Stock Scenery – Page 4 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1100 – Henry C. Tryon and the Salt Lake Theatre, Utah, 1883

The Salt Lake Theatre Under Construction. https://commons.wikimedia.org/wiki/File:Theatre_(under_construction),_Salt_Lake_City,_Utah,_from_Robert_N._Dennis_collection_of_stereoscopic_views.png

There are three personalities that swirl around each other at the Tabor Grand Opera House during the early 1880s – Robert Hopkin, Henry C. Tryon and Henry E. Burcky. Keep in mind that all three artists were credited with painting scenery for the Tabor Grand Opera House in Denver between 1881 and 1884.

In 1881, Robert Hopkin painted a drop curtain for the Tabor Grand Opera House in Denver and one for the Grand Opera House in Colorado Springs. From 1882-1887, Hopkin was also listed as the scenic artist for the Grand Opera House in Detroit, Michigan, his hometown. Multiple listings in Harry Miner’s Dramatic Directories credit Hopkin with the Detroit Opera House’s stock scenery collection. He may have been their on-site scenic too.

From 1881 until 1882, Henry C. Tryon was repeatedly listed as the scenic artist for the Tabor Grand Opera House in Denver, Colorado. When he traveled for other projects, he was referred to as “Henry C. Tryon of the Tabor Grand Opera House.” From 1883 to 1884 Tryon worked in Salt Lake City, Utah, and Chicago, Illinois. He also painted numerous touring shows during this time.

After Tryon left the Tabor Grand in 1882, his good friend and former partner, Henry E. Burcky, took over the scenic art responsibilities there, and by 1884 was listed as the scenic artist for both Tabor Opera Houses in Denver and Leadville. He remained associated with the two venues through 1890.

Today’s post looks at Tryon’s career in Utah from the fall of 1882 until the end of 1883.

In October 1882, Henry C. Tryon ventured south from Denver, Colorado to Salt Lake City, Utah to paint scenery for the Salt Lake Theatre. By January 1883, Tryon was also working in Springvale, Utah. He painted $1000 worth of stock scenery for the Springvale Theatre Hall, assisted by his younger brother Spencer Tryon. Alfred Lambourne was also working with the Tryon brothers during this time.

Sadly, their paintings in Springvale were destroyed only a few years later. Flames spread to the stage when a mill behind the theatre caught fire, destroying all of the scenic artists’ work. Regardless of the venue’s fate, it was the Springvale project, that secured other work for Tryon in the region. While in Springvale, Tryon shared an employment offer with the local newspaper, subsequently pressuring the Salt Lake Theatre to offer him an immediate position. Since the fall of 1882, Tryon had sporadically painted stock scenes for the Salt Lake Theater. However, he did not hold an official position. This meant that he still remained associated with the Tabor Grand Opera House, as that was his last place of employment.

On January 8, 1883, the “Deseret News” reported, “While in Springville, Mr. H. C. Tryon received a letter from the management of the Grand Opera House, San Francisco, offering him the position of scenic artist of that institution. He sent the letter to the management of the Salt Lake Theatre, who promptly entered into contract with him to do a large amount of work” (page 3).

In the end, Tryon painted 25 stock sets for the Salt Lake Theatre. In the process, he became a regional success. Tryon’s completed scenes were added to the stage as touring productions visited the venue.

