stops on tour before she passed away in March. Newspapers across the country reported that Olcott grew ill after surviving a blizzard and died in a hotel.

*Advertisement for Ingomar and Theodora at the Tabor Opera House.*

Then, as now, travel throughout the mountains in winter was unpredictable and often treacherous, but this did not prevent people from completing a theatrical tour or traveling to nearby venues. Cox completed his work at the Table Opera House by the end of January. On February 1, 1888, the “Leadville Evening Chronicle” announced, “A handsome new ‘set’ house and a new wood ‘flat’ has been added to the scenic properties of the Tabor, this city. Both were painted by Mr. Frank Cox, of New York, and are excellent examples of the scenic art” (page 4).

On a secondary note, the mention that Cox’s new scenery was used in “Ingomar” is also of interest, as Olcott’s shows purportedly toured with their own “special scenery.” Advertisements for both “Ingomar” and “Theodora” promised, “all the wealth of scenery and appointments that characterized their production in London and Paris” (The Courier, Lincoln, NE, 20 Dec 1887, page 6). However, after “Theodora” played at the Tabor Opera House in January, one Leadville critic commented, “The company’s ‘special scenery’ was mainly conspicuous by its absence, but some very good stage settings were arranged, none the less.”

After completing his work in Leadville, Cox secured work in Pueblo, Colorado. In Pueblo, he not only worked as a scenic artist for DeRemer’s Opera House, but also performed as a “Lightning Artist.” Prior to his performance and work for DeRemer’s Cox flooded local newspapers with announcements, advertisements and articles about his art.

On Feb. 12, 1888, the “Colorado Daily Chieftain” included an article entitled “The Tramp Painter.” It read:

“The following has been handed us for publication, which explains itself.

PUEBLO, COLO, February 8, 1888.

Mr. Frank Cox,

Desiring to witness an exhibition of your rapid landscape painting and character sketching in charcoal, accompanied by your famous talk, “The Tramp Painter,” or “The Sketch Artist En Tour,” we respectfully request you to favor Pueblo with an early date most convenient yourself.

Jos. Hitchins, T.G. McCarthy, O. E. Pettis, L. B. Strait, Rev. W. C. Madison, Geo. M. Haight, W. W. Strait, A. B. Patton, and many others.

___

Messrs. Haight, Hitchins and others,

GENTLEMEN – In reply to the above request, I will state that I will be pleased to respond, and will appoint Friday evening, February 17, as the date, and DeRemer opera house as the place of entertainment, at which time I will paint four landscapes in oil 4×6 feet, each in ten minutes besides numerous charcoal sketches of the same size in much less time.

Yours Truly,

Frank Cox.

In addition to this announcement, Cox daily advertised in the “Colorado Daily Chieftain.” From Feb. 14 to Feb. 17 the newspaper included mentions of his act. For example, on Feb. 15, 1888, the “Colorado Daily Chieftain” reported, “Mr. Frank Cox, the lighting landscape painter who will appear at DeRemer’s opera house on the evening of the 17th instant, will amuse and instruct all who attend, and we trust that he will be greeted by a large audience.”

The announcement was accompanied by a nearby advertisement:

Advertisements for Frank Cox were placed in the “Colorado Daily Chieftain” from Feb. 14-17, 1888.

Cox also posted short reminders in the “Colorado Daily Chieftain” – “Don’t miss seeing Frank Cox, the artist at DeRemer’s” (“Colorado Daily Chieftain”, Feb 17, 1888, page 4).

The day before his performance, Cox submitted another article entitled “A Fire at Sea.” It described, “The event of the season will be the appearance of Mr. Frank Cox, the lightning artist at DeRemer’s Friday evening, February 17. On this occasion Mr. Cox will paint his wonderful ‘Fire at Sea,’ in which he first paints a moonlight ocean, then a ship, then sets it on fire (with color), then brings another ship to the rescue, which also burns and the picture is left a calm, open sea, with no vessel in sight, and even the smoke is cleared away. You will probably never have an opportunity of witnessing such a grand spectacle and should not fail to attend. Tickets 25 and 50 cents.”

*Sketch by Frank Cox on the back of a cut shutter at the Tabor Opera House in Leadville, Colorado*

On the day of the performance, Cox was featured in the “Amusements” section. Under the heading “The Tramp Painter,” the article noted:

“To-night is the date of the most extraordinary and wonderful entertainment ever seen in Pueblo, on which occasion Mr. Frank Cox, the lighting artist, delivers his famous talk “The Tramp Painter” at DeRemer, illustrating it as he proceeds with numerus black and white sketches and four large oil paintings, all executed on the stage before your eyes. Fifty sketches will be made during the evening, and a more enjoyable affair has probably never been offered to the people of Pueblo. All lovers of the beautiful in art should attend and witness this performance. The price of admission is 15 and 50 cents, within the reach of all, and we hope to see the DeRemer crowded.”

*Sketch by Frank Cox on the back of a shutter at the Tabor Opera House in Leadville, Colorado*

In addition to performing, Cox also painted scenery for DeRemer’s Opera House. On February 19, the “Colorado Daily Chieftain” announced, “Frank Cox, the artist is at work on a new scene at the DeRemer opera house. It is what is known as a ‘cut wood’ scene, the first one yet made there. It shows large trees, with foliage overhead, while the canvas is cut away from around the trunks of the trees, making a very forest like appearance (page 4). This is exactly what Cox also painted for the Tabor Opera House in Leadville.

*Two wood cut shutters painted by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

After Pueblo, Cox traveled to Trinidad, Colorado. On March 4, 1888, the “Colorado Daily Chieftain” announced, “Frank Cox, the artist, is lecturing at Trinidad” (page 4).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1109 – Similarities between the Salt Lake Theatre and Tabor Grand Opera House, 1883

“*The Salt Lake Theatre in the Early Days” was included in George D. Pyper’s 1937 publication, “The Romance of an Old Playhouse.”*

Manager W. S. Morse discussed Henry C. Tryon’s work for the Tabor Grand Opera House and Salt Lake Theatre with a “Salt Lake Herald” reporter in 1883. He was asked about his thoughts on the new Salt Lake Theatre and stock scenery. Morse noted similarities of the two houses and celebrated Tryon’s artistry. Here is the article in its entirety:

“A FINE STRUCTURE

What Denver Manager Thinks of the Salt Lake Theatre.

A Compliment for the Theatre and a Puff for Tryon.

