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Copyright © 2019 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

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

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

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

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

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

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

In 1914, Sosman & Landis delivered scenery for the Ringling Bros. grand circus spectacle, “King Solomon and the Queen of Sheba.” By that year dozens of Scottish Rite stages had been constructed and held massive scenery collections to stage Scottish Rite degree productions, many that told of events surrounding the reign of King Solomon. Masonic backdrops depicted the private apartments, throne room, courtyard and the Temple of King Solomon.

To look at the sixty-one Scottish Rite scenery collections solely produced by Sosman & Landis (Chicago) and Toomey & Volland (St. Louis) from 1896-1914 puts the Ringling Bros. “King Solomon and the Queen of Sheba” spectacle in perspective.  These 61 scenery installations include Scottish Rite Theatres in Little Rock, Arkansas; Tucson, Arizona; San Francisco, Stockton and Los Angeles, California; Atlanta, Georgia; Chicago, Springfield, E. St. Louis, Quincy and Bloomington, Illinois; Davenport and Dubuque Iowa; Fort Wayne, Indianapolis, and Evansville, Indiana; Fort Scott, Fort Leavenworth, Wichita, Kansas City, Lawrence and Salina, Kansas; Louisville and Covington, Kentucky; Portland, Maine; Bay City, Michigan; Duluth and Winona, Minnesota; St Louis and Joplin, Missouri; Omaha, Nebraska; Butte and Helena, Montana; Clinton and Jersey City, New Jersey; Santa Fe, New Mexico; Rochester and Buffalo, New York; Charlotte and Asheville, North Carolina; Grand Forks, North Dakota; Toledo, Davenport, Youngstown and Canton, Ohio; McAlester and Guthrie, Oklahoma; Bloomsburg and Pittsburg, Pennsylvania; Yankton, South Dakota; Memphis, Tennessee; Dallas, El Paso and Austin, Texas; Salt Lake City, Utah; Danville, Virginia; Milwaukee, Wisconsin; Wheeling, West Virginia; Tacoma, Washington; and Cheyenne, Wyoming. There were also those produced by lesser-known studios too. The point is that Masonic membership was dramatically increasing during the early twentieth century.  

All of the Ringling brothers were a Scottish Rite Masons and members of the Scottish Rite Consistory in Milwaukee. By 1913, the Milwaukee Scottish Rite boasted a Sosman & Landis scenery collection, one specifically supervised by Thomas G. Moses during its production.

The Ringling family all began their Masonic journey in Baraboo Lodge No. 34. There were two other circus families who also belonged to that lodge, the Moellers and the Gollmars. The Ringlings, Gollmars, and Moellers were all related through marriages to the three Juliar sister. Marie “Salome” Juliar married August Ringling (Rüngeling), father of the Ringling Brothers.  Her sister Katherine married Gottleib Gollmar, father of the Gollmar Brothers. Mary Juliar married Henry Moeller, father of the Moeller Brothers who became famous as manufacturers of circus wagons and materials.

Gottlieb G. Gollmar (1823-1914) was the son on of Joachim Gollmar & Franziska Caroline Wolf, born in Baden-Würtemmberg, Germany, arriving in the United States at the age of 9 and settling in Valley City, Ohio. He married Mary Magdeline Juliar in Chicago on 17 Nov 1848 and moved to Baraboo in 1851. He and was one of the seven charter members for Baraboo Lodge No. 34 and patriarch of the Gollmar Brothers circuses.The Gollmar Bros. Circus was operated by brothers Walter, Fred, Charles, Ben and Jake Gollmar and lasted until 1926, finally touring as the Patterson-Gollmar Bros. Circus.

Katherine Juliar married Henry Moeller, an immigrant born in Saxony. He learned the trade of a wagon maker in Milwaukee after arriving in the United States. Moeller founded a blacksmith shop in June 1856, a business later operated by his sons Henry and Corwin as the Moeller Bros. Wagon Co. (Wisconsin State Journal, 265 April 1937, page 12). First cousins to the Ringlings and Gollmars, their shop was located at Third Avenue in Baraboo where they built many of the ornate wagons for the Ringling Brothers’ circus, including the famous Bell Wagon of 1892. For many years, the wagons used by the Ringling Brothers were made exclusively in the Moeller Bros. shops, costing as much as $800 each, exclusive of painting.

