Category: Uncategorized

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “Sold Hoffman of Detroit $725.00 of old scenery from Saginaw.” Sosman & Landis had previously provided scenery to East Saginaw’s Academy of Music. The refurbishment and resale of old scenery to a new venue was commonplace at this time.

On March 26, 1916, the “Detroit Free Press” announced, “Amusement Place of Large Capacity Takes Site Where Stands Old Abandoned House of Worship.” C. A. Hoffman and Graham Hoffman were pictured next to the proposed Colonial Theatre. The article continued, “Amusement place with capacity for 2,289 is to be opened October 1. To build the first large-modern theater in the near down-town section of Woodward avenue, the Detroit-Colonial Theater company has been organized by the Hoffman brothers, vaudeville managers and producers, and incorporated with an authorized capital of $200,000.

“A 30-year lease has been obtained of the northwest corner of Woodward avenue and Sibley street on which now stands the abandoned Woodward avenue Congregational church, a landmark in that section.

“C. Howard Crane, architect, has been engaged to draw plans for the theater and has completed the specifications embodying a number of innovations. The theater will have no gallery; but there will be a spacious balcony. Something new to Detroit will be a larger open well on what is to be a mezzanine floor, giving the auditorium under the balcony the appearance of great height. This feature is found in the Strand theater, New York. The capacity will be 2,289 including 204 box chairs. The style of architecture will be colonial carried out in exterior and interior details, giving opportunity for striking beauty and simplicity.

There will be a stage adequate in size for any act on the large vaudeville circuits. There are to be 15 dressing rooms, besides special quarters for musicians, electricians, and carpenters, and lounging rooms and shower baths for stage performers.

The name Colonial has been chosen for the theater because it is the pioneer showhouse of the district in which it is to be located, because of the style of architecture desired an because as the promoters declare, ‘It’s a good old American. – strictly American name.”

Clare A. Hoffman will be president and general managers of the company, and Graham Hoffman secretary and treasurer. These young men of long experience, in various capacities, with the theatrical and amusement business, built and have managed the Palace Theatre of this city. They are the management in the Hoffman Brothers theater enterprises including the new Palace theater of Saginaw. The vice-president of the Colonial Theater company is Harry J. Dingeman. The three named with Julius L. Krimmel and Mortimer Hoffman are the company’s directors.”

On Feb. 26, 1916, “The Moving Picture World” announced, “Clare A. Hoffman has succeeded A. I. Marenette as president of the Palace Theater Cp., of Detroit. Graham Hoffman continues as secretary. Harry J. Dingeman has been elected vice-president and Frederick H. Mears treasurer. These, with Mr. Marentette, form the directorate.

It was announced at the director’s meeting held recently that the company, which has been paying 1 per cent, monthly on a $200,000 full subscribed capital, will go to 2 per cent. March 1, with the company practically free from debt. C. A. Hoffman has also been chosen president, Mr. Dingeman vice-president and Graham Hoffman secretary of the Hippodrome Amusement Co., of Saginaw, Mich., which has practically completed the financing of a theater being erected on Gennessee avenue and to be opened about March 15. The Hoffman Brothers Theatrical Enterprises has recently opened offices at 1437 Dime Bank building. They propose to erect other theaters in Michigan” (page 1330).

Sosman & Landis had been doing business with the Hoffmans since 1914. On Feb. 15 of that year, the firm delivered scenery to the Palace Theatre in Detroit (see past post #879). The Hoffman brothers were the managers for the venue. Other Palace theaters with scenery by Sosman & Landis included those in Chicago (1912), Minneapolis (1914) and Fort Wayne (1914). To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In January 1916, Thomas G. Moses wrote, “I had a fool’s errand to Dayton, Ohio.  They wanted a plush curtain and telephoned for me to come immediately.  The National Cash Register Company.  They didn’t even apologize.” Well, the company may have been a bit busy that January defending themselves in an anti-trust suit. On Feb. 2, 1916, “The Times Recorder” reported, “The anti-trust suit against the National Cash Register Company was dismissed in U.S. court here today, the defendants agreeing to do all except to dissolve the company. The company is enjoined from  using any trade secrets or from intimidating a competitor or acquiring control of a company except on permission of the court”(Zanesville, Ohio, 2 Feb 1916, page 1).

Of the National Cash Register project mentioned by Moses, it may have concerned auditorium.

In 1916, the National Cash Register City Club Auditorium opened in Dayton, Ohio, on Dec. 2, 1916. Located at First and Ludlow Street, over two thousand employees and their families gathered to celebrate the event.  Although no formal program was planned for the opening, company president J. H. Patterson, and the officers of the company held an open house and formed a reception line. The “Dayton Daily News” reported, “the organization at the factory had grown to such an extent that it was impossible for the officials to have the close contact with the employees that is possible in the small organization, and that in order that all might have the opportunity to meet each other, this club has been established” (3 Dec 1916, page 48). Patterson outlined the purposes of the education features that were to be part of club activities, “saying that every man in the employ of the company will have an opportunity to improve his efficiency if he desires.”

The open house was held for two weeks. In the evening, the N.C.R. film “The Troubles of a Storekeeper” was shown, depicting the troubles of a merchant who used antiquated methods in business, and how he remedied them with a cash register. This film has been shown in numerous cities across the country. All merchants and clerks in Dayton were specially invited to attend a showing at the N. C. R. City Club Auditorium.

The new auditorium, or ‘Little Theater” as it was sometimes called, was constructed of red brick and the interior finished in gray. The floor of the auditorium was not raked, intended to be used for not only dramatics, but also dancing and gymnastics. The small stage included one interior and one exterior setting for amateur theatrics. The intent was to share the auditorium with various societies and organizations. Newspaper articles reported that the purpose of the club was to provide “a down-town social center for employees of the company, where they may gather for events of importance during the winter season.” Each Saturday night, cider and doughnuts were furnished free of charge.

Continuing education was also offered, with classes in advertising, bookkeeping, free hand drawing, business letter writing, public speaking, printing, salesmanship and shop mathematics. The classes were taught by N. C. R. employees and were not meant to interfere with other educational institutions of Dayton. The “Dayton News” commented, “The N. C. R. City Club accomplishes a two-fold purpose: It not only provides a place for amusement and recreation, but also gives N. C. R. employes an opportunity to better their present positions.” All employees were eligible for membership in the club.

