Category: Uncategorized

Copyright © 2020 by Wendy Waszut-Barrett

For the past month, I have explored the lives and careers of various scenic artists who worked for the Tabor Opera House in Leadville, Colorado, and Tabor Grand Opera House in Denver, Colorado. Last week, before I left for Richmond, Virginia, I was in the midst of exploring Tabor Grand Opera House scenic artist Henry C. Tryon. Beginning his life as Henry B. Hoornbeck, he officially changed his last name to Henry C. Tryon in 1882. This is similar to the British actor Ebenezer J. Britton, who painted under the alias Harley Merry.

It is important to recall the timeline for both Leadville’s Tabor Opera House and Denver’s Tabor Grand Opera House. The Tabor Opera House in Leadville opened on November 20, 1879. By March 1880, H. A. W. Tabor announced that he purchased land in Denver to build another opera house. The new venue was named the Tabor Grand Opera House, and designed by Edbrooke and F. P. Burnham of Chicago. Keep in mind that these the architects provide another concrete connection with Chicago scenic artists of the day. The Tabor Grand Opera House opened on August 1, 1881. That year, newspapers across the country described the theater:

“The stage is constructed and fitted up on a scale that would cause envy in many Eastern theatres. The decorations in the body of the theatre itself are of the most beautiful description, and one can see at a glance that expense was not considered in the least” (New Orleans, 6 Dec. 1881, page 9). “Harry Miner’s Dramatic Directory” described the Tabor Grand Opera House: “Size of stage, 45×75; size of proscenium opening, 34×33; height from stage to grooves, 20; height from stage to rigging loft, 66; depth under stage, 12; traps, 6, and 2 bridges; number sets of scenery, 50.”

Henry C. Tryon painted for the Tabor Grand Opera House. Various newspapers and theatrical directories identify Tryon as the scenic artist there from 1881 to 1882. In addition to working in Denver during 1881, Tryon also painted in Cincinnati, Minneapolis, and Chicago. Like other scenic artists at this time, Tryon was constantly on the go and zipping across the country at an amazing speed to complete numerous projects.

Interestingly, another artist was credited with the Tabor Grand Opera’s drop curtain – Robert Hopkin (1832-1909). At the age of 49 yrs. old, Hopkin was a well-known artist all across the country, but primarily lived in Detroit. 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). Even year later, article about Hopkin would recall, “He decorated and painted the drop curtain and scenery for Tabor’s opera house at Denver, at the time one of the finest theaters in America.

I have written about Hopkin in the past, as well as his connection to Thomas G. Moses. Both Tryon and Moses worked as assistants to Hopkin Sr. in 1875 on a production of the “Naiad Queen.” Moses kept in touch with Hopkin, and also admired his artwork. In 1884, Moses visited the Tabor Grand while on a sketching trip with three other scenic artists: Edward Morange, Hardesty Maratta, and John H. Young. The four traveled from Chicago to Breckenridge, Colorado, to gather source material and hone their artistic skills. While on their trip, the visited the Tabor Opera House in Denver to see the drop curtain by their friend Robert Hopkins. The next year, Moses went on another sketching trip to West Virginia with Young and Tryon. Of the Colorado trip, Moses wrote, “We all attended the theatre, the famous Tabor Grand, and we found it all we had expected it would be, nicely decorated and fine woodwork.  The Drop Curtain was very good: an old ruin with some poetical feeling that pleased everyone.  It was painted by an old friend of mine, Mr. Robert Hopkins, of Detroit, Michigan.  This is a favorite subject of his, having done a similar one in Detroit” (The palette & Chisel, Vol. 1, No. 3, March 1928).  A photograph remains of Hopkins’ drop curtain for the Tabor Grand Opera House, now part of the Denver Public Library’s online collection.

Years later, the “Detroit Free Press” interviewed Robert “Bob” Hopkin and touched upon the drop-curtain for the Detroit Opera House (23 Sept 1906, page 51). The article reported, “Bob tells me that he grew up on the Detroit wharves, passed through an apprenticeship in mixing colors for decorators, drifted to scene painting, and finally made easel pictures. As he fished around in his boxes and albums for souvenirs of his early life, as last he brought up a faded photograph of the first drop-curtain of the Detroit Opera House. The theme was an allegorical landscape, surrounded by Corinthian columns, supporting a flat arch – an arch that builders have always said was impossible. But a fig cared Bob, the scenic artist, for these mechanical criticisms. He also showed me a drawing of the second curtain bearing the familiar lines: “So fleet the works of men back to their earth again; Ancient and holy things fade like a dream.” Hopkin’s drop curtains for both the Detroit Opera House and the Tabor Opera Grand Opera House used the same inscription below the ruins of a Greek temple.