On April 22, 1883, the “Salt Lake Herald” reported, “Mr. Henry C. Tryon is still hard at work on scenery for the Salt Lake Theatre. The patrons of the old house have been very much pleased with the new scenes which have been presented of late. Something new in the scenic line is shown at nearly every performance, and the end is not yet, by any mean., There is still much work to be done before the theatre is thoroughly stocked, and thoroughly stocked it will be before the mangers cry, “enough!” There will not be a foot of old canvas in the building when Tryon leaves for pastures new. The best scene that has been exhibited lately was used in the first act of the Harrison’s “Photos,” and it has received a vast amount of praise from all who had the fortune to be present, and who can appreciate a fine thing when they see it. The scene is an Elizabethan parlor, with high wainscoting and a deep cornice of dark oak, decorated richly with gold, the walls hung with brilliant crimson damask, relieved at the top and bottom, next to the cornice and wainscoting, with a twelve-inch band of black and gold. The centre of the room, for a width of twelve feet, appears to project about eighteen inches; in front of this again is an elaborate centre-door, on each side of which are polished gray marble columns, supporting the massive framework of the door, the architecture of which reaches above the cornice, The composition and color are of the simplest description possible, but the richness of the effect produced by the skillful handling of lights and shadows from the massive projectives, and the gradations of color – the light flashing from the polished surface of oak and marble, and the character of dignity and grandeur, which has not been lost sight of in single detail – give a singular effect of realism to the work, which appears to be not a representation, but really the aristocratic abode of some wealthy English lord, possessing the most elegant and refined taste, and with almost unlimited means at his command. For richness, beauty, harmony and nobility, it is not easy to see how the subject could be excelled, and we are not surprised to hear that the members of the dramatic companies who have seen it, state that it is the most chaste and elegant scene if its kind, in design and color and in character, to be found in the whole country. We congratulate Mr. Tryon, and are pleased to see the interest he takes in all he does; and if the work referred to above is not art in its truest sense, then we would be happy to know just what art is” (page 12)

The 1884-1885 issue of “Harry Miner’s American Dramatic Directory,” describes the Salt Lake Theatre as having a seating capacity of 1,850, with a stage that measured 65’ x 70’. The listing also describes a proscenium opening of 28’-0” x 32’-0” and 18’-0” groove heights. There was 52-0” from the stage floor to the rigging loft, suggesting that much scenery was flown out of sight during a scene change, but grooves were available for wings and other flat stock scenery carried by touring productions.

By July 22, 1883 “Salt Lake Daily” reported, “The improvements which have been in progress at the Salt Lake Theatre during the past nine or ten months, under the direction of Henry C. Tryon, the noted scenic artist, have attracted a great deal of attention from theatrical men generally. Especially is this true of those professionals who had been here prior to the changes (referred to in detail from time to time in these columns) as they have progressed. It is needless to say surprise is universal when the marked change that has taken place is noticed, and the expression invariably is that one would never have believed such important improvements could have been effected in so brief a period… the changes which have been effected in that building would strike the attention with greater force than that of a casual observer, or even a theatrical man whose opportunities noticing the difference have been less favorable.”

It is important to note that Tryon was not simply painting new scenes, he was engineering new stage machinery for the Salt Lake theatre. His changes to the system made it easier for touring productions to install their scenery.

The newspaper also interviewed theatrical manager, Marcus R. Mayer about Tryon’s work. Mayer commented that the work completed under the direction of Tryon supported “metropolitan advantages.” Mayer stated, “I can imagine the surprise and delight with which the Kiralfys will look about them when they first set foot on the stage. We will be able to present our scenery here with its full effect, and that is something and that will be something we will be able to do in very few places after leaving here. Tryon is evidently a man who knows much about stage requirement as any person since, as I am informed, the extensive changes have been made by his direction and mainly under his supervision.”

Mayer was then asked, “By the way, what do you think of Tryon as an artist?” Mayer’s response, “Tryon? We he has a national reputation. The fact that he is engaged to paint the scenes is a guaranty that the scenes outfit will be on par with any theatre in the United States. He is none of your fellows who depend on village theatre for a livelihood; his services are in demand all the time and the only thing that beats my penetration is that so expensive an artist could be obtained to come to Salt Lake. The scenes already painted are the equal of anything in stock in the country.” Mayer ended his interview stating, “The management of the Salt Lake Theatre foresaw just what I’ve told you, and knowing the companies now coming could not endure the old arrangements, they determined to fit the stage up first-class modern style, and Tryon was just the man for the conspiracy.”

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

To be continued…

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

The Tabor Opera House in Leadville, Colorado, 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.

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

Similar renovations were occurring all across the United States at 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).

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.

*Front curtain for the Tabor Opera House by scenic artists at the Kansas City Scenic Co., 1902*

*One of the interior sets produced for the Elks Opera House by Sosman & Landis, 1902.*

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.