W. S. Morse, Esq., manager of the Tabor Grand Opera House, of Denver, has been in Salt Lake for a couple of days on a visit, the object of which was rest and entertainment. Being a theatrical man himself, he naturally takes an interest in the Temple of Thespis wherever found and of whatever character. Consequently, he visited, among other places, the Salt Lake Theatre, which is now undergoing repairs. A HERALD commissioner ran across him there, and naturally put some questions to the gentleman, which may prove of interest to the public. Here is the result of a series of profound inquiries and equally erudite responses.

Reporter – Mr. Morse, what do you think of the Salt Lake Theatre anyhow?

Mr. Morse – When completed according to the plans of management it will be one of the finest theatres in the country.

Rep.- In what respect?

Mr. M. – The auditorium is elegantly proportioned, the acoustic properties are wonderful, while the lines of light are so well arranged that in no portion of the house does the audience fail to get a good view of the stage. All that the audience requires is to be richly and tastefully decorated and then, with the elegant proscenium opening, this part of the theatre will be superb. Judging from appearances, there has been a marvelous change in the entire arrangement of the stage mechanism. The depth of the stage is greater than that of the Tabor Opera House, while the width is about the same. We have about ten feet more height to our rigging loft, but there is ample height here for all theatrical purposes. The whole arrangement seems to have been modelled after that of the Tabor Grand Opera House; and that structure, having been built in accordance with the latest knowledge and experience that could be secured, it necessarily follows that practically everything which could be done to make a perfect place, is found in the Tabor Opera House. The similarity between the two houses (though it may seem immodest for me to make the comparison) is decidedly to the credit of this theatre. There are very few theatres as thoroughly stocked with characteristic and elegant scenery as I see yours is. The artist, Mr. H. C. Tryon, was with us in Denver for about eight months and during that time painted a large portion of our stock scenery. The first scene he did for us was a “Mining Camp in Colorado,” which was greeted with spontaneous and hearty applause. The good opinion of our patrons, so early won, was continued during his entire engagement, so much so that we parted with him with reluctance.

The artwork which I noticed he has already done here, is calculated to give the Theatre a really metropolitan aspect. The changes which have already been made and are now making – as I understand it – at his suggestion, will greatly enhance this impression; and when these alterations are completed, I will venture the assertion that nowhere in the country will there be a better sticked theatre for scenery, nor one which will enjoy a greater number of the modern theatrical appliances and conveniences. I would have you understand that we think a great deal of Tryon in our selection, where he enjoys as a great reputation for oil painting as he does for scene painting. He enjoys a reputation all over the country and has been employed by the best managers and in the best theatres in the country. In every place, even where the art taste is old, cultivated and generally developed, the same appreciation of his work is manifested as it is here and in Denver, Tryon’s success is due to the fact that he has made of scene painting art in the highest sense; besides there is freshness of idea, richness of color, and originality of design. All these things have combined to give Tryon the reputation he enjoys. My admiration for Tryon may lead me to say some very flattering things of him, but I am sure all that I can say in his favor will be borne out by artist generally and by those who have had the acquaintance of years with him. It was really a fortunate – not to say wise – movement on the part of the management of the Theatre to secure the services of so talented an artist. I am equally confident that the nerve displayed by the management of the Salt Lake Theatre in undertaking such a heavy expenditure in restocking the Theatre, in remodeling the stage, and in making the auditorium more attractive, will not only be rewarded by liberal patronage consequent upon the satisfactory presentation of all pieces so far as stage mounting and settings are concerned, but it will be a source of pride and satisfaction alike to them and the public, to known that they have as handsome, as attractive and as well-appointed a theatre as the largest American cities can boast.

Mr. Morse seemed relieved after he had delivered the concluding peroration, and the reporter decided that to worry that gentleman further would be cruelty and beat a hasty retreat” (Salt Lake Herald, 31 May 1883, page 10).

The “Deseret News” published gave a little background about the venue and its renovation in an earlier article entitled “Stage Transformation” (21 Feb. 1883, page 2). The article reported:

“The Salt Lake Theatre, built twenty years ago, when much that entered into its construction had to be transported across the plains with ox teams, will be, in 1883, up to the very latest date. To sum up, we are soon to have one of the few really grand and perfect theatres in the United States.” The article explained, “The tearing away of old timbers and the introduction of various improvements has made a new rigging loft fifteen feet higher than the old one. In fact, there is a compete stage transformation in progress in the ‘old Drury.’ The result will be that the scenery hereafter will, with the increased height of ‘drops’ and the immense ‘borders’ which traverse over the scenes, give all the grandeur of the very finest theatres.” The “ Deseret News” commented, “Now there is no rolling of drops, as they are simply raised or lowered directly by an ingenious and straight-forward arrangement” (26 May 1883, page 2).

Each piece of Tryon’s stock scenery was gradually unveiled to the public, selected to accompany a specific production at the Salt Lake Theatre. By the end of May 1883, the “Deseret News” reported “The forest scene, painted by Henry C. Tryon, introduced last night and this afternoon in ‘The Serf,’ is a masterpiece. The foliage borders transform the stage into the appearance of a dense wood with actual timber, over hanging and spreading branches and leaves. It is the nearest approach to nature in the department of scene painting we have ever seen” (May 26, 1883, page 5).

Lawrence Barret’s secured Tryon’s services while performing at the Salt Lake Theatre in 1883. Barrett specifically asked Tryon to produce special scenery after encountering his work at the Tabor Grand Opera House. The “Salt Lake Herald” reported, “Learning that Mr. Tryon was engaged here, Mr. Barrett was not a little delighted with the information, for the reason that it implied a presentation of his pieces, so far as scenic effects were concerned, on a scale of grandeur equal to anything he could have hoped for in the best equipped theatres of the country. It is but proper to state in justice to the artist that the first satisfactory exhibitions of his labors will be made during the coming engagement of Mr. Barrett. The commingling of the higher dramatic art, as represented by Mr. Barrett, and the perfection of scenic art, such as will be witnessed next week, will prove a treat of rare and unequalled excellence, and will enable the management of the Theatre to show fully and completely to the public the possibilities of the stage, since the completion of the extensive alterations instituted some time ago, and carried out at a cost far beyond original anticipations” (7 June 1883, page 8).

On June 14, 1883, the “Salt Lake City Herald” announced “Five Applause” (page 8). The article reported, “That all the HERALD promised is already realized in the two performance so far given, is beyond question, and to show how deeply Mr. Tryon’s labor is appreciated here, it is but needful to state that his scenes were five times applauded last night, the rise of the curtain in each act being a clue for applause by the audience; but the artist states that it is to-night he will take a little pride in the special work he has done, and referred to last nights as only of indifferent excellence. We shall see what he calls good when that is but indifferent.”