The front curtain was often considered a project in itself, sometimes taking much longer than most other scenery delivered to a theater. Many nineteenth century articles identified artists who specialized in drop curtains. In 1894, the “Philadelphia Inquirer” reported, “The drop curtain is the most expensive piece of furniture in any playhouse. Managers are more solicitous about the care of a handsome curtain that almost any other appointment in their theatres. They are usually painted by artists of wide fame in a particular branch of art which they represent, whose charges for the work range from $1,000 to $3,000.” That amount is today’s equivalent of $29,000 to $89,000 for the front curtain.

So, consider the 1881 drop curtain painted by Hopkins for the Tabor Grand Opera; an incredibly expensive items for a theater, possibly one of the most expensive appointments at a performance venue. Theatre owners, artists and patrons understood the importance of this large-scale artwork; a drop-curtain set the tone for the interior and was a culmination of the painted décor.

To be continued…

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.

Copyright © 2020 by Wendy Waszut-Barrett

It has been a busy month, and I am currently in Richmond, Virginia. The Richmond Scottish Rite Theatre appeared on my radar again last month. The timing was less than ideal, since I was packing to leave for the Tabor Opera House in Leadville, Colorado. On September 17, I received word from Art DeHoyos that the Richmond Scottish Rite was selling their building and had no plans for the historic scenery collection. I immediately contacted Rex Hutchens, as a few years ago we tried to purchase the Winona Masonic scenery collection in an online auction.

In regard to the Richmond Scottish Rite, I was well aware of the potential sale, just not the timeline. Immediately after receiving the information from Art, I was on the phone with Rex, asking if he was still interested in acquiring a collection. After chatting briefly with him about the compositions, I contacted the Scottish Rite Secretary in Richmond to get more details, leaving a message. When I headed west to Colorado on the morning of September 19, I had little hope that I would ever see the Richmond scenery, or that it would find a new Scottish Rite home.
I did not think about the Richmond Scottish Rite again until Rex called last Sunday, October 18. By Thursday, October 22, I was on the road again. The plan was to arrive in Richmond the next day; it was an eighteen-hour drive. I would catalogue the collection over the weekend, from 8AM-6PM each day, and depart on Monday. I needed to determine the scope of the collection and whether the drops would withstand the move. If everything checked out, I would come up with a transportation plan based on the impending sale of the building. Fortunately for me, I had slide collections from both Larry Hill and Lance Brockman, taken when they documented the drops a few decades ago. Prior to my departure I created a drop inventory based on the slides.

In addition to the slides, I knew that Toomey & Volland sold scenery to the Richmond Scottish Rite in 1920. From 1920 to 1921 the Richmond Scottish Rite enlarged their existing building and renovated the stage area. This meant that the Richmond Scottish Rite either acquired a new collection from Toomey & Volland or purchased additional settings for their existing collection. Regardless of what was purchased in 1920, the entire scenery collection was moved to a new building by 1968.
The move meant that the collection was possibly reduced at this time. In the case of the St. Paul Scottish Rite, their move to a new building meant that the collection shrunk in size by one-third. For example, if a setting consisted of a leg drop, cut drop and backdrop, either the leg drops or cut drops were removed, effectively reducing the number of line sets required in the new space. This same thing may have happened in Richmond; meaning that the excess scenery was thrown out during the move, or it was tucked away somewhere in the building.Within ten minutes of arriving at the Richmond Scottish Rite, I had answers to many of my questions. There were only 49 lines hanging in the air, and most of the original sandwich battens had been removed; replaced with jute webbing at the top and pipe pockets at the bottom. Heaving a sigh of relief, I contacted Rex and explained the situation. Over the course of the day I shared photos with him and began to plan for the future move.

Because of the limited number of drops, there was more time to play with lighting while documenting each scene. All was fun and games until the Secretary mentioned that there were about four drops tucked away above the stage left storage area. No problem. I was ahead of schedule and would have ample time on Sunday afternoon to unroll the drops, as well as fully documenting the unique rigging system. When I arrived at 8AM on Sunday morning, I asked to see where the four rolled drops were stored…

…and this is when everything changed.

