Copyright © 2024 by Wendy Waszut-Barrett
The oldest scenery collection at the Theatre Museum of Repertoire Americana was painted by Harry Dressel in 1875.
Two shutter covers painted by Harry Dressel in 1875 for Steyer’s Opera House, Decorah, Iowa. They are now part of the Harry Dressel Collection at the Theatre Museum of Repertoire Americana in Mt. Pleasant, Iowa.
Painted detail from SL shutter cover, painted by Harry Dressel in 1875.
Painted detail from SL shutter cover, painted by Harry Dressel in 1875.
Painted detail from SL shutter cover, painted by Harry Dressel in 1875.
Painted detail from SR shutter cover, painted by Harry Dressel in 1875.
I examined two cottage shutter covers during my visit last month. They were once part of a stock scenery collection at Steyer’s Opera House in Decorah, Iowa. The scenery was donated through the efforts of Dr. George D. Glenn and Richard Poole, authors of “The Opera Houses of Iowa.” Theatre Museum records indicate that some of the Steyer’s Opera House scenery was placed on display in 2001. When I visited the museum in 2017, the cottage shutters were still on display.
SL shutter cover on display at the Theatre Museum in 2017.
In 1989, Glenn even made a 12 ½ minute documentary about the extant scenery, lighting, and stage machinery, entitled “Steyer’s Opera House.” Here is the YouTube link to the 1989 video: https://youtu.be/r_2l6pGmp3A?si=31RV5ShRr2lSka_w
In 1989 the third-floor opera house was an 1875 time-capsule of stage technology. At the time, it was possibly the oldest extant stage boasting an original 1875 scenery and stage machinery installation in North America.
Image from George Glenn’s 1989 movie that shows the state of Steyer’s Opera House when he first visited the stage.
As is the case with many historic stages, new building owners, investors, and other stakeholders fail to understand the significance of what they have, especially stage artifacts. Fortunately, some of the scenes were transported to the Theatre Museum.
I know of only one older scenic piece in North America – a front curtain painted by Russell Smith for the Thalian Hall in Wilmington, North Carolina (1858).
1858 Front curtain by Russell Smith on display in the Thalian Hall lobby in Wilmington, North Carolina in 2019.
Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.
Painted detail, 1858 Thalian Hall front curtain by Russell Smith. Wilmington, North Carolina.
To my knowledge, the Steyer’s Opera House contained the oldest collection of stage scenery, machinery, lighting equipment, “as delivered” until the 21st century. It still signifies some of the the oldest examples of signed American scenic art.
Signature on the front of Steyer’s Opera House SR Cottage shutter.
The second oldest examples are 1888 wing-and-shutter scenery signed by Frank Cox for the Tabor Opera House in Leadville, Colorado. Amazingly, Dressel signed the front of the shutters. Cox signed the back.
Frank Cox signature. Tree profile at the Tabor Opera House, Leadville, Colorado.
The Theatre Museum’s Dressel collection signifies the oldest extant example of stock scenery delivered to an American opera house. In addition to age, the creator of Steyer’s Opera House scenery was internationally recognized as an extremely skilled scenic artist. Dressel’s scenic art made news from Toronto to New Orleans in the nineteenth century.
Here is the tale of Henry “Harry” Dressel.
Henry Dressel was the fifth child born to F. Ludwig “Louis” Dressel (1817-) and Sophie Schmidt (1820-1899) in Hanover, Germany. In 1858, the Dressel family boarded a ship in Bremen and sailed for America. On Oct. 22, 1858, they arrived in Philadelphia aboard the Brig Amazone. The ship’s manifest listing Ludwig Dressel (40 yrs. cooper), Sophie (38 yrs.), Marie (15 yrs.), Christian (13 yrs.), George (9 yrs.), William (7 ½ yrs.), Henry (6 yrs.), Louise (5 yrs.), and Adolph (3 mths.).
Ship’s manifest with the Dressel family’s arrival in Philadelphia. Oct. 22, 1858.
The family soon settled in Chicago where Louis Dressel listed his established trade as cooper in the City Directory. Although the family initially lived in a boarding house on Kinzie, they soon secured permanent lodging at 227 N. Franklin. Dressel transitioned from cooper to a rectifier for Theodore Kraefft. Kraefft who not only sold wines and liquors (77 S. Water St.) but also operated a distillery (329 N. Wells St.). Dressel remained with the firm for some time; accepting whatever job came his way, continuing with the firm as it transitioned from Kraefft & Co. to Kraefft, Roelle & Co.
In 1870, the Dressel family were still living at their home on N. Franklin. However, Louis and William were now operating a retail grocery store, Dressel & Son. Meanwhile, Harry Dressel was listed as a fresco painter, boarding at 298 N. Franklin.
