Author: waszut_barrett@me.com

Copyright © 2020 by Wendy Waszut-Barrett

In January 1919, Thomas G. Moses wrote, “Started the wood scene of the State-Lake Theatre job, which was a good beginning, rather hard to do in the Peltz and Carson Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor.  The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.  I was quite successful in my work at the State-Lake Theatre Everything came out quite good.” 

The State-Lake Theatre opened on March 17, 1919, as part of the Orpheum Circuit. The venue was described as “Chicago’s two and one-half million dollar vaudeville playhouse” (“The Standard Union,” 20 Aug. 1919, page 8). Part of a 12-story office building located “in the loop,” it was on the corner of N. State Street and W. Lake Street. There was an enormous electric marquee on the building, measuring 96’-0” tall by 14’-6” wide; at the time, one of the largest electric signs in the world.

The auditorium boasted a seating capacity of 2,800, hosting 70,000 patrons each week during its heyday. Newspaper advertisements promised “Continuous Double Value Vaudeville and Photoplays at Single Prices,” with 4 shows daily: 11:00-2:45, 2:45-5:00, 5:00-8:00 and 8:00-11:00 (Chicago Tribune, 29 March 1919, page 19).

The theater later became part of the of the Keith-Albee-Orpheum Circuit and then the Balaban & Katz chain. Lake many other theaters, it eventually dropped all live performances and only featured movies by 1941. In 1984, the theater officially closed, with the interior being transformed into studio and office spaces for WLS-TV, a Chicago affiliate of ABC. Here is a lovely article about the theatre:

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1904 Moses left a successful New York partnership in 1904; this was the business endeavor with William F. Hamilton, Moses & Hamilton. Sosman placed a series of incentives to draw Moses back to Chicago that included $5,000 in stock and a position as vice-president. Additionally, he also assumed all control over design, construction, painting, and installation at the firm. When Sosman passed away in 1915, Moses was elected president. Unfortunately, that was right in the midst of a challenging period, WWI, a measles outbreak, the Spanish Flu and a recession. It seemed that everything was falling apart and the demand for painted scenes was beginning to diminish nationwide.

By the summer of 1918, working at Sosman & Landis became untenable. On September 1, 1918, Thomas G Moses resigned as the president of Sosman & Landis, and started working for New York Studios, the eastern affiliate of Sosman & Landis. New York Studios was run by David H. Hunt. By the end of 1918, Moses wrote, “I am afraid that I will not be satisfied with my new deal.” Part of the problem was securing a studio space. Add in the fact that Moses never liked Hunt to begin with and his new employment was doomed from the start. Hunt consistently promised big and delivered small; Moses really should have known better by this point in his career.

During the fall of 1918 Moses hoped to line up a few projects along the west coast.  Of possible California living, he wrote, “Mama and I would like to go out there.  The hardest part of that will be the giving up of the old home and moving away from all the friends and children, but I don’t think it would take all that much coaxing to have the children move after us, which would all be fine. If I could only get a financial settlement with Sosman and Landis Company, we would go to California this winter.”

Needless to say, he remained in Chicago for the winter. His New York Studios projects ended up being built and painted in the Peltz & Carson shops. Of the experience, Moses wrote, “…rather hard to do in the Peltz and Carson Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor.  The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.” 

Of the search for a better studio space during the spring of 1919, Moses commented, “We looked at several buildings for a studio, but none seemed right to fill the bill.  The only way to get one and have it right is to build one.” Early on, Sosman & Landis built a deluxe studio that was often toted as the largest one in the United States.  When their main studio could not accommodate all projects, Sosman & Landis rented a series of spaces that they referred to as “annex studios.”  Although New York Studios had long been marketed as the eastern affiliate of Sosman & Landis, there were never the funds to build a permanent structure for scenic work. In the end Moses severed his relationship with New York Studios in 1919.

By summertime, Moses wrote, “A new contract was entered into between the Chicago Studios and myself for one year. I hope it will prove to be a paying one in which I participate in the profits and a raise in salary, which means my old salary of $100.00 and a bonus.” This means that when he left Sosman & Landis to work with New York Studios, he took a pay cut. His base salary returned to normal when he began working for Chicago Studios.

About this time, The Chicago Studios placed a want ad in the “Chicago Tribune” on Sept. 13, 1919: “MEN – YOUNG. TO LEARN THEATRICAL scene painting; excellent opportunity for those inclined. The Chicago Studios, 15 W. 20th-st” (page 21).

By Nov. 1, 1919, the want ad in the “Chicago Tribune” was a little more descriptive:

“MEN-YOUN, BETWEEN THE AGES OF 16 and 21 to learn to paint theatrical scenery; must start in as paint boy and work up; salary to start $15 per week; an excellent opportunity for one who wishes to learn the trade. Apply Chicago Studios 15 W. 20^th-st” (page 25).

