Drypigment.net

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…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918 Thomas G. Moses wrote, “The Big World War ended November 11^th, and the biggest kind of rally was pulled off.  I never saw such a crowd.  It was not safe to be on the street with a hat on or a good suit of clothes.”

Front pages of newspapers across the country announced the end of the war to end all wars, but it was the Los Angeles Times that used the headline of PEACE. The first page of many city newspapers reported, “The world war will end this morning at 6 o’clock, Washington time, 11 o’clock, Paris time. The armistice was signed by the German representatives at midnight. The announcement was made by the State Department at 2:50 o’clock this morning. The announcement was made verbally by an official of the State Department in this form” ‘The armistice has been signed. It was signed at 5 o’clock a.m. Paris time and hostilities will cease at 11 o’clock this morning, Paris time.’”

In Chicago, the “Tribune” published, “Chicago Gets Out of Bed; Bedlam Reigns in the Loop.” The article continued, “The first news of the signing of the armistice reached THE TRIBUNE office at 1:55 o’clock this morning. It came in a flash from the Associated Press by telephone. The text of the flash was simply: “Armistice signed.” THE TRIBUNE immediately verified the flash. By this time the meager details of the announcement from Washington had reached the Associated Press offices. Assured that the news this time was authentic, from Washington had reached the Associated Press offices. Assured that the news this time was authentic, THE TRIBUNE set off its giant sirens and within a few minutes the sleeping town was astir. THE TRIBUNE sirens were at least five minutes ahead of any other noise producing instruments in the informing of the public of the news.

“Within ten minutes a long procession of blue jackets who were asleep in downtown hotels or awaiting trains in hotel lobbies had poured into the street and formed a cheering procession past THE TRIBUNE office in Madison street. Jackies and soldiers in other parts of the city were soon emulating the first detachments and they were joined inside of half an hour by yelling, howling throngs of civilians, who made the sleeping loop resemble the jam and jumble of midday.

“Bandsmen were quickly tumbled from their beds and formed into units of loud sound, announcing to the town that it was over over there. The noise and the hurrah and the people sprang up as if by magic, and before 3 o’clock the downtown street were taking on the aspect of madness which ran riot last Thursday when the country went crazy over a rumor.

“THE TRIBUNE, with its forms waiting, as they had been for three anxious days and nights, was, as usual, the first on the street, telling the people that the hour of democracy throughout the earth had struck. In less than thirty minutes from the time the first flash reached the telegraph desk the “Peace extra.” Was being sold by newsboys on loop corners. THE TRIBUNE sirens were quickly followed in the outskirts of other whistles, and soon from downtown hotels and lodging houses, and from residents both in the city proper and in the suburbs, the citizens began flocking downtown to join in the general hilarity.

“THE TRIBUNE notified the police and fire departments’ headquarters. Instantly the message was relayed to every engine house and police station in the city. Fireboats let go their sirens, awakening people for blocks around. Policemen on their beats were notified and in less than five minutes from the time of the arrival of the news in Chicago it had been carried to every nook and corner by the police and firemen.

Hundreds of taxicabs and other motor vehicles jammed the streets. The police reserves which had been held Sunday evening in expectancy of the signing of peace had been sent home, and save for a handful of policemen, the downtown streets were unprotected. Lieut. William Murphy of the Central station took it upon himself to call every available man from outside stations. By 3 o’clock 100 bluecoats were in the loop to keep order and facilitate traffic. I seemed as if the whole navy was downtown. An observer who came into the office a short time after the sirens had announced the greatest story in the world, said he thought there must be more sailors here than at Great Lakes.

“Parade after parade was quickly swinging up and down through the canons of the city, and the Stars and Stripes at the front, Uncle Sam’s men at home whopped and yelled the victory of their brothers in Europe. From hotel rooms the guests who tossed balls and ribbons of paper, and red fire and rockets soon came into the had not yet had tie to get outside game of rejoicing.