While examining the 1870 Census report another name caught me eye – Fest. Living next door to 18 yrs. old Harry was the 19 yrs. old painter Oscar Fest. Fest was only a few months older than Dressel, having been born on Aug. 10, 1852, in Breslau, Germany. Fest and his parents had emigrated in 1853, five years before the Dressels.
In 1870, Fest was also living with his parents on N. Franklin. Both Harry Dressel and Oscar Fest started as decorative painters and later each became incredibly well-known scenic artists; Dressel in New Orleans and Fest in San Francisco. Both of their fathers had worked as coopers. It would have been quite unusual if the two families were not close. It would be uncommon for either Fest or Dressel to have apprenticed as painters after the age of 16. This means that their entrance into the painting profession occurred about 1867. Fest is even listed in the 1867 Chicago Directory a painter.
Both young men may have begun their artistic careers with Robert W. Hanington. Hanington was a wire shade and decorative artist who lived just up the street at 296 N. Franklin. Again, the first listing for Dressel as a fresco painter lists his residence as 298 N. Franklin.
North Franklin street was destroyed by the great fire of 1871. The Dressel family immediately rebuilt their home and continued to live in the area. After all, both their home and grocery business had been in North Franklin when flames swept through in 1871.
Just before the great Chicago Fire of 1871, Dressel began working as a scenic artist for the Globe Theater. Although he was listed in the 1872 Chicago Directory as a fresco painter, he was also listed as scenic artist for Chicago’s Globe Theatre that year.
His link to the Globe was advertised during the tour of Alderson’s Panorama that summer. Newspaper advertisements for the Chicago Fire Panorama listed four contributing artists for the 3,700 sq. ft. painting: one designer and three Chicago-based scenic artists:
Henry Cross of the Academy of Design
J. Howard Rogers, scenic artist of McVicker’s Theatre
Henry C. Tryon, scenic artist of Wood’s Museum
Henry Dressel, scenic artist of the Globe Theatre
I believe that Dressel first worked as an assistant to Rogers and Tryon at the Globe Theater when it opened in 1870. The Globe Theatre was initially referred to as the West Side Theatre, with Allen being the first proprietor and lessee of the place (The Chicago Evening Mail 31 Oct. 1870, p. 4). The great fire did not destroy the Globe Theatre, although it came close; crossing the river just a few blocks south. Despite many scenic artist’s losing their homes and employment, those at the Globe were fortunate. It is very likely that the Chicago Fire panorama was painted by Rogers, Tryon, and Dressel at the Globe Theatre.
Map showing the Globe Theatre in relation to the river and burned district.
On Nov. 21, 1870, the Chicago Tribune advertised the opening of “Allen’s Globe Theatre, Des Plaines Street, West side, between Washington and Madison Streets” (p. 4). The announcement credited the Globe’s new scenery and drop curtain to Messrs. James Howard Rogers, John M. Kauffman, and Henry C. Tryon. Kaufmann relocated to Cincinnati by 1874, where he continued working as a scenic artist at local theaters for the remainder of the 19th century.
Portrait of Henry C. Tryon in 1886.
Of this grouping, Roger’s was the premiere artist of the group, with his scenic art solely mentioned in many articles. For example. On Nov. 22, 1870, the Chicago Tribune described, “The decorations of the auditorium are simple, but in great good taste, and the scenic artist, Mr. James Howard Rogers, has put forth his entire artistic skill in getting up the scenes, all of which are of real excellence. In the drop curtain Mr. Rogers has boldly departed from the eternal Lake of Como with its dreadfully Italian sky, etc.; and has drawn his inspiration from home. The picture represents the progress of civilization. It is a beautiful Western scene, composed of lake and mountains, a railroad train – the emblem of advancing civilization – crossing a bridge, and away to the westward, the Indian, with his bow and arrows, receding before it, and following his own setting sun. At the front of the curtain appears the inscription, “Westward the course of empire takes its flight” (p. 4). This article made it seem that Rogers painted everything by himself. Rogers was living in the city, however, as he was listed in the 1870 Chicago Directory: “Howard Rogers, scene painter, r. 34 Price pl.” The listing forgot to include the “J” in front of Howard Rogers.
Rogers maintained a close connection with the Globe, as his wife worked there in 1871. On Feb. 17, 1871, The Chicago Evening Mail announced, “Sick – Mrs. J. Howard Rogers, of Allen’s Globe Theatre, has for the last few days been extremely ill. Until yesterday, it was feared that she would not recover. She is better today” (p. 4).
It is important to remember that scenic art assistants were seldom credited in these theatrical endeavors. When both Tryon and Kauffman were credited, it was as legitimate contributors, not as assistants. Other articles solely credit Rogers as he boasted the biggest reputation at the time. Pot boys or scenic art assistants were never mentioned in metropolitan news.