It is difficult to track down information for The Chicago Studios; much has to do with the name. Similar to New York Studios, the firm’s name is also used to denote location of other businesses. For example, in 1919, newspapers credited scenery to the Chicago Studio of Sosman & Landis. Essanay Motion Picture company also referred to their Chicago Studio. And on top of everything else, there was also another Chicago company named “Chicago Studio,” one that specialized in music.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Robert P. Carsen was a scenic artist, stage mechanic and studio founder. He was the one who many scenic studios contacted when they needed to subcontract a carpenter. Over the years Carsen was associated with Buhler, Peltz & Carsen Studio, Peltz & Carsen Studio and the Robt. P. Carsen Scenic Studio. He worked as over hire at many places too, including J. C. Becker & Bro. In the 1920s and 1930s, Robt. P. Carsen’s studio letterheads included, “constructors and painters of theatrical scenery.” His studios address was the same previously cited by Peltz & Carsen, 1507 North Clark Street, Chicago. Peltz passed away in 1919, but his son was also a stage carpenter that worked at Peltz & Carsen.

Robert Peter Carlsen was born on May 27, 1876, in Blooming Prairie, Minnesota. Like some other artists, he changed his last name to Carsen by the turn of the twentieth century. He was the son of two immigrants, Emelia Olsen (b. 1855) from Norway and Peter Carlsen (b. 1840) from Denmark. Robert was one of five children born to the couple after their marriage in 1875; two boys and three girls. His sisters were Hilda (b. 1883), Roze (b. 1886) and Helen (b. 1880), with an only brother was named Lewis O. (b. 1878). Lewis went by “Louie.” Both Robert and Louis worked in theatre.

In 1880, the Carlsen family resided at 157 Ivering Street in Faribault, Minnesota. By 1900, each of the boys was listed as a theatre “stage man” in the US Federal Census. At the time, the Carlsen family was living at 276 Goodhue, St. Paul.

The 1910 US Census reported Carsen in Chicago, living with his future wife and her son at 1364 Sedgwick St. Robert was lodging with Herman M. Peltz, Alice McGinnis, and her son Frank McGinnis, Jr. Alice’s maiden name was Bernstein, she was divorced from actor Frank McGinnis. Alice and Frank were married on Aug. 4, 1898.

On Oct. 31, 1912, Carsen married Alice L. Bernstein. He was 36 years old and she was 31 years old. Five years later, Carsen’s 1918 WWI draft registration card lists that he was a contractor and owns his own business at 1507 N. Clark St. This would have been Peltz & Carsen. He was described as tall, with a stout build, blue eyes and sandy hair.

In 1923, Carsen placed advertisements in education journals, business directories, and drama publications. For a why, he specialized in rentals and focused on amateur productions. The 1923 December issue of “The Drama Magazine” included a “Robt. P. Carsen Scenic Studios” ad space noted, “Rent everything in Scenery” (page 120). They were taking a new approach, offering an educational department:

“An announcement

SUSAN STUBBS GLOVER

Authority on lighting and settings for the amateur stage. Is director of our Educational Department. Mrs. Glover’s Screen Stage Settings have had editorial recognition from The Theatre, Variety and The Drama Magazine and her advice is sought by Schools, Colleges and Little Theatre. If you have a stage problem write for our questionnaire.”

In 1924, Carsen delivered scenery for “Two Little Girls in Blue” at the Harlequin Club in Layfette, Indiana (Journal and Courier, 2 May 1924, page 2). Of the settings, the ‘Lafayette Journal and Courier” reported, “Most of the action of the play takes place aboard ship, making it necessary to provide an elaborate ship setting. The settings that will be used are an exact duplicate of the sets used in the original Erlanger production secured through the Robert Carsen scenic studio of Chicago.”

On May 15, 1925, Moline’s “Dispatch” reported, “The scenic investiture of Robin Hood presents a problem to amateur productions from Chicago, where he arranged with the Robert P. Carsen scenic studios to rent the original DeWolf Hopper scenery and properties as used in the Great Northern theater this winter. This scenery, amounting to almost a carload, will be shipped to Moline and patrons of the opera will be assured at least of the authentic period scenes of the well-loved Sherwood and Nottingham environs. In order that the opera may meet the high standard set by its promoters the costuming will be done by the New York Costume company, one of the finest costume houses in America.”  (Moline, Illinois, page 20).

In 1927, Robert P. Carsen Scenic studio was credited with the new system at the Kenosha Theatre in Wisconsin. The “Kenosha News” reported, “The designing construction and rigging of the most modern stage equipment through which a theater giving stage presentations such as the Kenosha must hope to operate smoothly is the result of the efforts of the Robert P. Carsen Scenic Studio of 17507 N. Clark street, Chicago. The stage equipment, which has been pronounced by experts to be without fault, is the sum total of decades of experience in outfitting theater stages.

Carsen married for the second time, Katharine L. Slack in Clinton, Iowa, on July 8, 1941. Carsen passed away on March 10, 1958. At the time, he lived in Michianna Shores, Indiana, and was 81 years old. the death certificate listed his “usual occupation” as a manufacturer in the stage equipment industry. Interestingly, his death certificate lists his parents as Peter Carsen (not Carlson) and Emily Forsythe (not Olsen).

Like Herman Peltz, of Peltz & Carsen, the studio outlived him. The name of Carsen morphed into the studio of ACME, CARSEN & PAUSMACK.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

There were a few winning combinations for scenic studios during the turn of the twentieth century. The first was the combination of salesman and scenic artist. In this case, both intimately understood the design, painting and building process for stage settings. The second winning combination was the combination of scenic artist and stage carpenter; one built and one painted the settings. However, this meant that someone needed to also work sales. Buhler, Peltz and Carsen combined one scenic artist with two stage mechanics.