*A shutter that has been wrapped in plastic and prepared for lowering to the stage floor. Tabor Opera House, Leadville, Colorado.*

*Lowering a shutter from the attic to the stage floor at the Tabor Opera House in Leadville, Colorado.*

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. 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 country shutters.

*Two shutters painted by Frank Cox that were lowered to the stage floor at the Tabor Opera House in Leadville, Colorado*, *Sept. 2020.*

These shutters formed the backing for the stage setting. Rolled together, shutters were 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.

*Flat sheaves were attached to the bottoms of shutters.*

*Painted detail. Shutter by Frank Cox for the Tabor Opera House in Leadville, Colorado, 1888.*

TABOR OPERA HOUSE, LEADVILLE, COLORADO: Horizon Setting, ca. 1888.

From September 21-27, 2020, I led a group of local volunteers to document historic stage settings in the attic of the Tabor Opera House (Leadville, Colorado). Below are two horizon shutters and corresponding side wings. There were three sets of wings to accompany each set of shutters.

*Two horizon shutters and three side wings at the Tabor Opera House in Leadville, Colorado.*

When the Tabor Opera House stage was renovated at the beginning of the twentieth century, new scenery was purchased from the Kansas City Scenic Co. The Kansas City Scenic Co. subcontracted some of the project to Sosman & Landis Scene Painting Studio in Chicago.

The older scenery, especially that painted by T. Frank Cox and associates in 1888, was stored in the Tabor Opera House attic. The old scenery sat for over a century, until last month when we lowered most pieces to the stage floor. Each piece was lowered thru a small opening high above the proscenium wall, stage right side.

*Door to the stage floor, approximately 40′-0″ below.*

*View of pin rail and attic door from the stage floor.*

*Cut-down wings attached to an attic wall at the Tabor Opera House.*

Unfortunately, when some of the wings were placed in storage the height was reduced so that they could be tacked up to an attic wall. Each piece was cut down from 16′-0″ to 10′-0″. Of the original six wings, two had their bottoms cut off and three had their tops cut off. One wing had both the top and bottom trimmed.

*Horizon wing with 6′-0″ cut off at the top.*

*Horizon wing with 6′-0″ cut off from the bottom.*

These pieces are a delightful look at American theatre history. Shutters created backings for nineteenth and early-twentieth-century stage pictures. Serving the same function as a backdrop, they slid together. Flat sheaves were attached to the bottom of the shutters to help them effortlessly roll together. Once joined, the centre seam was barely noticeable from the audience. Scenes were easily shifted, and often double-painted. The back of each shutter and wing holds another composition.

*Flat sheaves attached to the bottom of shutters and wings allowed each piece to easily roll on and off stage during scene changes.*

Shutters and side wings were a perfect solution for theaters that did not have enough fly space to raise backdrops out of sight. Shutters masked the upstage area and wings masked the side stage area, while each supported painted illusion on the stage.

Wings and Shutters were standard stage settings for many American nineteenth and early-twentieth century stages. The Tabor Opera House shutter scenes are painted on linen fabric and tacked to pine frames. The scenic paint was a mixture of pure color (dry pigment) and diluted animal hide glue.

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

*Painted detail of sky and water on shutter.*

Tales from a Scenic Artist and Scholar. Part 1098 – Robert Hopkin, Representing J. B. Sullivan & Bro. in Colorado, 1881

Robert B. Hopkin (1832-1909) was a scenic artist and easel artist, well known known for his marine paintings in Detroit, Michigan. Reminiscing about Hopkin, Malcolm W. Bingay wrote, “Robert Hopkin painted because he found soul satisfaction in thus expressing himself. He cared nothing for the opinion of the world. He earned his living as a scenic painter so that his art could be his own. He did not want to sell his works. When he did, it was only to meet his family needs. Often urged to exhibit he gently refused. “Somebody might buy the ones I wish to keep,” he would answer” (“Detroit Free Press,” 7 Aug 1943, page 6).

Hopkin’s last name is frequently misspelled in historical documents; people and publications consistently adding an “s” to Hopkin. Even Thomas G. Moses wrote about his one-time mentor Robert Hopkins. When Thomas G. Moses first entered the scenic art profession, he assisted both C. C. Louis Malmsha in Chicago and Robert Hopkin in Detroit.