D. R. Allen’s management of the Globe Theatre was short-lived, ending early in 1871. There were a series of mechanics’ liens against the Globe property, with Col. J. H. Wood listed as proprietor in 1872. On January 25, 1872, the Chicago Tribune even referred to the venue was called Wood’s Globe Theatre, after Colonel Wood’s Museum Company at the Globe (p. 4).
Rogers, Tryon, and Dressel painted Alderson’s Great Panorama of the Chicago fire early in 1872 so it could tour that summer. They worked from primary sketches by Academy of Design instructor, Henry C. Cross.
Chicago before the fire. Link to image: https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:1871_Chicago_view_before_the_Great_Conflagration.jpg
Photographs by George N. Barnard after the conflagration. https://en.wikipedia.org/wiki/Great_Chicago_Fire#/media/File:Attributed_to_George_N._Barnard_-_Untitled_(Chicago_after_the_Chicago_Fire)_-_Google_Art_Project.jpg
Their work immediately toured the country, accompanied with musical performances and descriptive recitations. By late July the panorama was exhibited at Piatt’s Music Hall in San Francisco. Several advertisements for the panorama were placed in Figaro. This newsletter referred to itself as “the organ of amusement….circulates in….All the Theatres and is Circulated Every Day in the Year Generally Throughout the City and on the Boats and Cars.” Figaro stated that its newsletter was “published every Day in the Year by J. P. Bogardus at 22 Merchant and 535 Washington Streets, Below Montgomery, San Francisco.”
Advertisement for Alderson’s Panorama in Figaro, 1871.
Another advertisement for Alderson’s Panorama in Figaro, 1871.
Although the digital scan of newsletter is quite poor, Figaro is a wealth of information about theatrical activities in San Francisco during the second half of 1872. Here is a link to those who may be interested: https://archive.org/stream/figarojulydec18700unse/figarojulydec18700unse_djvu.txt
The same advertisement was placed in Figaro announcements for several days. The article consistently reported,
“Panorama of the Great Chicago Fire.
Alderson’s Panorama of the Great Chicago Fire has arrived and will be exhibited in Piatt’s Hall on Friday evening next. This painting covers over thirty-seven hundred feet of canvas was executed from actuals views and drawings by Henry C. Cross of the Academy of Design; J. Howard Rogers, scenic artist of McVicker’s Theatre; Henry C. Tryon, scenic artist of Wood’s Museum; Henry Dreissel [sic.], scenic artist of the Globe Theatre, and Thomas Megann, scenic artist of Crosby’s Opera House. The mechanical appointments are by the celebrated John Faust of Dearborn Theater and Opera House, all famous artists in their line. The panorama represents Chicago before the fire, the city in flames, and afterwards the ruins. Other sections present views of the old cemetery, with its scenes of suffering representations of the public buildings, printing offices, and water works of prominent places. Succeeding these, are views of the ruins of the churches, the exhibition closing with the ruins of the Masonic Temple by moonlight. A lady of Chicago will deliver a descriptive lecture, interspersed with appropriate ballads, anecdotes, and incidents. This approaches the anniversary of this dreadful event which took place October 8th and 9th, recalls the horrifying scenes to memory, and these will be found faithfully depicted in the great panorama. The process of admission have been fixed at the low rates of 50 cents and 25 cents, and on Sunday afternoon a matinee will be given at half prices.” (Daily Figaro, San Francisco, 31 July 1872, page 1). Some of the advertisements included a listing of various scenes:
“Chicago before the Fire; The Conflagration; Thousands of Houses in Flames; The Scenes of the Old Cemetery; The Ruins; Views of Principal Streets; Public Buildings, Printing Offices, etc.; Ruins of the Churches; Something About Mrs. O’Leary’s Cow; Music, Songs, Stories, Recitations; and Descriptive Lecture and Dramatic Ballad by a Lady of Chicago
Chicago” (Figaro 31 July 1872, p. 1).
One of many articles in Figaro describing the panorama in 1871.
Alderson’s panorama was one of many panorama’s depicting the tragedy that toured in the country at the time. Frank D. Skiff formed, Skiff & Co., to create another panorama of the Chicago Fire. The work was credited as “the work of scenic artist Frank D. Skiff, the well-known scenic artist” (Chicago Tribune 17 Dec 1871, p. 7).
Dressel’s early scenic art career mimics that of many during the early 1870s. Aspiring artists secured work as decorative painters. This employment brought them into director contact with other decorative artists who worked as scenic artists at theaters. In most cases, scenic artists were paid a higher salary, but the work was more sporadic.
Portrait of P. M. Almini
One example of an artist who bridged the decorative and scenic art worlds was Louis Malmsha. Malmsha not only worked for the decorative firm of Jevne & Almini (later known as P. M. Almini & Co.), but also worked at McVicker’s Theatre. Malmsha is the common thread between several scenic artists working in Chicago during the 1870s. For example, both Rogers and Tryon worked with Malmsha at McVicker’s in 1871. This is the year after Rogers and Tryon painted scenery for the Allen’s Globe Theater.