Harry H. Buhler was a scenic artist and Herman Peltz a stage mechanic; they both worked at the Criterion Theatre during the early twentieth century before forming Buhler, Peltz and Carsen.  Yesterday, I explored the Buhler & Peltz combination at the Criterion Theatre. The two produced settings for a variety of touring shows, written and designed by Lincoln S. Carter between 1906 and 1908. These were huge mechanical affairs with brilliant stage effects that traveled across the country in railways cars packed with “special scenery.” Peltz later partnered solely with Robert Carsen to form “Peltz and Carson.”  Both were primarily stage carpenters, an interesting combination at the time and it was a relatively short-lived business venture.

In 1918, Thomas G. Moses mentioned the studio of Peltz & Carsen, as he was looking for a space to rent while working for New York Studios.  Today’s post focuses on Herman Maximillian Peltz, Sr.

Peltz was born in 1869, one of three sons born to Margaretha (b. 1840) and Thaugott Peltz (Dec 1801-15 Jan 1890). Little is known of his parents, his upbringing, or his introduction to the theater. However, his parents made the “Criminal Gossip” section of the newspaper when he was nine years old. On March 30, 1878, the “Inter Ocean” reported, “Margaret Peltz is a solitary North Side prisoner for assaulting and battering her husband Trangoth Pelts. Didn’t like his front name most likely” (page 8). That had to have been an embarrassing and tragic experience for the young Peltz.

Herman’s two brothers were Leo Peltz (1863-1940) and Max Peltz (1859-1890), each born in Chicago. Their father was a German immigrant, born in Lankreis Leipzig, Saxony, Germany, in 1801. At the age of 21 yrs. old Herman Peltz married Caroline “Lena” Zellner on 17 Sept 1890. The couple celebrated the birth of four children:  Edith Mary, Matthew, Edward and Herman Max Peltz Jr. Only Herman Jr. followed in his father’s footsteps as a stage carpenter. In 1890, Peltz was listed in the Chicago Directory as a “laborer” living at 3640 S. Wood. No industry was listed, but it could have been theatrical; we don’t know. It is during the 1890s that “Herman Peltz” is mentioned as performer associated with several theatrical endeavors. Again, no indication as to when he began focusing on performance or backstage work. However, by 1906 he was working with Harry J. Buhler at the Criterion Theatre in Chicago. By this time, however, his skill set as a stage mechanic was well developed.

The 1910 US Federal Census listed Peltz’ occupation as a “contractor” in the “theatrical” industry.  At the time he was lodging with business partner Robert Carsen (age 33), Alice E. McGinnis (divorced female, age 29) and her son Frank (age 11). All four were renting at 1364 Sedgwick Street in Chicago. I have not tracked down where Peltz’s family was living or why they were living apart. Carsen’s occupation was also listed as a contractor in the theatrical industry. Like Peltz, Carsen’s parents were German immigrants.

By 1917, Herman M. Peltz, Jr. was working at Peltz and Carsen. His WWI draft registration card lists that he was employed as a stage carpenter, like his father, for the firm. Interestingly, this ensured that the studio of Peltz & Carsen continued after the passing of Herman Peltz., Sr. in 1919.

Herman M. Peltz, Sr. passed away on June 13, 1919, and is buried at Oakridge Cemetery in Chicago, Illinois. The cause of death was listed as “organic disease of the heart due to scoliosis and calcification of the coronary arteries.” Peltz & Carsen continued after the passing of one founded, still active in the early 1920s.

To be continued…

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 for form the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz & Carsen, and Peltz & Carsen. Carsen was occasionally spelled Carson in directories, newspaper listings and articles. I am exploring each of their lives, as Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in 1918. Today’s post begins an exploration of the Peltz family.

 The story is a bit complicated, as there was a Herman Peltz, Sr. and a Herman Peltz, Jr., who both worked in theatre. The elder Peltz was a German immigrant born on May 1, 1869. He passed away at the relatively young age of 45. On June 14, 1919, the “Chicago Tribune” announced, “Stage Carpenter Drops Dead in Woods Theater. During a performance in the Woods theater last night, Herman Peltz, 45 years old, the house stage carpenter, died of apoplexy in the box office. He had just turned in his weekly pay roll when he fell over dead” (page 17). 

I’ll start with connecting Peltz with Harry J. Buhler and William F. Mann at Chicago’s Criterion Theatre.

On October 29, 1906, the “Morning News” described the artistic process at the Criterion Theatre, mentioning the master machinist Herman Peltz and scenic artist Harry J. Buhler (Wilmington, Delaware, 29 Oct. 1906, page 2). Here is the article in its entirety:

“There is no dramatist now before the American public, who endeavors to please the eye with beautiful scenery, as does Lincoln J. Carter. In fact, every play he has produced in the last twenty years, is built on a foundation of scenic effect, with locales of exceeding great beauty, or where Dame Nature’s whims have erected some eccentric upheaval upon which to lodge a Carter situation.