There were many, many more drops stored above the properties room, stage left. Unfortunately, they were beneath a dozen lighting instruments, chairs, and storage racks. This was not a simple hand-them-down-and-unroll-them project. In a glance, I knew that this would tack on an extra day, and it would be dirty work. Now cataloguing a collection of hanging scenery is an entirely different task than lowering and unrolling drops that have been compressed for a few decades. First of all, there is a dirt factor. Within minutes of handling rolled drops that are a century old, your clothes, hair, neck, face and hands are covered in black soot. The drops require gentle handling or clouds of dust float everywhere. Needless to say, I was not appropriately dressed for the task at hand, nor was the crew.
This project required many hands, and there were five of us: Michael Powers, Richard Finkelstein, Bridgette Dennett and Sarah Phillips. Bridgette and I handed down the drops to Sarah (on ladder), then Michael and Richard. After a few drops, I realized that we needed a sixth person, so I tracked down Paul, our Scottish Rite host that morning. Thank goodness he was willing to help. The addition of Paul meant that Sarah was able to stay on the ladder, while Paul, Michael and Richard placed drops on the stage floor. Slowly, and carefully, the drops were placed from the upstage wall to mid-stage; twenty-five in all.

Meanwhile…

The stage lights had also malfunctioned, so while Michael was dealing with that issue, Bridgette, Sarah and I unrolled each scene. Richard photographed each piece from the top of a ladder, as he able to adjust the skewed perspective. While he was doing that, I climbed halfway up the ladder to photograph entire composition, then took detail images from the floor, catalogued the scenes, and labeled each drop for transport. Several top battens were broken, which meant it was not an easy unroll and re-roll task. However, we finished the project by 6PM.

Tomorrow, Richard, Michael and I will finish documenting the remaining scenes that are still hanging. Michael and I depart on Tuesday for the two-day drive home. It has been a challenging, but delightful time, as we have had the opportunity to photograph the settings under various lighting conditions. I will return to my blog “Tales of a Scenic Artist and Scholar” next week.

To be continued…

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.

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.

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.

This double painted wing is the only example that remains, depicting an exterior garden and rocky pass. For more information about the historic scenery collections at the Tabor Opera House, visit www.drypigment.net and keyword search “Tabor Opera House.”

Copyright © 2020 by Wendy Waszut-Barrett

For the past few weeks I have been exploring the scenic art careers of Henry C. Tabor and Henry E, Burcky, both listed as scenic artists for the Tabor Grand Opera House in Denver, Colorado.

Keep in mind that Henry C. Tryon was an alias, the painting name for Henry B. Hoornbeck. For the full story of Hoornbeck’s name change, visit: https://drypigment.net2020/10/16/tales-from-a-scenic-artist-and-scholar-part-1092-henry-b-hoornbeck-and-henry-c-tryon-1847-1892/ Hoornbeck’s name change became official in 1872.

In 1878, the Chicago Directory listed Henry C. Tryon as an artist, boarding as 198 W. Lake. William P. Tryon was also boarding at same address. Henry’s brother was William Patterson Hornbeck, but he also adopted the last name of Tryon at this time. The two were living with the Estella C. Tryon , the widow of sculptor and artist Horatio L. Tryon.

During the spring of 1878, Tryon was credited with scenery for the new opera house in Monticello, Iowa. The announcement reported, “The opening of our new opera house last night was a great event in the history of this city. There was an immense crowd. The opera house is said the finest in Iowa, outside the large cities. The scenery by H. C. Tryon, scenic artist of Chicago, is superb. The play was “Led Astray” and it was well rendered in every particular. We are all pleased and gratified, and return our thanks to Chicago for sending us a first-class artist in the person of Mr. Tryon”  (14 March 1878, page 5).  

By 1879, Tryon was occasionally working in New York and painting scenery for Niblo’s Garden. Tryon and Edward Simmons delivered scenery for another production of “The Black Crook.” Simmons later became associated with Tony Pastor’s Theatre and was noted as their artist in the 1884  “Harry Miner’s Dramatic Directory.”