At this time, if a young artist showed promise, he was immediately brought into the theatrical fold. The demand for scenic art was greater than the supply of scenic artists.
Portrait of Thomas G. Moses in 1886.
Thomas G. Moses is another example of a young man who worked as Malmsha’s assistant in 1873, both at Almini’s and McVicker’s in 1873. Both Moses and Tryon ended up as Sosman & Landis Scenic Studio employees by the early 1880s.
When considering Dressel’s entry into the scenic art profession, his initial training was in Chicago before the Great Fire. The 1871 tragedy meant that many scenic artists left the city, as they were left without work. Many, such as Malmsha relocated to other metropolitan areas. There was a waiting period before new stages were constructed for popular entertainment. Others produced painted spectacles that toured, such as the Chicago Fire panoramas. Rogers, Tryon, and Dressel had worked together in the past, and therefore teamed up to paint Cross’ design.
Dressel was touring with the Tannehill Company at the beginning of 1872. He was listed as part of the company, as well at the scenic artist.
I need to provide some context for Mr. and Mrs. F. A. Tannehill concerning the time when Dressel joined their troupe. In 1872, they sporadically performed on stages along the eastern seaboard. Their young daughter, Birdie, even joined them on some occasions. On June 13, 1872, The Valley Virginian of Staunton, Virginia, reported:
“AMUSEMENTS. Mr. and Mrs. F. A. Tannehill, assisted by their infant daughter, “Birdie,” only five years old, will give one of their chaste, beautiful and intellectual PARLOR ENTERTAINMENTS, at the Town Hall, on Tuesday evening, June 18th. They are well and favourably known and remembered by our citizens, as the leading members of the ‘Old Reliable Company’ when here last Winter. Those who desire to witness a legitimate performance, will be more compensated by attending (p. 3).
Birdie passed away in the spring of 1873.
On March 11, 1873, the “Deaths” section of the Staunton Spectator announced, “At 125, Simcoe Street, Toronto, Canada, on Monday, March 3rd, little Birdie, daughter of Mr. and Mrs. F. A. Tannehill, aged 5 years and 6 months.
Farewell parents, lay me gently
In my little narrow bed.
Think of God who gave and took me;
Now I slumber with the dead,
F. S. M.” (p. 3).
Birdie died from Typhoid Fever in Toronto.
Less than a year later, tragedy struck again in Toronto. This is how I connected scenic artist Harry Dressel with the Tannehill company.
An announcement in The Hamilton Spectator on Feb. 8, 1874, announced:
“FIRE! FIRE! FIRE!
In consequence of the Royal Lyceum, Toronto, burning down, the Company will play a short season at St. James Hall, commencing Monday, Feb 9. The Troupe consisted of the following first-class Artists:
F. A. Tannehill, Manager, Chas. Webster, Wm. Fuller, Wm. Ford, Dick Fowler, Nellie Tannehill, Nellie Stanwood, Mrs. Bradshaw, H. B. Bell, Burton Adams, J. R. Masters, Dick Featherstone, Harry Booth, Harry Dressel, Virginia Buchanan.
Harry Dressel was also listed as scenic artist, with W. Fordham as stage conductor.
The following pieces will be put on stage with new scenery, properties and machinery:
Ticket of Leave Man
Streets of New York
Dora
Colleen Bawn
Pat’s Trouble
Under the Gaslight”
On January 31, 1874, The Hamilton Spectator reported, “The Theater was insured in different offices to the extent of about $12,000, and was owned by Mr. French, by whom it had lately been leased to Mr. Tannehill. This is the third time the building has been attacked by fire, and it has at last succumbed to its assailant. The origin of the fire has not been ascertained, but it is supposed that it commenced in the carpenter’s shop, which being stored with paint, wood, shavings and other flammable material, caused it to spread with such unaccountable rapidity” (p. 2).
I remain unsure as to when Dressel joined the Tannehill company, or how long he toured with the group. I have yet to locate any other articles mentioning Dressel’s scenic prior to the summer of 1875. That year, Harry became the scenic artist for the Varieties Theater in New Orleans, Louisiana. There is no doubt that his association with the Tannehills would have improved his chances in the region. Mr. Tannehill had made quite a name for himself in southern theaters after the Civil War, especially Memphis. Initially, Dressel was hired to both paint and retouch scenery.
On Oct. 31, 1875, The New Orleans Democrat reported, “Amusements. The Varieties Theater. – The amusement season at this favorite theater will be inaugurated to-morrow evening by the first appearance in this city of Grau and Chizzola’s admirable French Opera Bouffe Company in the late operatic novelty of Gorofle-Gizolla. The opera itself is spoken of a Lecocq’s greatest triumph, and the critics of the New York press have been lavish in their praises of its merit. During the summer the theater has been carefully renovated, and Mr. Harry Dressel, and eminent scenic artist, has been busily engaged for some time past in retouching old scenes and painting many entirely new ones, all of which are characterized by beauty of design and delicacy of touch, and color.” (p. 8).