“His Chicago theatre – the Criterion – contains a labyrinth of scene painting bridges and curios (to the layman), workshops for the construction of those scenic wonders, that are a part, and no inconsiderable parcel of the equipment of his many road shows. The models of these scenes are made of cardboard, according to scale and beautifully colored in gouache by the manager-author – for Mr. Carter is an artist of marked ability and decided merit in originating. From the author’s studio they are sent to his master machinist, Herman Peltz, who, having built the great scenes, in turn, passes them onto Mr. Carter’s scenic artist, Harry J. Buhler, who colors them with the Carter conceptions. In the newest play by the dramatist. ‘While ‘Frisco Burns,’ which will be scene here, commencing this afternoon there is a very riot of scenic coloring. The first act opens in an old English fire-lit oak chamber; from here it passes to a balcony dining room in the famous Cliff House. The scenic transition from here to the finish of the play, carries you through conservatories, ball rooms of the nabobs of Knob Hill, into the murky and foul-smelling dens of mysterious China Town to City Hall, when the earthquake begins to demolish man’s handiwork, and, the avenging fire, as if seeking to obliterate the cruel cracks and chasms, finishes the work of desolation by wiping the earth’s face clear of his puny efforts. It is in a scenario like this, that the Garter genius shines best. A special matinee will be given to-morrow.”

In 1906 Buhler and Peltz were credited with delivering scenery for the “Cow Puncher.” The show was still touring two years later. On Jan. 9, 1908, the “Abilene Semi Weekly Farm Reporter, announced, “’The Cow Puncher’ by Hal Reid and under the direction of W. F. Mann. Opens a one-night engagement at the Lyceum Theatre on Tuesday, Jan. 14^th. If good newspaper notices, backed by large box office receipts, are any indication of successful plays, the ‘The Cow Puncher’ comes in the category of those manager hunted offerings. It is the simple pure Americanism of this play of western life, that not only endears it to its audience, but places it in a class of unique originality. Theatre goers cannot help being enthusiastic and intensely interested in its excellent presentment. The story is laid in Arizona, the company is more than capable, and the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery. As a special feature two well-known vaudeville acts are introduced” (Abilene, Texas, 9 Jan 1908, page 6).

On February 16, 1908, Buhler and Peltz were also mentioned in the “Washington Post” concerning their scenic work for “Shadowed by Three” (page 3). The article reported, “To-morrow night at the Academy a new play by Lem B. Parker, called ‘Shadowed by Three,’ begins a week’s engagement. It is under the direction of W. F. Mann. According to press reports few plays seen in the popular priced houses have the dramatic value that this romantic drama contains. The plot was cleverly conceived, and the characters taken from real men and women. The cast contains a personnel of players well-known to theatregoers, and their names guarantee a first-class performance. The scenery was specially designed and built by the well-known artists, Harry Buhler and Herman Peltz, from an original drawing made by Mr. Buhler. The light effects are the perfection of stagecraft, and patrons can feel certain that they will see something worth seeing in the performance of ‘Shadowed by Three.” Of the scenic effects, the “Joliet Evening Herald News” reported, “Henella, the Mystifier, who turns a marble statue into life and exercises seemingly superhuman powers, the LaSalle singing four, one of the most splendid quartets om the opera statue, the onrush of a 60-horse  power automobile and its crash through a plate glass window, the sensational recues of a supposed horse thief and the work of great detectives, Tom, Dick and Harry, the ‘Three’ are but a few of the features to be seen in ‘Shadow by Three,’ one of the greatest melodramas of modern times…Two carloads of scenery, horses, sleighs, stage coaches and a 60-horse power automobile are carries with ‘Shadowed by Three’” (25 Aug 1908, page 3).

In 1908, Buhler and Peltz also produced scenery for “The Toymaker.” The “San Bernardino County Sun” reported, the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery.” (7 Feb. 1908, page 4). More on Buhler & Peltz tomorrow.

To be continued…

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 8^th 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…

Copyright © 2020 by Wendy Waszut-Barrett

Yesterday’s post explored the life of Harry J. Buhler. There was another scenic artist listed in nineteenth century newspapers with the last name of Buhler – Henry J. Buhler.  Both a “Henry” J. Buhler and a “Harry” J. Buhler worked in Memphis, Tennessee; they were likely one and the same. 1870 US Federal Census listed Henry J. Buhler (18 yrs. old) living in Little Rock, Arkansas. He was living in a boarding house with several other people, including two fellow painters, Geo. W. Barry (32 yrs. old) and Arthur W. Drewry (20 yrs. old). He gained a reputation in Little Rock, as his work there was mentioned two years later in a Memphis newspaper.