In 1880, Henry C. Tryon painted scenery for “Sea of Ice.” On May 17, 1880, the “Muscatine Journal” reported, “All the scenery to be used was prepared especially for the play by the talented artist, Henry C. Tryon, formerly of McVicker’s Theatre, who is now here, and will personally superintend the production of the drama” (page 4). His settings for the production included: the main deck of the Urania; a plain of ice; the coast of Mexico; and a garden in Paris. The “Muscatine Journal” article elaborated, “Among the beautiful and surprising scenic effects to be produced may be mentioned the display of the Aurora Borealis, the breaking up of the ice, the fall of the ice bergs, the tropical sunset, the ripple of the ocean, and the fountain in the garden scene.”

As an itinerant scenic artist, Tryon dashed from one project to another across the country. Artists on the go provided contact information in a variety of publications. Tryon placed ads in the “New York Clipper.” A listing from December 4, 1880, listed, “Henry C. Tryon, scenic artist. Address, care 20 South Canal Street, Chicago, Letters will be forwarded.” He continued to provide the same contact information on February 5, 1881. It was during this time that Tryon partnered with Henry E. Burcky, both traveling east to paint in Cincinnati for the Opera Festival. An article in the “Cincinnati Enquirer” reported, “Messrs. H. E. Burcky and Henry Tyron, the young and talented artists who came here from Chicago to assist painting the scenery, have been doing excellent work. They are bright, intelligent and rapid worker and but for their assistance it would have been difficult to have the scenery ready by Monday next. Mr. Burcky is scenic artist at Hooley’s Theater in Chicago, and Mr. Tryon at McVicker’s. They express themselves as amazed at the extent and magnitude of the affair” (15 Feb 1881, page 4).

After working in Cincinnati, Tryon headed west to Minnesota where he painted scenery later that spring. On May 21, 1881, the Minneapolis “Star Tribune” reported, “Henry C. Tryon, the excellent scenic artist left to-day for Chicago where he goes at once to fulfil another engagement” (21 May 1881, page 5).

To summarize, during the first half of 1881, Tryon worked in Cincinnati, Minneapolis, and Chicago. By this time, he was also associated with the Tabor Grand Opera House in Denver, Colorado.  I find it fascinating to track the travel of nineteenth-century scenic artists. They were constantly on the go, zipping across the country as an amazing speed.

To be continued…

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.

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…/

Copyright © 2020 by Wendy Waszut-Barrett

On this day in 1882, scenic artist C. Louis “Lou” Malmsha passed away. He was only 35 years old at the time of his death, yet many believed him to be one of the greatest scenic artists of his day.  On October 22, 1882, Henry C. Tryon published an article in the Salt Lake Tribune, writing, “As an humble follower, ardent admirer, friend, and confrere of this dead artist, I felt it my duty to render tribute and homage to his transcendent genius.  He was the best in the profession.  Every artist who has seen his work has without qualification given him this position as a matter of simple fact.  I have seen samples from the hands of the best scenic artists in England, France, and Italy, and from what I have seen and learned, I am convinced that Mr. Malmsha was the greatest scenic painter in the world.  His identity appeared to be unbounded.  The most familiar with his work could not guess how he would paint next.  Week after week and year after year, his productions were a constant succession of surprises.  He was entirely an artist and used none but purely art means to accomplish even a mechanical object.  His compositions, the motive of which was ever noble and elevated, were entirely original and were produced with astonishing rapidity.  He united power and strength with the sweetest tender and delicacy, with grace, sublimity, and loveliness.  I have yet to see in American art any examples which manifest the wealth of genius that this man proved that he possessed.  I am quite certain that had he turned his attention to the painting of pictures that he would have ranked as the greatest artist that our country has ever produced for his genius was certainly preeminent.  His position in his profession was an isolated one.  He had no peers.  His place vacant, now there is none can fill.”

There is nothing left of Malmsha’s work and little known of his personal life beyond a family grave plot at Riverside Cemetery in Stoughton, Wisconsin. I visited this cemetery last week, and contemplated the love that went into Malmsha’s memorial. The base reads, “Erected by his Wife and Artist friends.” In front of the broken column are five smaller headstones for the entire Malmsha family: Papa, Mama, Freddie and two with “Baby.” I have yet to uncover anything about Malmsha’s personal life, nor his marriage to Emma. They were married quite young, and only a short time after Malmsha arrived from Sweden.