In addition to the classes, talks were given by officials of the National Cash Register Co., and others, on various topics. Motion pictures and stereopticon entertainments periodically scheduled.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1916, Thomas G. Moses wrote, “On February 15^th, closed with the German Red Cross Kirmiss contract for $7,500.00.” Moses was referring to the big Red Cross Society drive that took the form of a German Street Fair in the Chicago Coliseum on April 2. In 1916, charitable events were held throughout the United States for the German Red Cross, with many using street fetes as a vehicle. I have uncovered very little about the Chicago event, but it was similar to the one held in Cincinnati the year before. “The Cincinnati Enquirer” described the event at the Music Hall on November 18, 19 and 20 in 1915, reporting, “It will be a faithful reproduction of the famous old German city of Nuremburg on the occasion of a typical Kirmiss, the proceeds of the undertaking to be for the benefit of the German-Austro-Hungarian Red Cross fund. The unusual attractiveness of the affair will consist in placing in the north wing of Music Hall a replica of the old city of Nuremberg, with its quaint tiled-roof houses and its famous ‘Bratwurst Gloeklein.”

Baltimore’s “Der Deutsche Correspondent” included a history of the German Red Cross on 23 Nov. 1916 (page 4):

“The German Red Cross is an old established institution, which has given capable services in times of peace whenever natural or industrial calamities have compelled earnest and systematic relief action…At the outbreak of the war, the German Red Cross, complete as it already was for conditions then existing, was amplified and expanded into the magnificent organization to which all classes of social life in the German Empire have been proud to contribute, The advice and services of the greatest authorities in the sciences of medicine and surgery at its command.

            The responsibilities of the German Red Cross are stupendous and the daily continuation of the war in all its varied phases and territories has causes a corresponding increase of suffering and of pitiful conditions for the relief of which additional funds are urgently required and earnestly solicited.

            Contrary to general belief, the German Red Cross concerns itself not only with the succor and care of the wounded and convalescent soldiers, but also with the relief of innocent victims, reaching out a helping hand to the uttermost limits to those who have borne the brunt of the war’s hardships. This includes not only the soldier who has been disabled during outpost duty on the farthest front, but also his dependent wife and children at home, who must be clothed, fed, educated and provided with medical attention.

Thousands of volunteer workers who had received instruction in first aid, together with a legion of highly trained nurses have taken up the work of mercy in relieving the wounded, whether friend of former foe, and in many homes today fervent gratitude is being voiced to the German Red Cross for its skilled assistance in restoring loved ones to the families’ bosoms; husbands and fathers and brothers who might have succumbed to their wounds on the battlefield but for its timely aid.

The most advanced practices in restoring to health the wounded and convalescent are employed. The facilities of sanitariums and institutions for teaching the blind, the crippled and partially helpless and the hopelessly invalided, have become available for these unfortunates, Special training schools are maintained for those who have had to use artificial limbs, so that they may not become totally incapacitated, thus giving them an opportunity of again becoming useful and independent members of society.

By Nov. 16, Chicago’s “Day Book” reported, “Berlin. – German Red Cross and the Ass’n of Patriotic Ladies have received $50,000 from the U.S. branch for relief to families of soldiers” (page 31). At the end of 1916, the German Red Cross Society received $200,000. This figure was included in a December 30 article in the “Chicago Tribune.” The article included a list of gifts and bequests during 1916 by Chicagoans:

“It is not an exaggeration that the donations and bequests to charity, educational and religious institutions, art music and the public welfare in general in the United States during the year 1916 will reach nearly a billion dollars. Among the items which will help to make up this huge total are large sums raised by Americans for relief to war sufferers and help for war makers. It is estimated that nearly $5,000,000 have been sent through the principle agencies in New York and Boston, but to this sum should be added those sent through other agencies in various parts of the country and the numerous contributions, which have been made direct, and not through any special fund. Supplies worth millions of dollars have also been collected and sent in addition to cash donations. Of these war gifts Belgium has received about $11,000,000, France nearly $4,000,000, Germany about $9,000,00, Poland $2,300,000, England 1,125,000, Jewish sufferers $6,500,000, Serbia $320,000, Russia $160,000, Armenians and Syrians $2,565,000, Lithuanians $138,000, Balkan fund $500,000, Japan $11,000, Christmas gifts $400,000, Roumania $3,200, Australia $30,000, Italy $62,000, and several smaller amounts have been sent for ambulances, artists, surgical dressings, education, hospitals, etc. These sums represent those sent by the Red Cross and larger relief organizations. The increase of wages and bonuses paid by corporations to their employees amount at least $400,000,000. Christmas charitable organizations and God Fellows have added about $80,000,000 more to the grand total. The American board of commissioners for foreign missions has broken all records with receipts of $1,207,000 and $550,000 have been expended upon work among troops on the Mexican border. As to personal contributions it is impossible to form any estimate, except in a few prominent cases. John D. Rockefeller has donated to different objects about $9,500,000; Andrew Carnegie, $3,000,000; Julius Rosenwald $1,600,000, and Mrs. Russell Sage $525,000. The donations and bequests for various purposes in this country have amounted to $764,077.99, these including only large sums, which have been publicly announced. Of this total donations have been $623,262,002; bequests, $140,815,797. The objects of this beneficence are as follows: Charities, $657,042,700; educational institutions $72,612,619; religious institutions, $20,243,735; museums, art galleries and municipal benefits, $11,479,295; libraries, $2,717,450.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

As an undergraduate student at the University of Minnesota, I created an index for Thomas G. Moses’ diary and scrapbook. It was part of an independent study course with Prof. Lance Brockman. I spent countless hours trying to track down sources for the newspaper clippings in Moses’ scrapbook, paging through crumbling theatre journals and scrolling through reels of microfilm.

Fast-forward three decades. I am sitting on the floor of my basement office, organizing my scenic art files. A small slip of paper falls to the floor; it’s almost illegible because the font is so small and I have no idea where I last set my reading glasses. I take a picture with my phone to enlarge the print and quickly scan the article; one name pops out – Little Theresa Sparks. 

Her is the article: “Little Theresa Sparks is another scenic artist who may be expected to reach the top. Miss Sparks is now employed with Bodine-Spanger Studio, Chicago. Two years ago she was given her first opportunity to demonstrate her ability when then manager of the Halsizer Display Background Studio, Des Moines, Iowa, gave her employment.”

I was immediately transported back to Wilson Library’s basement, complete with hard chairs, microfilm machines, and an endless stream of quarters. It was in the basement of Wilson library that I carefully transcribed each line of the text from Moses’ newspaper clippings. I didn’t own a computer at the time and would later type up these notes. In hindsight, my handwritten transcriptions were the best thing I could have done, as much of the information etched itself in my memory.

“Little Theresa Sparks” was the earliest mention of an historic female scenic artist for me. I realized there could be a hidden treasure trove of documents that mentioned women scenic artists. There would be one – newpapers.com.  So much history about women technicians has been left out of theatre history books.

Theresa “Tressa” M. Sparks was born in Jasper, Iowa on May 29, 1894. The 1895 Iowa State Census lists the actual residence as Lynngrove in Jasper.” She was the only daughter of William P. Sparks and Rosa “Rosy” Matheny.  Both William and Rosy were also from Iowa, with her paternal grandparents from Kentucky and Indiana, and her maternal grandparents from Iowa and Virginia. William was a piano salesman and Rosy, a seamstress. In 1905, the family was living at 1216 Third Avenue in Grinnell, Iowa.