In 1870, H. J. Buhler entered a painting for the country fair, entitled “The Stag at Bay” (Daily Arkansas Gazette, 12 Oct. 1870, page 4). The following year, the “Daily Arkansas Gazette” credited H. J. Buhler with painting the truck for the fire department in Little Rock(26 May 1871, page 4); Buhler was a member of Torrent Fire Co. 4 at this time (Daily Arkansas Gazette, 14 Jan 1871, page 4). Other painting projects for Buhler at this time included a city project, numbering houses (Daily Arkansas Gazette, 26 Sept. 1871, page 4). As with most artists at this time, Buhler supplemented any sporadic theater work with a combination of decorative and fine art projects. The first scenic art project by Buhler was an ad drop in Little Rock. Scenic artists Buhler and Akin placed an advertisement selling squares in an ad drop. The advertisement read, “MERCHANTS TAKE NOTICE – That there are only a few card spaces left on the curtain painted for the theatre hall. All wishing a card should apply, signed Buhler & Akin” (Arkansas Daily Gazette, 4 Nov 1870, page 4). Occasionally the local newspaper made note of his painting projects, such as “Mr. H. J. Buhler presents some fine specimens of painting. One article is a specimen of painting on silk – very pretty” (Arkansas Daily Gazette, 5 Oct 1871, page 1).

Buhler moved to Memphis, Tennessee, by the fall of 1872. The “Public Ledger” announced that the new scenery for the Olympic Theatre was “the product of the artistic labors of Mr. H. J. Buhler, the talented scenic artist of Little Rock” (Public Ledger, Memphis, Tennessee, 19 Sept 1872, page 2). The article continued, “It is unnecessary to say anything of the genius of Mr. Buhler as an artist. A glance at his work will establish his claims in that respect.” Buhler became associated with the venue as the “Public Ledge” later noted, “H. J. Buhler, Esq., the scenic artist of this establishment: (Public Ledger, 14 Oct 1872, page 3). Other production s with scenery by Buhler at the Olympic Theatre included “The Black Crook.” The “Public Ledger” reported, “the grotto and transformation scenes are especially brilliant and add much to the success of the Black Crook” (Public Ledger, 17 Oct 1872, page 2). In 1873, Buhler was listed as the scenic artist for the Memphis Theatre (Public Ledger, 18 Dec 1873, page 3).

When the Memphis Theatre was renovated in 1873, Buhler was listed as the scenic artist responsible for touching up the existing drop curtain. As with many articles of the time, the description of the newly renovated theater was described in detail. The “Memphis Daily Appeal” announced that the Memphis Theatre and the Greenlaw Opera House had “grand improvements at Immense Cost” (3 Sept. 1873, page 4). Henry Buhler provided painted the drop curtain. I am including the mention of the new lighting system too, as it is quite informative:

“Among the other improvements may be mentioned the addition of fifty gas-jets for the amphitheater, and a large chandelier, of twelve globes, which is at the entrance hall. The chandelier cost one-hundred and fifty dollars, and is also another evidence of the taste the lessees display in every feature pertaining to the beautifying and adornment of the Memphis Theatre, The gaslight will be increased by these addition to forty per cent, and now number one hundred and fifty glob burners, the footlights, numbering one hundred and thirteen, are hidden by means of a permanent reflector, extending in front of the stage edge from the view of the audience. The light given will be regular at all times, while lighting up the stage will not cause any unpleasantness to those in the pit and dress-circle, while witnessing the acting of looking upon the drop-curtain, which is one of the most superb ever hung in any theater. This curtain is one of the celebrated productions of the well-remembered Guilies, whose master brush gave living beauty to the canvas. The picture represents the ‘Voyage of Life,’ and is that one the four where ‘Youth’ is sailing in his proud boat down the stream of time. The freshness of the picture was faded by lapse of years, but Mr. Henry Buhler has revived the dimming beauty and repainted it in a most artistic style, and now it is a most beautiful picture in all that appeals to the aesthetics. In the wake of the gliding boat the silver-crested wavelets swell out upon the surface of the green-shaded waters, and on the flower-spread bank an angel is beckoning to ‘Youth,’ who looks afar down the stream, toward the palace beyond the distant summits. And the artist’s hand has given these a sad, calm beauty and moral quietude to the foliage, deep, still water and shadowy forests. And in the far-away scope, how grandly rise the dimly-lit mountain-heights even to the clouds. But we are moralizing too much; suffice to say, the original freshness and ideal beauty of Giulick’s work are fully restored by Buhler’s brush. And if, for a moment, the admirer of art forget the actual in the contemplation of the soft dreamful distance of the landscape, momentarily he is assured almost of the real presence of life, when beholding the two angels that peer so naturally from the base of the picture to the facing, with its inscription: “Voyage of Life and Youth,” repainted by Buhler. The old false curtain from the archway has been taken away, and the top of the drop-curtain is adorned with drapery of a very bright character. Two scenic artists, Mr. Buhler and Mr. Adam Walthew, the latter of New York, have been engaged for the season. The first gentleman is the head artist and Mr. Buhler assists.”

Buhler painted a new drop curtain for the Memphis Theatre in 1879.  It was installed for a new production of “H. M. S. Pinafore.” The “Memphis Evening Herald” reported, “New and elegant drop-curtain by Buhler. Magnificent new scenery and appointments, properties, flags, etc., etc., painted expressly for this opera by Buhler (18 April 1879, page 4). Other productions with scenery by Buhler that year, included the John McCullough production of “Othello” (Memphis Evening Herald 10 March 1879, page 4).

On July 12, 1879, “The Memphis Herald” announced that a marriage license was issued to A. C. Garrett and Henry J. Buhler page 4). Harry J. Buhler was married to Carrie A. Garrett.