On a cloudy fall day, it was difficult to look at the gravestones without experiencing profound sorrow. By the age of 32, Emma Malmsha had lost three children and her husband. She never remarried and lived for three more decades, passing away in 1912. I have yet to locate a single historical record about her life, or even a marriage license to Lou.

When Emma was seventeen years old and Lou was twenty years old they mourned the loss of

their first child on Aug. 30, 1867. The name at the base of the gravestone is badly chipped, possibly reading “Daws,” but “Our Baby” remains clearly legible.

They would not celebrate the birth of another child for six more years. That second child was born to the couple the same year that Thomas G. Moses met Lou Malmsha – 1873.

When Thomas G. Moses began his artistic career, he assisted Malmsha who was lead artist at Jevne & Almini, fresco painters. Moses recalled Malmsha years later, writing “He was a very clever man.  In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work, very simple in drawing and color, but very effective.”

In the fall of 1873 and at the beginning of 1875, Lou and Emma celebrated the birth of two more children. Despite a string of continued successes in the theatre, the family’s personal life began to crumble, as did Lou’s health. On June 23, 1877, the couple lost their second child, only two years and six months old. A small gravestone simply carries the name of  “Baby” at the top.

Less than a year later, they lost their third child. On March 3, 1878 Freddie passed away at the age of four years and six months old.

The loss of Freddy occurred just before Lou left for Minnesota to paint stock scenery for the St. Paul Opera House. On site, Malmsha must have thrown himself into work, painting six scenes that included a kitchen, a landscape, a three-door chamber, a forest, the street, and a garden.”

Just prior loss of their two children, Lou also began showing the signs of illness; he suffered from consumption.  Despite his ill health, Malmsha continued to work as a scenic artist for McVicker’s Theatre in Chicago. Upon his passing in 1882, Henry C. Tryon wrote, “For the past ten or twelve years he had been afflicted with consumption so that it was difficult for him to exert himself violently or to do more than two or three hours a day, but as he was for the past few months required to do none but purely artwork, other artists doing all of the preliminary work possible to make his labor easier, he was enabled, no doubt up to a recent period, to astonish and delight the audiences at McVickers with the exhibition of phenomenal genius.”  This meant that Malmsha began suffering from consumption in his early 20s.

Malmsha was born in Gothenburg, Sweden, in 1847. Demonstrating a strong talent for painting at an early age, Malmsha emigrated to America in 1863, soon settling in Chicago and securing employment with the fresco artists, Jevne & Almini. While working for the firm, Malmsha became interested in scenic art and soon was assisting Mr. Arragon at Crosby’s Opera House.

In 1866 he moved to New York where he executed the first scene for “The Black Crook.” This was just prior to the loss of his first child. In New York Malmsha also was engaged multiple times at the Union Square Theatre, as well as Dan Bryant’s Old Hall on 23^rd Street and Kelly and Leon’s Minstrels. While in New York City, Malmsha designed and painted scenery for the Tammany Amusement Co. On March 14, 1869, Malmsha was also credited with several scenes for “Harlequinade,” including the settings that depicted Horse Cars on Sixth and Eighth avenues, the Wildcat Bank, and a Seminary for Young Ladies” (New York Daily Herald, 14 March 1869, age 9).

By the end of the decade, Malmsha briefly worked alongside William Voegthlin. The two painted scenery for “Robinson Crusoe and His Man Friday,” a pantomime burlesque at the Tammany theatre. Malmsha’s settings for the production included the Island of Sorosis, the Rocky Shore of the Island, London in the Olden Times, the Forest Dell, the Firework Shop and Groceries, Seaman’s Home and Pawn Shop, and the Caverns of Gloom (New York Daily Herald, 25 April 1869, page 16).

Working as an itinerant artist, Malmsha next partnered with Barney Macauley of Cincinnati. At this time, he was listed in the Cincinnati Directory, boarding at 69 W. 6^th.

He returned to Chicago just before the great fire in 1871, and began working at McVicker’s Theatre with James Howard Rogers. Rogers had already been at the venue for twelve years.  A few weeks into this job, the great fire prompted Malmsha to return to Cincinnati.  It is doubtful that Malmsha’s family traveled with him to each city. Emma was likely living in Stoughton, waiting for her husband to return between projects. This was certainly the case with Tom Moses and his wife Ella.