Other scenes credited to Tryon were described in local newspapers and included an ancient street, fancy chamber, winter scene and “quiet landscape.”

To be continued…

Travels of A Scenic Artist and Scholar. Interior Settings for the Tabor Opera House by Henry E. Burcky, 1890

The Tabor Opera House in Leadville, Colorado, opened in 1879. Over the next two decades, wing and shutter scenery for the stage was repeatedly purchased, refurbished and repainted. The venue was later renamed the Elks Opera House when the Benevolent and Protective Order of Elks (B.P.O.E.) purchased the building in 1901. Immediately after the purchase, the building was renovated, and a new stock scenery collection purchased. Part of the stage renovation included adding a fly loft, so that new scenery could be raised out of sight. Previously, the Tabor Opera House used wings, shutters, roll drops and borders. This scenery was tucked away in storage after the renovation where it waited for over a century.

I lead a group of local volunteers to document both the scenery on the stage floor and that stored in the attic. On the back of one cut wing, was written: “W. J. Moon stage carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890. This penciled note identifying the creators places the eight cut wigs within the timeframe of Tabor Opera House history.

*W. J. Moon listed as carpenter and Henry E. Burpey [sic] on the back of a cut wing at the Tabor Opera House*

William J. Moon was a local resident, associated with the opera house for decades. Henry E. Burky was an itinerant scenic artist who began his career in Chicago and was working in Denver by 1884. “Harry Miner’s Dramatic Directory” for the 1884-1885 season listed “Burckey, Tabor Opera, Denver” as the scenic artist for the Tabor Opera House in Leadville; he was working for both of Tabor’s theaters. Burcky was still associated with the Tabor Opera House five years later.

On August 24, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (age 5). The article reported, “Mr. Burkey, the efficient scenic artist from the Tabor Grand, Denver, is at present in Leadville, and at work on some new scenery for the Tabor in this city. There will be several new sets, particularly some much needed interior scenery. One set has been completed already and is very handsome” (page 5).

On September 3, 1890, the “Herald Democrat” included an article on the new scenery painted by Henry E. Burcky for the Tabor Opera House in Leadville, Colorado (page 5): “Mr. Berkey, the scenic artist from the Tabor Grand, Denver, is getting along very well with the new scenery he is painting at the local theater. He has already completed three interiors, which are a decided improvement to the scenic portion of the theater. Mr. Berkey is a first-class scenic artist and does some decidedly commendable work.”

*Baronial Hall interior side of double-painted shutter at the Tabor Opera House in Leadville, Colorado*

*New England interior side of double-painted shutter at the Tabor Opera House in Leadville, Colorado*

After completing the scenery project in Leadville, the “Herald Democrat” reported his departure for Denver on October 16, 1890, noting “Mr. H. E. Burcky left last evening for Denver.” In addition to the tropical-themed cut wings, I suspect one of Burcky’s double-painted interior settings remain. When he painted the three new settings noted in the newspaper, he likely repainted existing composition. When nineteenth-century scenery was repainted, it was simply scrubbed down with water and then repainted. In the case of the Burcky’s double-painted wings, the underlaying composition became a template. There was no need to scrub down and redraw and interior setting for each piece. Keep in mind that this would have been tricky, as the underlying colors would immediately lift. Scenery painted with dry pigment and diluted hide glue reactivates when it comes in contact with liquid.

*Four double-painted wings painted by Henry E. Burcky for the Tabor Opera House in 1890*

*Painted detail from double-painted wing painted by Henry E. Burcky for the Tabor Opera House in 1890*

*A detail showing the underpainting* *from a previous composition.*

Burcky’s interior set consists of wings that slide in grooves, as well as two shutters that formed a back wall. The back wall had an opening for double door in the center. What is interesting, however, is that only the shutters use flat sheaves (wheels). A pair of flat sheaves was secured to the bottom of each shutter for easy movement. Unfortunately, one of the shutters was so badly damaged that it was not lowered to the stage floor and thoroughly documented. This piece and its companion remain in the Tabor attic, until they can be repaired and safely lowered to the stage floor.

*One of two shutters that formed the opening for a double door.*

*The two shutters still wait in the attic of the Tabor Opera House for repair*

*A flat sheave on the bottom of the interior shutter*

The double-painted wings do not have flat sheaves on the bottom. They were shifted during scene changes without the benefit of wheels, indicating that the wings slid in wooden floor grooves. Sets of grooves were placed above and below the unit to stabilize each unit for the interior setting.Not all of the interior setting remains, as part was disassembled to create a massive barn setting during the late nineteenth-century. Painted remnants littered the attic, a testament to the original scope of Burcky’s project. I am in the process of slowly fitting these pieces back together.

Travels of a Scenic Artist and Scholar. Stark Mills and Drillings for Scenery at the Tabor Opera House

From September 21 to 27, 2020, I led a group of volunteers to document scenery in the attic of the Tabor Opera House, Leadville, Colorado. Of the many wings, shutters and set pieces uncovered, one particular border curtain caught my eye. On the back of the piece was a mill stamp that read, “Stark Mills Improved Standard Drillings A.” To fully appreciate this artifact, one must understand the significance of Stark Mills and use of drillings for nineteenth-century scenery.

*Stark Mills textile stamp on the back of a border curtain at the Tabor Opera House in Leadville, Colorado.*

Stark Mills was located in Manchester, New Hampshire, just thirty-six miles away from Boott Mills in Lowell, Massachusetts. Both mills were situated along the Merrimack River, supported by power canals. Both mills produced textiles used by scenic artists for scenery at the Tabor Opera House.

Stark Mills produced some of the heaviest cotton fabrics shipped from mills in Manchester, New Hampshire, during the nineteenth century. Their products included sheetings, drillings, denim, duck and much more, each shipped to thousands of distant dry goods stores. Stark Mills products were even sold in Hawaii by 1870. Newspaper advertisements for Honolulu listed bales of Stark Mills A Sheeting, B Sheeting and A Drilling for sale.

When the Tabor Opera house opened in 1879, Stark Mills textiles were readily available from many western merchants. Drillings were also a familiar product known to many theatre artists and worked well for painted scenes. Keep in mind that before the railroad arrived in Leadville, products were shipped by stage over the mountains, including a variety of necessary textiles for everyday life. Stark Mills Improved Standard Drillings were a necessary fabric for the mining community, primarily used in dress and vest linings. The shipping of the product by stage to Leadville signaled a continued commercial relationship with east coast industry. The Tabor Opera House opened its doors before the railroad arrived in town.