After his initial work at the Varieties Theatre, Dressel headed north and painted stock scenery for Steyer’s Opera House in Decorah, Iowa. On Dec. 9, 1875, the Chicago Weekly Post and Mail published, “Special Correspondence of THE POST and Mail. Decorah, Iowa, Dec. 3” (p. 3). The article continued:
“Prominent among the improvements is the enlargement of the Steyer Opera House, with a general overhauling, such as reseating with chairs, enlarged gallery, costly and fine scenery (painted by Harry Dressel, formerly of your city), and with a capacity of about 1,100 persons. Rudolph’s Music Hall has also undergone a similar change. About ninety buildings have been erected, among them some fine business blocks and residences, at a cost of over $150,000. Amusements are thick, A panorama ‘busted’ here a few weeks ago, and the operators went back to their legitimate business, and Jo Steyer, of the Opera House, has a ‘show’ on his hands. Plunkett’s troupe played crowded houses for a week recently, presenting ‘Two Orphans.’ Decorah promises to be lively in the way of amusements this winter.”
“Two Orphans” was a popular production in 1875. It was also featured at the Varieties Theatre in New Orleans that year, with Dressel painting the scenes. On Dec. 2, 1875, the New Orleans Bulletin reported, “Mr. Harry Dressel, the able scenic artist of the theater, has been for a long-time preparing scenes especially for this play” (p. 8). On Dec. 4, 1875, The New Orleans Bulletin further elaborated on the production and Dressel’s scenic contribution:
Elegant Scenery.
“The Two Orphans” at the Varieties.
No matter what the intrinsic beauty of strength of a drama may be, it is in the power of the scenic artist of the theater to greatly make or mar the play as a popular production. No drama is so good that it can be entirely independent of scenic accessories, and upon the artist who creates the scene it devolves to fitly picture the playwright’s ideal of situation and locality. We were led to these reflections by the sight was of the elaborate and artistic scenery which seen Thursday evening at The Varieties Theater in the play of “Two Orphans.” We have rarely witnessed more exquisite productions of the artist’s pencil. The snow scene, in which the very excellent portion of the drama is produced, was one of the most charming and life-like it has even been our good fortune to see; the floor of the stage seemed covered with beautiful snow and had not lain upon it long enough to lose its soft appearance, and had just been there sufficient time to gain a silver shimmer, which made it exquisitely delicate and charmingly picturesque. The beautiful garden and the palace of Belair was almost like a fairy picture in its beauty, and yet not to fanciful to be real. The entire front of the magnificent palace beautifully illuminated; a large and elegant terrace, lighted by handsome chandeliers, and opening upon a lovely garden, presented and elegant scene rarely if ever equaled here on the stage. The picture of the noble’s mansion and the beggar’s hovel were alike truthful and appropriate. Aside from the intrinsic merit of the play, and it is full of admirable points, the scenery should be seen by every lover of the artistic and beautiful in our city; it affords a rare treat and should be seen by all. Harry Dressel, the artist of the theater, deserves the highest praise for his great success” (p. 1).
His scenic work for “Two Orphans” was still being heralded at the beginning of 1876. On Jan. 16, The New Orleans Bulletin reported, “Mr. Dressel, the scenic artist of the theater, wields a pencil in a way that commands the earnest applause of all judges of true artistic ability, and the scenes in the play, when first presented at this theater, evoked the warmest praise for their real intrinsic merit” (p. 1).
Dressel quickly made a name for himself in New Orleans, repeatedly appearing in local headlines. I am amazed at the amount of press Dressel received for his work, as there was ample work in New Orleans that year; enough to keep several scenic artists employed at multiple theaters, including Anthony Bagnette, Thomas Burke, Angelo Wiser, and William T. Porter.
Fortunately for Dressel, he immediately secured the scenic art position at the Varieties Theater. By December 1875, the venue was leased and managed by Mrs. Henrietta Chanfrau and C. W. Tayleure for a short season. Earlier that fall, Mrs. Chanfrau made news when she attended a performance at the Varieties Theatre with her husband. On Nov. 11, 1875, the New Orleans Republican reported, “Mr. Frank S. Chanfrau, the comedian, and his wife, Mrs. Henrietta Chanfrau, occupied a box at the Varieties Theatre last night. In a professional way, these artists differ as much as do ‘Kit Redding’ and ‘Christie Johnstone’ on the stage, and they seldom meet, and never set together during the theatrical season. In the summer they are ‘at home’ in their comfortable Long Branch residence, playing domestic life in a congenial manner, and appearing an honorable example to the members of the profession” (p. 4).
