Month: December 2019

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Did a Vaudeville act for the Edelweiss Company.” Moses was referring to the “The Edelweiss Girl and Co.,” also billed as the “Edelweiss Trio” and simply “Edelweiss Girl.” 

The vaudeville act opened with a musical number, quickly changing to a sharpshooting exposition that featured marvelous marksmanship skills (Des Moines Tribune, 12 Dec. 1914, page 3). The Edelweiss girl and her two countrymen were all accomplished vocalists and the three sung native yodeling songs of the Tyrol region.  

The “Rock Island Argus” reported, “’The Edelweiss Girl’ is an Alpine sketch of a novel kind, with a beautiful mountain setting. The girl yodels and does some remarkable rifle shooting, in which she is assisted by a young man. One of the prettiest exhibitions is when the girl, while playing a number on the organ, is accompanied with chimes effect produced by rifle shots fired by her assistant” (16 Oct. 1914, page 13).

Of the scenery, the “Omaha Daily Bee,” commented, “Special Alpine scenery and effects are a feature of the act” (23 August 1914, page 17). An entire carload of special scenery accompanied the act to provide the Alpine setting and lighting effects. “The Times” described, “The scenic setting is arresting beauty, the sunrise in the Alps invariably getting a round of delighted applause” (Streator, Illinois, 26 Dec., 1914, page 5). The show was billed as a “Spectacular Scenic Sharpshooter” (The Gazette, Cedar Rapids, Iowa, 23 Oct. 1914, page 3).

Sosman & Landis delivered a similar scene and effect during the 1893 World Fair and  later at the Temple Roof Garden. The earliest mention was the scenery for “A Day in the Alps” at the Columbian Exposition’s Electric Scenic Theatre. Located in the Midway Plaissance of the World Fair, the electric theater displayed a picturesque Alpine setting that transitioned from day to night for each performance.

World Fair guidebooks noted, “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights…Tyrolean warblers perform on their various instruments, and sing their tuneful lays. Their renowned ‘yodels,’ as sung at each performance, are applicable to the scenery.” Sosman & Landis later replicated this scenic who as a main attraction for the Masonic Temple roof garden in 1894.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

The same year that Walter W. Burridge passed away, an interesting article was written about the demise of the decorative painting business. Many scenic artists and studios relied on decorative painting work. Ornate auditoriums and picturesque murals were often the work of the same artists who delivered the stock scenery and stage machinery. However, the world of painting and its place in the theatre industry was changing.

“The Truth About the Painting Business,” was included in “The Road to Success,” was a publication by the Charles Kraut Academy of Decorative Art in Chicago.  Here is an the article that especially resonates with the state of scenic art today:

“The Truth About the Painting Business.

Of great importance to every man interested in the Painting and Decorating Business, be he Master or Workingman.

READ CAREFULLY AND EVERY LINE OF IT.

            The Painting business in the United States and Canada has been on the downward grade for a number of years. Every painter knows this and has wondered why it is that the Painter is classed now with the unskilled laborer, where in fact he ought to be considered a high grade and skillful mechanic.

            The reason is that the great majority of the Master Painters, as well as the Painter in general, have neglected to go with the times. The majority are satisfied with the “unskilled labor” part of the business. They are satisfied if they can even make a few dollars out of a job, which they got away, perhaps through unfair competition, from the other fellow, where by rights he ought to make good money and have twice the amount of work on the same job. Now-a-days a painter, if he thinks at all, thinks and tries to invent new mixtures to skin the work still more to beat his competitor, while by rights he ought to strive and learn something that the other fellow does not know and start in on a competition of skill, and persuade to House owners to have rooms decorated in refined taste. This will give him more work to do on individual jobs, he will be able to employ the working men longer, he will get more money for the job, he will be recognized as an artist and he will get more satisfaction and pleasure out of the work.

Now comes the objection that every painter springs on me, and that is: The public in general does not know anything about Art, the people are not educated in this direction and are well pleased with “wall paper” which is cheaper. I admit that this is true, but who’s fault is it tat the public is ignorant of Art, and especially Decorative Art?

“It is the duty of the Painter to educate the general public. The general public is willing, even anxious, to be educated in this line, every house owner, or the lady of every household will gladly listed to a painter in the direction, providing the painter knows what he is talking about and has a reputation in this direction; and as it stands now, there is only about one Painter in every hundred who can carry on a conversation of this sort which he will convenience the head of the household that he is able to carry out what he proposes. It is a wonder that people prefer to have their homes tinted in plain colors or are satisfied with wall paper?  Is it a wonder that they do not ask the painter to think up some decorative scheme for their rooms? They do not trust the man, because he does not make the suggestion himself, and consequently class him with the unskilled laborer.

In Europe, the general public is educated in this direction, and no flat, no matter how small, is without some decoration, free-hand work, while all the Residences, Churches, Theatres, etc. are elaborately decorated. Well, who would educate the people in Europe? Do you suppose this line is taught in the public schools? No, the Painter did this; in Europe competition in skill is considered first and above the competition twice

[Me: Re-read the last line, as this was the case in American until a notable shift occurred during the 1890s].

Is it not high time that something is done to regain the prestige of the Painter in this Country and to get more and better work at higher profits?

This can only be done by first educating the individual Master Painter and workingman, and he in turn is bound to educate the general public. It is high time that a move in this direction should be taken. Every Master Painter and Painter has the opportunity now to educate himself and at very little expense. Of course he can not learn in a month or one year everything which a practical Decorator must know, but he can gradually educate himself by practicing during his spare hours at home, an opportunity that is not given the painter in Europe.

A man who can afford to practices and study for about three months at a stretch every year (during Winter) will do wonders in that line. A man can become a skilled and high grade mechanic only be devoting his spare tie to study and practice for a year or two, and if he makes up his mind to succeed, he cannot fail, if he practices as much as is necessary, and he will never regret having taken the trouble.

At every Convention of Master Painters and Painters so far, it has always been emphasized that it is necessary to educate the Painter in the business,-the school question has always been a leading item, If the Master Painters and Painters will only co-operate in the direction laid down by me, a revolution in our profession is sure to come. Educate yourself, tell your men to acquire and education in the business and to become Decorators, and the education of the public is bound to follow.