In March 1871, Malmsha was credited with painting new scenery for “Streets of New York” at Wood’s Theater in Cincinnati. (“Cincinnati Enquirer,” 9 March 1871, page 5). Other productions painted by Malmsha there included “Blue Beard,” starring Miss Lydia Thompson” (Cincinnati Enquirer, 11 Dec. 1871, page 5). Malmsha was listed as a scenic artist in the Cincinnati Directory from 1871 to 1873, residing at 73 W. 3^rd. On February 18, 1873, the “Cincinnati Enquirer” credited Malmsha as the “leading scenic artist of the day” for Dion Boucicault’s new one-act play, “Kerry, or Night and Morning”  (page 8). The article reported:

“Wood’s Theater. – The engagement of Dion Boucicault at Macauley’s theater is so far the dramatic event of the season. Boucicault is the Shakespeare of scenic effects, and we might almost say the creator of the modern stage, materially speaking. He is also the most successful playwright of the generation, and last night he proved himself likewise the most powerful emotional actor and the truest delineator of Irish character that has ever appeared here. If more is wanting to justify our opening assertion, it is easily supplied. The actor and author brings with him as support his accomplished wife, professionally “Agnes Robertson,” and several other powerful supports, while the manager of the theater, appreciating the occasion, has not only strengthened his company, but has, with the aid of the leading scenic artist of the day, L. Malmsha, “put on” the plays in a style unexampled here.” The production was Boucicault’s new one-act play “Kerry, or Night and Morning.” On Nov. 24, 1873, the “Cincinnati Enquirer” included an advertisement crediting “L. Malmsha” for “entirely new scenery” for “Divorce,” the great society play, at Wood’s Theater.

Malmsha returned to Chicago by 1874 and began working at McVicker’s Theatre again It is possible that the birth of his second child prompted his return to accept a permanent position closer to his wife in Stoughton, Wisconsin. In 1877, Malmsha was listed in the Chicago Directory’s “Artists” section, living at 768 Wabash Ave. By 1878, Malmsha was credited with the new Opera House scenery in St. Paul.  “Manager Hains has secured the services of Mr. Louis Malmsha, the scenic artist of McVicker’s theater, Chicago, to repaint and add to the scenery of the opera house. Mr. Malmsha is one of the best scenic artists in the country. He will arrive in St. Paul this morning and begin work at once” (“Daily Globe,” 12 August 1881, Vol 4, No. 224). The “Saint Paul Globe” reported the work was completed by “Mr. L. Malmsha, renowned throughout the entire theatre-going public as the scene painter of McVicker’s establishment, Chicago” (11 July 1878, page 4). As part of a four-week renovation, the “Saint Paul Globe” reported, “This consists in the refitting of the entire stage scenery behind the curtain with new “flats” and “wings,” depicted on new canvas. The scenes so far completed are six in number, but, with the “set piece” and others to follow will, when finished, amount to twenty-four in all. The six completed scenes were last night privately exhibited to a very few invited guests and to the members of the press. They consist of a kitchen, a landscape, a three-door chamber, a forest, the street, and a garden.”

Regardless of other projects. Malmsha continued to work with Rogers at McVicker’s Theatre in Chicago, painting “Little Innocents” (1877), “After Dark” (1878), and “The Parson” (1880). The two were also credited with scenery for Gotthold & Rial’s touring production of “Uncle Tom” (Racine Daily Herald, 6 Feb 1879, page 4). Despite his failing health, Malmsha continued to paint.  Upon his passing, newspapers noted that although physicians advised Malmsha to “seek a more salubrious climate,” he remained in Chicago to continue his art.

Rest in Peace.

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

Copyright © 2020 by Wendy Waszut-Barrett

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.”

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…

Copyright © 2020 by Wendy Waszut-Barrett

Henry C. Tryon worked as the scenic artist at the Tabor Grand Opera House in Denver, Colorado, from approximately 1881-1883. Henry E. Burky also worked there by 1884. Tryon and Burcky were both Chicago artists who intially partnered together in 1881. They painted scenery for the Cincinnati Opera Festival.

In addition to this storyline about Burcky, I am also writing about life and career of Tryon in “Tales from a Scenic Artist and Scholar.” For Tryon, I am currently exploring his work in the 1870s. His timeline complements that of Burcky and provides context for the lesser-known scenic artist. And the main reason that Burcky entered the picture is because of his scenery for the Tabor Opera House and Tabor Grand Opera House.