At the Hotel Sherman the news brought dozens of theatrical folks and guests into the lobby. Night manager Michael O’Brien had a general telephone alarm sent throughout the house, “Chicago Tribune announces armistice signed.” That was sufficient. The lobby soon looked like the height of New Year’s Eve. Every known noise devise was soon gathered. Brass cuspidors were grabbed. Flags were torn down and waved. At Randolph and Clark Street the crowd took possession and almost wrecked the newsstands. When THE TRIBUNE extra arrived announcing the news the crowd fought good naturedly for the papers. Dimes, quarters, and even dollars were tendered, no one waiting for change. Red fire was burned which lighted up the streets for several blocks. A fleet of taxicabs gathered and added to the other noise making devices.

“From the night watchman’s door of the Conway building five shots in the general direction of the cornice on the county building. A tall, gray-haired man jumped from a yellow taxi and asked what it all meant. The chauffeur, too, leaped out and gave the explanation.

“It means that you owe me just two-sixty,” he said, “if this is the end of your ride.”

“But the shots? The shots?” insisted the tall man.

“That’s the end of Germany’s ride,” said the chauffeur.

The tall man paid and rushed madly to Righeimer’s, where he pounded vainly on the door, calling “Let me in! Let me in! The law’s all off on booze this morning of all the mornings in the world!”

Somebody passed the hopeful, untrue word that the tall man was Righeimer himself, and that he was going to open the bar and take a big chance. The door, at the end of five minutes, was as in the beginning. Then the big man emitted a roar of rage and pain, tossed his hat to the pave, and raised his long strong arms into the night.

“Think of it, all of ye!” he cried to the crowd, now made up of at least five hundred. “Think of it and weep with me! Any poor, downtrodden, despised bartender might, with one key and an ounce of nerve share the glory of the world at this moment with Foch himself!”

It was evident that hundred had waited in the loop for the bona fide announcement. Flags and streamers appeared quickly. The “I had told you so” cards bobbed in hatbands over the crush. Horns and cowbells added to the din. Railroad torches lighted the crowd with red glare. And all the time celebrants appeared and added to the delirious mob.

One of the first incidents to attract a special crowd on THE TRIBUNE corner was an impromptu speech by an excited blonde. She started out to tell her views to a bystander, but as she grew more enthusiastic her voice rose and she widened her circle of auditors. Before long she was shouting at the top of her voice and had a bodyguard of Great Lakes gobs cheering her on. A motor truck rolled down Dearborn street with an immense sign torn from a movie house held high above it. It read: “The Prussian Cur.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Theaters closed across the country as the Spanish Flu raged through communities in 1918. Some theatre managers used the shut down as an opportunity for various renovation projects.

On October 21, 1918, the “South Bend Tribune” reported, “Many theater managers throughout the country are taking advantage of the closed period to renovate their houses. It is not necessary to do this at the La Salle for the house was just recently gone over with fresh coats of paint and with the painted cement floors, leather seats and exhaust fan ventilation it is inviting and sanitary” (page 7).

Moses’ records note a shift in the theater industry, an increased demand for fabric draperies in lieu of painted curtains.

Regardless of those who used the shut down as an opportunity for building and stage improvements, the industry was hit hard. The stream of orders for painted scenery slowed to a trickle in many shops. In October, Thomas G. Moses wrote, “We did some work for a Mr. Lynch at Greely, Colorado, a pair of sateen curtains.” Moses was referring to Greeley’s Sterling Theater. This was an extremely small order but was better than nothing. No longer at Sosman & Landis, Moses’ work for New York Studios was dwindling. Moses was currently painting at the  20^th Street Studio, a month-to month rental He recorded, “It is pretty cold there but we can manage to keep going.”

The “Des Moines Tribune” reported, “Theaters Hardest Hit By Quarantine” (October 10, 1918, page 1). The article continued, “Aside from those who actually have the Spanish influenza, theatrical folks are hardest hit by this epidemic.

“Ordering all theaters closed means that practically all managers and employees are left without employment and without wages. Several members of the Princess players will go to their homes for two weeks’ vacation. A few of them will remain in Des Moines without salaries indefinitely.

“Orpheum circuit players will remain in the city for the rest of the week and then go on their regular tour. If they are billed for a city which is under quarantine, they will rest during the engagement.

“Most of the Orpheum actors have private arrangements for their expense money to go on automatically. Salaries in local theaters stop when the theaters close.