Marie “Salome” Juliar married August Rüngeling, and their children formed the Ringling Brothers circus. August and his seven sons all joined the Fraternity between January 1890 and August 1891; each being raised in Baraboo Lodge No. 34. This is not unusual, as Freemasonry was often a “family affair” for fathers and sons. Here is when each Ringling brother became a Master Mason: Alf T. (January 22, 1890), John (March 1, 1890), Al (March 29, 1890), Charles (April 9, 1890), Otto (April 9, 1890), Gus (Feb. 4, 1891), Henry (March 18, 1891), August Rüngeling (August 9, 1891). However, it was their combined roles as Masonic officers during 1891 that caught my eye.  In the minutes of a meeting on April 8, 1891, Alf T. was listed as Worshipful Master; August “Gus” was listed as Senior Warden; Al was listed as Junior Warden; Charles was listed as Senior Deacon; Otto was listed as Junior Deacon; and Henry was listed as Senior Steward.

In 1900, “The Buffalo Courier” included the story of the Ringling family in a section called “Travelers Toward the East” (9 Dec. 1900, page 25). The article reported, “A Masonic journal says that the Ringling brothers are known all over the country as the proprietors of the Ringling Circus.  Seven of these brothers are members of Baraboo Lodge No. 34 of Wisconsin jurisdiction, and after the seven were all members of the lodge the petition of the father was received.  The Ringling brothers qualified themselves to confer the degrees were assigned to the several positions in the lodge, received the father into the lodge and conferred the degrees upon him.”

Baraboo Lodge No. 34 was almost four decades old by the time the Ringlings became members. Besides belonging to Baraboo Lodge No. 34, the seven brothers also belonged to Baraboo Valley Chapter No. 49, R.A.M (Royal Arch Masons); St. John Commandery No. 21 K.T. (Knight Templars) of Baraboo, and the A.A.S.R. (Ancient and Accepted Scottish Rite) in Milwaukee. The lodge rooms were above McGann’s Furniture in the building at the Northwest corner of Oak and Second Avenue, but a new building was in the making in 1891. The same month that their father was raised, the “Wisconsin State Journal” reported that the corner stone for the Baraboo Masonic Temple was “to be laid with great ceremony” that Thursday (25 August 1891, page 1). A formal procession was formed and consisted of the Baraboo lodges, Eastern Star Chapter, Royal Arch Masons, Knights Templar, members of the Grand Lodge, the members of the city council, and led by the Baraboo military band.

The three Juliar sisters who married Ringling, Gollmar and Moeller also had a brother, Nicholas Juliar (1841-1920). Nicholas collected his sisters’ circus memorabilia and his personal effects are now part of the Memorial Library, Southern Minnesota Historical Center, Minnesota State University – Mankato. Unlike his famous relations, Juliar was a banker, auctioneer, and member of the Minnesota House of Representatives for two terms. To be continued…

Copyright © 2018 by Wendy Waszut-Barrett

In 1914 Sosman & Landis created scenery for the Ringling Bros. grand circus spectacle “Solomon and the Queen of Sheba.” Over a decade earlier, the John Robinson circus also included “King Solomon and the Queen of Sheba” at a circus spectacle.  It provided a rich and popular subject for a variety of nineteenth-century and twentieth century entertainment venues. 

The King Solomon story was also staged for Ancient and Accepted Scottish Rite of Freemasonry degree productions at this time.  Masonic designs included a variety of settings from King Solomon’s reign, including the Temple, Sanctum Sanctorum, his private apartments, audience chambers, and the throne room.  The story of the construction of King Solomon’s Temple was a subject dramatically presented in both Blue Lodge rooms and on Scottish Rite stages as part of their ceremonials. The construction of the Temple and the assassination of its chief architect Hiram, are a prominent topic in Masonic degree work. This story dramatically presented in lodge rooms was theatrically staged for Scottish Rite degree work. Never exclusive to the Fraternity, the reign of King Solomon was a popular subject for a variety of visual spectacles throughout the nineteenth century.

In past posts, I have covered the subject of King Solomon on both public and private stages, including two 1840s touring show that featured “Chemical Paintings,” also known as “Magic Pictures.” These were small painted backdrops that transitioned from day to night as the composition was alternatively lit from both the front and back (see past installment #320). Newspapers at the time reported, “by modifying the light upon the picture, exhibits two entirely distinct representations upon the same canvas” (The Times-Picayune, 20 Dec. 1842, page 3).  The “Inauguration of Solomon’s Temple” was one of four scenes that toured with the show.