Both Malmsha and Hopkin were mentioned by Moses in a 1909 newspaper article the “Press and Sun Bulletin” article included a section on Moses’ early training, reporting that Moses “hired out as a painted boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work. Robert Hopkins, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist” (5 Dec. 1909, page 14). In 1875, Moses wrote, “I worked for a while on the “Naiad Queen” scenery under the celebrated Robert Hopkins, a friend of Malmsha’s.”

There is a Robert Hopkin senior and junior by 1870 both painting in Detroit. The 1870 census listed Robert Hopkin Sr., age 37 yrs. old, and the members of his household. At the time, he was living with his wife and children. His wife, Evaline, was 38 yrs. old, and their children ranged from ages 8 to 17 yrs. old: Sophia (age 17), Robert Jr. (age 15), William G. (14), Marshall (8) and George Ruby (17). In 1870 Robert Jr. was listed as a “painter” and his father an “artist.” William also entered the painting profession, traveling west with his father in 1881. The two painted scenery for three Colorado theaters, representing the firm of J. B. Sullivan & Bro. of Chicago. On March 5, 1881, the “Detroit Free Press” reported “Robert Hopkin, the artist, and his son William G., left for Colorado on Thursday to paint the scenery and curtains for three opera houses. Before leaving “Bob” remarked to a scribe of THE FREE PRESS, “the boy is up to the old man with the pencil, and ain’t much behind him with the brush” (page 1). To date, I have confirmed that two of the three theaters were the Tabor Grand Opera House in Denver and the Colorado Springs Opera House.

Notice about Robert Hopkin’s departure from Colorado after painting the drop curtains for the Tabor Opera House in Denver, Colorado, and the Colorado Springs Opera House, 1881.

On September 24, 1881, “Great West” announced, “Robert Hopkins and son, the principal artists for Sullivan & Co., and the painters for the drop curtain in the Opera-house, left for the East on Sunday evening. Mr. Hopkins has left and enviable reputation behind him for his work in our theater and the one in Colorado Springs” (Denver, CO., Vol II, No. 13, page 5). Colorado Spring’s “Daily Gazette” reported, “The appointments of the stage will fully equal and in the best metropolitan establishments. The scenery is of the most elaborate and tasteful description and is painted by the well-known artist, Mr. Robert Hopkins” (Colorado Springs, 19 April 1881, pages 1-2).

The Colorado Springs Opera House also made news in Leadville, Colorado, also a stop on the circuit. “The Leadville Daily Herald” reported, “Mr. Robert Hopkins, of Chicago, an artist of large experience, has had charge of the scene painting, and it, together with the arrangements for shifting, are equal to that of any stage in the country. There are thirteen sets of scenes, supplied with all the accessories to make each complete.” The article continued to describe the theater, “The general decoration of the auditorium is rich and appropriate. Private boxes flank the proscenium arch upon either side, which are handsomely furnished and draped in maroon and old gold, with lace trimmings. The parquette circle and balcony are all furnished with A. H. Andrews & Co.’s model seats, upholstered in marron plush…Resolved, That the cordial thanks of the citizens of Colorado Springs are due to Messrs. Howbert, Crowell and Humphrey, for erecting here this beautiful temple, dedicated to music and the drama, and their liberality and public spirit eminently entitled them to the grateful respect of their fellow citizens. Mr. J. L. Langrishe responded with a few pointed and fitting remarks in which he said that he had seen and played in a great many theatres in America and that the Colorado Springs opera house was the handsomest of its size in the United States” (April 19, 1881, page 1).