Several scenic pieces at the Tabor Opera House were produced using Stark Mills, listing the product as grade “A” drillings. A “40” on the stamp indicated the number of yards in a bolt. The popular plain weave cotton fabric was a sturdy, inexpensive, and paintable fabric. In 1890, “best drillings” were advertised at a price of eight cents per yard in Leadville, today’s equivalent of $2.29/yard. (Herald Democrat, 22 Jan 1890). Scenic artists working on site in remote western towns, such as Leadville, relied on local materials. Unlike their metropolitan counterparts, scenic artists working in Leadville did not have the luxury of access to an array of variety of goods, wit varying quality and price points.

*Detail of the Stark Mills standard drillings* *used for a border curtain at the Tabor Opera House.*

Drillings are fabric with a twill weave, characterized by diagonal lines made from the filling threads. Also referred to as “drill,” this fabric was marketed as a stout twilled fabric, and traditionally used in summer-weight clothing, such as trousers. Drill was especially popular for uniforms and other military goods during the nineteenth century, as well as being used as lining for dresses and vest. Although the date of manufacture for the border curtain fabric remains unknown, the fabric was likely produced between 1879 and 1887.

*Stark Mills products for sale in Hawaii, from the “The Pacific Commercial Adviser,” Honolulu, 26 Feb 1870, page 4*

Stark Mills was a massive complex in Manchester, New Hampshire. By 1881, Stark Mills manufactured 17,000,000 yards of cotton goods that were shipped across the country (Vermont Farmer, 21 Oct 1881, page 2). In 1882 Stark Mills produced 8,567,000 pounds of product; the goods including sheetings, drillings, duck and bags (The Boston Globe, 18 Oct 1881, page 6). This was an increase over the previous year by 230,000 pounds, indicating an increased supply to meet increased demand.

Stark Manufacturing Co. was an affiliate of the Amoskeag Manufacturing Company. In 1831 the Amoskeag Manufacturing Co. was incorporated along the banks of the Merrimack River after engineers determined that the east bank of the Merrimack River was deemed best for the establishment of mills and tiered canals. In short, the company planned an extensive mill town, purchasing much of the land on the east bank of the Merrimack in 1835. Early in 1838, several individual with interests in the Amoskeag Manufacturing Co. submitted a petition to the legislature for a charter of incorporation under the name of the Stark Manufacturing Company. The name Stark was selected in honor of John Stark. Stark was a Maj. Gen. in the Continental Army during the American Revolution, widely known as the “Hero of Bennington” for his exemplary service at the Battle of Bennington in 1777. Immediately upon the organization, the Stark Manufacturing Company entered into an agreement with the Amoskeag Manufacturing Co. and began building the first Stark Mill.

The Stark Manufacturing Company purchased fourteen acres of land from the Amoskeag Manufacturing Company, and secured an agreement for water usage from the Amoskeag Canal. Stark Mill opened in 1839, with the new building measuring 50’-0 wide by 150’-0” long. Six tenement buildings provided nearby lodging for mill workers. Raw cotton entered the building by a three-story picker house at the south end of the building. Picker machines both cleaned and processed the cotton fibers for further processing prior to using in looms.

Soon a second mill was erected nearby the original structure, exactly the same size as the first. By 1844, a third mill was added, placed between the two buildings. The three mills formed a large complex that became known as Stark Mill No. 1. This six-story structure was 526 feet long and contained 20,000 spindles and 660 looms. In 1844, the Stark Manufacturing Co. processed three million pounds of raw cotton and employed 540 people. Stark Mill No. 2 was built in 1846. This factory had 19,564 spindles with 560 looms.

In 1850 fire broke out in Stark No. 1, the refitting of the mill included Cyrus Baldwin’s invention to manufacture seamless bags. Of the 660 new looms, 260 were now dedicated to the production of bags; the 260 Baldwin produced 2,000,000 bags each year. The seamless grain bags were identifiable by the word “Stark” over a semi-circular arch, with the letter A below. This was an extremely popular product, quickly imitated by competitors. In 1871, a Philadelphia firm was accused of making and selling similar goods with the word “Star” over a semi-circular arch and the letter A below. The court eventually granted an injunction to restrain the use of the imitative mark (Buffalo Weekly Courier, 3 May 1871, page 6).

By 1875, the number of mills associated with the Amoskeag Manufacturing Co. had increased to nine. The mills were outfitted with 125,000 spindles and 3,500 looms. 2700 individuals were employed, with 1,800 of that number women. The mills were powered by 14 water wheels, transforming 225,000 pounds of cotton into 600,000 yards of textiles each week. From 1874 to 1875 Stark Mills manufactured 12,579,734 yards of cotton and linen goods, as well as 1,738,547 lbs. of bags (“Boston Daily Globe,” 8 Oct. 1875, page 2). In 1875 the Stark Mills payroll was a little over $20,000 a week, or about $1,250,000 a year.). By this time, half of all goods manufactured by the mills were colored goods, consisting of tickings, denims, fancy shirtings, sheetings, and bags. The “white” goods remained drillings, flannels, sheetings and bags.

From 1879-1890 the Tabor Opera House purchased new scenery at least three times: 1879, 1888 and 1890. New scenery was added to existing collections, as well as refurbishing and repainting scenes. The fabric for many of these scenes are stamped with either Stark Mills of Boot Mills.

Over time, some of the Tabor Opera House border curtains were repainted to accompany new productions, yet the mill stamps remained visible. As subsequent collections of scenery were purchased and painted for the Tabor Opera House stage, standard sheetings were selected in lieu of older drillings. This preference was also reflected in products marketed by scenic studios. By the late 1880s, the preferred fabric for American scenic artists became cotton sheeting. The smooth finish of the fabric especially helped with scenic illusions, such as transparencies. At this time thicker products, such as Russian linen, were reserved for painted front curtains (drop-curtains), grand teasers and grand tormentors.

*Border curtain constructed with Stark Mills drillings in the attic of the Tabor Opera House, 2018.*

*Border curtain constructed with Stark Mills drillings for the Tabor Opera House.*

Painted detail. *Border curtain constructed with Stark Mills drillings for the Tabor Opera House.*

*Detail of border curtain showing color from an overpainted composition.*

To be continued…

Travels of a Scenic Artist and Scholar: My Visit to the Castle Theater in Český Krumlov, Czech Republic

I am in the midst of compiling hundreds of pages of documents concerning the scenery collections as the Tabor Opera House in Leadville, Colorado, while organizing a move seventy backdrops from Richmond, Virginia, to Tucson, Arizona. In other words, I need a mental break from this project and American politics.