Here is the 1842 description of “The Inauguration of Solomon’s Temple” as published in “The Times-Picayune:”

“This painting represents the magnificent Temple of Solomon, son of David, which he caused to be erected in Jerusalem. Seen in the daytime, it exhibits to the spectacular the richness and elegance of its exterior architecture. The same Painting soon after passes through all the modifications of light: then night comes on, (effects obtained by the decomposition of light, a new process of painting invented by Daguerre,) the Temple appears illuminated interiorly by degrees, reflecting a bright light exteriorly, which discovers a great multitude of people flocking to adore the Ark of the Covenant, which the High Priest has deposited in the Tabernacle” (New Orleans, December 29, 1842, page 3). 

Any Mason who attended the 1842 exhibit might leave full of ideas that could make the degree work in my small lodge room better. The scenic effects exhibited at the end of a darkened room suggested the possibilities for dramatic effects during degree work. By the 1850s, the first Scottish Rite stages began to appear, with painted settings and costumed figures under stage lights. Fast-forward a few decades.

In 1891, a King Solomon spectacle was a feature for the Piedmont Exposition in Atlanta, with nightly performances from Tuesday until Saturday  (Atlanta Constitution, 19 Oct 1891, page 6). Although met with some controversy from the conservative Christian faction of the time, a series of rebuttals supported the productions. It was a popular production. By 1899, the King Solomon story was picked up by the John Robinson Circus.

Newspapers in 1900 announced “a magnificence of a scenic spectacle of Solomon and Queen of Sheba” produced by the John Robinson Circus (Marshall County Independent, Plymouth, Indiana, 25 May 1900, page 8).  It was one of ten big shows that toured with his circus Advertised as the oldest circus on the road in 1824; by 1900 the third generation of John Robinson descendants advertised it as the Robinson Show (Fort Scott Weekly, 9 Aug. 1900, page 8). The John Robinson Circus was one of the oldest running family circuses in the United States. The four generations that managed the circus were John Robinson I (1807 – 1888), John F. Robinson II (1843 – 1921), John G. Robinson III (1872 – 1935) and John G. Robinson IV (1893 – 1954). Here is a link to the circus’ history as it is quite fascinating: http://www.circusesandsideshows.com/circuses/johnrobinsoncircus.html

John Robinson Circus advertisements promised, “Nothing Old But the Name” and the “Wichita Daily Eagle” reported, “The most interesting feature in the performance that the Robinson show has is the spectacular production of King Solomon, which was especially beautiful under the dazzling lights in the evening. This part of the show is gorgeously staged and in effect if like the great spectacle production in America of 1893. Triumphal marches, to the music of trumpets, and an acceptionally [sic.] good band, fifty or more girls attired in oriental costume, a hundred on horses representing various clans and allies, correctly costumes true to history, and later ballet and dancers, the story in pantomime of the judgment of King Solomon on the parable of the babe claimed by two women, and closing with the visit of the queen of Sheba, were all produced in magnificent manner. The regular circus performance which followed contained some old features always seen, but it also contained many new features and original idea which makes the show more interesting than the simple old fashioned circus”  (Wichita Beacon, 18 Aug. 1900, page 5).

In 1900, Robinsons Circus advertisements noted that the production included 1,000 men and women, 500 horses, elephants, camels and 100 ballet dancers, transported across the country in several trains of cars.  Furthermore, $2,000,000 was purportedly invested in the show. There were “20,000 seats for 20,000 people under an absolutely water-proof canvas,” “40 camels hitched to a $20,000 Golden Chariot,” and “Forty Soul Stirring, Fearless, Madly Ridden Hippodrome Races, Forty” (Wichita Beacon, 18 Aug. 1900, page 5).

By 1902, the “Knoxville Sentinel” advertised the Robinson Circus, reporting, “The Bible contains within its covers no pages so attractive in interest, so impressive in description, so reverential and so expressive of divine devotion, so rand in developments, as those which relate to King Solomon and his reign. It was a felicitous thought, then of the celebrated artist, John Rettig, that led him to contemplate the reign of Solomon as the subject for a spectacle, and to select that period of Solomon’s administration when the king is visited by the Queen of Sheba, as the theme for his grand and all overshadowing masterpiece of vast spectacular presentations (15 Oct. 1902, page 2). A year later, the “Courier Journal” added, “It was a wise thought of the celebrated artist John Rettig, that led him to take the reign of Solomon as the subject for a spectacle” (23 April 1903, page 4). The Robinson Circus show was designed by Cincinnati scenic artist John Rettig and directed by Charles Constantine. Rettig (1858-1932) was a friend of Thomas G. Moses and the two traveled in the same circles.