On Dec. 12, 1875, The New Orleans Bulletin announced Dressel’s scenic work for Chanfrau in “Parted, or the Trust Company Failure,” at The Varieties Theater. The article reported, “Mr. Dressel, the scenic artist of the theater, has been engaged for some time in preparing the scenery for this play, and judging from the admirable exhibition of his skill we have witnessed this season, we predict a rare treat for visitors of the theater” (p. 5).
Dressel continued to make news during at the Varieties Theatre for the rest of the season. On Jan. 4, 1876, the New Orleans Bulletin reviewed Geo. Fawcett Rowe in Halliday’s dramatization of Dickens’s ‘David Copperfield,’ which he named ‘Little Eml’y’.’ The article reported, “Mr. Dressel, the scenic artist, has added new laurels to his list by the elegant and effective scenery used in the play. The boat-house, the church scene, which is, by the way, and exact representation of the Canterbury Cathedral in England, and the storm scene were all perfect gems of the painter’s skill and reflect the utmost credit upon the artist whose pencil formed them” (p. 1).
Of “Watts Phillip’s military and romantic drama ‘Col. Willoughby; or, Not Guilty,’ The New Orleans Bulletin announced, “The plot of the play is in itself very interesting and exciting, and with the truly magnificent setting given it last night, makes one of the most splendid stage attractions we have seen in this city for many a long day. The ship scene in the second act, and the third and fourth acts, were new artistic triumphs for Harry Dressel, scenic artist of the theatre” (25 Jan 1876, p. 5).
Dressel was also heralded for his work on other New Orleans projects that month. On January 9, 1876, The New Orleans Bulletin announced, “The equestrian statue of Jackson which adored the gallery of the Pickwick Club yesterday was executed by Mr. Harry Dressel, the talented scenic artist of the Varieties Theatre, and was completed in an almost incredibly short space of time”) p. 1).
On Jan. 27, 1876, The Times-Picayune described the Washington Artillery Grand Ball at St. Patrick’s Hall: “But the most conspicuous object in the hall, and one upon which the gaze dwelt the longest, was a large sized painting that extended across the wall above the stage. The cartoon was done by Dressel, the scenic artist of the Varieties Theatre, represented a scene in the Shenandoah Valley. In the far distance appeared the huge masses of the Blue Ridge, with its irregular profiled outlined against the sky and white masses of snow merging into the azure coloring of the mountain tops. The silvery course of the Rappahannock might be traced across the broad expanse of rolling green sward, until the glitter of the stream was lost on the obscurity of the forest that stretched along the foot of the mountain range. In the foreground appeared two small field pieces, and close by on the ground a pile of cannon balls, a drum, and a group of muskets. The general effect of then painting was excellent and attracted much attention” (p. 1).
Of Dressel’s painting for John T. Raymond, The New Orleans Bulletin reported, “Mr. Harry Dressel, the talented scenic artist of this theater, has, won additional honors for himself during Mr. Raymond’s engagement – the realistic effect of his steamboat explosion, and his beautiful landscape painting has evoked the warmest praise” (Feb. 6, 1876, p. 8).
Less than two weeks later The New Orleans Bulletin commended Dressel’s work on “Christie Johnstone” at the Varieties Theater: “The scenic effects are very fine, especially the lifeboat rescue, which is a perfect marvel in its way, and is another triumph for Mr. Harry Dressel.” (Feb. 18, 1876, p. 8).
On March 8, 1876, The New Orleans Bulletin heralded Dressel for scenery in Chanfrau’s production of “Kit” – “Mr. Harry Dressel has done all he possibly could to render the play attractive and has really produced some scenic effects worthy of applause always tendered by the audience. The steamboat and the cabin are beautifully painted” (p. 5).
Dressel worked in New Orleans until the end of the season, then followed the Chanfrau Company to New York for the summer. On April 30, 1876, the New Orleans Republican announced, “Mr. Harry Dressel, scenic artist of the Varieties Theatre, leaves immediately for Chicago, and will be employed at the Eagle Theatre, New York, for the summer season” (p. 4). He left the city on May 4, heading up the river to Evansville, Indiana. On. May 9, 1876, The Evansville Journal announced, The Charles Morgan arrived at 1 am with a big trip of freight and a crowd of people” that included “Harry Dressel and A. Riet, scenic artists” (p. 7). I was fascinated to read, “The Morgan was five days and eight hours out from New Orleans, including all delays.” In Evansville, the ship “discharged 65 barrels molasses, 35 barrels sweet potatoes, 15 barrels rice, 10 of pineapples, 4 cases bananas, 10 sacks coffee, and other freight.” From Evansville, Dressel headed west to Chicago. He was heading home to visit family before starting a position in New York.