Do not be afraid of over-production in this line. Only the narrow man will think it. There is no over-production in Europe, although schools have been turning out Decorators for over 100 years, and the schools are still growing. The more Decorators there are, the more the general public will become educated in this line. Within a short time competition in skill will take place in the painting and decorating business in this Country, and the man not educated in this line will have to be satisfied to be known and classed with the laborer, while the other man who gets an education in the decorating business will have the opportunity and ability to complete with the man who is taking the extra cream of the work now, and by that competition in skill will ensue. Your old customers will certainly have more respect for you, if you can prove that you are able to execute artistic work.

It is high time that a move in this direction should be started, because the most beautiful of all styles in decorative work is coming to us now. This is the “Up-to-date Conception of the Italian Renaissance,” a style in which very elaborate Ornaments, Flowers and Figures are employed, To be able to do this kind of work, a schooling is absolutely necessary, as the work is all frees-hand, and stencils will not be used, You can watch this style breaking through everywhere. Look at the new Furniture, Frames, or Wood-work (trim) of high grade work, go to the leading Hotels and look at the Banquet Halls and Lobbies which have been decorated recently, and you will see the new direction, Within two of three years it will be in full swing, and you ought to prepare yourself and also tell your men to prepare themselves to be able to meet the demand when it comes.”

But a world war was just waiting around the corner, and the education that he spoke of took a different turn. This sets the groundwork for Thomas G. Moses 1914 entry in August.

To be continued…

Here are a few examples of decorative painting at Schloss Rosenau in Austria. Here is one of many links about this interesting building: https://www.inspirock.com/austria/schloss-rosenau/osterreichisches-freimaurermuseum-im-schloss-rosenau-a1254825113

Copyright © 2019 by Wendy Waszut-Barrett

A reporter from Chicago’s “Inter Ocean” interviewed Walter Burridge on June 8, 1902 (page 42). His interview took place while Burridge worked on the stage set for “The Wonderful Wizard of Oz;” the production opening at the Grand Opera House. This is a great snapshot of information pertaining to his approach to a design and the production process.

“How Scenic Work is Done.

“How does the scene painter go to work on a new production? “ Mr. Burridge smiled at this question. “I don’t known just how to begin explaining,” he said. “There are so many details that it is a hard matter to explain. Suppose, however, that a manager tells me he has decided to produce a play or opera or a description of the scenes furnished by the author. In such a lay-out there is a detailed write-up of the action, as to whether a character enters through a door and jumps over a cliff. These points are called the practical notes, the artist making a careful study of the play and noting all the important points, action, and locality, the period, time of day, etc.

“If possible the studies are made on the ground, and should the scene be laid in the present time and in a place easily accessible to the artist he obtains photographs and makes studies and sketches. When Mr. Hamlin put on “Arizona,” three summers ago at the Grand he sent Frederick Remington and myself to Aravalpa valley, and a delightful pilgrimage we had, positively one of the most enjoyable artistic experiences in my artistic career.

“In the case of “The Wizard of Oz,” however, the story is laid in fairyland, so I am obliged to draw from my imagination for the scenes to fit the action of the play. First of all I make a ground plan of each act and the separate scenes, drawing a diagram on a scale of one-inch to the foot. On this scale I draw the different parts of the scenes on cardboard, finishing the model in watercolor, pastel, charcoal, or sometimes simply in pencil. When the different parts are ready and cut out they are fitted and glued together upon the line of the ground plan upon a miniature stage, the front of which is modeled in shape like a proscenium opening of a theater. The model is a reduced copy of the stage setting, so that one realizes the relative proportions in color and composition.

“At the Paris Exposition, the scene model exhibit was one of the features of the fair, being a picture history of the theater in France for a hundred years. The creation of the scene and the model is one of the most interesting of the many processes that constitute the scene painter’s art. The uninitiated in the theatrical world would be surprised to see the odds and ends used in the make-up of a model – glue, pieces of coal, clay, plaster of Paris, sticks, wire, gauze, muslin, and colored gelatins. In one of the scenes of “The Wizard of Oz,” the entire depth of the stage will be used to represent the approach to the throne room of the Wizard, and it will be lighted with hundreds of illuminated globes. In making my model I was obliged to use small pearls to indicate the globes. The time spent with the models pays in the end. With a complete model one thoroughly understands the practicalities of the scene, its color, lighting, etc., and changes are easy to make. To re-make and alter the scene proper, however, would entail an enormous amount of expense.

“After my models have been approved they were given to the master carpenter who superintends their construction, builds the scenes and delivers them to the artist to be painted. The different sections of scenery are taken from the carpenter shop to the paint-room or ‘bridge.’ The paint frame I am now using is the largest in this country. It is seventy-five feet long and forty feet high, and it is lowered and raised by water power along the rear wall of the stage of the Auditorium. The carpenter attaches to this frame the different portions of scenery to be painted. Drops are tacked on the paint frame, which are then raised to a level with the paint bridge floor. The assistants then ‘prime’ a canvas with a coating of glue and whiting, and artists begin work with charcoal placed in a crayon-holder on the end of a stick, observing the proportions as they appear in the model. The artist, as a rule, paints by daylight, so he must make allowance for the effect of artificial light on his colors. He must make his tones stronger because the calcium and footlights invariably bleach them out, and when a daylight effect is called for of a moonlight one he must allow for the lighting-up of the scene as the time and action differ in each set or scene. “Yellow or amber light dominates the daylight effects; blue is the tone for moonlights-green is used by some, but I prefer blue, as experience has taught me that a green tone tends to make the faces of the characters appear ghastly.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

Walter W. Burridge was a good friend and colleague of Thomas G. Moses. In 1887, they established the scenic art firm Burridge, Moses and Louderback, with well-known art dealer Walter Louderback. In 1914, Burridge died after sketching scenes of the Grand Canyon for two months. His work was part of the Santa Fe Railroad’s $300,000 exhibit for the Panama-Pacific Exposition in San Francisco. Many newspapers covered Burridge’s death and burial, but it was the “Brooklyn Daily Eagle” that provided a wonderful recount of his achievements (Brooklyn, NY, 26 June 1913, page 20). Although I have written extensively about Burridge in the past, this is a lovely summery of his life:

“WALTER W. BURRIDGE SCENIC ARTIST DIES.