Unbelievably, I found a picture of Tressa. She was listed in the 1913 issue of “Grinnellian,” Grinnell’s High School Year book. Active in debate, orchestra and the glee club, she even make it the debate preliminaries that year. At Grinnell High School, the drawing and penmanship instructor was Miss Bessie Wallace. Wallace’s education was from the Iowa State Teachers College (1907) and Chicago School of Art.  This would have been Tressa’s initial Chicago art connection. Tressa completed college, but was back as Grinnell High School as an instructor of zoology, chemistry, and the Nature Study Club. This seems to have been her first job.

By 1919, Sparks was living in Des Moines, Iowa, and was listed in the City Directory as an artist rooming at the Hotel Pershing.

This is likely where the article that I located fits in: “Little Theresa Sparks is another scenic artist who may be expected to reach the top. Miss Sparks is now employed with Bodine-Spanger Studio, Chicago. Two years ago she was given her first opportunity to demonstrate her ability when then manager of the Halsizer Display Background Studio, Des Moines, Iowa, gave her employment.” Note that there is no big deal made about her gender.

The Bodine-Spanger Co. advertised as “Designers and Manufacturers of Decorative Backgrounds for Show Windows,” with their show rooms and studio in Chicago. They placed advertisements during 1918 in the “Merchants Record and Show Window” (Vol. 42 and Vol. 43). Located at 116 Chatham Court, Chicago, George A. Smith was listed as the Eastern Representative with offices in 1777 Broadway, New York. In 1918, the firm partnered with the Koester School to give instruction in the Decorative Painting that “made his studio famous in the Window Display Field.” Mr. Bodine was credited as being the “originator of this style of decoration” and would teach students how to mix paints, what paints to use, how to get all the color combinations, how to make mottled effects, blending of colors, stencil designs and how to do decorative landscape painting “in the modern treatment by the Bodine method.” The company was initially called j. C. Bodine, and later the Bodine-Spanger-Janes Co.

The 1920 US Federal Census lists provides a little more information about Sparks as she was recorded in both Des Moines and Chicago.  In both instances she was, 25 yrs. old, single, and listed as an “artist” working in the “studio” industry. In Chicago, she was boarding in

at 1423 LaSalle St (Chicago’s Ward 21).  She was also listed as living with her parents in Des Moines. That year William P. Sparks was still working as a piano salesman, going house to house.

Something happened by 1930, however, as Sparks returns to Grinnell with her parents. It was likely the market crash of 1929. The US Census lists the family living as living at 195 Third Ave. That year, Theresa submitted “none” for occupation, whereas her father was now listed as a musical instrument salesman and her mother as a seamstress.

The 1940 census still lists Sparks as still living at home with her parents, now ages 72 and 70 respectively. She listed no occupation after her return to the small town of Grinnell, Iowa, in Poweshiek County. It appears as if she was taking care of aging parents while living at 1216 Third Street, Grinnell, Iowa.

Sparks passed away on June 15, 1970 and is buried next to her mother Rosa.

Over the past 3 ½ years, I have explored the lives of at least two-dozen women scenic artists, with careers that spanned from the early nineteenth century to early twentieth century; one even ran a studio.  These are individuals whose name actually made it into print, meaning that they were but a small percentage of women actually working as scenic artists for theater. I think of all those unmentioned souls, the one’s whose mere presence may have been a liability to a scenic studio at that time.

As with other scenic artists of the day, the women painted for a variety of venues and were well skilled in many subjects. When you factor in the incredible social pressures for women to give up any career upon marriage and focus on raising children, it is amazing that a few dozen were still mentioned in the newspapers.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

While exploring the Triangle Club’s 1916 show “Safety First,” I came across the name of a female scenic artist – Katherine Maxey. I was fascinated that women did not perform in the play, yet one provided a stylized drop curtain for the prologue.

Of the scenery for the production, “The Brooklyn Citizen” described, “One innovation is in scenery. Instead of one set for the play there are three distinct scenes, with a special drop curtain for the prologue” (3 Dec, 1916, page 10). The design for the show was attributed to Bakst and the drop curtain Maxey painted in the “Bakst style.”

Thomas G. Moses’ commented the scenery was “very odd.” Moses was on site to supervise the scenery installation, suggesting that Sosman & Landis delivered much of the scenery for the production. A few newspaper reviews suggested the Princeton students produced the entire show, yet Maxey was specifically named and not a student at Princeton.

Katherine U. Maxey was born on September 13, 1887, meaning she was 28 years old when she painted the drop curtain.

The 1910 United States Federal Census lists Maxey as living in Wheaton Ward 3, DuPage County, Illinois. Her occupation is listed as an “illustrator,” working in the art industry. One of six children, she was the eldest of four still living at home in 1910. Maxey’s father was Francis J. Maxey, listed as a meat packer, and her mother Anna C. Regan, listed as a homemaker. At the time, Katherine was 22 years old and her younger siblings were ages 16 (Dorothy), 14 (George R.), 10 (Roberta), and 3 (Paul).

I was surprised to discover that at the age of 19, Maxey was working as an illustrator in Chicago. On Feb. 17, 1907, the “Times Dispatch” reported Katherine Maxey was the artist for the March issue of “The Technical World Magazine” (page 34). She designed the cover art.

By 1913 Maxey applied for a consular registration certificate to travel to Madrid, Spain. The purpose of her travel was listed as study without any elaboration. As an artist and illustrator, I suspect it was for artistic study.

In 1918, Katherine married Alfred Ray Patton (October 6, 1886-1926) in Evanston, Illinois. Their marriage was announced in “The Paxton Record” on January 31, 1918 (page 4):

“Announce Marriage of Daughter.

The Record received Tuesday morning a card from Mr. and Mrs. Francis Joseph Maxey of Evanston, Ill., announcing the marriage of their daughter, Miss Katherine Wisula, to Mr. Alfred Ray Patton of Clarence, on Saturday, January 20, 1918. They will be at home to their friends after the 15^th of April at their apartments in Wheaton, Ill. The groom, who is the son of Mr. and Mrs. LaFayette Patton of South Button, is well known in Paxton, having attended school here. The bride is a lady of unusual attractions and is in the front rank of society in Wheaton. As an artist she ranks high and has taken many premiums in this country and Europe in mural decorations and designs. Her work adorns many art institutes in Madrid and other cities in Spain. It is with pleasure that the Record unites with their friends in extending congratulations.”

She now signed her art Katherine M. Patton, going by Katherine Maxey Patton.