“The Oswego Independent” published, “The ‘Queen of Sheba’ was a sight to behold, Arrayed in circus tinsel, with cheap finery and frippery, supposed to represent the original in her journey to view the wonders and glories of King Solomon, she was a sight never to be forgotten, and was a libel on the original, as word painted in the scriptures” (Oswego, Kansas, 31 August 1900, page 3). The “Newton Kansan” added, “The spectacular representation of scenes in connection with the lives of King Solomon and the Queen of Sheba was a novel feature and was one of the best things in the show, but would be vastly improved if shortened as it becomes tiresome” (17 Aug, 1900, page 1). Most reviews, however, were pleased with the presentation. The “McPherson Weekly Republican,” commented, “The presentation of King Solomon’s court, the temple and the amusements of the ancient Hebrew court were a big surprise in excellence and would have done credit to a large opera house performance” (24 Aug. 1900, page 7).

Of the production, an advertisement in the “Wichita Daily Beacon” stated, “King Solomon and Queen of Sheba. Dwarfing and overshadowing to comparative insignificance interior and out door spectacular events of the era. Replete in sacred realisms, historical accuracies, Biblical events, colossal processions, and introducing all the ceremonies with the original pomp and splendor of the Court of Solomon.” In 1929, the John Robinson Circus was still featuring “King Solomon and the Queen of Sheba.”

By 1914, spectacles depicting King Solomon’s life were still a popular to many, including the thousands of men who continued to tell the story in Masonic ceremonials. The Ringling Brothers’ spectacle of “King Solomon,” however, was produced on a much grander scale than any other circuses or fraternity. The Masonic settings at Scottish Rite theaters paled in comparison with the grand spectacle at the circus, yet the same scenic artists were painting the sets for each venue.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1914, Thomas G. Moses wrote, “Jan. 6^th, went to Baraboo, Wisconsin, to see the Ringling’s for the new spectacle, ‘King Solomon.’ Another big show. Made a model for one scene and got $2,900.00.” Moses was referring to the 1914 Ringling production “Solomon and the Queen of Sheba” that toured throughout the United States. Later in 1914, Moses wrote, “Ringlings’ work came out very good.  Everyone was pleased and that is saying a good deal.”

I have mentioned this grand circus spectacle, or spec, in the past, but it is worth repeating. It provides an additional layer of context for the painted tradition preserved in Scottish Rite theaters.

“King Solomon and the Queen of Sheba” was presented in a series of dramatic pantomimic pictures staged with “all the lavish splendor and opulence that marked the period when the wise Solomon ruled the Kingdom of Israel, the action of the spectacle is laid in Jerusalem, at the time of the historical visit of Balkis, Queen of Sheba” (Star Gazette, Elmira, NY, 21 May 1914, page 3).  The Star Gazette reported, “The spectacle is presented on an enormous, specially constructed stage, which occupies nearly one entire side of the main tent.  The tent measures 560 by 320 feet and seats 14,000 people at a performance” (21 May 1914, page 3). Remember that two shows were given daily; one at 2pm and one at 8PM, and the doors opened an hour before show time, allowing spectators to visit the 108 cages in the Ringling zoo and purchase candy and souvenirs!

In 1914, the “Indianapolis Star” reported, “Nero has watched his Rome burn to a cinder beneath a circus tent. Pompeii has fallen to ruins in the scattered sawdust of the ring and Cleopatra has taken her last look at Egypt before the clown’s entry.  And now the wise King Solomon and the Queen of Sheba have been made the hero and heroine of the circus spectacle, surrounded with all the gorgeous pageantry and lavish costumes a showman can devise” (4 May 1914, page 3).

