Tales from a Scenic Artist and Scholar. Part 1021 – Electrical Trades Exposition, 1919

Copyright © 2020 by Wendy Waszut-Barrett

In the fall of 1919 Thomas G. Moses wrote, “September found us all tied up with the big electrical show for the Coliseum.  We have to rent the Alhambra stage and put Mr. Warren over there with a crew.  I did two large drops, both on the Chinese order.  They were 38’ high and 125’ long.  I had some work, but they proved to be very effective.”

From the “Chicago Tribune,” 21 Oct. 1919, page 19.
Images for the 1919 Electric show were tricky to track down. Here is one that hints at the Chinese theme. It was published in a humanities eBook:  https://
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The Electrical Show, was actually the Electrical Trades Exposition. The “Chicago Tribune” reported that it was “a veritable exposition of the progress recently made in the adaptation of electricity for light, heat and power” (9 Oct. 1919, page 7). The event at the Coliseum included a Chinese village that housed exhibitors. The “Decatur Daily Review” reported, “A Chinese design will be employed throughout, a pagoda rising 60 feet in the center of the hall and decorated with stained glass and 18,000 ‘Novagem’ jewels and Chinese lanterns, all brilliantly illuminated, being panned. The decorations of the tower will be similar to those of the ‘Tower of Jewels’ at the Pan-American Exposition at San Francisco” (28 Sept. 1919, page 5). The elaborate decorative theme expenditure as estimated at $40,000 to $50,000.

From the “Herald and Review,” Decatur, IL, 10 Oct 1919, page 12.

The Electrical show at the Coliseum ran from October 11-25, with an estimated five thousand electrical dealers and contractors attending the Saturday night opening. Newspapers across the country announced, “For the first time in nearly eight years the public in Chicago will have an opportunity to witness the great strides made in the electrical world” (Wilkes-Barre Times Leader, The Evening News, 19 Sept.1919, page 18). The last electric show had been held in 1911. Articles noted, “Household labor saving machinery is coming rapidly into common use, according to the exposition management, and electricity is doing much to solve great servant problem. Displays will include cooking apparatus of all kinds, electric stoves, electric heating equipment, vacuum cleaners, refrigerating machinery, motors for sewing machines, electrically operated machines for washing and ironing, and electric fans for cooling and ventilating” (Decatur Daily Review, 28 Sept. 1919, page 5). There were electric potato peelers and electric trucks for carrying food. Electric cooking was also a hot topic with manufacturers suggesting that there was less shrinkage of food with electric cooking that with any other cooking process. The “Decatur Review” reported, “There is every domestic reason in favor of electric cooking – better food, greater cleanliness, less work and more comfort – no ashes, no smoke, no dust” (28 Sept. 1919, page 5). As there had just been a great coal shortage, electric ranges were intended to save fuel, as well as time. At the time, the average family consumed 800 pounds of coal for cooking, whereas the central electrical station only required 262.5 pounds of coal monthly in order to supply the same family with ample cooking current.

The exposition included many devices beyond those that would assist housewives and domestic help. Incandescent lights were manufactured on site and before the eyes of visitors.  Other featured exhibits included high powered search lights, wireless telephones, and a self-printing telegraph apparatus. There was also a focus on military advancements, such as electrical furnaces for making the high-grade steel necessary for long range cannons. A working model of the battleship New Mexico was also on display; at the time, the United States’ newest and largest dreadnaught propelled by electricity. Electric scrapers and brushes for cleaning warship hulls were also on display. Formerly the task took between 170 to 200 man-days to clean an 18,000-ton battleship, with electrically driven machines, the cleaning of the ship now took only twelve hours.

A Commonwealth Edison Co. advertisement announced, “Manufacturers especially will be interested in our Industrial Lighting Exhibit. A typical machine floor, inadequately lighted, the machines driven by overhead line shafts, pulleys, belting. Etc., is contrasted with an installation of modern lighting and direct motor-driven machines. The modernized factory will be exhibited in actual operation – manufacturing souvenirs for distribution to visitors. Increased production, improved quality, safety, economy of operation and contentment of employees – all these are directly and intimately associated with modern lighting.”

The biggest hit of the show was the wireless phone. On Oct. 13, 1919, the “Chicago Tribune” reported, “Wireless Phone Stirs Crowd at Electric Show” (page 3). The article continued, “What was declared one of the greatest feats of electrical science was demonstrated yesterday at the electrical show in the Coliseum. A tune whistles into a wireless telephone operated there was heard clearly by other operators in Ludington, Mich., and Milwaukee. The stations at these two cities have apparatus capable of receiving messages but are not able to send. The operator at the Coliseum talked to the two stations during the entire afternoon and answered his questions by wireless telegraphy, advising him whether or not they were hearing him clearly. At the radio station in the Transportation building. Lieut. Wells also talked to Capt. C. C. O’Leary at the Coliseum. The demonstrations are being conducted in conjunction with a recruiting campaign for the signal corps. An army plane is being made ready to make flights with wireless phone set and beginning Tuesday visitors at the show will hear talks from the airplane.”

Images for the 1919 Electric show were tricky to track down. Here is one for the “wireless telephone” in a humanities eBook:  https://
quod.lib.umich.edu/cgi/t/
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To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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