The next year, Maxey exhibited at the Thirty-First Annual Exhibition of Water Colors, Pastels and Miniatures by American Artists at the Art Institute of Chicago from May 15 to June 15, 1919.  Her painting was “The Watertank.” At the time, Maxey’s address 718 Southwest Street, Wheaton, Illinois. The couple soon moved to California.

Her husband was only a year older and seemed to lead a fairly average life. Born in Clarence, Illinois, his WWI Draft Registration Cards lists that he was employed as an attorney with Chicago Title Trust. Described as tall and slender, Patton had grey eyes and light hair. Sadly, the marriage last less than a decade. On Nov. 30, 1926, Patton passed away in Pasadena, California. No cause of death was listed. His obituary noted: “Alfred Ray Patton, husband of Katherine Maxey Patton of Wheaton, Ill. Passed away Tuesday, Nov. 30 at Pasadena, California. Son of Mrs. Ella Patton; brother of Ruth and Harry Patton. Burial from Patton home at Paxton, Ill., early Sunday afternoon, December 5^th” (Chicago Daily Tribune, Dec. 3, 1926, page 37).

By 1930, Maxey divided her time between Pasadena and Chicago, still working as an artist and interior decorator. From May 24 – April 15, 1931, “Katherine Maxey Patton” exhibited at the “Festival of Religious Art: Religious Art by Artists of Chicago and Environs.” That same year, she was also mentioned in an article about the American Association of University Women. On August 18, 1931, the “Kenosha News” reported, “Two very interesting programs have been scheduled to end the year’s work. The first will feature the appearance of Mrs. Katherine M. Patton, National Academy of Art, Chicago, who will speak on ‘Old and New Masters,’ April 19.”

There is little published during the remainder of the decade about Maxey or her work. In 1937 she traveled to San Juan, Puerto Rico, a trip that inspired a series of watercolor paintings. One of these paintings has survived and was recently up for sale at auction.

By 1940, Maxey had permanently moved to Pasadena, California, listing her occupation as an interior decorator. She still continued to paint murals, watercolors and oil paintings. Her name appeared in the “Decatur Daily” on March 11, 1956, in an article about the décor in Harry Malone’s Bookmead home in Decatur, Alabama. The “Japanese type handcrafter wall paper done by Katherine M. Patton” was a feature of the dining room. Very little else is published about Maxey as she grew older. However, in 1966, Katherine Maxey Patton, along with Dorothy and Jean Maxey were listed as contributing funds for the Pasadena Playhouse, to “Save the Pasadena Playhouse from fiscal ruin” (“Pasadena Independent,” 10 Aug. 1966, page 64).

In 1972 the “Star-News” reported, “Our society editor, Ruth Billheimer, advises that a subscriber phoned to report that artist Katherine Maxey Patton, who lives on Rio Grande and is a sister of the late actor, Paul Maxey, heard crows in her pine tree carrying on and making a great ado. Assuming it was a cat in the tree that was behind the raucous, she got out her binoculars. Suddenly, reported the informant, there came a great crashing sound from among the branches – and out flew and EAGLE. (Or condor, fugitive from the Ojai fire?)” (Pasadena, August 28, 1972).

Maxey passed away in Los Angeles in 1984.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

I am reposting this installment, as it has been a month since I switched over to “Travels of a Scenic Artist and Scholar” on my way to Colorado.

In 1916, Moses wrote, “Thanksgiving Day at Pitt’s, with brother Frank, which was a surprise to me, and we had a fine time.  Next day I had to go to Princeton to see about installing the scenery for the Triangle Club.  The boys were highly pleased with it, as it was very odd.”

The Triangle Club was a theatre troupe at Princeton University.  By 1916, the organization had presented annual musical shows for about twenty years. That December, the club presented “Safety First,” a comic opera burlesque by F. Scott Fitzgerald. The show was also advertised as a futuristic farce. As an undergraduate at Princeton, Fitzgerald wrote three shows for the club between 1914 and 1917.

In the article “Rah!Rah!Rah! The New Princeton Show,” there was a little more information about scenery that Moses considered “odd.” The article reported, “The type of scenery used has never been employed in any musical comedies of this country. It was arranged by Bakst, designer for the Russian ballet. Massive blocks of bold colorings have been employed throughout so as to gain an effect of the greatest contrast possible. The effort was made to make the actors themselves stand out more in the foreground, and the situations realistic without aid form the stage setting” (The Theatre, 1917, Vol. 25, page 80).

The article further described the production:  “From the mystical prologue to the final satirical drop of the curtain, [this] is a musical comedy which speaks rather of the twenty-first century than the twentieth century. It is daring and done with finesse and polish that relieves it of any touch of the outré. The show is a plea to waft the audience to the land of the future – a land in which all our modern absurdities have been carried to their logical conclusions indicating that society should examine carefully each new idea before accepting it as bona fide. The idea of the lyric should be to proceed more carefully, looking before we leap, and thus practicing ‘Safety First.’”

The Triangle Club’s production of “Safety First” toured all across the country that year. The cast of 65 traveled 3,000 miles and performing in eleven cities. They traveled by special train referred to their “a hotel on wheels.” On Dec. 3, 1916, the show played in Pittsburgh at the Schenley Theater; it was the ninth of the eleven cities. Other locations included Brooklyn’s Academy of Music, Baltimore’s Lyceum Theatre, and New York’s Waldorf-Astoria. “Safety First” was reported to be “one of the most completely equipped plays” produced by the Club (Pittsburgh Press, 3 Dec. 1916, page 15). There is no mention of Sosman & Landis’ scenic contribution other that by Moses in his memoirs.

As with Purdue’s Harlequin Club, men played the female roles. In girl’s parts Mr. W. M. Bowman played Betty Howard and Mr. W. J. Warburton played Cynthia Mars.

The “Baltimore Sun” described the production on 17 Dec 1916 (page 31). The article included a picture of Paul D. Nelson, president of the Princeton Triangle Club and leading man in “Safety First.”  Here is the rest of the article from the “Baltimore Sun:”

“On Wednesday evening the Princeton Triangle Club will make its annual bow to the theatre-going public of Baltimore at Albaugh’s Lyceum Theatre, Although an amateur organization, this well-known college dramatic club has for years set a standard of professional excellence and the play this year, entitled ‘Safety First,’ is reported as well up to that standard. The play is a satire on modern conditions and a burlesque on some of the modernist ideas. The action takes place in the futuristic art community of Arden and deals with a counterfeit art school run by a former convict named Howard. The lyrics, written by F. Scott Fitzgerald, serve to carry on the general idea conveyed by the show, that of satire and burlesque on certain foibles and fads of the day – mostly feminism, futurism, and prison reform. One of the characteristics of the show, and of all Triangle Club productions, is that it is the work of undergraduates throughout. Not only are the play and lyrics composed by students at the university, but the entire personnel of the company is made up of undergraduates, including the cast, flirtatious girls, chorus and pony ballet, orchestra and the lowly electricians, property men and ‘mistress’ of the wardrobe. The scenery and costumes are also designed by members of the club.”  The designs were the work of club members, but the manufacture of the stage settings were delivered by Sosman & Landis, installed under the supervision of Thomas G. Moses after Thanksgiving Day in 1916.