Brooklyn Man Succumbs to Heart Disease at Albuquerque, New Mexico.

STOOD AT TOP OF PROFESSION.

Was Engaged on Big Contract for Panama Exposition When End Came.

Word was received in Brooklyn today, that Walter W. Burridge, one of the foremost scene painter of his time, has been found dead in a hotel in the little city of Albuquerque, N.M., yesterday. Death was attributed to heart disease super induced by acute indigestion. Mr. Burridge had just arrived in Albuquerque from the Grand Canyon, where he had been painting pictures for two months. He was 56 years old.

Walter Burridge was a Brookylnite, born and bred, and very well known as a painter of theatrical scenery. In 1903, he executed at the Academy of Music the largest scenery contract ever awarded to a scenic artist. $200,000 worth of scenery, including eighty complete sets and 300 hanging pieces, was turned out under his supervision. The work was done for Henry W. Savage, manager of the Castle Square Opera Company. Its most important feature was the preparation of special sets of scenery for each one of the operas in the Castle Square Opera Company repertoire. One of the pieces he completed was the magnificent storm scene in the first act of Verdi’s ‘Othello.” It was considered the piece de resistance of all the scenic effects ever produced at the Academy.

Mr. Burridge had, at one time or another, been associated with all the prominent actors and actresses in the country, among them Otis Skinner, Julia Arthur and Margaret Miller.

Mr. Burridge’s father, Henry, was the proprietor of the old Mason’s Arms Inn, on Myrtle Avenue, which was noted in its time as a resort for artists and actors. The leading lights of both professions met there frequently and the boy learned to know them well.

Young Burridge had a magnificent soprano voice and sang as a choir boy in St. Anne’s Church, the Church of the Redeemer, and St. John’s Church, where he was solo singer. His voice bade fair to connect him with the stage in another capacity than that of a scenic painter.

As a boy, Mr. Burridge helped produce the scenic waves at the old Park Theatre, by doing stunts on his hands and knees under a layer of canvas, The old theater carried with it many pleasing reminiscences for him. There he met Fred Chippendale and his wife. Later, at the Brooklyn Theater, which stood on the site of the present Eagle building, he was fortunate enough to attract the attention of Harley Merry, who was a great scenic artist of his day, He was apprenticed to Merry at the age of 13 and scored his first success by painting a water fall that had to be gotten out during his master’s absence.

Mr. Burridge did most of his work in the West. Thirty-five years ago, he painted many cycloramas. For the Philadelphia Centennial he painted the ‘Siege of Paris,’ and supervised the reproduction of the well-known ‘Battle of Gettysburg.’ He also executed a Government commission in Hawaii. He was sent there to paint a cycloramic picture of the great volcano, Kilauea, which was part of the Government exhibit at the Chicago World’s Fair.

Hugo Gerber, manager of the Lee Lash Studios at 1476 Broadway, Manhattan, who knew Mr. Burridge well, said today that he received a telegram from the West confirming the news of the death of Mr. Burridge. ‘His wife was with him at the time,’ he said. ‘Mr. Burridge had been working for us lately and had been sketching in the Grand Canyon. He was preparing some very important work there for the Panama Exposition, but I don’t know the details of it.

‘We expected Mr. Burridge to return East in a short time. The telegram we received was from his wife. It did not state the cause of death.

‘Mr. Burridge had done much big work for Klaw & Erlanger, but principally for Henry W. Savage. One of the last pieces of work he did was painting the scenery for ‘The Trail of Lonesome Pine.’ He was one of the most prominent scenic painter in the country.”

Burridge was survived by his wife, son Walter, two brothers, Cyril and Harry Burridge (New York and Marblehead, Mass.), and a sister, Miss Sarah Burridge (of Brooklyn). The loss of this artist in the prime of his career was immeasurable, a shock to the fine art and theatre worlds. He had so much potential and the Grand Canyon exhibit was to be one of the pinnacles of his career.

There is so much more to Burridge’s story and his accomplishments that I could not include in today’s post. However, I will end with a quote from Burridge in 1902:

“Did you ever stop to think,” said Walter Burridge, one of the best-known scenic artists in the country, “how the public says all kinds of nice things about some popular theatrical production and throws bouquets at everyone connected with it, except the man who painted the scenery? Of course the man doesn’t care a rap for fame. His soul is wrapped up in his work; he never comes before the gaze of the public, and never wants to. But at the same time, it is a curious fact that the scenic artist is an individual whose personality never becomes known to the public. If he paints a particularly beautiful scene it never fails to elicit round after round of applause. The people who are applauding, however, do not know who executed the painting, and they don’t care. It is pretty and that is enough for them.” When Burridge was interviewed by Chicago’s “Inter Ocean” on June 8, 1902, he was putting the finishing touches on the scenes that were to be used in the production “The Wonderful Wizard of Oz” that was opening at the Grand Opera House the next week (page 42).

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

During the summer of 1913, plans were announced for a Grand Canyon Exhibit at the Panama-Pacific International Exposition in San Francisco for 1915. Walter W. Burridge was hired to create a series of 100-feet long oil reproductions of the Grand Canyon. On June 25 1913, the “San Francisco Call” announced, “SANTA FE AT WORK ON GRAND CANYON EXHIBIT. Reproduction for Fair to Cost $300,000. Illusion Will Be Perfected by Canvases and Modeling.” The article reported, “Plans for the $300,000 reproduction of the Grand Canyon of Arizona, the exposition exhibit of the Santa Fe Railroad, were outlined yesterday by W. F. Sesser in a communication to the exposition company. Walter W. Burridge who will paint the canvasses, is on an extensive tour of the canyon with Mr. Sesser. The work will be made up of canvases and stone modeling. Rocks, trees, cactus and shrubbery have been collected for the model” (page 18).