Attached are some photographs from my trip with Andrew Barrett and Rick Boychuk to Český Krumlov in 2016. Enjoy.

*Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Painted detail. Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Bottom batten. Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Seam detail. Backdrop at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Backdrops hanging at the Castle Theatre Museum, Český Krumlov, Czech Republic.*

*Backstage at the Castle Theatre of Český Krumlov, Czech Republic.*

For additional information about this magnificent theatre, visit: https://www.theatre-architecture.eu/en/db/?theatreId=140 and http://www.castle.ckrumlov.cz/docs/en/zamek_5nadvori_bd.xml

Tales from a Scenic Artist and Scholar. Part 1103 – “That Erratic Genius,” Henry C. Tryon

Two years ago, I was writing about events in the life and times of Thomas C. Moses in 1884. At the time, I was trying to track down information about Henry C. Tryon. Tryon had entered my storyline when he began working at the Sosman & Landis Studio during 1884, filling in for Lem Graham after Graham left to establish a scenic studio in Kansas City.

By 1885, Tryon, Moses and John H. Young went to West Virginia on a sketching trip. Moses described Tryon as “eccentric,” and recorded some pretty humorous episodes about the older artist. While searching for additional information about Tryon’s projects in Utah (this is before he returned to Chicago in 1884), I came across mention of Alfred Lambourne (1850-1926). Lambourne worked with Tryon at the Springvale Theatre Hall. In 1883 Tryon’s younger brother, Spencer, assisted the two while creating stock scenery for the venue.

As I searched for articles in historic newspapers and past publications, I located an interesting description of Tryon by Lambourne in “Reuben Kirkham: Pioneer Artist” by Donna L. Poulton, PhD. Here is a link to her book: https://www.amazon.com/Reuben-Kirkham-Donna…/dp/1599553805. Poulton’s book provided an excerpt from Lambourne’s memoirs that described Tryon.

Lambourne referred to his mentor as “that erratic genius, that Bohemian of Bohemians.” Of his training with Tryon, Lambourne wrote, “…I worked with Tryon about seven weeks. Not on the paint gallery of the Salt Lake theatre, but in one of our southern towns, where we had taken a contract, jointly, for furnishing a set of stock scenery. Those seven weeks were among the most exciting, and from the art standpoint, most profitable of my life. Tryon arrived in Salt Lake City, after a long and successful season of scene-painting in Chicago, and at the Tabor Grand, in Denver. Who, that knew the man, could ever forget that walk, that shock of unkempt red hair, that shrewd ingratiating smile and fun, the enthusiasm, or flash of anger in those steel gray Irish eyes. How distinctly I remember the low suppressed tones of his voice and the sparkle in the same eyes, as he once confronted me and uttered these words: “I have never yet met a man whose combativeness I could not overcome with my own.” However that may have been, we became fast friends and without surrender on either side.”First of all, I find it fascinating that Lambourne not only worked as a scenic artist, but also authored several fictional works. In fact, I have just ordered three of his short stories about scenic artists; original copies are difficult to track down. Lambourne was like many of his peers; nineteenth-century scenic artists enthusiastically wrote about their art, the times, loves lost, and popular stage personalities, providing brief glimpses of life behind the curtain line and the challenges faced by theatre artists.

Lambourne’s memories of Tryon’s combative nature adds a lot of additional color to Moses’s own recollections about Tryon. It is clear that Moses liked and respected Tryon; after all, they planned a sketching trip together in 1885. However, respecting and working with someone is often different than living and traveling with them. Moses provides a peak into Tryon’s personal habits. I previously posted the article that Moses wrote for the “Palette & Chisel Club” newsletter concerning his 1885 trip to West Virginia – see past posts parts 202 to 212 at www.drypigment.net. For now, I’ll start with Moses and Tryon’s departure from the Chicago train station in 1885. Moses wrote,“Henry Tryon and I started for West Virginia on a sketching trip. I had more bother and worry with Tryon than a hen with a brood of chickens; he was simply impossible. A very clever painter but he was not balanced – very temperamental. While he was more than ten years my senior I had to lead him to everything that we had to do for the trip. I went to the B. & O. R. R. Co. and endeavored to secure free transportation. I tried to show them the great benefit our trip would be to the advertising department, as Mr. Tryon expected to write an account for the Chicago Tribune. They had plenty of this advertising, but encouraged us by giving us half fare both ways. We were highly pleased to get this with the understanding that John Young was to follow at the same rate within the week. I had a struggle to get Tryon down to the depot at 5 P.M. – the train left at 5:10. While we were rushing for the sleeper, Tryon stopped – he must get into his trunk which I had checked early in the day. I informed him that we had no time – the baggage was being put on the train. He insisted, so I went with him at 5:05 to the baggage-car. He asked the baggage master to pull the trunk off the truck so he could open it. After much grumbling it was lowered to the platform. Tryon untied the rope, unlocked it and from the top tray took out a fifteen-cent package of Durham smoking tobacco; replacing the rope he informed the baggage-man he was through with it. The baggage-man had been watching him and when he saw what was taken out he made some remarks that would not look well in print. Tryon never lost his temper, so the remarks did not affect him. We had less than two minutes to get to our sleeper, the trunk was thrown on and away we went. I never mentioned the incident again and Tryon forgot it immediately.”

More entertaining tales about Tryon tomorrow.

*Henry C. Tryon pictured in the “Inter Ocean,” Feb. 28, 1886, page 9*.

To be continued…

Travels of a Scenic Artist and Scholar: Boott Mills Standard Sheeting for Stage Scenery at the Tabor Opera House in Leadville, Colorado.

On June 19, 2018, I first examined the historic scenery collection in the Tabor Opera House attic. It was rumored to be the original installation from 1879, and I wanted to find something that supported this speculation. I was traveling with my family from Minneapolis, Minnesota, to Santa Fe, New Mexico. In Santa Fe, I was scheduled to participate in a book signing event for the “Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre,” published by the Museum of New Mexico that spring. Here is a link to the book: https://www.amazon.com/Santa-Scottish-Rite-Temple-Architecture/dp/0890136335/ref=sr_1_1?dchild=1&keywords=waszut-barrett&qid=1604502787&sr=8-1_. The book signing was scheduled for June 24 at the Santa Fe Scottish Rite, so we only had a few days to linger on trip there.