Of the scenery, “Brooklyn Life” reported, “the stage settings were most attractive” (23 Dec 916, page 12). “The Brooklyn Citizen” elaborated that there were “a variety of striking scenic effects” and stage settings were “unique”…One innovation is in scenery. Instead of one set for the play there are three distinct scenes, with a special drop curtain for the prologue.” (3 Dec 1916, page 10). The drop curtain was provided by Miss Katherine Maxey in the “Bakst style.” More on Maxey tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

By the 1950s, DuBois had returned to Kansas City, Missouri. In 1954 DuBois was noted for painted a stage backdrop depicting “a reproduction of the temple of Aesculapius on the island of Cos, off Asia Minor, where the practice of medicine began with Hippocrates” for the Medical student center at Kansas University’s J. R. Battenfeld Memorial Auditorium in Kansas City. (The Kansas City Times, 5 April 1954, page 14).

DuBois also began working for the Great Western Stage Equipment Co. and painting Masonic scenery. This brings the Great Western Stage Equipment Co. into the storyline.

The Great Western Stage Equipment Company (GWSE Co.) was founded by T. L. Greening, L. J. Adler, and Samuel F. Hann, after Greening resigned from the Twin City Scenic Company. Established in Kansas City, Missouri, during 1925, the first listing that I have located for the firm was published in Topeka’s “The Stage and Screen” (Topeka, Kansas, 30 Nov, 1925, page 5). The GWSE Co. Was listed as providing the scenery for Ted North’s North Players production of “The Only Road” at the Grand Theatre. In 1927 the firm delivered scenery and draperies to the Sedalia Theatre in Sedalia, Missouri (Sedalia Democrat, 30 January, 1927).

In 1930 there is a new individual is associated with the company, Edgar L. Gossage of Pierce City. He was mentioned in the “Pineville Democrat” as representing the firm when they were awarded the contract for the Pineville High School (Pineville, Missouri, 14 Nov. 1930, page 1). Competitors at the time included Oklahoma City Scenic Co. and John C. Becker Stage Equipment Co. of Chicago.

During the 1930s the Great Western Stage Equipment Co. was located at 817 Holmes St., Kansas City, Mo. The company advertised in 1932 Patterson’s American Educational Directory (Vol. XXIX). This directory is about as significant as “Julius Cahn’s Official Theatrical Guide” at the turn of the twentieth century, providing insight into theatrical suppliers, as educational institutions become a major clientele. GWSE Co. advertised alongside American Scenic Studios (Buffalo, NY), B & B Scenic Studio (Cleveland, OH), Beaumont Studios (NYC), Wm. Beck & Sons Co. (Cincinnati, OH); Robt. P. Carsen Scenic Studios (Chicago, IL), Cincinnati Stage Lighting Co. (Cincinnati, OH); Conrad & White Co. (Indianapolis, IN), Archie B.  Craig Scenic Studios (South Boston, Mass.), Herfurth Scenic Studios (Cincinnati, OH), Kansas City Scenic Co. (Kansas City, MO), Lee Lash Studios (NY), Novelty Scenic Studios (NYC), Pausback Scenery Co. (Chicago, IL), Queen City Scenic Studios (Buffalo, NY), Rochester Scenic Studio (Rochester, NY), Schell Scenic Studios (Columbus, OH), Schneider Studios, Inc. (NY), Sheck & Co. (Cleveland, OH), Shields Studio (St. Louis, MO), O. L. Story Scenic Co. (Somerville, Boston, Mass.), Tiffin Scenic Studios (Tiffin, OH), Twin City Scenic Co. (Minneapolis, MN), and Wass & Son (Philadelphia, PA). Note the two major studios that led the industry up to WWI are missing from this list – Toomey & Volland (St. Louis) and Sosman & Landis (Chicago).  The driving force that kept many studios busy was dramatic productions and school theatricals that also began renting scenery.

Very few GWSE Co. projects are mentioned in the newspaper during the 1930s, as schools become their main target; there was really no need to advertise in newspapers during the Depression. Contracted projects announced in the newspaper includes a stage in Great Bend, Kansas (1938), a school in Marysville, Kansas (1938) and a school in Hutchinson, Kansas. New alliances were formed, and during 1938 Phil Thatcher, president of the Thatcher Supply and Equipment Co of Topeka, Kansas, was representing the firm. On behalf of the Great Western Stage Equipment Co, Thatches was bidding on stage equipment (Marysville Advocate, 17 Nov. 1938, page 1).

By 1939, the GWSE Co. placed a congratulatory note and advertisement in conjunction with the opening of the Illinois Theatre in Jacksonville, Illinois (Jacksonville Daily Journal, 8 May 1939, page 22). Thomas L. Greening was still with the firm, listed as Treasurer and Manager at 817 Holmes Street. The incorporation date of 1926 was noted in advertisements, offering scenery, electrical, draperies, stage rigging and accessories for schools, colleges, theatres, movies, lodges, churches, pubic auditoriums, outdoor theatres, traveling shows, display rooms, expositions and tent shows.

During the 1940s projects included the Home Theatre in Oklahoma City (1946), the Go-Show theatre in Clinton, Missouri (1947), a school in Tremonton, Utah (1948), and the South School in Neodesha, Kansas (1950). . In Oklahoma City the GWSE Co. received a rather large project for a Cooper Foundation theatre called the Harber (Daily Oklahoman, 1 July 1951, page 69). By 1951, project load once again increased, along with the building boom following WWII. The country was investing in education and entertainment; the greatest generation opened their pocketbooks for their children and those who would follow. Positions opened up at the firm, advertising for stenographers, switchboard operators, bookkeepers, men who were mechanically inclined with carpentry skills,

The company’s main focus remained schools and civic centers, with projects in Lake Park, Iowa; Decatur, Illinois; Lubbock, Texas; Totonka, Iowa; Independence, Iowa; Garden City, Kansas; Miami, Oklahoma; Waterloo, Iowa; Moline, Illinois; St. Joseph, Missouri; Davenport, Iowa; Decatur, Illinois; Freeport, Illinois; Rock Island, Illinois; Iola, Kansas; Alton, Illinois; Carbondale, Illinois; Emporia, Kansas; and elsewhere. Frequent competitors during this time were Texas Scenic Co., Texarkana Scenic Co., Northwest Studio, and Metropolitan State Equipment.

In 1956 there was a new division of GWSE Co., Great Western Fabrics, offering half-price remnants for sale. They sold velvets, fine hand prints and assorted fabrics for “pillows and many other uses, advertising “red hot” bargains at 1324-1326 Grand in Kansas City (The Kansas City Times, 26 Sept, 1956, page 46).