Other newspapers soon included and an interview with Sesser of the exhibit:

“F. Fraser, manager of the Santa Fe exhibits, and who will have charge of the $300,000 reproduction of the Grand Canyon, of Arizona, at he Panama-Pacific International Exposition, in an interview, gives some interesting information about the construction of the exhibit. ‘In the production of this work,’ said Sesser,’I have had with me at the canyon Walter W. Burridge, one of America’s greatest painters; Charles R. Fisher, J. C. Schwerdt and a full equipment of guides and helpers. Captain John Hance, the hermit of the canyon, has been with us all the time. We have made studies at ten of the principal points of the canyon that will embrace in the exhibit we are to make the most grand and magnificent portions of the canyon. ‘We are gathering rocks, trees, cactus and shrubbery of all kinds from the rim of the canyon, which we will use in constructing the facsimile rim at the Grand Canyon exhibit. We will build a portion of Hermit trail, showing a trail party in motion, actual figures being constructed in correct position to accomplish this effect. In one section we will reproduce a storm in the canyon. We will also, in another section, have the effect of moonlight and sunset, with beautiful El Tovar hotel illuminated at night on the rim. ‘We are forwarding to San Francisco the first consignment of our studies in oil, pastel and water color, with color keps [?], color tones, dimensions, positions and the data necessary for the carrying out of the scheme. ‘I am going into the Indian villages, accompanied by Burridge and the rest of the party, for the purpose of making careful notes and studies of the Puebla life, as this will be an important feature, occupying the second floor of our front construction, In this part of the exhibit will be housed Hopi and Navajo Indian villages. Here the Indians will be engaged in their daily occupations, the same as in their original villages” (Victoria Daily Times, June 30, 1913, page 3).

Burridge traveled to Albuquerque after painting pictures for two months. He was found dead in his bed at the Alvarado hotel the evening of his arrival. Death was attributed to heart disease, caused by acute indigestion.  His widow received the news at the home of H. M. Smith, 438 Maple avenue, Oak Park, where she was a guest at he time. Burridge was only 56 years old and newspapers across the country reported, “His work of the Grand Canyon he had hoped to make the best of his career and fulfill his ambitions as a scenic artist.”

After his passing, the Santa Fe Railroad selected a another scenic artist, and friend of Burridge, to complete the paintings of the southwest – Edgar Payne.

Next summer, the exhibit was well underway. On August 27, 1914, the “Fergus Country Democrat” reported, “A panoramic reproduction of the Grand Canyon is being built at the Panama-pacific International exposition at a cost of over $300,000; over fifty thousand square yards of linen canvas, imported from Scotland, are being used for the set pieces. Visitors in this concession will view the panoramic from observation parlor cars, moved by electricity on an elevated trestle, seemingly along the rim of the canyon. The observer will be enabled to see eight of the most distinctive points of the canyon and the ride will last over half an hour, including, apparently, a journey of more than one hundred miles of the great gorge. Every resource of modern science is employed in the work of this production” (page 11). The “Joliet News” added, “The Grand Canyon concession is built upon so prodigious a scale that visitors will view the canvases from a standard gauge railway coach running on a standard gauge track” (Joliet, Illinois, 11 Feb. 1915, page 5).

When the World Fair opened, the Panama-Pacific attraction was located in the “Joy Zone” of the world fair. The “Peoples Easy Guide” described the attraction:

“Grand Canyon of Arizona

With an entrance like a typical railroad station of the Santa Fe in New Mexico, where we can seat ourselves in the tiny electric trains and be conveyed over mountain passes, through deserts and past villages till we reach the replica of the Grand Canyon of Arizona. Here we will descend and visit the Indian Colony, inspect the weaving of the Navajo blankets and the making of pottery and other crafts by the Indians brought here for the purpose.”  

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

World Fair exhibits and midway amusements were a staple for many scenic studios; these projects brought in big money. Sosman & Landis created elaborate displays to illustrate a variety of features and products at world fairs that ranged from miniature electric theaters to Indiana health resorts. These projects also provided an opportunity for scenic studios to produce massive panoramas and outdoor exhibits that exceeded any stage show, advertising their services on a grand scale. Some displays were extended beyond the fair dates. In 1894, many exhibits from Chicago’s 1893 Columbian Exposition were transported to the West Coast for California’s Midwinter Exposition.

The Panama-Pacific International Exposition was held in San Francisco, California, from Feb. 20, 1915 to December 4, 1915. The vast fair stretched along 2 ½ miles of the Pacific Ocean. The theme was to commemorate the completion of the Panama Canal, but is also provided California with an opportunity to share their recovery from the 1906 San Francisco earthquake and fire. Almost 80% of the city had been destroyed, but had recovered and rebuilt itself from the ashes. San Francisco also built a second city for the exposition, named the City of Jewels. Harbor View was selected and nearly a hundred earthquake shacks housing low-income residents were evicted to make way for the fairground. The homes were condemned by the Department of Health, all helping fair organizers plan for the event and clear the necessary space. Significant landscape changes occurred, including filling in waterfront marshland.

One of the fair highlights was a functional, five-acre scale model of the Panama Canal. A painted surround for the attraction depicted the whole canal-zone for thousands of miles. Visitors traveled around and listened to a lecture of the Panama Canal little phone headsets. Below the ride, miniature ships moved with electric mules towing them through small locks of real water.

18 million people visited the fair in 1915. Travel and communications were two popular subjects at this event. A telephone line was also established in New York City so that people across the continent could hear the Pacific Ocean. It was the first world’s fair to demonstrate a continental call. Railroad companies were big investors, featuring coast-to-coast travel and vacation destinations. They used the event to promote National Parks; with each railroad building massive exhibits that showcased the parks they serviced. Both the Union Pacific and Atchison, Topeka & Santa Fe built elaborate exhibits promoting scenic treasures. The AT&SF Topeka created a Grand Canyon exhibit spread out over five acres. Walter W. Burridge, close friend of Thomas G. Moses, designed a series of 100’ paintings depicting scenic marvels of the Grand Canyon for the exhibit. Although Burridge passed away mid project, Edgar Payne was later commissioned by the Santa Fe Railroad to provide the paintings of the southwest. It was this Panama-Pacific exhibit that greatly helped the Grand Canyon becoming a national park by 1919.