On April 9, 1881, the opera house was further described in a section entitled, “Stage Arrangements” :

“The stage is very large considering the size of the theatre, and the finest scenic effects can be produced upon it. The proscenium arch is 24×24 feet, thus giving ample room. The drop curtain is an exceedingly handsome bit of work, representing a Venetian scene. The decoration of the theatre and the painting of the scenes are under the direction of J. B. Sullivan & Bro. of Chicago. The artist in charge of the scene painting is Mr. Robert Hopkins, who is the general designer of the decorations. These designs are entirely original, having no duplicates in any theatre. The scenery and the arrangements for shifting it are equal to that of any stage. The scenes are shifted upon the Breach system, by means of counter-weights. There are thirteen separate sets of scenes, which are supplied with all the accessories to make each compete. Following is a partial synopsis of the scenes: garden scene, set cutwood flats, garden flat, vases, borders, statuettes, set arbor, walls, balustrades, ancient street scene, modern street scene, street arch, cave scene with accompanying wings, kitchen scene, plain chamber, palace scene, interior gothic scene, garret scene, prison castle, open wood, dense wood, rocks, grounds waters, set trees, horizon, numerous landscapes. There are over 200 pieces in all and the scenery will be so arranged that each scene will be complete from wing to wing that there rarely be need of pillar for instance, to enclose a wood scene, the scene being all woodland scenery within the stage borders, it will be a picture in a frame.”

Drop curtain painted by Robert Hopkin for the Colorado Springs Opera House in 1881.

Drop curtain painted by Robert Hopkin for the Tabor Grand Opera House in Denver, Colorado, 1881.

This was comparable to the scenery collection at the Tabor Grand Opera House in Denver, signaling a standard of excellence at western theaters. I found it intriguing that Hopkin was specifically connected with a Chicago decorating – J. B. Sullivan & Bro.

1890 advertisement for the Chicago decorating firm J. B. Sullivan & Bro.

James Bernard and Michael Joseph Sullivan’s firm was located at 266 N. Clark in 1877 (Lakeside Directory of Chicago, 1877-1878). This was just down the street from Sosman & Landis Scene Painting Studios. J. B. Sullian & Bro. was established in the 1850s, with founding dates varying from 1853 to 1857. The Sullivan brothers were included in “History of Chicago: From the Fire of 1871 until 1885” by Alfred Theodor Andreas. Here are the entries for the two brothers:

“James Bernard Sullivan, of the firm J. B. Sullivan & Bro., painting, decorating in fresco, etc., is the son of Michael and Hannah Sullivan, and was born in Troy, New York, on November 29, 1830. He remained at home until he was twenty years of age, during which time he received a thorough education, and then went to New York, where he engaged with John S. Perry, painter, decorator, etc., with which he continued one year. After mastering his trade, he continued his vocation in Troy, until 1855, when he came to Chicago. In the following year he began business on his own account, and in 1857 established himself at Nos. 266-268 North Clark Street, his present location. He associated with his brother M. J. Sullivan, in 1869, under the firm J. B. Sullivan & Bro. This establishment has kept pace with the rapid development of the decorative art, and is recognized by the trade and the public as one of the leading houses in the Northwest. First-class materials and expert workmen are only employed, and to these aids the Messrs. Sullivan attribute their success. Mr. Sullivan was married, in 1859, to Mrs. Margaret Cunningham of Schenectady, N. Y., who dies in 1868, leaving four children, – Mary E., Margaret F., James B. and Agnes M. His second marriage, to Miss Elizabeth Glassbrook, of Chicago, occurred in 1870; they have two children, – Joseph and Irene.”

Michael Joseph Sullivan of the firm J B. Sullivan & Bro., painting and decorating, etc., is the son of Michael and Hannah Sullivan, and was born in Troy, N. Y., on October 3, 1846. He attended public schools of his native city until fourteen years of age when he came to this city, and engaged in his trade in the establishment of his brother, J. B. Sullivan & Bro., and in 1872 became full partner. He is thoroughly conversant with the details of the decorative art, and is known to the public as one of the best-posted men in the trade. Mr. Sullivan was married on October 3, 1872, to Miss Ellen Braley, and accomplished lady of Chicago. They have two children,- Francis J. and Marie E.”

Advertisements from the 1880s note that the firm was divided into three departments: Wall Paper and Paper Decorations; Painting and Glazing Department; and Fresco and Decorative Department (1877 Inland Architect and News Record). Additionally, ads promised, “Work in various departments is under the personal supervision of the firm. Competent men sent to any section of the country. Designs furnished. Correspondence solicited.” Although residing in Detroit, Robert Hopkin Sr. was principal artist for the Chicago firm in 1881, traveling west to complete theatre projects that included stage scenery.

