Henry Studley BURROUGHS

                   Historical and family information included in notes

Obituary transcribed and found by Helen Cox Tregillis, in posession of Jill Adams.

i.  Studley Oldham Burroughs, born Dec. 26, 1892, Chicago.  On April 22, 1919, his wife of only two years (Mary Becker) died in childbirth.  In March 1920 he rushed back to Chicago where his year-old daughter Margaret Mary had been stricken with spinal meningitis -- she died before he could reach her on March 31.  (ERBzine.)  From a second marriage, to Alice Armstrong, he had two daughters, June and Beverly.  In the 1930 Census, he has two listings:
1).  with Alices parents in Chicago, District 1197 at 1742 Kedzie Ave., a rental:  Harry F. Armstrong (Head), 45, a traveling laborer, married at 30, (parents both born in North Ireland), with his wife, May W., age 45, and their daughter, June, age 12, Studley is the son-in-law, age 38, an artist, working on own, and his wife, Alice S. Burroughs, age 23, married at 20.  
	2)  In a rental on Leavitt St., in Chicago, District 1922, Studley is the Head, age 38, an artist (own business), married at 34, with wife Alice, age 24, married at 20, with their daughters (born in IL), June, age 2, and Beverly, age 1 6/12, and a white servant, Charlotte Saper, age 19.  He died of an embolism following an operation for a hiatus hernia on Dec. 23, 1949, aged 56 years, 11 months, 27 days.  Studley had illustrated four Burroughs novels: Tarzan the Invincible, Jungle Girl, Tarzan Triumphant, and Apache Devil (1931-1933).
	Children:
	i.  Margaret Mary Burroughs, born March 8, 1919; died March 31, 1920, aged 1 year, 23 days.
		ii.  June Burroughs, born July 29, 1927, IL.
		iii.  Beverly Burroughs, born July 25, 1928, IL.



From the ERBzine:
Obituary-
Studley Burroughs of 465 Anthony St. died at DuPage Memorial hospital in Elmhurst last Friday morning. He had not been well for a year, and on the preceding Monday had had a surgical operation. 
He was born in Chicago on Dec. 26, 1892. His funeral took place the day after his fifty-seventh birthday. In 1936 he married Miss Marie English, and five years later the couple came to live in Glen Ellyn. With them were Beverly and June, daughters of Mr. Burroughs by a previous marriage. 
Mr. Burroughs was a commercial artist and free lance illustrator. He did work for General Outdoor Advertizing and other large firms. He had studied at the Art Institute and at the American Academy of Art. He and Mrs. Burroughs are members of Aster chapter of the Glen Ellyn Garden club. 
Funeral services were conducted by the Rev. Robert Stewart, pastor of the Wheaton Presbyterian church, Tuesday afternoon at 1:30 at Kampp's Glen Ellyn chapel. Cremation followed. 
Miss June Burroughs has been working and living in Oak Park and the other daughter, now Mrs. Paul Sommers, is in Rome, Italy. A sister, Evelyn, Mrs. Carlton McKenzie, lives in Quincy, Mich. The famous novelist, Edgar Rice Burroughs, is an uncle of Mr. Burroughs.

News story-
THE TOWN CRIER By Tony Weitzel

Other day we printed a silly blurb about artist named Leonard Linn. He vowed artists should marry artists, so artist's wife wouldn't scream about him mixing colors in her jampots. Glad we printed it because it brought a note from Marie Burroughs . . . Mrs. Studley Burroughs. 
Studley Burroughs was a nephew of Edgar Rice Burroughs, author of the Tarzan books. Nephew Studley was a commercial artist and free lance illustrator. Plenty of big firms were his clients. He and his charming Marie have been mighty popular people out Glen Ellyn way for a long time. 
But a year ago Studley Burroughs fell ill. A little more than a year ago, because their clever Christmas card read like this: "Merry Christmas . . . Have you ever been a human guinea pig? Well, DON'T After five doctors, three hospitals and 14 months of this, concluding with an operation, we hope to be seeing you again soon in 1950 HAPPY NEW YEAR The Burroughses of Anthony st., Glen Ellyn, Illinois." 
Marie Burroughs sent me one of those clever cards, along with a note dated Jan. 4: "Dear Tony: Have just placed a miscellany of custard cups and muffin tins to soak . . . the last time I'll have to retrieve 'jam pots' from Studley's studio. won't you please tell Leonard Linn for me that he needn't worry about finding a 'female artist' for his wife. What any artist needs is just a nice girl who loves him dearly. she won't care if he uses the sterling tea service for his brushes, as long as he is fine and true Sincerely, Marie Burroughs." 
You see, Studley Burroughs didn't live to see 1950. He was buried two days after Christmas.