It is around this time that DuBois begins working in earnest for the company, focusing on new scenery for Scottish Rite theaters in the Kansas City and the southeast.  Fraternal work begins to pour in, but DuBois is nearing the end of his career. Although the scenery for a handful of Scottish Rite theaters represents a lifetime of experience as a scenic artist, isn’t with the company long.

DuBois passed away on 26 March 1964, and is buried at Forest Hill Cemetery in Kansas City, Missouri.

Then came the big fall for the Great Western Stage Equipment Co. In 1968, Newspapers all over the country announced “Price Fixing Charge Filed.” Here is the article:

“WASHINGTON (UPI) – The Federal Trade Commission Thursday provisionally accepted a consent order prohibiting two Midwestern stage equipment companies from conspiring to fix prices and allocate territories and customers. The order cites Great Western Stage Equipment Co., Inc. of Kansas City Missouri, and its president Edgar L. Gossage, and the Metropolitan State Equipment Co., Inc. of Omaha, Neb., and Donald W. Beck and Carl W. Winter, resident and vice-president respectively. The firms sell, manufacture and install stage curtains, rigging, lighting apparatus and other stage equipment. The complaint charged that all the parties participated in a conspiracy under which Metropolitan and Great Western agreed not to compete with each other in certain areas. It also said Great Western and Gossage had prevented competitors from bidding effectively on proposed projects by manipulating terms and specifications. Under order, Great Western and Gossage are forbidden to prepare terms or specifications of proposed stage equipment projects wit the purpose or effect of denying competitors fair opportunity to submit competitive bids” (The Springfield News-Leader, 21 June 1968, page 14).

In the 1970s there are only a few mentions of the company. In 1976, the Great Western Stage Equipment company advertised for a drapery workroom supervisor (Kansas City Times, 15 Feb 1976, page 65). They placed an ad for a seamstress at their Great Western Textiles division that same year (Kansas City Times, 20 Feb 1976, page 22).  Then news about the company went silent until the 1990s, when it was mentioned again in the touring exhibit, “Theatre of the Fraternity,” featuring Masonic designs produced by the company as part of an exhibit about Scottish Rite theatre.

Prof Emeritus C. Lance Brockman assisted in the acquisition of the Great Western Stage Equipment Company collection for the University of Minnesota Performing Arts Archives. This is the first collection that I catalogued as a recipient of an Undergraduate Research Opportunities Program grant. The Great Western Stage Equipment Co. collection primarily contains Masonic designs. However, there are many commercial theatre designs with a Great Western Stage Equipment Co. stamp in the Twin City Scenic Co. Collection, also in the Performing Arts Archives.

Here is a link to the GWSE Co. online collection: https://umedia.lib.umn.edu/search?facets%5Bparent_collection_name%5D%5B%5D=Great+Western+Stage+Equipment+Company+Collection+%28PA044%29

Back to the life and times of Thomas G. Moses in 1916 tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Don Carlos DuBois moved from Kansas City to Atlanta in 1921 and founded the Atlanta Scenic Co. On Sept. 27, 1922, the “Atlanta Constitution” reported providing scenery for the third act of “Iolanthe” at the Atlanta Theatre. The article described it was “a stage setting of rare beauty…showing the ocean in the background with an ocean liner steaming across a harbor” (page 4). The Atlanta Directory listed Don Carlos DuBois as a scenic artist living at 4, 72 Hurt.

By 1924, DuBois became one of five faculty members added by Stuart Beebe and Gus Forbes to their to Atlanta School of Stage Arts (The Atlanta Constitution, 27 July 1924, page 28). DuBois was in charge of classes on stage settings and color schemes. As an instructor and company president, DuBois was at the top of his game and took the region by storm. Atlanta Scenic Studio advertisements offered “Artistic” stage settings, practical stage equipment, and velour curtains.

During the summer of that year DuBois’ scenic studio was gaining ground. They began competing against Sosman & Landis in earnest and it was the perfect time to win contracts. Sosman & Landis had closed the year before, with Thomas G. Moses and Fred R. Megan purchasing the name of the studio. The studio giant was on shaky ground and could no longer effectively compete against many regional studios.

The two companies competed for a southern contract to provide scenery and stage equipment at Birmingham’s Municipal Auditorium (Birmingham News, 26 June 1924, page 30). The work was awarded to the Atlanta Scenic Company and included “the placement of scenery, curtains, rigging, etc. for the new municipal auditorium” (Birmingham News, 4 July 1924, page 9); Atlanta Scenic Co. designed, painted, and installed four new sets for the venue (Birmingham News, 1 Oct. 1924, page 4). Of Atlanta Scenic Co. and its president, the “Birmingham News” reported, “Mr. DuBois is known as one of the foremost scenic artists in the country. He furnished the Atlanta auditorium and many other auditoriums in the South and has handled the work of hundreds of school auditoriums.”

Advertised as the “finest municipal auditorium in Dixie,” the “Birmingham News” described the new auditorium on October 19, 1924 (page 56). They quoted DuBois: “We had the honor to supply the velour drop, the asbestos curtain, the stage settings and the operating equipment for drops and scenic effects, including 65 sets of lines. Inspired by the beauty, dignity and magnitude of this building, we have given Birmingham our best and are proud of the distinction of having our work in your auditorium. We create and manufacture artistic front drops, refined stage settings, practical stage equipment and velour curtains for all kinds of theatrical, school and municipal work.” 

By 1925, the Atlanta Scenic Co designed furnishings for the new picture theatre in Atlanta’s West End Theater, providing red velvet draperies, noted as combining “a pleasing blend of shapes and colors” in this 500-seat venue (Atlanta Constitution, 24 Nov. 1925, page 22). At this same time, they delivered stage settings and draperies for the big Macon auditorium in Macon, Georgia. Of the work, the “Atlanta Constitution” commented, “The stage settings and draperies for these theaters were designed and placed by the Atlantic Scenic company…they have a fine force of artists and skilled workmen. The mural decoration for the Macon auditorium is one of the largest and finest pieces of stage work ever done in the south, being 10×60 feet. The work was done by Don Carlos DuBose [sic.], president of the Atlanta Scenic company, and Wilbur G. Kurtz, one of the foremost artists in America in this line. The handsome decoration is over the proscenium arch and portrays the salient features of Georgia’s history and in the central group are seen figures of Macon’s industrial progress, religious and educational advantages [Ferdinand DeSoto’s visit in 1540 until WWI]. The Atlanta Scenic company is doing much favorably to advertise Atlanta by the fine work they are doing in schools, churches and theaters all over the south. The builders of new buildings of all kinds that have in mind adding beautiful decorations of any kind are calling this firm in to add that artistic touch that gives a pleasing finish to the completed building. Schools and small theaters in all parts of the southeast know that this firm can fit them up with the stage settings, curtains, draperies and scenes and beautiful small and large sets may be seen underway at all times in their busy studio. Mr. DuBose [sic.] stated Saturday that many of the architects in the south were kind enough to recommend their work and any prospective builders have lately been calling on them and giving contracts for various kinds of decorations and that men from his studio were busy out in Atlanta while the home forces were executing designs of that nature here that could be sent anywhere as he further stated that a cordial invitation was extended to all interested people to call and see them or give them a ring t Ivy 2116 and any information will be cheerfully given.”  (23 Nov. 1925, page 12). Here is the link to the Macon City Auditorium where the mural still exists: https://www.maconcentreplex.org/auditorium/about-us/