On May 21, 1914, the “Star Gazette” reported:

“Nearly half of the entire train section is used to transport the scenery and costumes used in the massive spectacle, ‘Solomon and the Queen of Sheba.’ The spectacle includes a cast of more than 1,250 characters and a ballet of 300 dancing girls under the personal direction of Ottokar Bartik, ballet master of the Metropolitan Opera House, New York, and late of La Scala, Milan.  The music for this spectacle has been written by Faltis Effendi, formerly bandmaster of Khedive of Egypt, and is rendered by an orchestra of 90 musicians, 400 trained singers and a chorus of 1,000 voices accompanied by a cathedral pipe organ, costing $100,000.  The Ringling Brothers’ have expended $1,000,000 in the production of this mammoth spectacle which faithfully and accurately portrays the pomp and ceremony, life and wisdom of a period a thousand years before Christ, and introduces Solomon in all his glory and Balkis, Queen of Sheba, the most interesting woman of her day” (Star Gazette, Elmira, NY, 21 May 1914, page 3).

The US Inflation Calculator measures the buying power of $1,000,000 in 1914 to be the equivalent of $25,200,600.00 in 2018. Fifty men were needed to handle scenery and special effects (Dayton Daily News, 26 April 1914, page 31).

When the circus arrived in Elmira, New York during 1914, the “Star Gazette” included a large article about the early morning arrival and events, advertising:

“The big circus is almost here.  Tomorrow morning in the small hours just before dawn, four long red and yellow trains, made up of 86 cars will roll quietly into Elmira coming from Binghamton, over Lackawanna railroad.  They will be unloaded immediately and within a few hours the big aggregations of world wonders which comprises Ringling Brothers’ ‘world’s greatest shows’ will be safely sheltered under twenty acres of white canvas on the show grounds.”

The circus included an elaborate parade that traversed the principal streets of each town on the morning of their arrival.  The “Star Gazette” announced, “The cavalcade which, it is promised, will be the longest and most gorgeous display ever seen in the streets of this city, will start from the show grounds promptly at 10 o’clock.  It will be more than three miles in length and will include all the performers and animals, in addition to the long procession of handsome tableau wagons and allegorical cars, filled with pretty dancing girls in gay costumes.  Six bands and two calliopes will furnish the music for the cavalcade and the fifty famous Ringling clowns will be on hand to keep the sidewalk spectators in good humor.  A striking feature of the procession will be the long line of elephants, forty in all, and a team of sixteen camels, broken to bit and harness driven the same as horses. These beasts draw a huge parade wagon and this is the first instance on record where the ‘ship of the desert’ has ever been successfully broken to harness and bit.”

The “twenty-four hour man” arrived a day ahead of the circus to set up the infrastructure needed to feed an enormous amount of people and animals. Other circus staff that arrived a day early included “a number of stage and electrical experts who precede the show to make arrangements for the staging and lighting of the big spectacle “Solomon and the Queen of Sheba.” It is important to remember that the King Solomon spectacle was just one of the principal features for the Ringling Brothers’ program that season; it was not the whole show.  This makes theatrical touring shows, such as “Ben-Hur,” seem like child’s play when compared with the logistics of a touring circus with thousands of moving parts.

The first train to arrive was the commissary department and the first tent to be pitched on the show grounds was the “cook house.”  The second and third trains pulled the heavy red wagons, loaded with canvases, properties, the elephants, the 730 horses and the other animals.  On the last train, composed entirely of sleeping cars, arrived all of the performers and ancillary staff members for the show.

The Queen of Sheba was played by Mme. Bartik, a Russian actress and a pupil of M. Pierre Devereau, the French teacher of pantomimic art.

One of the things that I keep thinking about is the logistics of organizing and managing a touring circus a century ago, especially the 1914 Ringling Brothers’ “King Solomon and the Queen of Sheba.” The Pittsburgh Press published an article that provides insight into the 1914 circus (11 May 1914, page 14):

“The big enterprise bearing the name of the five brother showmen arrived in Pittsburgh in the small hours of Sunday morning and with very little noise and no confusion an enormous tented city was quickly established on the show grounds in East Liberty.  The show came from Wheeling, W. Va., where it exhibited on Saturday, and it was met in the yards of the Pennsylvania railroad by a vast horde of excited youngsters who had braved both the displeasure of parents and Sunday school teachers in order to be on hand to help unload the elephants and lead the spotted ponies to water.  All day yesterday they loitered around the East Liberty grounds watching the erecting of the tents and other unusual sights.

