Copyright © 2020 by Wendy Waszut-Barrett
There are four scenic artists whose histories are entwined: Harry James Buhler, William Fletcher Mann, Herman Peltz and Robert R. Carsen. They all worked independently, but also partnered to form the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz & Carsen, and Peltz & Carsen. I am exploring each of their lives, as Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in 1918.
Today I look at H. R. Buhler’s first partner W. F. Mann. The two formed a partnership at the turn of the twentieth century known as Buhler & Mann.
William Fletcher Mann was born in Maryland, in 1851. His parents were also born and raised in Maryland. It is unclear when Mann began work as a scenic artist, or any of his early work. However, by 1875 he married Olive Cramer and was already working as a painter.
By 1880, the couple was living in Union Township, Michigan, with their two young children, Mary A. (2 yrs. old) and Harry A. (less than a year old). Mann was working as a painter at this time, but I have not been able to locate any newspaper article that specific projects.
By 1892 the Manns had moved and were living in Augusta, Georgia. Interestingly, the Augusta directory listed both Wm. F. Mann and Mrs. Wm. F. Mann as artists, with their studio at 404 Jarvis-Conklin Bldg, northwest corner Broad and 8th streets, and residence at the southeast corner of Jenkins and Tuttle streets.” Although it is unclear as to whether the entire family moved west, by 1894, W. F. Mann was listed as an artist in the Kansas City, Missouri, directory. The publication noted that Mann was residing at 513 e 8th Street. The entire family returned to Michigan by the late 1890s where their third child was born. Nettie B. arrived April 21, 1898 in Saginaw, Michigan.
As an itinerant scenic artist, it is expected that Mann would travel from town to town, completing one project after another. Like Thomas G. Moses, he could have been on the road for months at a time, only periodically returning home to visit his family. During his travels, he met and partnered by another itinerant scenic artist – Harry J. Buhler. By 1900 Buhler & Mann were credited with delivering scenery for a touring production. Their partnership seems to have lasted for only five years, but the firm was quite prolific during this time. Mann would transition to management, with Buhler remaining a scenic artist. The two would continue to work on the same projects, just in different capacities. The 1900 US Federal Census listed Mann as living in 1900 Detroit and working as a sign painter. It remains unclear if, or when, he moved to Chicago, but the 1910 US Federal Census placed Mann and his family as still living in Detroit.
The first mention that I have located of a Buhler & Mann production appeared in the “Hamilton Country Ledger” on Nov. 30, 1900. (Noblesville, Indiana, page 1). They were credited with designing and building “The Eleventh Hour” and listed as “well known scenic artists.” The newspaper article reported that one scene cost $5,000; it was a reproduction of a Chicago millionaire’s “magnificent drawing room.” They based their work on photographs taken of the space.
Their productions with scenery by Buhler and Mann included “Go Wan Go Mohawk” (1900), “At Valley Forge” (1901), “Jesse James the Bandit King” (1903), “Alaska” (1903), “Over Niagara Falls” (1905), and “The Heart of Chicago” (1906). Their last production, again listed as a Buhler & Mann attraction, appears to be “A Gambler’s Daughter” in 1906. The two are also credited with producing scenery for “Moonshiner’s Daughter,” a show that was still touring in 1907 (Miner’s Journal, 1 April 1904, page 2, and Post-Crescent, 19 Sept 1905, page 8). The “La Crosse Tribune” noted, “There are four acts and eight scenes, and each is equipped with a scenic environment from the studios of Harry J. Buhler and W. Fletcher Mann” (La Crosse Tribune, Wisconsin, 9 Sept 1907, page 3). What I find interesting is that their names, Buhler & Mann, appeared in the producer’s spot for many advertisements. Typically, a scenic artist and his work was mentioned in the fine print. This credit would appear after the location, name of the producer, title of the play, and short descriptive.
By 1907, the partnership seems to have ended, with Mann transitioning into management. In 1908 Buhler designed and painted scenery for “The Cow Puncher.” The production under the direction of W. F. Mann who did not help manufacture the scenic effects. This show was also the first mention of Buhler painting with Herman Peltz. Buhler and Peltz later partnered with Robert Carsen to establish Buhler, Peltz & Carsen. The “Coshocton Daily Times” reported, “The scenery was built by the well known artist Harry Buhler and Herman Peltz from the original drawings made by Mr. Buhler, the artist, who spent a year in Arizona for his health.” (Coshocton Daily Times, 1 Dec. 1908). This explains the abrupt end of new projects with scenery by Buhler & Mann by 1907. However, Buhler is actively working by 1909.
The scenery for the1909 production of “Pinkerton Girl” was credited to “Harry J. Buhler and Peltz & Carson” (Akron Beacon Journal, 22 Sept 1909, page 10). It seems that Peltz began working with Robert Carsen. Buhler was still working independently in 1909, and solely credited with providing the scenery for “The End of the Trail” (Hartford Courant, 19 Jan. 1909, page 6). By the end of 1909, the Buhler, Peltz & Carsen Studio delivered scenery for “Dark Marriage Morn” (News-Journal, Mansfield, Ohio, 29 Dec. 1909, page 5). The form was credited as providing the mechanical and scenic portion of the show, noted as “very costly and elaborate.”
From 1909 to 1910 Buhler, Peltz and Carsen worked at the Criterion Theatre and were credited with scenery for many W. F. Mann productions. Projects included “Dare-Devil Dan,” “Dark Marriage Morn,” The Pinkerton Girl” and “The Plotters.” All of the scenery was constructed and painted at Chicago’s Criterion Theatre. The 1910-1911 Julius Cahn’s Official theatrical Guide lists W. F. Mann as the touring manager for a variety of shows that include “As Told in the Hills,” “Carriage Trade,” Dare Devil Dan,” “Dr. Jekyll and Mr. Hyde,” “Pinky the Pinkerton Girl,” “Shadowed by Three,” “Th C0w Puncher,” “The Arizonian,” “The Twenty-third Psalm,” “Tempest and Sunshine,” “The Fighting Parson,” “The Second Generation,” “The Vulture,” “The Painted Lady,” “The Journey,” “The Professional,” “Her Dark Marriage,” “Jaquelin’s Profession,” “Married in Haste,” “Meadow Brook Farm,” and “Mrs. Worthington’s Career. By this time, Mann moved from Chicago to Detroit; a sidestep, but Mann was still listed in the US Federal Census as an “artist.”
The 1910 census places the Mann family in Detroit. At the time, W. F. Mann was 59 years old and had been married to wife Olive for 35 years. Their household was full, housing extended family members. There were adult children, grandchildren, and an elderly relative known at “Aunt B.,” all living under one roof. The census listed Marni (33 yrs. old, daughter), Harry A. 31 (31-yrs. Old, son), (Nettie 29 yrs. old, daughter), Thelma (7 years old granddaughter), Harry (7 years old grandson), and Aunt B (79 yrs. old).
Something happened by 1912 that caused Mann to disappear from print. I have not been able to locate any information, including an obituary. The last mention of W. F. Mann that I have located to date is a notice published on July 28, 1912, in Chicago’s “Inter Ocean”: “Harry Mack, formerly general manager for W. F. Mann’s attractions, has been engaged in a managerial capacity by the United Play Company” (page 18).
Mann passed away on August 16, 1926. He was 75 years old.
To be continued…