To be continued…

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 for form the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz & Carsen, and Peltz & Carsen. Carsen was occasionally spelled Carson in directories, newspaper listings and articles. I am exploring each of their lives, as Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in 1918. I am starting with H. J. Buhler, scenic artist and studio founder.

Buhler was one of two children born. His mother, father, and older sister arrived in America in 1849, leaving Germany four years before he was born. His sister Anna F. Charman was born in Germany in 1847. Later in life, he housed his mother, sister and niece (Hermina F. Atwood).

During the 1870s, Buhler settled in Memphis, Tennessee. By 1877 Harry Buhler was listed as an artist in the Memphis Directory, living at 106 Vance. That year, the “Memphis Evening Herald” announced Buhler’s production of scenery for the drama “Pique” (20 Nov 1877, page 4). The article reported, “The scenery was grand, especially in the first act. Never within the history of the Memphis theatre has a more magnificent scene been witnessed than was the setting of the stage when the curtain was first rung up. It is all the more to be praised because it was conceived by Manager Rickaby and executed by our artist H. J. Buhler.”

Buhler married Carrie Alice Garrett in 1878. It remains unclear when or where the couple met, or even where they were married. Census reports list that Carrie was born in Illinois, with her parents coming from Virginia and Ohio.  Harry and Carrie celebrated the birth of two children, Blanch W. (b. Sept 1888) and Edgar Garrett (b. Sept. 1, 1892). Both children were born in New York, where Buhler likely began his scenic art career. His daughter Blanche was listed in the 1910 census as an actress, but I have yet to track down any information about her career. Little is known of Edgar’s career choice, although his WWI draft registration card listed that he was of medium height and medium build, with blue eyes and brown hair.

In 1878, “The Public Ledger” included an article entitled, “A Mirror of Fashion. Mr. Harry J. Buhler, the talented scenic artist of the Memphis Theatre has ornamented the large mirror in the vestibule of Robinson’s saloon, No. 17 Monroe street, with the announcement of Mr. John Rickaby’s benefit, which is set for the 15^th. The design of the lettering is artistic and the execution unusually excellent. Person’s who visit Harvey Robinson’s saloon will be interested in looking in this glass, as well as other glasses within this popular establishment” (Memphis, Tennessee, 6 Feb 1878, page 3). Although, Buhler was living in Memphis, he was still traveling across the country for projects, working as an itinerant scenic artist. His travels brought him to Illinois in 1878. That year Buhler was credited a caring for and nursing the Flack family after a disastrous incident in Paxton, Illinois. At the time, he was listed as “the scenic painter at the theatre” (The Weekly Standard, Paxton, Illinois, 5 Oct. 1878, page 3).

He appears to have home-based out of Memphis in the early 1880s, moving to Chicago by the mid 1880s. The 1880 Census listed both Harry J. and Carrie A. Buhler living as boarders at 382 Vance Street, Memphis. The 1881 Memphis Directory lists the Buhlers as still residing at the same address in 1881.

By 1885, however, H. Buhler is listed in the Scene Painters Show (see past post 131) https://drypigment.net2017/06/29/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-131/

 ). That year, Buhler was listed in the Chicago Directory as residing at 295 Wabash. In 1897, Buhler worked at Chicago’s Lincoln Theatre as their main scenic artist. However, he was not solely associated with one firm and was possibly already working in the Sosman & Landis shops for some projects.

As in Memphis, Buhler continued to work as an itinerant artist, boarding in various cities across the country. At this time, scenic artists made a point of being listed in local directories. If they were in town to complete a series of projects over an extended period of time, it provided contact information. This did not mean that it was a permanent residence, as their family was often living in another city. For example, in 1888, scenic artist H. J. Buhler was listed in the Minneapolis City Directory, working at the Pence Opera House and boarding at 224 Hennepin Ave. His permanent residence was in Chicago at this time. By 1891, Buhler was working for Sosman & Landis, painting scenery for the Temple Theatre in Duluth, Minnesota, alongside Thomas G. Moses and Joe Hart (Duluth Evening Herald, July 11, 1891). Various partnerships formed between Chicago artists during the 1890s. In 1895, Buhler briefly partnered with James S. Hutton. The “Inter Ocean” reported, “Buhler and Manager James S. Hutton painted the scenery for “As You Like It” at the Lincoln Theatre in Chicago. (Inter Ocean, 21 Nov 1895 page 4).

Julius Cahn’s Official Theatrical Guide of 1899 listed Buhler as the scenic artist who delivered stock scenery to Chicago’s Alhambra Theatre, New Lincoln Theatre and New Lyric Theatre. By the turn of the twentieth century, Buhler Partners with William Fletcher Mann. Buhler & Mann are credited as a scenic studio in 1901. From 1904 to 1907, the two are credited with the scenery for “Moonshiner’s Daughter.” (Miner’s Journal, 1 April 1904, page 2, and Post-Crescent, 19 Sept 1905, page 8). In 1907 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).