Last month I documented a scenery collection at the Tabor Opera House in Leadville, Colorado. There was one jungle wing stored in the attic that caught my eye as it was signed, “W. J. Moon carpenter and H. E. Burpey [sic.] scenic artist, October 6, 1890.” This information provided a creator and manufacture date for the entire set of eight jungle wings. The “Herald Democrat” confirmed his stay in Leadville at the time, reporting his departure from Leadville for Denver. On October 16, 1890 the newspaper announcement reported,  “Mr. H. E. Burcky left last evening for Denver.”  Burcky was also listed in the 1890 Denver Directory, but only for that year.

As an itinerant artist Burcky appeared in many city directories, including the Chicago Directory (1875, 1877, 1885, 1887, 1889), as well as the Cincinnati Directory (1893, 1894, 1895, 1897, 1888, 1889, 1900) and the Camden, NJ, Directory (1905). Although Burcky began his career in Chicago, he worked as an itinerant artist at theaters across the country. In 1884, “Harry Miner’s Dramatic Directory” listed “Burkey” as the scenic artist for the Tabor Opera House in Leadville.  However, in the listing, he was noted as, “Burckey, scenic artists, Tabor Opera, Denver,” suggesting that he worked for both venues that year. The 1884 Denver directory also listed “Berky” as the scenic artist for the Academy of Music. Additionally, a scenic artist named “Burck” was credited in the same directory for the Masonic Temple in Louisville, Kentucky; likely Burcky, as theatrical directories are full of misspellings. In short, Burcky traveled to any place where he could secure work, crisscrossing the country by rail.

In 1888, Burcky was credited with scenery for “The New Karl. “ A comedy starring Charles A. Gardner, the Karl character was a peddlar. Gardner was advertised as a “great German comedian” who sang and danced. The “Wheeling Sunday Register” mentioned Burcky’s involvement with the production, reporting, “Scenic artist Burcky deserves credit for several new scenes which he painted for the play” (Wheeling Sunday Register, 19 Feb 1888, page 6). The following year Burcky painted scenery for another Karl production that played at Havlin’s Theatre (The Independent, 27 Aug 1889, page 4).

In 1888 Burcky settled in Cincinnati; well, as much as possible for an itinerant scenic artist at that time. On June 26, 1888, Burcky married Elizabeth “Lizzie” Smith. The following day, the “Cincinnati Enquirer” reported, “Henry Burcky and Lizzie Smith were married yesterday by Squire Hauser.” Louis Hauser was a justice of the Peace and this was not a first marriage for Lizzie. Here is where it gets a bit confusing. Lizzie’s maiden name was Clemmons. She married John J. Smith (b. 1850) in 1870; Smith worked as a janitor and there is no indication of a death, separation or divorce for the couple. In regard to Lizzie, some historical records list her birthplace as Pennsylvania and others Louisiana, but the year seems to remain consistent as 1853. While together, John and Lizzie Smith celebrated the birth of six children. Five of the six children included Charles (b. 1871), George Arthur (1875-1950), Thomas J. (1880-), Florence (m. Meehan, 1881-1964) and William Milton (1882-1914, m. Florence Holmes); one child possibly died in infancy. Lizzie and Henry Burcky celebrated the birth of a daughter in 1895. On Sept. 20, Marie “Alva” Burcky (1895-1969) was born in Hamilton, Ohio.

After Lizzie and Henry’s marriage in 1888, everyone was still living together. The youngest Smith child at the time took his step-father’s name and became William “Milton” Burcky. In 1889, the Chicago Directory listed “Henry E. Burcky, artist 254 Ogden Av.” Interestingly, he was also listed in the 1889 Lake City Directory: “Henry E. Burcky, scenic artist, r. 6611 Halsted, Englewood.” That same year his father Frederick Burcky and William E. Burcky were also listed in the Lakeside Director, each living at the same address as Burcky at 6611 Halsted. It is possible Henry forgot to notify the directory of his moved from Halsted to Ogden, or vice versa.

By 1890, Burcky was listed in the Denver Directory, suggesting that there was enough work to prompt a permanent address for a year. He is also absent from the Chicago and Cincinnati directories in 1890, 1891 and 1892. In 1892, Burcky is credited as painting scenery for Keene’s “Richard III” (“Saint Paul Globe,” 13 Nov. 1892, page 11).  “The Springfield Leader and Press” credited “the well-known scenic artist, Berkey,” as one of the artists for Keene’s touring Shakespearean productions that included “Richard III,” “Hamlet,” and “Othello” (4 Dec. 1892. Page 4).  