Similarly, the Union Pacific built a massive four and-a-half acre replica of Yellowstone National Park, complete with working geysers spewing boiling water. There was a model of Old Faithful at the Old Faithful Inn, a venue that included a dining hall and auditorium. The Canadian Pacific’s Huntington was also on display at the fair, a feature contributed by the Southern Pacific Railroad.

The Grand Canyon attraction was in an amusement in the area called “The Joy Zone” at the fair. In the Zoe, concessions, exhibits and rides were gathered, with a price estimate of $3,500,000. That is today’s equivalent of over $89,000,000. It was the largest amusement park constructed at the time. Here is a great link to the Zone: https://www.nps.gov/goga/learn/historyculture/ppie-thezone.htm  

For individual exhibits, here is the link to the Peoples Easy Guide of the Panama-Pacific International Exposition: http://www.books-about-california.com/Pages/People_Easy_Guide/Peoples_Easy_Guide_text.html

The guide sold for 10 cents and included a description of the various buildings and contents, a map of the exposition that indicates the best route to follow, illustrations of the principle buildings, and a complete description of attractions on the Zone.

In the end, the Zone was a financial failure, and many exhibitors were replaced mid-event.  Without the support of wealthy corporate funders, such as the railways, many of the “living exhibits” failed. Both humans and animals from different countries were put on display for fair visitors to gawk at during the day, but these exhibits did not necessarily result in the necessary funding. Various groups struggled to remain open, with not all succeeding; the Samoans and Somalis were two of the groups returned home. Then as now, racism reared its ugly head in a variety of ways, demeaning those from different cultures. The Somalis were forcefully deported.

The 435-feet high Tower of Jewels was the main architectural feature, covered with over 100,000 cut glass Novagems; jewels of Bavarian glass backed with mirrors. These ¾-inch to 2inch colored gems sparkled in the sunlight and marveled spectators, similar to what previous towers of electricity had accomplished at previous word fairs. This supported the name of “The Jewel City. “As with many world fairs, the millions of dollars spent on constructing an elaborate city of impressive building was only temporary.  Most were torn down at the conclusion of the fair. The Palace of Fine Arts is the only building that has survived until today.

Other fair highlights included a playground for the children called Toyland. Even the Liberty bell, was brought from Philadelphia on a special flat car to the fair, complete with a grand procession. Stunt pilots did tricks over San Francisco Bay throughout the duration of the fair. The airplane was still the big thrill, but the pilot Beachey crashed and dies in San Francisco Bay. After honoring him in a public funeral, another pilot named Art Smith took his place. Smith flew both day and night. Under starlit skies, his attached flares to his plane and created a light show for evening visitors.

Millions of people spent an enchanted summer in the City of Jewels, but it was really the end of an innocent era.  The shadow of WWI fell over the City of Jewels and diminished some of its brilliance. Although the fair opened in February, by May the sinking of the RMS Lusitania by a German U-boat. This prompted many individuals to call for the closure of the fair. Nevertheless, the event continued despite increased hostilities in Europe. In the end, thirty elegant pavilions represented various countries, all lined up on the fair’s avenues, despite the deterioration of international relationships. The closing ceremonies included the lowering of the flag from the Tower of Jewels. Lights thrown on clouds of steam were gradually extinguished and the magic ended.

The scope of this event is really hard to imagine until you see film footage or photographs. Here is wonderful 23-minute film of the 1915 Fair if you want to step back in time: https://www.youtube.com/watch?v=OGXSkTOnw-A

Here is a shorter, silent movie that also shows original footage: https://www.youtube.com/watch?v=IQm6ttaHtcc

Tomorrow I will look in depth at the Santa Fe Railroad’s Grand Canyon exhibit initially designed by Walter W. Burridge, just prior to his passing.

To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Went from Fort Wayne to Indianapolis by trolley – a good ride.  Saw Tom Taggert and Mr. O’Neill regarding a picture and built foreground, representing four famous health resorts of Indiana to go to San Francisco fair.”

Thomas Taggert (1856-1929) was an influential political figure and member of the Democratic National Committee. In 1877, he moved to Indianapolis where he became a financier, hotelier and politician. Taggert was elected auditor of Marion Country, Indiana from1886-1894, and later became mayor of Indianapolis from 1895-1901. When he left office in 1901, Taggert and a group of investors purchased French Lick Springs Hotel in Orange Country, Indiana. By 1905 Taggert bought out his partners’ interests and transformed it into a first-class spa and gambling resort. Taggert had a vested interested when meeting with Moses and Lieut. Gov. O’Neil about the “picture and built foreground, representing the four famous health resorts of Indiana.” His mineral springs resort was one of them.

On July 6, 1914, the “Daily Republican” announced, “Contracts for the erection of the Indiana building at the San Francisco fair were awarded in that city by Lieut. Gov. O’Neil and T. C. McReynolds who are members of the building committee of the commission” (Rushville, Indiana, page 1). The article continued, “The awards were made with West coast-builders are exceptionally favorable in prices, it is considered. Several Indiana firms were ready to enter bids had exorbitant process been demanded. The general contract was for $20,597; piling for $2,100; tile roofing for $1,200. Donations of material by Indiana manufacturers will affect a heavy saving for the state. The building is to be completed in six month time…While the Hoosier building will not have a gallery especially constructed for the display of finer arts, yet its design will permit an advantageous showing of the state’s achievements in this direction, while adding to the comfort, cheer and attractiveness of the rooms. The Commission is hopeful that state pride may prompt the support of such artists as whose production reflect credit on Indiana’s culture and accomplishment.”

Not all Indiana residents were in favor of the $75,000 appropriation for the Indiana Building. The “Princeton Daily Clarion,” argued, “The commissioners announce that of this amount, $35,000 has been spent for a building. Therefore, only $40,000 is left for the interior fittings and for traveling and hotel expenses. True, traveling is expensive. It is also pleasant, and the climate of California is said to be salubrious. An inkling of how the Indiana commission has mismanaged Indiana affairs thus far, at San Francisco, was given a special dispatch to the news from San Francisco a few weeks ago. Commissioner McReynolds, one of the members apparently desirous of giving the state all that is possible for the money, did not seemed to be pleased with the way work was proceeding. And now Lieutenant Governor O’Neil contemplates asking for the forthcoming legislature to make an additional appropriation for $60,000, or $75,000. For what? For interior decorations? Or for traveling expenses?” (Princeton, Indiana, 4 June 1914, page 2).