In 1926, the Atlanta Scenic Co. delivered scenery to Tallahassee’s Florida State College for Women and the new Florida university building and Gainesville’s new Florida University building (Atlanta Constitution, 26 July 1926, page 8). DuBois was quoted again: “We have done much work in the south the past three years in that territory between the Potomac and the Mississippi, and without an exception we have done some very fine work in every place…another nice job was the Georgia State College at Milledgeville, where we furnished a complete stage equipment and beautiful curtain. We consider this the best college stage, bar none, in the state of Georgia. We also refer with pride to some work we have done in Athens, Bartow, Claxton, Elberton, East Point, Register, Brunswick, Waycross and Wadley, Georgia. The firm also outfitted the stages in theatres and schools in many places in the southern states, among them being Raleigh, Asheville, Fayetteville, Elizabeth City, Saint Pauls, Forrest City and Spindale, North Carolina; Easley, Laurens and York, South Carolina; Brewton, Ensley, Georgiana and Woodland, Alabama; Nashville and Johnson City, Tennessee; Jacksonville, West Palm Beach, St. Petersburg, Fort Lauderdale and Haines City, Florida. Beautiful full stage equipments and velour stage curtains are in progress of work now and some just completed for Saint Mary’s college, at Raleigh, N.C.; high schools in Marion, N.C.; Salisbury, N.C.; Birmingham, Ala.; Shaw, Miss.; Midville and Cuthbert, Ga., and the stage and equipment for Macon’s municipal auditorium. Stage equipment for the Atlanta Municipal opera; Agnes Scott college, and West End theater are all well known to Atlantans, yet few knew that this good grade of work is being done on the Gilmer street side of the auditorium. In addition to doing public stage work this firm has been decorating private homes, clubs and lodges.”

On Jan. 18, 1927, the firm placed an advertisement in the “Miami News” congratulating the Tivoli Theater management on the successful opening of their playhouse (Miami, Florida, 18 Jan. 1927, page 8). It noted, “It has been a pleasure to associate with the management of this fine new theater in our business of supplying all stage hangings and scenery.” That year, Atlanta Scenic Co. also manufactured and installed the stage settings at the Arcade Theatre in West Palm Beach (The Palm Beach Post, 7 Oct. 1927, page 9).

As an interesting aside, DuBois was formidable chess player and member of the Georgia-Florida Chess Association. In 1927, he attended the sixth annual convention of the Georgia-Florida Chess Association. By 1929, The “Arizona Republic” reported that Don Carlos DuBois of Atlanta, Georgia, placed third in the correspondence school chess tournament sponsored by the Southeastern Chess association (Phoenix, Arizona, 19 July 1929, page 11)

By 1930, the US census listed a Don Carlos DuBois living in the Militia District 532 DeKalb, Georgia, 1667 Camell Road, but this is where it gets a bit confusing. Don Carlos DuBois II and his son were both active in the military and worked as scenic artists for the Atlanta Scenic Co.

Don Carlos DuBois III (B. Feb. 14, 1913 in Cleveland, Ohio) was a graduate from the Riverside Military Academy (Atlanta Constitution, 12 March 1833, page 26). In March 1933, DuBois III married Cecile Marie Martin, who also lived in Atlanta, and the couple settled there. It is difficult to determine whether father or son is credited with a particular project, unless it is specified. In 1933, Atlanta Scenic Co. provided the stage settings for Joseph Selman’s production of “Br’er Rabbit,” adapted by Harold Selman from “Uncle Remus Creeturs.” The dramatization was by J. Roddy Miller from Joel Chandler Harris’ Uncle Remus stories (Index-Journal, Greenwood, South Caroline, 7 Nov. 1933, page 2). This was likely the son, but it remains unclear. Sometime during the 1930s, the Atlanta Scenic Co. closed, but I have not found the exact date. Many scenic studios closed during the depression as projects diminished. By the 1940s, Don Carlos DuBois II registered for the draft, listing his employer as ALCO-Gravure Corp and no longer representing the Atlanta Scenic Co. Before the war, the elder DuBois had also returned to military work.

The 1940 US Census listed DuBois was an officer in the U. S. Army. 2^nd engineer br. Justice Precinct No. 8. Bexar, Texas. His home was still listed as Atlanta. On Dec. 19, 1943. The “Atlanta Constitution” published an article about DuBois and Wilbur Kurtz (page 22):

“MARIETTA, Ga., Dec. 18.-Illustration of bomber parts and interpretation of blueprints are a  new trend in art and design, but it’s a way which artists Wilbur Kurtz, ‘Gone With The Wind’ technical and art director, and “Don Carlos DuBois, a retired Army officer, have found to adapt themselves to the war effort. Former classmates at art school Kurtz and DuBois now are converting their efforts and principles of drawing learned in school to visual training processes at the Bell Bomber plant here. They have changed their brushes, pallets, and props for blueprint pencils, scaling rulers, and dimensional tools. Just out of art school in Chicago, both artists attempted scenic painting. DuBois went to New York and made his first successful back-drop in the production “Girl of the Golden West.” Kurtz, however, returned to the south, where he concentrated on southern scenes and history, the latter being his accomplished hobby.

“At the outbreak of the war, DuBois, a World War veteran, renewed his commission as major in the Engineer Corps, and was attached to the Delta Service Command in Cairo. Recently, he was retired, and did the next best thing – applied for work in a war plant. Kurtz, after his success as technical advisor on the movie version of ‘Gone with the Wind,’ returned to Georgia to work in the art department at the Bell Bomber Plant. He intends to return to his art studio at the end of the war.” He did return to theatre work, but for a different company – the Great Western Stage Equipment Co.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett.

I cannot conclude the history of the Kansas City Scenic Co. without mentioning one of the firm’s more significant artists – Maj. Don Carlos DuBois.

Don Carlos Boyes was born on Dec. 24, 1883, in Seward City, Nebraska, son of Carlos Eugene Boyes (1841-1924) and Elsie Melissa Clark (1854-1941). His mother was the daughter of Rev. E. L. Clark, and from one of the earliest pioneer families in Seward whose 1865 arrival was by covered wagon.