In 1893 and 1894, Burcky was living in Newport, Kentucky, with the Cincinnati Directory listing: “Henry E. Burcky, scenic artist, Walnut Street Theatre, res. Newport.” He remained employed Cincinnati’s Walnut Street Theatre throughout 1893 and 1894. In 1894, the Covington, (Kentucky) city directory listed “H. E. Burcky, scenic artist, h. 936 Putnam.” By the way, Covington is across the river from Cincinnati. It was in the mid 1890s that Burcky’s career hits some sort of snag.  He shifts from scenic art and works as a lithographer and paper hanger. In 1895, he is listed in the Cincinnati Directory as “Burcky, Henry E. lithographer, wks. 11 8^th nw Main.  In 1897, he is listed as “Burcky, Henry E., scenic artist, h. 330 E. 5^th”.  At this same time, he is listed as living at the same address as his step-sons Thos. J. Burcky and Geo. A. Burcky, both paperhangers too. By 1898, Burcky is again listed as a scenic artist, but still living with Thomas and George, each still employed as paper hangers. The listing was, “Burcky, Henry C., scenic artist, h. flat 7, 337 E. 5^th. The “C” becomes another issue in tracking down Burcky, as the cursive “E” was often misread as a “C.”

The 1900 US Federal Census listed Henry and Lizzie living with five of their children, as well as Mattie, their daughter-in-law. Mattie was the wife of Thomas. The theatrical business was a family affair, with both Henry and his stepson Milton (18 yrs. old) working as scenic artists. George (24 yrs.) and Thomas (19 yrs.) were paper hangers, and Charles (age 27) was a carpenter. Interestingly, in 1899 Charles Burcky was previously listed as a paperhanger in the Chicago Directory.

Of the children, it was George A. Smith (m. Julia Anna) who remained involved with the theatre in various roles, including theatre electrician. His obituary noted, “George A. Smith, for many years employed at the Cox and Schubert theaters as stagehand manager, died yesterday at Bethesda Hospital. He was 75 years old. Mr. Smith is survived by two sisters, Mrs. Florence Meehan and Mrs. Alva Tigue, both of Paterson, N.J.; a brother-in-law, William Mack, Cincinnati, and an aunt, Miss Dena Eckhart, 2344 Wheeler Ave., with whom he made his home. His wife, Julianna preceded him to a grave. Mr. Smith was a member of the Oolah Kan Grotto, the Stage Workers Club and Robert Burns Lodge, F. & A.M. Services will be held at 10:30 a.m. Wednesday at the Vitt and Sterner funeral home, Fairmont Burial will be in Spring Grove” (Cincinnati Enquirer, 9 Oct. 1950, page 12).

Shortly after the turn of the twentieth century, the Burcky family eventually moved east. By 1905, Henry Burcky was living in New Jersey, listed in the Camden Directory. Alva Burcky was baptized in New York on April 20, 1907 at St. Jerome’s Church, Bronx, New York City.  It remains unclear exactly when the family moved, or which members remained in the area after Henry’s passing in 1908. On February 21, 1908, Henry E. Burcky passed away in Manhattan, New York. Listed in the Episcopal Diocese of New York Church Records, he was buried at 377 3^rd Ave, Mt. Olivet on February 26, 1908. Interestingly, church records list his age as 60, conflicting with previous documents that suggest a birth year of 1852. I have yet to locate any obituary for Burcky, or memorial.  He seems to have passed in relative obscurity.

His daughter Alva ended up living in Manhattan by 1910. The US Federal Census listed that Thomas Smith was living in Manhattan with his wife Mattie, daughter Mildred, and “sister-in-law” Alva Burke. At the time Thomas was employed in a blacksmith shop as a “horseshoer.” It is difficult to track down much information about Alva, as she was listed by both first and middle name in historic records. Regardless, Alva married Patrick Tigue in 1918, listing her parents as Elizabeth Clemmons and Henry Burcky.

When Alva passed away in 1969, the obituary listed her mother as Elizabeth Williams Burcky, and not Elizabeth Clemmons Burcky. “Williams,” may simply have been a typo.

To be continued…