On May 7, 1876, The Brooklyn Sunday Sun announced, “Mr. Clifton W. Tayleure, manager of the Varieties Theatre, New Orleans, has entered into a contract with Mr. Josh Hart, of the Eagle Theatre, for occupancy by the Chanfrau Company of the latter place of amusement after June 5…This company will probably occupy the Eagle Theatre until the fall season opens when Hart again assumes the management with a strong comedy troupe” (p. 5). Located at Broadway and 33rd Street, Josh Hart was the sole proprietor. While examining a few activities at the Eagle Theatre in 1876, I was surprised to discover sheet music for “Emancipation Day,” dedicated to Mr. Josh Hart. The cover noted, “sung with immense success at the Eagle Theatre, New York.”
Braham, David, “Emancipation day: song and chorus ” (1876). Representations of Blackness in Music of the United States (1830-1920). Brown Digital Repository. Brown University Library. Here is the link: https://repository.library.brown.edu/studio/item/bdr:17080/
Before Dressel joined the Chanfrau company in New York, he visited family in Chicago. It was early May in 1876. I wonder what brought Dressel home. It may have been his father’s declining health, as of May 1876, Louis Dressel made out his will.
When Dressel returned to New Orleans that fall, he resumed a position as scenic artist at The Varieties Theatre. On Nov. 11, 1876, Dressel was credited with the scenery for “Our Boys” under the management of Charles Pope.
Although Dressel was listed as scenic artist for the Varieties Theatre in the 1876 and 1877, New Orleans Directory, he also continued to complete a variety of projects that included fresco work. On Aug. 5, 1877, The Times-Picayune reported, “The ceiling of the office has been very prettily frescoed by Dressel, the scenic artist of the Varieties, and there are panels adorned with appropriate figures typifying industry and commerce. The steamboat Natchez has also a place among the figures on the ceiling. The walls are frescoed in scroll and figure work” (p. 1).
In 1877, Dressel was naturalized as a US Citizen.
The most interesting article that I discovered described Dressel’s work as a lighting artist. During the late 19th century, many scenic artists performed on stage. They would rapidly sketch characters or paint scenes as a variety act. At the Academy of Music in New Orleans, Dressel rapidly painted a tropical landscape for the benefit for Mr. William Morris, machinist of the theatre. On June 1, 1878, The Times-Picayune reported, “Harry Dressel, the scenic artist, who painted in sight of the audience, in less than eight minutes, a complete tropical landscape, commenting on a plain white canvas, six by eight feet. The subject was suggested by the audience, and the composition was the study of the moment. Time was called and the artist run a horizon line, spread on a warm sky, placed a mountain range, run a stretch of water, drew date and palm trees with spreading leaves, dropped a few bright flowers for perspective effect, and left a very pleasing picture for the admiration of an audience that was enthusiastic over such an exhibition of artistic skill and rapid execution” (p. 8). I have written about other lighting artists in the past and find their popular performances intriguing.
Despite accepting a variety of projects, in 1878, Dressel was still associated with the Chanfrau Company, even mentioned in their newspaper advertisements. On April 4, 1878, the Chattanooga Daily Times included an ad for the production of “KIT, The Arkansas Traveler.”
The article reported, “Their great work was witnessed by upwards of 400,000 personsat Booth’s Theater, New York, and has realized Mr. Chanfrau over $65,000… ENTIRELY NEWSCENERY by Harry Dressel, the famous Scenic Artist of New Orleans, especially painted for this production.”
Dressel delivered scenery for KIT in 1878.
On October 6, 1878, the Chicago Daily Tribune published an advertisement for “Dominick Murray, in his exciting and very successful drama, entitled ESCAPED FROM SING SING; or, Criminal Life in New York” at Hamlin’s Theatre, 87 Clark-st., opposite Court House” (p. 1). The ad announced, “The Drama will be produced with entirely new Scenery by MINARD LEWIS, Esq., and HARRY DRESSEL, Esq.”
This brings Dressel back to the home of his family in 1878.
By 1880, Dressel partnered with John Charles Evans in St. Louis to form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882. Evans partnership with Dressel ended by 1883. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again. Evans became another employee as the Chicago-based firm of Sosman & Landis employee. Here is the link to Evans’ biography https://drypigment.net/2023/04/08/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-103-j-c-evans/
J. C. Evans was a scenic artist who went on to work for Sosman & Landis in Chicago.
On May 10, 1883, The Times-Democrat published an article entitle “OUR SUMMER OPERA – Arrival Yesterday of Miss Alice Oates and Her Company for Spanish Fort” (p. 3). Their arrival was “over the Louisville and Nashville road” with a 25-person opera company. Originally coming from NY. “Mr. Harry S. Dressel, so well known here as a scenic artist and in connection with our theatres, has made the architectural designs and will superintend the decorations, scenery, etc. His past successes insure excellent work.”