Don Carlos was one of four children born to the couple. His siblings were Burdette Boyes (1974-1941), Elsie Pearlette Eugenie Selman (1876-1945), and Myrtle Esther Boyes, (1878-1958). Pearl Boyes Selman became a famous Shakespearean actress known throughout the south, later settling in Atlanta. Like her brother Don Carlos, she moved to Chicago to study theater. Pearl attended the Chicago dramatic art school before joining the Avon Shakespearean players and touring southern theaters.

Don Carlos Boyes changed his name, becoming Don Carlos DuBois II. I have yet to discover the time or his reason. His name change reminds me of Harley Merry, president of the Protective Alliance of Scene Painters of America in 1896. “Harley Merry” was his painting name. His real name and stage name as an actor was Ebenezer J. Britain (also Britton). In 1922, Don Carlos DuBois also billed himself as a French artist, but that is the only mention I have discovered (“Atlanta Constitution,” 5 Feb 1922, page 9).

In 1900, DuBois II moved from Seward City, Nebraska, to Chicago, Illinois, where he lived with his uncle, Damiel Bain (b. 1871). Bain worked for the Lumber industry and DuBois attended art school. DuBois was 17 yrs. old at the time. From 1902 until 1905, DuBois was a student in the Art Institute in Chicago. It is unclear whether his scenic training also began at this time. He continued his studied overseas, taking classes in Rome and Paris from 1905-6. Upon his return to the United States, DuBois worked with E. M. Gross, another scenic artist, in New York. Between 1907 and 1909, DuBois continued to work as a scenic artist. One notable project during this time was the Cleveland Hippodrome. 

He met and married, Mildred Herman, in 1908 (9 Sept 1885-15 Dec 1971). Mildred was and actress by trade and their wedding took place on Feb. 19, 1908, in Cuyahoga, Ohio. Mildred was also an immigrant, with public records noting her homeland as both Poland and Germany. She was the daughter of Carl Herman, a German, Efrosina Franslau, a Russian.

By 1910 the couple was living in Kansas City, with DuBois listed in the city director as a scenic artist, living at 299 W. 16^th Street. From 1910 to 1921, DuBois worked for the Kansas City Scenic Co. In 1914 the couple moved to 214 E 34^th Street and resided there until 1918. Their address remained in Kansas City until 1921 when they moved to the southeastern United States, settling in Atlanta where DuBois founded the Atlanta Scenic Co.

In 1921, DuBois was listed as a 2^nd Lieut., belonging to the 110^th Engineers, Missouri National Guard Headquarters at Kansas City, Missouri. He was included in the Roster of National Guard Engineer Officers, Nov. 30, 1921.

More about the Atlanta Scenic Co. tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Here is an updated post about John Ulrich Tschudi (1850-1921) and a recently discovered painting by the artist.

By 1890, the Kansas City Scenic Co. was mentioned in connection to a new opera hall project in Little River, Kansas. The “Little River Monitor” reported, “The carpenters work on the new opera hall is going on at a lively rate. Canfield & Co. are doing the work in good shape, Messrs. Tschudi, Dunn and Oldham, of the Kansas City Scenic company, are painting a set of scenes for the hall, and are doing a fine job. The mammoth drop curtain is a beauty. It is ornamented with the business cards of our merchants and others, and will be first class in every particular” (16 June 1887, page 3).  Tschudi was a scenic artist who had worked in Kansas City since 1883.

I am going to take a moment and explore the life of John U. Tschudi, another immigrant who arrived in America during 1857. In 1881, Tschudi is first mentioned as being the scene painter who received the contract for the Whitley Opera House in Emporia, Kansas. He worked alongside J. W. Morris the stage carpenter.  They put in a complete set of scenes and the latest improvements in stage equipment. By 1882,  Tschudi was twenty-two years old and advertised as sign painter in Emporia. However, his advertisements soon announced that he was a fresco, scenic artist and sign writer (Evening News, Emporia, Kansas, 31 July 1882, page 4). He requested that people leave their sign orders at Moore’s Drug Store in town (The Evening News, 31 July 1882, page 4). Tschudi shipped ornamental signs across the country, even to Colorado and was associated with the Whitley Opera House (Emporia Daily News, 27 July 1882). As with many young and talented scenic artists, Tschudi soon partnered with Foreman, a stage mechanic and they delivered scenery to the Garfield Opera House in Kingman, Kansas (Kingman Daily Courier, 7 Dec., 1887, page 2).

Of his early life, Tschudi explained his background to a reporter in 1896, “I was born in Switzerland in 1852, but am an American artist. I came to the United States in 1857. My father was an artist in France and I, only one of eight children, am an artist. I was fond of it from childhood. When I was a boy I sometimes got punished for drawing comic sketches on the walls, and I would neglect my lessons to draw those pictures and frequently get kept in school on that account. (Daily Lexington, 24 Aug 1896, page 3). Other newspapers expanded, “After school days he studied with has father and assisted him with his work and soon developed such artistic taste in landscape painting that his father concluded in 1868 to send him back to France to finish his studies. ‘After five years,’ says Mr. Tschudi, ‘I returned to America and took a fancy to large work, and consequently went to theatrical scene painting, and have since that time worked in many of the finest theaters both in this country and abroad. My father was the famous fresco artist under the old masters in France for ten years. His work can be seen in France, Italy, Switzerland and America at the present time. He died in his 69^th year in New York” (Daily Leader, Lexington, Kentucky, 15 Aug, 1896, page 3).

When asked why he never changed the spelling of his name, he responded, “ I have no reason to be ashamed of it, as it is famous in Swiss history being the name of one of the oldest families on record and was borne by artists, generals and men of high rank, and at the present time there are a number of recognized artists in the family.”

In 1887, the “Wichita Star” reported “A reporter was shown the number of samples from scenic-artist work from the brush of Kansas City Scenic Artist company, in which company figures, as an artist, Mr. J. W. Tschudi, formerly of the city. The work is artistic and ranges throughout the entire term of scenic work. Landscapes, rocky passes, woods, streets, palaces, parlors, chambers, kitchens, hovels – in fact every known term of scenic effects were painted in the highest style of art   (22 March 1887, page 4).

In 1888, Tschudi, was working on his own and noted as being “beyond all doubt, the thorough, classical scenic artist in Kansas. His fine conceptions of mountain and sea, of glen and valley, of hill and dell, when spread upon canvass by his deft hand, are gems of beauty on which the eye fondly hangs. The COURIER heartily commends Prof. Tschudi to the managers of the Greensburg Opera House. By 1895, Tschudi was advertised as “one of the country’s finest artists,” and was delivering sizable scenes to the Phillips opera house in Richmond, Indiana (Richmond Item, 28 Aug 1895, page 3).

To be continued…