While traveling across the country, I documented historic scenery at several venues, including the Tabor Opera House in Leadville, Colorado. We pulled into Leadville on June 18, having scheduled a quick stop at the Tabor Opera House, before heading to Twin Lakes and Independence Pass. The next day was my 49^th birthday, and I decided to treat myself to a morning in the attic at the Tabor Opera House. Although this greatly excited me, I did not ask my husband and son to join me, as their excitement for historic theatres was rapidly waning. In the attic, I carefully shifted flats piled against a far wall, encountering a surprise as each layer was unveiled. My husband and son were scheduled to pick me up at noon, so I had only a few hours to get a sense of what was hidden below piles of dust and debris.

In addition to marveling at the painted compositions, I examined the back of many pieces for clues. Often, there is more information on the back than the front. I look at fabric weave, construction techniques, mill stamps, studio stencils and basic graffiti. A “Boott Mills” stamp appeared several times on the backs of both borders and wings.

*Boott Mills Standard Sheetings stamp on the back of scenery at the Tabor Opera House in Leadville, Colorado, ca. 1879-1880.*

One particular piece caught my eye – a stage right wing. Additional information on the Boott Mill stamp included “Standard Sheetings. FF. 40 yds.”

*Back of a grand tormentor, once stored in the Tabor Opera House in Leadville, Colorado.*

*The same grand tormentor lowered from the Tabor Opera House attic to the stage floor.*

The painted composition and construction indicate that the wing functioned as a grand tormentor in the 1880s. It was part of a pair; the stage left wing now missing. The wing was constructed to roll, unlike other wings in the attic. Also, the corresponding shutters for the wings that did not roll, commercial flat sheaves dating from 1888. The rolling hardware on the wing was unique, using a sash pulley to roll the unit. Unlike flat sheaves, sash pulleys were readily available from local suppliers for standard building construction. Keep in mind that when the Tabor opera house was built, all of the materials where shipped in by stagecoach; the railway had yet to reach Leadville. On January 22, 1880, the Denver and Rio Grande was the first railroad to reach Leadville, with the Tabor Opera House officially opening in November 1879.

*One of two sash pulleys at the bottom of a grand tormentor (wing). Tabor Opera House, Leadville, Colorado.*

Furthermore, the quality of the fabric, the frame construction, and hardware of the extant wing, all indicate that this piece was part of the original collection, prior to the arrival of the railroad in Leadville. Regardless of the exact manufacture date, the wing pre-dates most other attic scenery that was painted and signed by T. Frank Cox in January 1888.

There is a second factor to consider about the orphaned wing. The painted composition dates from later than its original construction. The painting matches a complete interior setting that was also stored in the attic, with some flats showing signs of repainting. Repainted scenery was commonplace throughout the nineteenth-century. Wings, shutters and borders were “washed down,” effectively removing the water-based paint from an existing flat before being repainted with a new scene. Scenic Studios also advertised shipping painted scenes for existing frames. This saved the travel and expense of an artist working on site at a theater, as well as the expense of new frame construction. Repainting existing scenes avoided the exorbitant costs associated with purchasing an entirely new stock scenery collection.

*The grand tormentor and matching interior set pieces at the Tabor Opera House in Leadville, Colorado.*

*Four flats on the stage floor at the Tabor Opera House in Leadville, Colorado. These match the grand tormentor with the Boott Mills stamp.*

*Painted detail on grand tormentor (wing) at the Tabor Opera House in Leadville, Colorado.*

As far as the history of Boott Mills…

Boott Mills was established in Lowell, Massachusetts, along the Merrimack River. Located twenty-five miles northwest of Boston, Boott Mills initially operated with hydropower, a waterwheel powering the line shaft that ran the length of the factory floor. Leather belts that operated each loom were attached to the line shaft. Steam engines soon replaced the original water turbines, and mill operations later transitioned to electricity.

The Lowell area boasted an extensive group of cotton mills, built alongside power canals constructed during the early nineteenth century. Boott Mills was situated near the Merrimack Canal, the first of many power canals in Lowell. By the mid-nineteenth century there were approximately 150 mills operating in Lowell, an astounding number that specialized in a variety of products.

Prior to the Industrial Revolution, most American mills were designed to produce a turnkey product, specializing in only one aspect of textile manufacturing. Raw Cotton had to be cleaned, spun, carded and wove into cloth. Once the cloth was completed, the material was shipped to other companies that manufactured specific products. Later, cotton bales arrived at a mill and were turned into cloth in the same location, going through the process of cleaning, spinning, carding, rolling and weaving on site. Technological advancements in the weaving industry resulted in the power loom. The power loom was responsible for the mass production of textiles.

In America, Paul Moody developed the first successful power loom by 1816, working for Francis Cabot Lowell at Waltham mills. Moody later ran the Merrimack Manufacturing Co. in Lowell. Kirk Boott (1790-1837), namesake of Boott Mills, was the first agent and treasurer for the Merrimack Manufacturing Company. Boott later built his first mill, initially constructing four buildings in 1835. Over the decades, Boott Mills expanded into a massive complex, shifting from hydropower, to steam, and finally electricity for operations. Like other companies, Boott Mills constantly incorporated new technology to increase overall output.

Ira Draper improved Moody’s design, allowing a mill worker to operate two machines simultaneously. By the mid-nineteenth century, improvements continued and now one mill worker would operate a dozen of machines, greatly increasing the amount of product produced at a mill. As with most factories, profits increased substantially as worker wages stagnated. In short, mill workers assumed more responsibilities for the same wage, allowing overall production costs to decrease while profits dramatically increased.

As with other industries, the textile industry transitioned from an economic system of independent craftsmen to a factory system of mass-produced goods where the role of craftsman was often reduced to that of common laborer. This shift in the textile industry was accelerated during the post-Civil War era when much of the textile industry moved south. New mills were established in areas where labor was much cheaper and cotton more accessible. This meant that southern millworks collected greater profits, investing additional funds in newer technology. Many northern mills did not have the equivalent returns to equip their factories with comparable machinery. By the 1920s, northern mills, including those in Lowell, began to close as they were unable to compete with their southern counterparts.