On May 14, 1883, The Times-Democrat of New Orleans, reported about the Spanish Fort: “The gangs of workmen were engaged all day on the theatre over the water, just in front of the reck grotto, and the work will be continued night and day until completed. Already the joist for the floor have been laid, and as the rest of the frame-work has already been prepared to be put together, by the 20th the building will be completed, in time for the opening by the Alice Oate’s Opera Troupe. Piles are being driven for the foundation of that portion of the building to be occupied by the stage, which work will be finished by Tuesday. Harry Dressel is not losing a moment, and yesterday was hard at it, up on a scaffold, working on the new drop curtain. It will. Represent a scene in the days of Louis Quatorze. In the centre is a colonnade and portico of a palace, not unlike the Trianon, and before it a number of court ladies and gallants are engaged in the then favorite game of battledore and shuttlecock. The poses are graceful and the picture animated. Rich foliage gives a pleasant contrast to the white marble columns and adds a softness to the scene. Mr. Dressel is sparing no pains on this artistic study (p. 3).
Harry Dressel made news across the country. On Nov. 30, 1889, the Telegraphic News section of the Indianapolis Journal reported, “Harry Dressel, the well-known scenic artist, was dangerously stabbed at New Orleans, yesterday, by Ferdinand Amant” (p. 1). Dressel was now 38 yrs. old and wanted money for a project he completed.
On Dec. 3, 1889, the Cincinnati Commercial Gazette reported, “Harry Dressel, the well-known scenic artist of the New Orleans French Opera-house, was severely stabbed one day last week by a lawyer named Armant in a saloon adjoining the theater. The trouble grew out of an unpaid bill for work done by Dressel during the time of the Cotton Palace” (p. 8).
On Dec. 4, 1889, The Louisiana Review described the altercation about the unpaid bill:
“A difficulty occurred between Harry Dressel, scenic artist of the French Opera House, and Fernaud Armant, last Friday afternoon, in a barroom on Toulouse Street, over an unpaid bill for painting a stage curtain of the Cotton Place. Blows were exchanged and Dressel was cut on the face and neck by Armant. The wounds are not considered dangerous. Armant surrendered to Captain Journee, but was released under a $1000 bond” (p. 5).
Dressel briefly left Louisiana and headed to Texas. He picked up a variety of projects, including the design and decorations of floats for German Day. On Oct. 7, 1891, the Galveston Daily News announced, “By 6 am Mr. Harry Dressel, the artist in charge of the decorated floats was busy with a corps of hearty fellow, getting the heavy floats out of the warehouse sheds into the street” (p. 8).
By 1900 Dressel returned to New Orleans.
On Aug 24, 1900, The Canton Times of Canton, Miss. Reported, “The Manning-Yale Co., the biggest and most complete vaudeville aggregation touring the South will open at the Opera House Wednesday, September 12th…the company is composed of twenty vaudevillers who have made reputations and sustained them. A uniformed concert band and complete orchestra is included. Special scenery painted by the renowned scenic artist Dressel, is used. No expense has been spared to make this production one of the grandest in every detail and disappointment has yet to be evidenced by any audience” (p. 4).
On May 30, 1905, The Times-Democrat published Dressel’s obituary:
“Harry H. Dressel, a well-known scenic artist, dies at his home, 4318 Canal Street, yesterday afternoon, after an illness of several weeks. His death was a shock to his many friends and acquaintances in this city, for he had been actively engaged in his work up to a short time before his death. Mr. Dressel was born in Hanover, Germany, fifty-three years ago, in which place he received his early education in college as well as in art. He came to this country when a young man and engaged in scene painting. Thirty-one years ago, he came to New Orleans and had lived here since that time. Mr. Dressel became connected with the French Opera House, and for a time worked exclusively. For that playhouse, turning out many hundreds of pieces of work. His studio was in the building, and within those walls he acquired fame. Mr. Dressel did work for the Grand Opera House and also for the St. Charles Theatre. Mr. Dressel started Lake View Park and fixed up a studio at West End. He did much work on the park, and at the same time worked on Carnival ball settings. His work for the Atlanteans was always complimented. The work for the Atlanteans of this year was the last he did. Mr. Dressel was at one time a member of the Southern Yacht Club. He was a vice president of the Ozone Spring Water Company and was a Knight of America belonging to Crescent Lodge No. 110. Mr. Dressel is survived by his wife. The interment will take place to-morrow at the Greenwood Cemetery” (p. 10).
His will was published in The Times-Democrat on 2 Jun 1905, noting, “the will admitted to probate makes a number of bequests: $500 to Harry Groh; $200 to William O. Conne; $100 to Mrs. William Groh; $25 to Lizzie Brown – the remaining property given to Miss Annie L. Hall with $200 for the purpose of keeping the grave of the deceased. David Lemly appointed executor” (p. 10).
To be continued…
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