Twenty-four tents are required this season.  The main canvas – the big top is the largest the Ringlings have ever used – is especially constructed, not only to accommodate the circus with its three rings, stages and hippodrome track, but also arranged for the massive spectacle ‘Solomon and the Queen of Sheba,’ which is presented on a stage five the size of that found in the largest theater. The Ringling circus is a perfect city in itself traveling every night, making a new city every day and morning with more system, rapidity and less fuss and noise than any branch of the army.  To prepare for its coming exactly 106 representatives, each with a various mission to perform, have visited this city.

All of the cooking for this enormous enterprise is done by steam and in ranges built in a wagon weighing six tons and drawn by eight horses.  As a mere detail of the marketing the circus consumes daily 4,500 pounds of fresh beef, 300 dozen eggs, 800 pounds of bread, 150 pounds of sugar and other items equally as large.  The first order to the cooks in the morning is for 5,200 griddle cakes and yet, as large a number as this may seem, it is only four a piece. For the stock and animal department there are used daily: 10 tons of hay, five tons of straw, 300 bushels of oats, while no well behaved elephant would think of starting his day’s labor without his morning cereal – a bale of hay.  Most of all, these purchases are made from local merchants.

The circus travels on its own trains and only requires engines and crews from the railroads.  The show also carries its own blacksmiths, horseshoers, wagon and harness makers, tent makers, rope splicers and a corps of decorators are kept on hand continually touching up the gilded and brilliantly painted tableau wagons and cages.  Two men are employed eight hours a day doing nothing but greasing axles.  In the wardrobe department presided over by Mrs. George Hartzell, known as “the little mother of the circus,” nearly 6,000 costumes have to be handled daily and kept in repair. Five dressmakers and six tailors, besides armorers, are in this department.  The circus has its own physician who carries with him a complete surgical and medical outfit. There is also a barber shop and, incidentally, no driver or man appearing before the public is allowed to leave the show grounds until he is shaved. This also suggests another rule strictly enforced by the Ringling Brothers’ which absolutely forbids the use of whips by any of their drivers.

It costs $8,000 a day to run the circus and it represents and investment of nearly $4,000,000.  The show maintains winter quarters and shops at Baraboo, Wisconsin, and Stoke-on-Trent, England. The firm is now planning an expedition of its own to trap animals in the jungles of India and the wilds of the Egyptian Soudan.  In every part of the world its agents are on the alert to secure novelties.

Starting as mere boys with a borrowed tent in which they were given a few juvenile attempts at entertainment, these five brothers have seen their dreams realized and have become master showmen of the world.

The afternoon performance began at 2 o’clock and the big tent was crowded.  Opening the bill came the spectacle, “Solomon and the Queen of Sheba.” Nothing so richly costumed or so effectively presented has ever been given here before.  The opening pageant, the ballet of dancing girls and the dramatic action were veritable surprises.  The spectacle was followed by surprises.  The spectacle was followed by the circus performance in which 400 men and women appeared.  More novelties that ever before are presented, the Ringlings having brought from Europe the majority of their people.

The final performance will take place Tuesday night at 8 o’clock.  The doors open an hour earlier, allowing time to visit the extensive menagerie and also enjoy the operatic concert rendered by the military band of 80 pieces.” To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

Every once in a while I am compelled to include a side story because it is so touching.  These posts are often simple memorials to those who came before me and should not be forgotten. In 1907, Thomas G. Moses wrote about Otto Armbrusters death by suicide (see past post 573). He wrote, “August 16^th, heard of Otto Armbruster’s death by suicide.  It was an awful shock as we were such close friends.  The German way of getting out of trouble, but he had no trouble, plenty of money and a good business.  No one seems to know just what the cause of the rash act was.”

In 1913, another colleague of Moses’ committed suicide in Chicago when his eyesight failed.

This one broke my heart as I first read it. It concerns one of the founders, and the first president, of the Palette & Chisel Club in Chicago. His death notice posted in the July 1913 issue of the Club’s newsletter recalled, “Fiery and at the same time gentle in disposition, Carl Mauch was invincible in his adherence to what he felt was right. In his death, the Club loses a father, and the world gives up a true artist, a brave soldier and an upright man.” A successful commercial artist in his own right, Mauch was always searching for a divine fire that would transcend his art to another level.

Here is the obituary notice concerning Mauch’s death:

On June 20, 1913,  “Washington Post” reported:

“LOSES SIGHT AND KILLS SELF.

Artist Had Just Conceived What He Thought Would Be His Masterpiece.

Special to the Washington post.