To be continued…

Tabor Opera House, Leadville, Colorado: European Street Scene Shutters, ca. 1888.

From September 21-27, 2020, I led a group of local volunteers to document historic stage settings in the attic of the Tabor Opera House (Leadville, Colorado). Below are two shutters, dating from 1888. Shutters created backings for stage picture when rolled together, forming a perfect solution for theaters that did not have room to raise backdrops out of sight. Shutters paired with side wings to mask the off stage areas. 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.

The scenes are painted on linen fabric and tacked to pine frames. Pure color (dry pigment) was mixed with a binder of diluted hide glue and applied to the linen.

Two shutters that form a European Street Scene at the Tabor Opera House.

Painted detail on shutter at the Tabor Opera House in Leadville, Colorado.

The shutter was stored in the Tabor Opera House attic when the stage was renovated from 1901-1902. In 2020, the shutter was documented and lowered to the stage floor.

Lowering a shutter from the attic to the stage floor.

Flat sheaves were attached to the bottoms of wings and shutter, allowing them to effortlessy roll on and off stage.

TABOR OPERA HOUSE, LEADVILLE, COLORADO: Nineteenth-century double-painted wing with practical opening.

This wing was discovered in the attic of the TaborOpera House; one of several wings that had been cut down and tacked to a wall in the attic.

*Front side. A double-painted wing that was once nailed to an attic wall. Tabor Opera House, Leadville, Colorado.*

*Back side. A double-painted wing that was once nailed to an attic wall. Tabor Opera House, Leadville, Colorado.*

The original height of the wing was 16′-0″. During June 2018, I first visited the Tabor Opera House attic and uncovered some of the wings and shutters in a dusty pile.

*Tabor Opera House attic, Leadville, Colorado, June 2018.*

Wings revealed behind the pile of dusty scene. Tabor Opera House attic, Leadville, Colorado, September 2020.

This was one of many pieces hidden under a vast pile of beautiful artwork. I returned to Leadville earlier this year (February 2020) to document the historic scenery contained on the stage of the Tabor Opera House. During a second trip to Leadville (Sept. 21-27, 2020) I led a group of local volunteers to document the attic scenery. The attic pieces received a preliminary cleaning before being lowered to the stage floor 40 feet below.

*Double-painted wing after it was lowered to the stage floor.*

This double painted wing is the only example that remains, depicting an exterior garden and rocky pass.

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

From September 21-27, 2020, Dr. Wendy Waszut-Barrett led a group of local volunteers to document historic stage settings in the attic of the Tabor Opera House, Leadville, Colorado. These stage artifacts should be considered much more than “old scenery.”

Much of the historic scenery collection is comprised of large-scale artworks painted by nationally recognized artists.

Below are two shutters painted by scenic artist and theatre architect Tignal Frank Cox for the Tabor Opera House in 1888. These shutters formed a backing for the stage picture. Rolled together, shutters were 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.

*Painted detail. Shutter by T. Frank Cox, 1888.*

*Painted detail. Shutter by T. Frank Cox, 1888*. *Notice the two flat sheaves at the bottom that allow the unit to effortlessly roll.*

*Flat sheaves allowed shutters and wings to roll.*

The two shutters are also double-painted, with a rocky mountain scene on the back. Here is a link to the backside composition: https://drypigment.net…/travels-of-a-scenic-artist-and…/

Tabor Opera House, Leadville, Colorado: Double-painted Garden Setting, ca. 1879-1890.

Here are two double-painted flats created for the Tabor Opera House. One side depicts a rocky mine setting (with diamond dust for silver veins) and the other side depicts a garden setting.

The rocky mine setting included three pieces; one was double-painted with clouds and the other two double-painted with a garden scene.

All three pieces were created between 1879-1890.When the Leadville Elks (BPOE) purchased the building and renovated the stage and auditorium (1901-1902), the original scenery was replaced with new; the older collection tucked away in the attic.