“Harold Cavanaugh, manager of the Berchel, said he had cancelled all engagements for the next two weeks and tentatively cancelled several beyond that time.

“The cast of ‘Miss Springtime,’ which played here Wednesday night and was scheduled for Thursday, leaves this afternoon for northern Iowa cities. The company will continue the tour.

“The Behman burlesque show, which was at the Berchel earlier in the week, left today for Omaha. That city is now under quarantine, but the quarantine is expected to be lifted early next week.

“Moving picture houses have necessarily cancelled all picture contracts.

“Building rent because the theaters are closed by government order will possibly not have to be paid. A decision upon this point will be arrived at today.” It was this last sentence that really caught my attention.

The shutdown of theaters varied from region to region, but in Phoenix, Arizona, it was nine weeks. On Dec. 6, the “Arizona Republic” announced that Phoenix theaters were again opening after being “dark” for 9 weeks (6 Dec. 1918, page 10). The article reported, “The theater managers yesterday all expressed themselves as positive that from the opening of the theaters Sunday for weeks to come they will do unusual large business. In other cities where the theaters were closed on account of Spanish influenza the theaters when they re-opened did such a business that every seat was filled at every performance for weeks, according to advices from theatrical managers in these cities.”

We can only hope.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918. Thomas G. Moses wrote, “Went to Detroit to see Ingersoll about a lot of work he wants done.”  Moses was referring to Manager Frederick Ingersoll, manager of Detroit’s Coliseum of amusement and many other entertainment venues.

Fred Ingersoll (1876 – 1927) was an American inventor, designer, builder and entrepreneur, credited as “the father of the American roller coaster, responsible for more ups and downs in American merrymaking than any other man” (“Des Moines Register” 24 October 1927, the page 1). Starting out as a designer, Ingersoll Construction Company initially focused on the “figure eight” coaster, scenic railways and Shoot-the-Chutes.

Ingersoll also created a chain of amusement parks, and during his lifetime owned and operated 44 amusement parks. Moses first mentioned Fred Ingersoll, of Ingersoll Construction Company in 1915 when Sosman & Landis delivered painted scenery for the attractions at Pittsburgh’s and Cleveland’s Luna Parks; the first two parks in his chain. Ingersoll’s Luna parks are not to be confused with Frederick C. Thompson’s Luna Park on Coney Island. Moses also designed and delivered amusement park attractions to Thompson’s Luna Park.

On May 5, 1918, the “Detroit Free Press” announced, “Thousand’s Attend Coliseum Opening” (page 16). The accompanying article reported, “Boardwalk bigger and better than ever, is verdict. Better than ever and giving promise of maintaining its reputation as one of Detroit’s most popular places of recreation, the Boardwalk at Jefferson avenue and Belle Isle bridge, with the Coliseum of 25 amusements, opened for the season Saturday night. Responding to the announcement of the opening, thousands took advantage of the balmy spring evening and journeyed down to the breezes and take part in the hilarious fun that occupies every minute of one’s stay in the coliseum. Manager Frederick Ingersoll had taken particular pains to have everything in the best working order and to provide in all possible ways for the comfort and convenience of his patrons. The slides, the numerous ingenious contrivances that give thrills alike to those who venture upon them and onlookers, the mirth-provoking ‘theater’ and all the other stunts that have been devised to give clean, healthful pleasure alike to men, women and children were in full blast. Several new fun devices have been installed in the coliseum in addition to those of past seasons. The boardwalk will be open every evening and all-day Sundays, beginning today. Its variety of amusement, the modest price of admission, which entitles one to enjoy all the features, and its easy accessibility to all parts of the city and to Belle Isle bid fair to render of the mecca of merrymakers throughout the summer.” Ingersoll’s Coliseum of Amusements was located on Jefferson Avenue and was under the management of C. S. Rose.

I have written quite a bit about Moses’ work for Ingersoll in past posts. In 1915, Moses recorded, “A short trip to Detroit to see Fred Ingersoll.  Closed a picture set for $1,500.00. He had a fine theatre.” Again, Ingersoll was the manager of Detroit’s Coliseum Theatre, a 450-seat venue at 4321 Hamilton Street that opened in 1916. In 1920, Moses still received work for Ingersoll, writing, “A good order from Ingersoll for a lot of park work was very welcome.  I started it at once so as to be ready on him.”