Biography - 
Studley Oldham Burroughs was ERB's nephew, born December 26, 1892 to brother Harry and his wife Ella (Nellie) Burroughs. He was named after his father whose full name was Henry Studley Burroughs, and his mother whose maiden name was Oldham. Both Studley and his sister, Mary Evelyn (born March 12, 1895) were born in Chicago. Harry and Nellie took both children to Minidoka during the Burroughs brothers gold mining venture. 
The Burroughs family were quite excited about the birth of the new baby boy. In April 1895 Ed wrote to his brother, "How is the kid? From all of your letters I will expect to find him riding a bicycle and reading Caesar on my return in the summer. Don't rush him too much. He may get brain fever. Just tell him to follow after his uncle - if he wants to be a blooming idiot."
Young Studley, the budding artist was probably influenced by his uncle Ed more than most people realize. Long before his talents as a writer were recognized worldwide, Ed was writing humorous bits of fantasy, which he illustrated with quite clever and artistic sketches and cartoons. In 1909, ERB sent his young nephew a personally illustrated Christmas card. His verse is headed in large capitals: "S.O.B." and he jokes about his financial state: "Please accept from Edgar Rice The best he's got to give -- advice: Start a Bank Account."
ERB helped (probably unsuccessfully) to get Ella's stories and poems published. Ella's writing was far from the fantasy vein so popular with her brother-in-law. Her themes dealt with more realisitic human relationships and settings, and were no doubt influenced by the primitive lifestyle in the wilds of Idaho to which she had to adapt. The experience of raising two young children on a houseboat on the Snake River at the turn of the century was obviously in stark contrast to anything she had experienced in her younger days back in civilization. Her writing style mirrored a woman of great sensitivity -- a sensitivity and intenseness that was obviously passed on to her son. 
The family's artistic talent influenced Studley who was drawing and painting at an early age. He sketched constantly and even created murals on the wallpaper of their home. He reflected in later years: "From the cave man down, I assume the artist's impulse instinctively has sought to express itself in mural decoration, so I simply behaved true to type." The young cave man artist went on to a moderately successful career in commercial design and illustration. Studley was hired at age seventeen working as an apprentice doing lettering for a company in Chicago. He started out with almost no formal training but studied at nights at a wide variety of places of art instruction. One of his major influences was Audubon Tyler, one of his instructors at the National Academy of Art in Chicago. 
He went on to work as a feature artist at the Chicago Herald from where he moved to New York to work for Mothers Magazine. From there he moved to Los Angeles where his uncle Ed helped him gain employment at the Foster and Keiser Company. In 1914 Ed Burroughs wrote his main contact at All-Story Magazine to enquire about job possibilities for his nephew: "By the way, if my nephew cared to submit a cover design with one of my future stories would it receive consideration? He's a mighty clever young chap, and I don't know of anyone I'd rather swee him get a start with than you. He's doing rather well now, but nothing very steady, and his work is improving wonderfully." It was around this time that his work appeared as an illlustration in his grandmother, Mary Evaline's Memoirs Of A War Bride, in which she related her experiences during the American Civil War.
Studley also did work for The Los Angeles Tribune's Sunday Fiction Magazine, including the cartoon, "Self-Control Is A Wonderful Virtue in the February 27, 1916 issue and an illustration for "Red, the Mediator" by Montague Glass in the March 19, 1916 issue.
On April 22, 1919, his wife of only two years (Mary Becker) died in childbirth. On the verge of a breakdown, Studley, leaving his infant daughter in the care of his parents, accepted ERB's invitation to visit Tarzana Ranch. He helped lay out a nine-hole golf course and even designed a special golf scorecard.
It was probably around this time that Studley designed an ex libris (bookplate) for ERB's personal books. He described the 4" x 2 1/4" design in a letter to ERB: 
"The central figure is Tarzan embraced by one of his apes (Kala perhaps) and upholding the Planet Mars, which can be easily identified by its two moons, the Greater and the Lesser. (Not being a landscape artist I omitted the canals. They are the only things I think I have omitted.) The pen crossed with the sword indicate what I believe to be your two chief interests at this date. The laurel wreath, of course, depicts a degree of fame. In the crest below I have symbolized the four most pronounced epics of your career, starting with your days in the Cavalry, and following, in order, your life in the West, your return to the more civilized East, and lastly, your advent in the world of books, magazines, et al. (If anything of moment occurred before this, it was prior to our acquaintance.) In the panel behind Tarzan may be found my conception of the characters in some of your other bully-good stories."
ERB proudly sent copies of the ex libris to book collectors and fans, often accompanied by the above interpretation. He even added: 
"The shield in the lower left hand corner represents what my nephew conceived to be four important epochs of my life -- my interest in military affairs being symbolized by the cavalry boot and spur, the cow's skull representing my experience as a cowboy, the automobile wheel my interest in motoring, and the open volume my love of books."