Boott Mills ceased their operations in 1958, and by the 1960s unemployment in Lowell was among the highest in the country. Throughout the economic downturn, many of the Boott Mill buildings remained standing a decade after the factory closed. By the 1970s Boott Mill buildings became part of the Lowell National Historical Park. For more information about the Boott Mills Museum, visit: https://npplan.com/parks-by-state/massachusetts-national-parks/lowell-national-historical-park-park-at-a-glance/lowell-national-historical-park-museums-and-exhibits/lowell-national-historical-park-boott-cotton-mills-museum/

The Boott Mills Museum features a Weave Room and several informational exhibits. The Weave Room is a scaled-down reproduction of a mill factory floor, complete with working looms. The machinery on display are primarily Draper machines, dating from the early twentieth century. The Weave Room still manufactures cloth for dish towels that are sold in the gift shop. Here is a lovely video of the looms working: https://upload.wikimedia.org/wikipedia/commons/f/fa/From_line_shaft_to_power_looms.ogv

Other Boott Mill buildings were converted into shops, apartments, condos and offices.

I have already contacted the Boott Mills Museum to confirm the mill stamp usage dates on the Tabor Opera House wing, and am currently awaiting a response. This post at www.drypigment.net will be updated once I have any additional information.

To be continued…

Travels of a Scenic Artist and Scholar: The Tabor Opera House, Leadville, Colorado. Cut Shutters Painted by T. Frank Cox, 1888.

The predecessor to cut drops were cut shutters. I had never encountered any until my trip to the Tabor Opera House last month. As an added bonus, the back of each piece was covered with cartoons by scenic artist and architect Tignal Frank Cox.

*Cut shutters at the Tabor Opera House in Leadville, Colorado.*

*Cut shutter on floor before it was raised up.*

*Painted detail. Cut shutter painted by Frank Cox for the Tabor Opera House, Leadville, Colorado.*

Leadville’s Tabor Opera House was built by H. A W. Tabor in 1879. Two years later, he opened the Tabor Grand Opera House in Denver, Colorado. The renowned Silver King fell on hard times and lost both of these priced possessions. In Leadville, his opera house changed hands a few times during the 1890s.

The Tabor Opera House was renamed the Elks Opera House when the Benevolent and Protective Order of Elks (B.P.O.E.) purchased the building in 1901. Immediately after the purchase, the building was renovated. Part of the stage renovation included adding a fly loft, so that new scenery could be raised out of sight. Previously, the Tabor Opera House used wings, shutters, roll drops and borders.

Similar renovations were occurring all across the United States as this time. For example, in 1903, the “Idaho Springs News” reported a similar project: “The opera house will have a new stage and new scenery with which to greet the public at the opening performance. The stage will be enlarged, to be 40 feet high by 40 feet wide by 26 feet deep, which will enable the management to present all scenery carried by the companies. By the increased height the scenery will not roll but slide up. This mean larger shows for the public. The work is now under way” (4 Sept 1903). Two decades earlier, in 1883, the same renovation occurred to the Salt Lake Theatre. Henry C. Tryon, scenic artist for the Tabor Grand Opera House, ventured south and led the stage and scenery renovation. For more information about Tryon and the Salt Lake Theatre’s renovation, see today’s post (https://drypigment.net2020/11/02/tales-from-a-scenic-artist-and-scholar-part-1101-henry-c-tryon-and-the-salt-lake-theatre-renovation-1883/)

In 1902, new scenery was purchased from the Kansas City Scenic Co. for the Elks Opera House in Leadville. Fred Megan, a future business partner of Thomas G. Moses, represented the Kansas City Scenic Co. and secured the contract for new scenery. Kansas City Scenic Co. then subcontracted some of the project to Sosman & Landis in Chicago. The scenery delivered to the Elks Opera House was a massive collection; a substantial investment for the Elks’ new theater. During February 2020 I documented the Kansas City Co. and Sosman & Landis Co. scenery purchased for the renovated stage. This was the first phase of my project. I was hired to complete a condition report, historical analysis, and replacement appraisal for each scenic piece, as well as writing a collections care and management program for the collection.

When the new scenery was installed at the Elks Opera House, all of the older scenery was tucked away in the attic where it would remain for the next century. Occasionally, a piece or two would make its way to the stage floor, but it was not an easy task. Larger pieces needed to be lowered through a small attic door, forty feet above the stage.

From September 21-27, 2020, I led a group of local volunteers for the second phase of the project, documenting the historic stage settings in the attic of the Tabor Opera House. Each piece was lowered to the stage floor and photographed. The most challenging pieces to lower were shutters, measuring 10’-0”w by 16’-0”h.

*Cut shutter on stage after it was lowered from the attic.*

Several pieces were painted by the well-known theatre architect T. Frank Cox. Cox began his career as a scenic artist and spent over a year in Colorado. In January 1888, Cox painted several scenes for the Tabor Opera House, including these two cut shutters. What is wonderful about these pieces is that they carry his signature and several cartoons. In 1889, Cox traveled throughout Colorado and also marketed himself as a “lightning artist,” producing a series of rapid sketches on the stage.

*Signature by Frank Cox on the back of the cut shutter.*

*Cartoon by Frank Cox on the back of a cut shutter at the Tabor Opera House in Leadville, CO.*

Cox’s cut shutters were placed mid stage at the Tabor Opera House; down stage of two exterior shutters. Shutters rolled together, a perfect solution for theaters that did not have room to raise backdrops out of sight. Wings and shutters slid on and off the stage in grooves to form scenic illusion on nineteenth and twentieth century stages across the United States.

*Two exterior shutter also painted by Frank Cox. These were the backing for the cut shutters.*

*Front view. Flat sheaves were placed on the bottom of shutters to help them effortlessly slide in top grooves during scene changes.*

Back view. *Flat sheaves were placed on the bottom of shutters to help them effortlessly slide in top grooves during scene changes.*

For more information about the historic scenery collection at the Tabor Opera House, visit www.drypigment.net and keyword search “Tabor Opera House.”

Tales from a Scenic Artist and Scholar. Part 1101 – Henry C. Tryon and the Salt Lake Theatre Renovation, 1883

The Salt Lake Theatre renovated their stage in 1883, adding a fly loft. Henry C. Tryon left the Tabor Opera House in Denver and traveled south to Utah for this and other projects.

Salt Lake Theatre ticket from 1883. Utah Department of Heritage and Art, Theatre Programs Collection, 1866-1995.
https://collections.lib.utah.edu/details?id=549570

On Feb. 2, 1883, the “Deseret News” presented “important interior improvements” at the Salt Lake Theatre. (page 3). The article reported “Everything is being reconstructed in harmony with the latest and best metropolitan ideas. The immense stock of scenery is being duplicated on new materials. There will be painted 45 “pairs of flats,” 172 wings and set doors, 50 “borders” and “set Pieces ad infinitum. The mere matter of canvass alone will cost over $2,000 and the entire expense will be more than sufficient to build an ordinary theatre. A new “rigging loft” is now being built 15 feet higher than the [resent one, and as soon as it is finished the old one will be torn out and the entire height will be great enough to raise the new drop curtain bodily up without rolling. Everyone of the scenes put upon the stage will have a height of 15 feet greater, and apparently the difference will be still more.”