Interestingly, in 1907 Buhler was noted as having scenic art studios in both Chicago and New York. In articles across the country, his production of scenery for “The Flaming Arrow” reported, “All the scenery is from the studio of Harry J. Buhler, Chicago and New York” Scenery for “The Flaming Arrow” (Daily News-Democrat, Huntington, Indiana, page 3). Lincoln J. Carter’s “The New Fast Mail” railroad comedy drama (Grand Forks 4 Jan 1907, page 3). Buhler was also credited with Lincoln J. Carter’s “The New Fast Mail.” The “Daily Sentinel” noted that the production was “the attraction at the Park opera house on Saturday night, March 23. No play of modern years has made so tremendous a success from a financial standpoint as this railroad drama. Three great scenic effects are introduced. A steamboat explosion is the second act, the railroad scenes in the third act, and the Niagara Falls at night with its rippling waters lit up by the soft rays of the moon, in the fourth act. The entire production is brand new this season having been built, painted and designed by Mr. Harry J. Buhler and Herman Peltz, the artists who built and painted “Bedford’s Hope” the latest Chicago-New York success” (Daily Sentinel, Grand Junction, CO, 21 May 1907, page 4).

By 1908 Buhler provided scenery for Charles A. Sellom’s musical “The Cat and the Fiddle” (Truth, Salta Lake City, Utah, page 8). He also designed and painted scenery for “The Cow Puncher” under the direction of W. F. Mann. This is the first link between Buhler and Herman Peltz. They would later partner with Robert Carsen to form 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).

By 1909 Buhler, Peltz and Carsen are connected, but as two entities – Buhler and Peltz & Carsen. The production of  “Pinkerton Girl” credited the scenery to “Harry J. Buhler and Peltz & Carson” (Akron Beacon Journal, 22 Sept, 1909, page 10). Buhler was still working independently in 1909, credited with scenery for “The End of the Trail” (Hartford Courant, 19 Jan. 1909, page 6). He was also forming a new partnership. In 1909, Buhler, Peltz and Carsen Studio also delivered scenery for “Dark Marriage Morn” (News-Journal, Mansfield, Ohio, 29 Dec. 1909, page 5). The studio provided the mechanical and scenic portion of the show, noted as “very costly and elaborate.”

From 1909 to 1910 the studio of Buhler, Peltz and Carsen emerged in Chicago. The worked out of the Criterion Theatre and were credited with scenery for W. F. Mann’s “Dare-Devil Dan” (The Courier, Waterloo, IA, 10 Sept 1909, page 5).. The Chicago studio provided the mechanical and scenic portion of the show, noted as “very costly and elaborate.” In 1909 they also delivered “Dark Marriage Morn” (News-Journal, Mansfield, Ohio, 29 Dec. 1909, page 5) and W. F. Mann’s “The Pinkerton Girl” (Akron Beacon, 23 Sept. 1909, page 8). In 1910, they did W. F. Mann’s “The Plotters”(Dixon Evening Telegraph, 23 Sept, 1910, page 5). Note that Mann and Buhler previously painted together.

The 1910 Census listed the extended Buhler family living together in Chicago; Harry, Carrie. A, Blanch, and Edgar with Harry’s sister Anna and her daughter Hermina.

More on the Buhler’s tomorrow.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918, Thomas G. Moses wrote, “Our last job for the year was Benton Harbor, Michigan, for which we received $600.00.  The New York Studios have done a good deal of work but there has not been very much money in any of it on account of the heavy overhead. But I trust if we can get the frames at Peltz and Carson Studio, where it is clean and warn, we will be able to get out some work.” Moses’ diary entry brings into play another scenic studio that is worthy of mention – Peltz & Carsen. This is one more obscure firm in a rapid succession of Chicago scenic studios.

Like many scenic studios, Carsen & Peltz evolved from the previous partnership of Buhler, Peltz and Carsen. Buhler, Peltz and Carsen cited the Criterion Theatre in Chicago as their studio address. The Criterion Theatre is the key when looking at the evolution of the firm. In 1900 Julius Cahn’s Official Theatrical Guided listed Herman Peltz as the stage manager and Buhler & Mann as the scenic artists. By 1906, the Criterion’s scenic artist was solely listed as H. J. Buhler, with Peltz remaining as stage manager, the two would remain together, even in 1910 at the New Criterion Theatre. From 1909 to 1910, Buhler, Peltz & Carsen studio was extremely active, listing the Criterion Theatre as their business address. Buhler, Peltz & Carsen was founded by Harry J. Buhler, Robert P. Carsen (sometimes noted as Carson), and Herman Peltz, Sr.

From 1909 to 1910, Buhler, Peltz and Carsen Studio was credited with producing scenery for W. F. Mann’s “Dare-Devil Dan” (The Courier, Waterloo, IA, 10 Sept 1909, page 5). They would also provide scenery for Mann’s “The Pinkerton Girl” that same year (Akron Beacon, 23 Sept. 1909, page 8). In 1910, the firm manufactured scenery for another Mann production, “The Plotters” (Dixon Evening Telegraph, 23 Sept 1910, page 5). There is an interesting evolution from Buhler & Mann to Buhler, Peltz & Carsen working for Mann from 1901 to 1909. All of the scenery was constructed and painted at Chicago’s Criterion Theatre.