During World Fairs, states constructed elaborate buildings to feature products and tourism in each state. Many country’s had similar buildings with amazing exhibits. Thousands of dollars created ornate structures for fair visitors to experience, but ones that were temporary to the world fair. I am including postcards of a few state buildings for the Panama-Pacific Exposition of 1915 as it shows the scope of funds utilized on World Fair buildings.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Went to Fort Wayne to Fort Wayne to see Frank Stouder on the scenery for the new Palace Theatre.” Frank E. Stouder is an interesting character in his own right; having over two decades of theatre management experience by the time he met Moses that year. In 1914, Stouder was planning the Palace Theatre, by listed as the manager for the Masonic Temple and Temple Theater (Fort Wayne News, 6 April 1914, page 1).

The Temple Theatre was at the corner of Clinton and Wayne streets, having been built in 1881. Stouder first became in involved with the Masonic Temple and Theatre as their acting manger in 1886 (Fort Wayne Daily Gazette, 28 April 1886, page 5). By 1889, he was also listed as the venue’s treasurer (Fort Wayne Sentinel, 30 May 1889, page 4). Stouder managed the venue for over a decade, booking successful acts to perform in Fort Wayne.

Stouder was also a well known performer and baritone, singing in many musical concerts at the Temple Theatre and throughout Fort Wayne. When booking acts in 1902, newspapers reported, “Stouder found time to devote attention to his vocal music in New York and took a lesson every day of Signor Carbone, a baritone of the Metropolitan Opera Co.”  (The Fort Wayne Journal-Gazette, 11 July 1902, page 1). Stouder was a member of multiple social clubs and participated in a variety of public performances where he was praised for his musical contributions. His success as a manager, however, drove his career, and by 1906, he also managed a summer venue – the Robinson Park Theatre (Daily News-Democrat, Huntington, Indiana, 22 March 1906, page 1).

It is not surprising that Stouder was the instigator for the Palace Theatre. Partnering with Byron H. Barnett, they both become the owners and managers of the venue, with each being known for their theatrical experience. The Palace Theatre was built to feature B. F. Keith attractions, as they toured the country. It was a sizable venue with a seating capacity of 2,000, (1,700 on the main floor and balcony and 300 in loges and boxes).

Ground for the Palace Theatre was broken on May 26, 1914, with an anticipated Thanksgiving Day opening. Changes and unanticipated delays pushed the opening a little later, but the wait was worth it. Newspapers promised the Palace Theatre would be “not only the finest theatre in Indiana, but the finest in the middle west and one that could not be destroyed by fire, even if a torch were applied and no effort made to stop the progress on a blaze that might ensue” (Fort Wayne Sentinel, 31 Oct. 1914, page 9). Supposedly, there was no wood in the building, except the casings around the doors and the wood stage floor, even the staircases were made out of metal.

C. W. and George Rapp, two Chicago architects who specialized in theatre buildings at the time, designed the theatre. There was an emphasis on fire safety, and newspapers reported that the structure was “absolutely fireproof,” being built of reinforced steel roof trusses weighing eight tons each. There were thirty inches of exit space for each 100 people, ensuring the evacuation of the auditorium in two minutes. The article continued, “The stage roof is supported on I-beams and is of the same material as the auditorium covering. One-third of the entire area of the stage roof is left in the form of ventilators. Why? Suppose for instance that a careless performer in direct violation of the laws of the state and the rules of the house should throw a lighted match, cigar stub or cigarette into some combustible material and set fire to the stage floor, the properties and the scenery. This ventilation in the roof would cause the flames and smoke to shoot upward and none of it would reach the auditorium. The management will have installed an asbestos curtain of the very latest and best material and in the twinkling of an eye.”

 But wait, there’s more beside the asbestos curtain!

There was also a “Run Down Water Curtain.” The “Fort Wayne Sentinel” described, “Without moving more than a couple feet [the stage manager] will be able to ring down a water curtain. What is a water curtain? Why it is nothing more than a succession of tiny water streams of water flowing from a big pipe above the opening. When the valve is opened the water starts flowing and renders it impossible for the flames to break though.” (31 Oct 1914, page 9).

Finally, newspapers described the new scenery by Sosman & Landis scenery. The “Fort Wayne Sentinel” noted, “Even the scenery is to be fireproof. This does not mean that it will not burn, but it does mean that it will not blaze. Why? Because when the canvas on which it is painted is first put on the stretchers it is given a thin coating of fluid that is warranted not to blaze and this means exceedingly slow combustion and little danger. This fire-proofing is required in the specifications. No oils are used in the painting as all scenery is done with watercolors and this removes another element of danger.”

To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Minneapolis Vaudeville Theatre kept us busy for some time.  Our competitors in Minneapolis were very much disturbed over our coming into their town.”

Moses was referring to Minneapolis’ New Palace Theater and the Twin City Scenic Co. This is not to be confused with the Palace Theatre of St. Paul that opened two years later.

The New Palace Theater opened its doors to the public on Monday, October 5, 1914. It was advertised as “the most beautiful and best equipped playhouse in this city of good theaters” (Star Tribune, 9 Sept. 1914, page 14). There were many Minneapolis companies involved in the project, but Sosman & Landis installed the scenery and stage fittings. Likewise, the architects and decorative painting firm were also Chicago companies. Of the new building, local newspapers published, “The New Palace Theater was designed and executed by one of the greatest architects in Chicago, and its cost upon completion will be very nearly $600,000. With a seating capacity of 2,400 and with three performances daily, this structure can take care of 7,200 people every twenty-four hours” (Star Tribune, 30 Aug 1914, page 41).