This was a monumental project and the article continued, “In order to arrange the mechanism and thus gain these advantages, much must be done, and in this case, owing to the necessity of rearranging all the girders, beams and supports of the roof, it requires some nice mechanical calculation, which the ordinary observer even would perceive were he to see the work in progress.” Local architect Henry Grow (1817-1891) was selected for the task, and assisted by William Ridd. He was a Latter-day Saint builder and civil engineer, responsible for the Salt Lake Tabernacle.

The managers of the theater were J. T. Caine, H. B. Clawson and David McKenzie. Of the renovation project, the article noted that Mr. Clawson was personally attending to the work. And, here is the interesting paragraphs to read… “Mr. Clawson is personally superintending all this work and, seeing clearly the result ahead, has entered into it with enthusiasm and vim. He is really the motive power in the affair, and it will be found to be only another example of the fact that he does not trouble himself about small matters, but carries important ones to their full and proper conclusion.”

Three month later the “Salt Lake Herald” announced that Tryon “was given carte blanch to follow his own sweet inclinations,” in regard to the scenery and stage machinery renovation on stage (12 May 1883, page 8). From January until May of 1883, Tryon transitioned from freelance scenic artist to the scenic artist on staff at the Salt Lake Theatre. While painting for the nearby Springvale Music Hall, the San Francisco Opera offered Tryon a scenic art position. Tryon shared this offer with the local newspapers, as well as the Salt Lake Theatre. Although Tryon had worked on new scenery for the Salt Lake Theatre since fall 1882, he had no official position at the venue: this changed in early 1883.

On May 12, 1883, the “Salt Lake Herald” reported:

“STAGE EFFECTS.

How the Stage of the Theatre has Been Metaphised.

Since the coming of Mr. Henry C. Tryon, to Salt Lake, the patrons of the theatre have enjoyed a series of the most agreeable and delightful surprises, which have crowded upon each other in rapid succession. These surprises being the many superb scenes from his masterly hand. But one portion, however, of Mr. Tryon’s labor and suggestions have been invisible to the public, until last night., when, the “snap” was given away, and the work which it has taken months to accomplish was displayed to the public. This at once became a matter of general conversation and all expressed their admiration of the marvelous change that had been wrought. A brief description, however, will be of as much interest to the public at large and afford the same pleasure it did to those who were present last night. It may be well to state right here, that this new feature makes the Salt Lake Theatre the equal to any building in the country for the production of scenic effects and magnificent displays.”

And here is the description of the renovation that is worth noting:

“The stage of the theatre in width and depth is one of the largest in the country, but a portion of this great space has heretofore been practically useless, owing to the fly gallery projecting more than was necessary, thus materials cutting off the width of the scenery. At the back of the stage was a wall partition with an opening in the centre and the space in the rear was used as a storage room for the storage of scenery not in use. These partitions have been torn down and the depth on the stage increased by twenty feet.”

“A serious defect under the old arrangement was that fact that fifteen feet in height (immeasurably important in scenic manipulation and effect) was rendered valueless by a plaster ceiling. This desirable space has been entirely lost to the stage and scenic equipment. By cutting out the ceiling referred to, a height of sixty feet from the stage has been obtained, which is not only sufficient to give room in which to take up the drop curtain (to be painted) bodily, without rolling, but affords ample room for any stage purpose whatever. If the audience sat at the theatre last night, who saw the enormous foliage borders which, starting from the tops of the wings, filled up the space visible through the lofty proscenium opening, will consider the height necessary to pull them up and out of sight, they can readily understand the value and necessity of a rigging loft. In building this there were some peculiar mechanical difficulties to overcome, owning to the fact that the roof, in great measure, was supported by beams from the former ceiling. These supports had t be entirely readjusted, and Mr. Henry Grow carried this part of the work to an entirely successful conclusion. To sum up there has been the entire change in the arrangement of everything connected with the stage, the management wisely concluding that everything had been wrong and nothing right; while now there is not a theatre in the land with features of any great importance not possessed by this.

“The same sweeping changes have been made in the scenery have been made and are now being made in the scenery and by the time the management call the house complete, not a foot of old scenery will remain, and the Salt Lake Theatre will be as thoroughly equipped in amount and in artistic quality as any other. The credit for pushing these improvements to so successful an issue is due to General H. B. Clawson, whose instructions to those employed have been to make everything as complete as the most perfect theatre can boast.

Of course we say nothing here of the improvements that are to be effected in the auditorium, as this will be palpable to the public from time to time as they progress. The management of the Theatre is to be complimented no less of the energy and liberality with which it has had the work here referred to prosecuted, than in the choice it has made of the person by whom these improvements have been brought. At the time Mr. Tryon came here the improvements were contemplated and already commenced, but he so thoroughly entered into the idea of the management and showed such consummate knowledge of stage machinery as well as scenic effects, that the task was immediately resigned into his hands and he was given carte blanche to follow his own sweet inclinations. How well Mr. Tryon has acquitted the task assigned him, every patron of the Theatre and every lover of art already knows. Such effects as have already been wrought by his brush have never been seen here, and rarely anywhere else. He is essentially a scenic artist – a genius in his line – an indeed he is an artist in the highest sense of the word, his superior taste and unerring judgement being recognized no less by his associates as the Theatre than by members of the art fraternity of this city. It is not surprisingly therefore, that a man possessing his unusual talents, and having withal so large experience, should be capable of working such rapid changes, that the troupe now performing at the Theatre, which here about three weeks ago – expressed the utmost astonishment at the wonderful alterations that had been effected in the theatre during so brief a period. The delicate taste, the blending of colors, the peculiar character which belongs to each scene and which marks it from every other scene, all give evidence of the master hand and of the thoughtful artist; and cause his handwork to be admired by those who, unlearned in the details of the glorious art, are nevertheless sensible to its beauties, as well as by those cultivated taste and of experience.”

By the time Tryon’s drop curtain was unveiled, his notoriety had increased substantially throughout the western region. His drop curtain for the Salt lake Theatre was pictured in George D, Pyper’s 1937 book, “The Romance of an Old Playhouse.”

*Henry C. Tryon’s drop curtain for the Salt Lake Theatre, included in Geo. D. Pyper’s book, “The Romance of an Old Playhouse.”*

To be continued…