Not to be confused with the Criterion Theatre in New York, managed by Chas. Frohman, the Criterion Theatre in Chicago was managed by Lincoln J. Carter. In 1899, “Julius Cahn’s Official Theatrical Guide” noted that the width of the proscenium was 42 feet. The height of the grooves was 20 feet, numbering six and could be taken up flush with the fly gallery. The height from the stage to the rigging loft measured 70 feet and the distance between the fly girders was 52 feet.

By 1918, Buhler, Peltz & Carsen Studio was reduced to just Peltz & Carsen Studio. As Peltz & Carsen increased business, additional artists were added to the staff, including Art Oberbeck. After Oberbeck left the employ of Sosman & Landis. He established ACME Studios, working out of the Peltz & Carsen studio space for the first three years. This is really a complicated web, with all the same players shifting from one studio to another; it will take some time to unwrap and I need to explore the lives of the individual players. Tomorrow, I will begin exploring the lives of the individual players, dedicating a post to each individual. There is just so little information out there.

Keep in mind Sosman & Landis was a “rite of passage” for many scenic artists across the country during the late nineteenth century and early twentieth century. The studio became one big training ground for young artists who later founded their own studios.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

“History, despite its wrenching pain, cannot be unlived; but if faced with courage, need not be lived again.”-Maya Angelou

There was a book that I purchased few years back, a compilation of newspaper articles in an obscure out-of-print publication. I quickly scanned the book and stopped midway, for no particular reason, and started reading.  One chapter was dedicated to a story published in a foreign newspaper. It described a murder committed on an American stage. I honestly can’t remember whether it was a Parisian publication or an English one.  As I read the article, I became physically ill.  The same thing happened this week as I watched video of George Floyd’s murder in Minneapolis.

The 1911 newspaper story had to do with a young black man randomly selected for a public execution. Tickets were sold to take a shot as he was tied to a post and positioned center stage.

I could not unimagine the historic stage scene and had nightmares for weeks. Every once in a while, it still pops up, a dark shadow in the recess of my mind. For the past few days, I have tried to locate the book without success. I began looking on the internet last night while watching footage of the Minneapolis protests.  Looking for this single incident in a legacy of a white entitlement that allows the public murder of unarmed black men seemed almost impossible. How do you narrow down one killing when hundreds of thousands have occurred over the years?

I eventually found it; here is one article published in a Canadian newspaper, as it is the most informative:

“Livermore, Ky., April 21. – Will Potter, a negro, last night was dragged to the opera house stage, tied to a post, and riddled with bullets by fifty men. He had shot and killed Frank Mitchell, 22 years of age in a quarrel. The mob gathered in the orchestra pit of the theatre and took seats. A signal was given and the body was riddled with bullets by men in the auditorium” (“Ottawa Journal” on April 21, 1911, page 1).  Kentucky newspapers referred to this incident as a “lynching” and justified the event in various recounts.  Some articles noted that Mitchell was injured, and others noted that he was killed; it was whatever white people reported to the newspaper in that particular town.

Not a single day goes by that I do not encounter a description in some historic newspaper about the murder of black man. The number and consistency are staggering. A description of the event is often placed in a section next to entertainment, seldom on the first page. These men were charged with attempted theft, assault, vandalism, rape, or some other crime, often not committed, or the crime substantiated. The articles always justify the reason for torture, hanging, shooting, strangling or other means of execution at the hands of local white citizens. Frequently these victims were dragged from their homes, dragged from jail cells, or randomly rounded up on the street. For further reading, here is an article on lynching in America – https://lynchinginamerica.eji.org/report/ and the “Jim Crow Era: A Solemn Roll Call of Those Brutally Murdered” – https://www.kingscountypolitics.com/the-jim-crow-era-a-solemn-roll-call-of-those-brutally-murdered/

To not admit that these past actions have not informed the current atrocities is sheer ignorance; it is a carefully constructed system of oppression for people of color that is alive and well.

In regard to the 1911 murder, the NAACP condemned the murder and sent letters to President Taft, the Congress, and Gov. Wilson of Kentucky. Warrants were issued for eighteen of the “lynchers.” Three leaders were separately indicted and tried for murder, but soon acquitted. The same thing has continued to occur over the decades, all over the country. 

It is hard not to recall every incident of racism that I have encountered over the years, read about in the newspapers, or watched on television. I encounter racists all the time and feel helpless. When we elected President Obama, I thought that America may have finally turned the corner; I was wrong, and it was a call to action for racists.

I primarily work with, and for, middle-aged to elderly white men throughout the country. Although the terminology slightly varies from region to region, I have heard a plethora of derogatory terms for people of different races and religions. Simultaneously, the older white men also complain about being the new “minority” and a “victim,” they described nationwide persecution and oppression of white men. They have no concept of systematic racism in America nor the shameful legacy of slavery that did not end with the Civil War. I will not even begin to get into the gender debate with these same men. Whether I spoke up or not, I have listened to friends and family go on ad nauseum, making their judgements about those who are different. Racism runs deeply in American and has no intention of leaving soon. Children have been carefully taught to fear and hate people who are different, especially in Minnesota.

When those in power, such as an American president, give racists a voice, they enable the behavior of white supremacists in any profession. I am angry, and you should be too. This has to stop.

To be continued…