The “Star Tribune” reported, “Residents of Minneapolis will recall the farmstead of Elder Stewart, which for half a century, from its oasis-like vantage point, defied the encroachments of public improvements as the city grew from a mere village to its present greatness. Those who have left Minneapolis and come back may well rub their eyes. No longer the hillock of oak trees; no longer the straggling white farmhouse with its green blinds and shabby paint. Lo! The transition is complete – the environment almost magically changed – as though Aladdin returned with his wonderful lamp” (30 August 1914, page 41).

The “Star Tribune” noted, “Messrs. Reuben and Finklestein with the assistance of various advisors, have been working continually for a year to contrive new conveniences and better attractions for the greater delectation of patrons. ‘We are satisfied,’ declared both Mr. Ruben and Mr. Finklestein when they viewed the other day the completion of the ideal they had set a year before. No less than a realization of every detail in the standard set could have brought this declaration from them (Star Tribune, 1 Oct. 1914, page 5). Ticket prices placed 1,500 seats at ten cents and the remainder at 20 cents

The theater was described as “a building of Venetian red brick, massive, palatial – a building of stately lines, of carving and casements, fashioned for the entertainment of men and women.”

The second floor of the building included a room with beds for “little tots,” where mothers could place their tired children in the care of trained nurses.  Adjoining the napping room was a playroom for babies and children, furnished with swings, rocking horses and sand piles (the sand surprised me). In December the New Palace Theater selected a special program for both regular patrons and the “kiddies.” Mlle. Teschow’s trained cats were especially engaged as entertainment for the little ones. The “Star Tribune” reported, “The act is said to be as interesting as it is novel, and many of the stunts these tabby cats performed will no doubt be tried by many of the tots on the ‘home taby.’ (14 Dec 1914, page 43).

For the gentlemen folk, there was a “den” for men, a smoking room with fireplace where men could comfortably lounge in leather chairs and settees. Far cry from children playing with sand and being entertained with Mlle. Teschow and her trained cats.  I could not locate any information about a ladies lounge or gathering area. The fire safety methods, however, were described in detail. The fire exit arrangement assured that no audience member would be more than twenty-five feet from an exit while watching a show.

To conclude, there was an interesting article that appeared in the “Star Tribune” on August 26, 1914 noting the future programming:

“Ruben and Finklestein returned Monday morning from a trip East, where they went to perfect the bookings for the New Place theater…It is necessary almost to say that they were very successful in their undertaking, for the country-wide reputation that this New Palace theater has already acquired has made it a comparatively easy matter to contract for the very best shows that the world produces. Minneapolis people will be delighted to hear that among the special headliners will be the favorite Grace Cameron. This announcement, however, is only made to give insight into the high-grade class of talent that this house has procured. The fame of the name, ‘the New Palace theater,’ had gone ahead of them, and although Mr. Ruben feels very much elated over the success that is bound to come to this theater, he felt that his Eastern colleagues did not quite have the right idea of what a magnificent playhouse this really was. To cinch all doubt in the question, special trains have been chartered to bring up the big moguls of the theatrical fraternity to Minneapolis on the opening night, for, as Mr. Ruben says, ‘You can tell a fellow almost anything, but to make him believe it you have got to show him” (page 4).

To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

For the past few weeks, I have been posting some of the scenic art designs by John Z. Wood; designs that he completed for the Twin City Scenic Co of Minneapolis, MN. Here is the fascinating tale of this primarily unknown artist. His artistic gifts were extraordinary and his life has been all but forgotten.

John Z. Wood was born in England and moved to London, Ontario as a small child. His family moved again when he was eleven years old, taking up permanent residence in Rochester, New York. Wood enlisted in the 1^st Battalion of the New York National Guards, Light Artillery, on August 2, 1864 and served until his discharged on Nov. 22 of that same year. Returning to Rochester after the Civil War, Wood initially worked as a decorative painter at Lang’s Children Carriage Factory and then as a sign painter for Frank Van Doorn.

In the late 1860s, Wood joined a local art club called the Goose Grease Club, attending informal gatherings at the studio of William Lockhart in Rochester’s Palmer building. By the 1870s, Wood had opened his own private studio at the Baker building, sharing the space with Lockhart. Seth C. Jones later joined their studio. During this same time he also worked for the Mensin, Rahn, and Stecher Lithographic Co., later known as Stecher Lithographic Co. , known for its beautiful fruit crate labels and nurserymen crates. After becoming a fairly well- ecognized artist, Wood worked as an instructor for the Mechanics Institute in Rochester.

By 1872, Wood helped found the Rochester Sketch Club along with James Hogarth Dennis (1839-1914), J. Guernsey Mitchell (1854-1921), James Somerville (1849-1905), Harvey Ellis (1852-1904), and William Lockhart (1846-1881). Wood, however, was the instigator, organizer and promoter of the group. Within five years, club became the Rochester Art Club. In 1874, the Rochester Academy of Art, also emerged as an offshoot of the Rochester Sketch Club. The Rochester Art Club incorporated in 1882, with Wood not only serving as Treasurer (1877-1882), but also Vice President (1889-1891) and President (1894). In 1883, a newspaper review described Wood’s contribution to the Rochester Art Club. Of his oil painting depicting two boys fishing, the review commented, “It gives him opportunity to apply his knowledge of anatomical drawing and his skill in producing excellent color effects. It is one of Mr. Wood’s best productions” (Democrat and Chronicle, 20 May 1883, page 4).

For the Club’s educational oferings, a room was secured at the Rochester Savings Bank Building. This became their headquarters with a small faculty consisting of Horatio Walker (water color), James H. Dennis (oil), John Z. Wood (drawing), Harvey Ellis (composition), and Ida C. Taylor (painting).  By 1890, the Rochester City Directory  listed Wood as a designer.

However, in 1892 the Directory listed John Z. Wood as “removed to Chicago, Ill.” That year, Wood traveled to the Chicago World Fair with fellow artist James Somerville. Life was on the up and up, and it was around this time that Wood became a member of New York’s Salmagundi Club, the same fine art group that Thomas G. Moses joined in 1904. Their paths possibly crossed during the turn-of-the-century in either Chicago or New York.