In March 1920 he rushed back to Chicago where his year-old daughter Margaret Mary had been stricken with spinal meningitis -- she died before he could reach her.
Following this traumatic experience Studley was hired by Chicago's Thomas Cusack Company -- a company that later became the General Outdoor Advertising Company. While here he illustrated ads for McDonald Shirts, America's Cup Coffee and Poll-Parrot Shoes.
In 1929, ERB, unhappy with the work of artist Rex Maxon in the newspaper Tarzan comic strips, corresponded with Studley to seek his opinion. Studley supplied Ed with detailed criticisms which he forwarded to the Metropolitan Syndicate as an aid to the improvement of the current cartoons. 
On February 19, 1931 Studley offered to illustrate his uncle Ed's books for the newly formed publishing company, ERB Inc. ERB's first choice was his favourite artist J. Allen St. John, but St. John's rates were too high for this fledgling publishing company to meet in the lean depression years. The less experienced Studley agreed to his uncle's rates: $150 for a book jacket, $175 for a wrap-around jacket, and $75 for a frontispiece. 
Ed's decision to hire his nephew was somewhat of a risky decision. The trauma experienced by Studley in the death of his wife followed by the loss of his infant daughter had left him in a shattered emotional state from which he never fully recovered. A second marriage, leading to the birth of two daughters, June and Beverly, had produced even further personal problems. Added to this were his struggles to achieve a permanent success as a commercial artist. To aid his nephew financially, Ed, in 1930, had given Studley several advances on illustrations to be done in the future. Studley's emotional instability had caused him to seek support through an over dependence upon alcohol. As a result of all these problems, the possibility of Studley doing creative work on the tight schedule that Ed demanded was in question. 
Studley's early sketches for the first book, finally titled Tarzan the Invincible  (originally "Tarzan and the Man Things" and "Tarzan, Guard of the Jungle") received Burroughs' approval. In letters to Studley and other illustrators ERB dictated his requirements to a most meticulous degree and his explicit and detailed "suggestions" could hardly fail to be disconcerting and frightening to the artists. Studley, already worried and insecure, found himself receiving these precise, lengthy outlines and explanations detailing the action, the costume, and the weapons of the character chosen by Burroughs for illustration, plus many requests for additional research to attain authenticity. Practically nothing was left to the artist's initiative or originality.
Following this traumatic experience Studley was hired by Chicago's Thomas Cusack Company -- a company that later became the General Outdoor Advertising Company. While here he illustrated ads for McDonald Shirts, America's Cup Coffee and Poll-Parrot Shoes.
In 1929, ERB, unhappy with the work of artist Rex Maxon in the newspaper Tarzan comic strips, corresponded with Studley to seek his opinion. Studley supplied Ed with detailed criticisms which he forwarded to the Metropolitan Syndicate as an aid to the improvement of the current cartoons. 
On February 19, 1931 Studley offered to illustrate his uncle Ed's books for the newly formed publishing company, ERB Inc. ERB's first choice was his favourite artist J. Allen St. John, but St. John's rates were too high for this fledgling publishing company to meet in the lean depression years. The less experienced Studley agreed to his uncle's rates: $150 for a book jacket, $175 for a wrap-around jacket, and $75 for a frontispiece. 
Ed's decision to hire his nephew was somewhat of a risky decision. The trauma experienced by Studley in the death of his wife followed by the loss of his infant daughter had left him in a shattered emotional state from which he never fully recovered. A second marriage, leading to the birth of two daughters, June and Beverly, had produced even further personal problems. Added to this were his struggles to achieve a permanent success as a commercial artist. To aid his nephew financially, Ed, in 1930, had given Studley several advances on illustrations to be done in the future. Studley's emotional instability had caused him to seek support through an over dependence upon alcohol. As a result of all these problems, the possibility of Studley doing creative work on the tight schedule that Ed demanded was in question. 
Studley's early sketches for the first book, finally titled Tarzan the Invincible  (originally "Tarzan and the Man Things" and "Tarzan, Guard of the Jungle") received Burroughs' approval. In letters to Studley and other illustrators ERB dictated his requirements to a most meticulous degree and his explicit and detailed "suggestions" could hardly fail to be disconcerting and frightening to the artists. Studley, already worried and insecure, found himself receiving these precise, lengthy outlines and explanations detailing the action, the costume, and the weapons of the character chosen by Burroughs for illustration, plus many requests for additional research to attain authenticity. Practically nothing was left to the artist's initiative or originality.
Sometime in this period, Studley also drew the famous ERB-invented "doodad" -- the logo which appeared on the spine or covers of most of the ERB Inc. editions. The first appearance of this trademark colophon was on April 15, 1932 on the spine of the second published ERB, Inc. book: Jungle Girl . At that time Ed referred to the hieroglyph as "that mysterious Burroughs trademark" indicating that he was looking forward to the curiosity that this unusual fi
                  

                   NOTE: Family records state that she always went by Evelyn.  Wrote a book which contained some genealogical data, titled "Memoirs of a Warbride"