Chicago, June 19.- His life a parallel in many respects of that of Kipling’s her in ‘The Light That Failed,’ Carl Mauch, an artist, 63 years old, committed suicide by swallowing poison today. Mr. Mauch’s sight began to fail just after he conceived a work which he believed would be the greatest of his life.

‘There is nothing left for me,’ Mr. Mauch said, a few days ago, to a fellow member of the Palette and Chisel Club. ‘The inspiration of my life has come and my eyes are all but gone. Never again shall I put a brush to canvas.’”

To put the Kipling book in context, his “the Light that Failed,” follows the life of artist Dick Heldar. He who goes blind, and struggles with his unrequited love for fellow orphan and childhood playmate, Maisie. Heldar’s journey to despair and helplessness is due to the loss of his ability to work, resulting in his abandonment by Maisie. In the end, his loneliness is summed up in the statement,”…it is better to remain alone and suffer only the misery of being alone, so long as it is possible to find distraction in daily work. When that resource goes the man is to be pitied and left alone.” Mauch ended his life when he could no longer work and sought eternal solitude.

Other newspaper articles reported Mauch’s suicide:

“Despondent Artist Takes his Own Life.

Chicago, June 19 – Despondent because his eyes failed him just when he conceived after years of dreaming the picture he hoped would make him famous, Carl Mauch, an artist, took poison and died from its effects yesterday. He was 68 years old and rapidly losing his sight.

Recently Mauch told a fellow member of the Palette and Chisel Club that the inspiration of his life had come to him and he bemoaned the fact his eyes were failing him and that he never again would touch a brush to canvas.” There is some controversy in newspaper accounts concerning the age of the artist, yet his tombstone lists Mauch’s birthdate as 1854, not 1850 or 1844. Most records list Mauch as 58 at the time of his death. The article continues, “Mauch was born in Wurttemberg, Germany, and his club fellows tell a story of how, when a boy, he whipped the future king of that province. According to them it was the rule at the school, which Mauch attended that the prince should always be the winner of any game. When he saw his friends contriving that the prince should be the victor he flew into a rage and attacked the young majesty.”

Mauch died at his home on 2651 Mildred Avenue, poisoning himself with cyanide of potassium, and leaving behind a wife and two grown daughters, Fanny, Melanea and Ella.

Mauch was born on Jan. 7, 1854 in Stuttgart, Stadkreis Stuttgart, Baden-Württenberg, Germany. He studied at the Stuttgart Academy with Karl Theodor von Piloty, Heinrich Franz Gaudenz von Rustige and Karl Albert Buehr. Art history books note that his early artistic studies were interrupted he was conscripted in the German army during the Franco-Prussian War. At the time he was just sixteen years old. Following his military service, Mauch returned to painting and continued his studies in Munich and Paris, before emigrating in 1870. He soon married in 1872. He and his wife Fanny witnessed the birth of four children, two who survived to adulthood.

In 1893, Mauch was listed as one of 302 artists in “The Years Art as Recorded in The Quarterly Illustrator” (Published by Harry C. Jones, 92, 94, and 96^th Fifth Avenue, New York). The publication listed, “Carl Mauch is one of the successful foreign artists who have made the United States their permanent home. Mr. Mauch has lived here ever since the Franco Prussian War.”

At the time of his passing, Mauch was well-known as a Chicago illustrator, Impressionist painter, and member of the Palette & Chisel Club. Mauch is buried at Graceland cemetery on June 20, 1913.

A decade before his passing, “The Inland Printer” included a photograph of Carl Mauch in an article about the Palette & Chisel Club (June 1896, page 315).. It seems appropriate to add to today’s post as a positive remembrance to Mauch’s life. Here is the article in its entirety:

“THE PALETTE AND CHISEL CLUB.

An association of artists and craftsman for the purpose of work and study – such is the Palette and Chisel Clun of Chicago, some of the members of which have appear in the half-tone upon the opposite page, engraved from a photograph by Carl Mauch [image missing]. The organization is unique in that its members are all wage-workers and busy during the week with pencil, brush or chisel doing work to please other people. But on Sunday mornings, at 9 o’clock, they assemble in the studio of Lorado Taft, in the Atheneum building, and for five hours each amuses himself by working in his chosen medium, to suit himself.