The first mention of John Z. Wood as a scenic artist, however, is in 1889.  That year, he and Dennis Flood painted scenery for the H. R. Jacobs Opera House in Syracuse, New York. It was quite a lucrative contract and Flood would later be noted as Wood’s “life-time friend.” Newspaper articles noted that the pair painted not only a 25’ x 28’ drop curtain, but also the stock scenery. The drop curtain depicted an elaborate conservatory with a tropical garden view in the distance. Spending several weeks on site, they painted remaining stock sets that included a palace exterior, a fancy interior, a dark wood exterior, a classical garden, a rocky pass, a mountain landscape, a pastoral landscape, and a lakeside exterior. He dabbled in the theater while continuing to work as a fine artist, designer and art instructor, saving up what money he could.

Despite his success in fine art and some early theatre designs, Wood’s career hit a major obstacle in 1896 that resulted in a substantial financial loss. Wood had a financially devastating incident that involved his stepson Howard C. Tuttle, one that ended in family betrayal and subsequent financial ruin. Wood had known his stepson since he was born on Nov. 12, 1874. In 1875, Wood lived with the Tuttles; boarding with Charles, Nellie (Evalyn) and their newborn son Howard. It was short lived as Charles left Nellie, married his mistress Rosalie Graves and celebrated the birth of his second child Lillian that same year. Nellie and Howard C. moved in with her parents, Horace C. and Esther Rose; her father was a painter. Interestingly, Wood was now a boarder at the Rose home. Wood eventually married Nellie by 1886 and helped raise her son.

On July 30, 1896, Rochester’s “Democrat and Chronicle” reported, “Bad Predicament of a Young Man.  Horace C. Tuttle Spent the Money of His Parents.  His Arrest Followed.  The Man Represented to Them That He Wanted the Money to Engage in Business in New York – Taken on a Minor Charge” (page 9). Tuttle was arrested at Batavia on a charge of skipping a board bill and that’s when the truth came out about his financial antics.  The article reported that “Young Tuttle’s” home was at No. 17 Chestnut Street with his stepfather, John Z. Wood, who is an artist with a studio in the Reynold’s Arcade.”  In short, Tuttle became dissatisfied with “his small salary and the hard work he had to do” at Miler’s Piano Store and made up his mind to do business on a larger scale.  He unfolded to his stepfather and his mother the outlines of a plan that he said would make him speedily rich, telling his parents that he had been engaged as a traveling salesman with Newby & Evans, piano dealers in New York city, and that it would take some money to get started.  The cash was forthcoming and the young man departed for New York in high glee. He soon pretended to be a member of the firm, getting his foster parent to furnish even more money.  You can already see how this ends; the son doesn’t visit home, the parents get worried and contact his supposed employer, only to learn that their son doesn’t work there at all. In the end, the Tuttles lost $4,000, today’s equivalent $110,000.00 today.

This event was like let the instigator that prompted Wood to seek employment at theaters. At that time, being a scenic artist was a very lucrative profession, if one was good and fast. The substantial amount that one could make producing a variety of painted scenes was indicated in the business records of Thomas G. Moses. A good scenic artist was making today’s equivalent of 175,000-200,000 dollars a year.

In 1898, Wood was actively working as a scenic artist and painting scenery alongside Gates & Morange at the New Baker Theatre in New York City. He produced all of the exterior scenery for the venue, while Gates & Morange completed the borders, trips, and other specialty drops. Wood soon became an itinerant scenic artist and followed the work as theatres continued to spring up in the western United States and Canada. In 1901, the Rochester City Directory listed Wood as a “scenic painter.” By 1906, he also helped organize an association of Rochester painters known as the Picture Painters’ Club (Democrat and Chronicle, 15 Feb. 1901, page 8). The club was designed solely for working artists, similar to Chicago’s Palette and Chisel Club.

Wood began traveling throughout the country and working as a scenic artist for various theaters. He travels brought him to Winnipeg, Minneapolis, and Los Angeles. However, by 1907, Wood left Rochester, although the city directory continued to list him as a scenic artist there. For the 1908-1909 season, Wood was listed as the staff scenic artist at the Winnipeg Theatre.  Winnipeg was the northern terminus of the railway and provided an excellent opportunity for Wood to work. It also connected him to the Twin Cities in Minnesota. After painting for the Winnipeg Theatre, Wood journey to Minneapolis, Minnesota, and painted scenery for a variety of venues. Another Rochester Art Club founder, Harvey Ellis, had settled in the St. Paul, Minnesota, during 1886, working throughout the region for seven years before returning to Rochester.  Some of Ellis’ designs include the Mabel Tainter Memorial Building in Menomonie, Wisconsin, and Pillsbury Hall, at the University of Minnesota campus in Minneapolis (East Bank). 

It was in Minneapolis that Wood worked for the Twin City Scenic Company. Several of Wood’s designs for drop curtains are currently part of the Twin City Scenic Co. Collection, Performing Arts Archives at the University of Minnesota Libraries. The backs of some designs include the name Robert J. Mork, a salesman for the Twin City Scenic Co. A few of Wood’s paintings also have competitive scenic studio stamps and markings on the backs, such as the Great Western Stage Equipment Co.

By 1911, Wood was again living in the Rochester, with the Directory listing him as a “scene painter.”

In 1917 he was “recognized as a scenic painter for the Masonic Temple and other theaters in the city” (Rochester Art Club history records). His work was for the new 1917 Masonic Temple building that included a theatre on the third floor.

Only two years after his return to Rochester, Wood was reported as suffering from “cardio vascular renal” at the Sellwood hospital in Portland, Oregon, as reported by the “Oregon Daily Journal.” However, this would not be a contributing factor to his death two years later. In 1919, Wood’s name would appear in the newspaper one final time when he was involved in a motor vehicle accident. On November 13, 1919, George C. Newel caused the death of John Z. Wood, residing at No. 144 South Ave. Wood was hit by Newell’s automobile when crossing the street. The court ruled against Newell as he was driving too fast and unable to stop in time. Wood was only 72 years old.

The Rochester Art Club records that Wood was “known for his sense of humor, ability at mimicry, and telling a good story.”

To be continued…