In September 2020, I led a group of volunteers to document the attic scenery and lower many pieces to the stage floor. I have yet to identify the scenic artist for this particular piece, or exact date. For more information about historic scenery collections at Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, use the keyword search function at www.drypigment.net

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

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

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

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

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

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

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

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

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

“DAVIS OPERA-HOUSE. FINDLAY, OHIO.

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

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

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

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

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

“L. L. Graham. Scenic Artist, Contractor for Stage Equipment, Theatre Hardware, Frame Work, Canvas, Traps, Bridges and Every Necessary Equipment of First Class Theatres, 525 & 527 Main Street.” Here is the entire entry for Graham too:

“Mr. L. L. Graham is a prominent representative of the scenic art in Kansas City, having established this business here four years ago in conjunction with Mr. Davis, who withdrew from the firm some two years since. Mr. Graham is an adept in this line, having followed the business upwards of twenty-five years. His first experience in the school of art was had at McVickers’ Theater, Chicago, Ill. and subsequent training in San Francisco, Cleveland, Memphis and New Orleans. His establishment here is eligibly located at 525-527 Main Street, and consists of a studio and shops fitted up with every essential appliance and convenience for the correct and expeditious execution of the work, which comprises high art stage scenery and equipment, rich and elegant stage curtains, stage properties of every description, theatrical hardware, frame work, canvas, traps, bridges, etc. One special feature of Mr. Graham’s industry is his advertising drop curtain, which is richly draped on the top and sides with royal crimson and heavy bullion fringes and pendants gracefully falling on steps painted at bottom of curtain. In the center is a large and artistically painted picture in stucco frame, which is surrounded by a border of deep Prussian blue, divided into spaces for the insertion of business cards. The cards may be lettered in a becoming and artistic style in bright gold, the whole having a brilliant and pleasing effect. There are usually from eighteen to twenty of these spaces of varying sizes to suit the advertiser as to the amount he desires to pay. Full particulars concerning this feature will be furnished by mail, upon application, to theatre managers, hall proprietors and others interested as well as any other information appertaining to stage equipment and carpentry. Mr. Graham has executed stage work for some fifty or sixty houses in Nebraska, notably at Omaha and Lincoln, etc., and for forty-five different houses in Kansas, including Winfield, Wichita and Anthony, and in St. Joe, Hannibal, Springfield and many others in Missouri. As many as thirty-six men in his employ upon an average weekly pay roll of $500.00, Mr. Graham giving his personal attention to every detail of this most intricate work. Contracts were made for Priests of Pallas and trades displays and pageants in Kansas.” Thirty-six men in Graham’s scenic studio is comparable to that of Sosman & Landis in Chicago at the same time. However, Graham did not remain in Kansas, heading east.”

This publication also included an interesting commentary about scenic studios at the time: “Such industries as the one under special notice [L. L. Graham], are among the necessary concomitants of a rapidly developing metropolitan community, indicating that spirit of enterprise that caters to refined taste and social enjoyment.”

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

To be continued…

Tabor Opera House, Leadville, Colorado: Double-painted Cloud Stage Setting, ca. 1879-1890.

Here is a double-painted flat from the nineteenth century; one side depicts a rocky mine setting (with diamond dust for silver veins) and the other side depicts a cloud setting (with gold paint outlining the clouds).

Double-painted flat, ca. 1879-1890. Tabor Opera House, Leadville, Colorado. Scenic artist currently unknown.

The rocky mine setting included three pieces, but only one was double painted with clouds. The other two flats were back painted with a garden scene and will be posted tomorrow. All of these pieces were created for the Tabor Opera House in Leadville, Colorado, ca. 1879-1890.When the Leadville Elks (BPOE) purchased the building and renovated the stage and auditorium (1901-1902), the original scenery was replaced with new; the older collection tucked away in the attic. In September 2020, I led a group of volunteers to document the attic scenery and lower many pieces to the stage floor. I have yet to identify the scenic artist for this particular piece.

Metallic gold outlines each cloud, causing the scene to sparkle under stage lights.

For more information about historic scenery collections at Tabor Opera House in Leadville, Colorado, or the Tabor Grand Opera House in Denver, use the keyword search function and type in “Tabor.”