Unfortunately, Ingersoll’s life came to an abrupt end in 1927.  Newspapers across the country reported that he was found dead in a concession stand at Krug Park, Omaha.  Articles reported that the doors and windows were tightly closed, and an open gas jet filled the room with its fumes. The county coroner convinced that death was self-inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill health.

In Des Moines papers, Ingersoll’s obituary remembered him as “the amusement park magnate who installed the roller coaster and other amusement devices at Ingersoll park, the vanished center of gayety once operated at Forty-eighth street and Ingersoll avenue. At that time, he was regarded as the foremost amusement park magnate in the country, with important financial interests in parks in Pittsburgh, Cleveland and Philadelphia, as well as Des Moines. At one time he operated five Luna parks in five eastern cities. Besides his interest in the Omaha amusement park, Ingersoll was associated with similar enterprises in Lincoln, Neb. and Detroit. At the time of his death, he has lived for the last eight years in Omaha. Among amusement men, Omer Kenyon of the Garrick Theater said last night; Ingersoll was regarded as the foremost amusement park promoter in the country. To Ingersoll is given credit for the discovery, long before the airplane became a more practical imitation of a bird’s flight, that American’s like the thrill of bird-like soars and dips and glidings. His inspiration led to the rapid blossoming of gaunt white roller coaster structures on the outskirts of most American cities of any size. Later he extended his idea to other thrillers, such as whirling chairs, crack-the-whip rides, and swift revolving swings, on which zestful men and women spent three or four exhilarated minutes for 10 to 15 cents.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918, Thomas G. Moses wrote, “October 10^th, I was knocked down by a boy on a bicycle in Oak Park.  It was dark and I did not see the wheel.  It was thought by the doctor that I had fractured my skull.  It was a couple of months before I recovered.  Only a few days after this I was forced to go to Cleveland to look after a big Masonic order and I hope we will be able to get the contract.” He was referring to the new Masonic Temple and massive 2500-seat auditorium being planned for Cleveland.

This should have been an easy sale for Sosman & Landis, as the Cleveland Masons were a previous client. Sosman & Landis already delivered Masonic scenery to Cleveland in 1909. That temple theater was located on Superior Avenue and Sixth Street. Unfortunately, the contract for the new Cleveland Masonic Temple Theatre was awarded to Toomey & Volland. In 1918 Toomey & Volland also delivered scenery to Scottish Rite theaters in Watertown, New York and Peoria, Illinois.

Scottish Rite prospects were diminishing for Sosman & Landis by 1918. That year, they only delivered scenery to the El Paso Scottish Rite. It would be another five years before Moses listed another Scottish Rite scenery project on his resume. 1915 was the last fruitful year for Masonic scenery projects at Sosman & Landis. This was also the last year that Joseph S. Sosman was alive.  Upon Sosman’s death, there was no longer that essential Masonic connection for the Sosman & Landis studio.

There were major Masonic players at both Toomey & Volland Studio in St. Louis and John C. Becker & Bro. Chicago. Moses would not complete his Scottish Rite degrees until February 1925. He then joined the Ancient and Accepted Nobles of the Mystic Shrine in March 1925. Not being a Mason until the mid-1920s cost Moses potential work at a time when the demand for other painted scenery was declining. Whether he was working at Sosman & Landis or New York Studios, there needed to be someone intimately connected with the Fraternity to secure the work.

In regard to Cleveland in 1919, however, Moses received a contract for a Shrine scene.  In January he wrote about completing a “big Mecca scene for Cleveland.” Of the project, he commented, “I painted the top of the wall in strong sun-light and the bottom in shadow with a number of awnings and tables of fruit and water jars, which gave a touch of the true Oriental atmosphere.”

This one scene was not enough to get Moses back into Masonic scenery game. Scottish Rite work would not pick up again for him until 1923, and then it would continue in spits and spurts throughout the decade.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In honor of those that we have lost in past wars, it seems an appropriate post for today.

To be continued…