The article continues, “Sunday morning means a good deal to one who has worked all week, and thought of these young men placing their easels and arranging their palettes at an hour when the rest of the city is in bed or on bicycles, is sufficient proof of their earnestness. A peep into the studio would show the men all work using all kinds of mediums, oil and water color, wash, pen and ink, charcoal, clay and modeling wax, and each busy as a boy with a jackknife. And the conversation while the model rests deals not so much with “impressionism” and “realism,” or the tendency and mode of artistic revelation as wit the best methods of drawing for reproduction of the discussion of technicalities in the sculptor’s or decorator’s arts.

The work of the club has so far been more for study than exhibition, but there can me no doubt that such a movement among men actually engaged in illustration and decoration and kindred arts appealing directly to the people must result in improving the standard of their work. The impression that a “real artist” is incapable of doing “for the trade” is less erroneous that the idea that an artist earning his living by practical application of his talents may not be the artist worthy of his name. The painter may lack the technical training necessary to the successful illustrator, but an experience in designing or illustration often develops qualities in a man who is prevented from attempting the higher branches of art by lack of time or opportunity, which when his chance comes, gives him an advantage over the mere painter.

Two-thirds of the members are students in the “life class” at the Art Institute night school, and a desire for opportunity to study from the model in daylight, so that color might be used, led to the organization of the club. The time at their disposal is too short to spend bothering with officers or by-laws, so the only formality is the payment of monthly dues to the treasurer, Curtis Gandy who settles the rent and pays the models. The following is a list of the club’s membership: Charles J. Mulligan, David Hunter and W. J. Hutchinson, sculptors; Ray Brown, chief of the “Times-Herald” art department, and F. Holme, of the “Evening Post;” Henry Hutt, illustrator and designer for J. Manz & Co.’ Carl Mauch of the Werner Company’s art staff; Will Carquerville, poster designer and lithographer; Curtis Gandy, Capel Rowley, Richard Boehm and Edward Loewenhelm, designers and illustrators; L. Pearson, F. J. Thwing and H. L. Bredtschneider, fresco painters and decorators; Fred Mulhaupt, display advertiser; Ansel Cook, scenic artist; A. Sterba and W. H. Irvine, portrait artists; Arthur Carr, H. Wagner, L. M. Coakley and J. S. Shippen, art students. Fred Larseon is a “proofer,” and the printer’s trade is represented by W. A. Randall.

The treasurer’s report shows a comfortable balance of cash in hand, and, while the Sunday meetings will soon be temporarily discontinued on account of the hot weather, the dues will run on just the same, so that when the club assembles in the fall it will be with every promise of a good and successful career.”

The statement “Sunday meetings will soon be temporarily discontinued on account of the hot weather” explains why the club purchased a summer home on Fox Lake in 1906, as it gave artists a cooler place to continue their studies.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1913, Thomas G. Moses wrote, “A new set for the Hippodrome, city.” Moses was referring to a cityscape setting for Chicago’s Great Northern Hippodrome Theatre. Later that year he added, “I did a drop curtain for the Great Northern Theatre. A very delicate Italian Landscape.” For such a popular space to see live entertainment, little is known of the actual venue.

Here is all that I could track down:

The Great Northern Hippodrome was located in a massive high-rise building at 26 West Jackson, between State and Dearborn Streets. The Great Northern Office and Theatre Company building was designed by D. H. Burnham and Co. in 1896 and adjoined an earlier Great Northern hotel building. Burnham & Root designed the Great Northern Hotel before John W. Root’s passing.

Opening on Nov. 9, 1896, Great Northern Theatre productions included legitimate theatre, vaudeville, movies, and stock company productions. During February 1910, the Schuberts took over the building, redecorating the theater and renaming it the Lyric Theatre. The theater was again renamed, becoming the Great Northern Hippodrome.

The new theater offered a variety of continuous performances from 11 a.m. until 11 p.m. daily. Advertisements promised, “All that’s great in circus, vaudeville, hippodrome, and novelty features” (Chicago Tribune, 23 May 1913, page 10).

When Sosman & Landis delivered scenery to the Great Northern Hippodrome in 1913, it was part of a program change, the venue now focused on live entertainment. On July 27, 1913, the  “Chicago Tribune” reported, “The Great Northern Hippodrome, having discontinued motion pictures, is now offering fourteen acts of vaudeville divided into two bills of seven acts” (page 14). Moses’ drop city setting and drop curtain were part of this makeover.

Like many historic venues of the time, the Great Northern Office and Theatre Building were demolished, in 1961 to make room for the Dirksen Federal Building.

To be continued…