Technical theatre history can pop up anywhere – even in a South Dakota Quonset building. In 2017 I stopped by the Heritage Hall Museum & Archives in Freeman, South Dakota. I was accompanying a colleague to see an advertisement curtain that needed some attention. While on site our Heritage Hall host mentioned a much older curtain stored in a nearby shed. Nothing could have prepared me for a series of Quonset huts, stuck in the middle of a field that hot fall day. After a brief struggle to find the correct key to open the massive doors, we wound our way past a series of antique cars and farming implements; this was off site storage for the Heritage Hall. At the far end of the Quonset was a tattered backdrop hanging from a warped batten. The influx of fresh air into the structure caused the old drop to rub against the corrugated metal. After all of these years, an old drop curtain had survived in this primitive building with a dirt floor and community of critters.
The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.The Quonset building that once housed a drop curtain by George J. Ackerman in Freeman, South Dakota.
The opened doors at the far end provided just enough light for me to see the painted composition and a signature – Kaufman.
George J. Kaufman’s signature near the bottom of the drop curtain.Painted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. KaufmanPainted detail from drop curtain by George J. Kaufman
Heritage Hall Museum & Archive holds several fine art paintings by George J. Kaufman, as well as an advertisement curtain stored on site.
Detail of a painting by George J. Kaufman at the Heritage Hall Museum & Archive in Freeman, South Dakota.
George Joseph Kaufman was a well-known artist in not only Freeman, South Dakota, but also neighboring towns. Kaufman was known for his fine art, murals, theatre scenery and excessive drinking. In regard to local Freeman projects, Kaufman was credited with scenery delivered to the Freeman Opera House (later the Freeman City Hall) and all of the scenery for the Freeman college auditorium. He also produced local murals for the Bethel Mennonite Church and the Salem Mennonite Church, as well as painting the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls, South Dakota. In fact Kaufman painted a variety of scenes in numerous South Dakota Towns, starting in the second decade of the twentieth century.
Unfortunately, Kaufman’s hometown primarily recalls his struggle with alcoholism. Notes by S. Roy Kaufman, based on conversations with extended family members, paint this artist as the town drunk. Online biographies for the artist report, “It was said that he sometimes wasn’t paid for a commission until he had finished it for fear that he would begin drinking and fail to finish the work.” Maybe it was the death of his first wife in childbirth, his failed career as a scenic artist in Hollywood, or the Great Depression that pushed him to find escape in a bottle. It doesn’t really matter in the end, especially as so much of the tale remains based on hearsay. Only a drop curtain, an advertisement curtain, one newspaper clipping, and a smattering of fine art pieces remain to show the artistic potential that this young South Dakota scenic artist had in the early twentieth century.
This drop curtain by Kaufman was likely completed prior to his move to California; before his dreams diminished and the Great Depression settled in to stay.
Detail of drop curtain by George J. Kaufman.
Kaufman was born on Sept. 28, 1889, in Childstown, Turner County, South Dakota. The son of Joseph Kaufmann (1850-1926) and Francis Graber (1852-1917). The 1900 US Census lists that young George was one of five children living at home; the kids were Peter (b. 1872), Mary (b. 1875), Henry (b. 1883), Lena (b. 1888) and George (b. 1889). Census reports provide one perspective, a small glimpse into Kaufman’s private life and painting career. In 1910, George was still living at home and attending school. As he was 20 years old at the time, this suggests some continued learning or trade. He first entered his father’s trade as a jeweler.
Kaufman’s 1918 WWI Draft registration card describes his appearance as brown hair, brown eyes, medium build and medium height. At the time, he was listed as married and a member of the Mennonite Church. He was listed as a self-employed “Jeweler and Opthalmic.” The 1920 census noted that George was back at home, this time a widower by age 31. Local histories suggest that his first wife died in childbirth. Unfortunately, there are quite a few George Kaufmans who were widowed between 1911 and 1919, too many to positively identify any particular one.
Kaufman soon remarried a local Freeman girl – Martha Lea Edelman (30 Nov. 1899-Sept. 1965). The couple celebrated the birth of their first son, Owen in 1922. At the time, Kaufman was working as a jeweler, but must have been doing quite a bit of painting on the side. In 1925 he left the jewelry business to pursue his passion of painting in California.
On Oct. 30, 1925, the “Argus-Leader” announced, “Freeman Artist Plans to Go to California” (Sioux Falls, SD, page 4). The article continued, “George J. Kaufman, who has become a well-known artist in many parts of the state has decided to go with his family to Hollywood to devote his entire time to the study of his favorite work. Mr. Kaufman has sold his entire stock of jewelry and also disposed of all his household goods. He is now planning to leave in a few days for California. Mr. Kaufman deserves much credit for the work done in the Freeman college auditorium. He painted the entire stage scenery and the school and community is justly proud of the appearance of the stage. Mr. Kaufman also painted the picture in the dining hall room of the Shriver-Johnson Co. store in Sioux Falls. He has also done work in many other towns of the state.”
The couple celebrated the birth of two more children after Owen; Betty Jean was born in 1926 and Virginia M. was born in 1928. Only Betty Jean was born in California, suggesting that the family had returned to Freeman by 1928 for the birth of Virginia Mae, or “Penny” as she later became known. By 1930, the US Census recorded that the small family was now living in Grandview, South Dakota. Kaufman was listed as a “painter” working in the painting industry.
I find it interesting that there are no records of Kaufman being called a scenic artist. This suggests a lack of adequate training that possibly led to his downfall in Hollywood. Based on his fine art and stage art, it is not of the same caliber as many other scenic artists at the time. Kaufman purportedly worked for a short time in Hollywood, painting sets before returning home to South Dakota. I have yet to confirm his work elsewhere.
George J. Kaufman passed away at the farm where he was born on 15 May 1958. He was only 68 years old. Kaufman is buried in Freeman Cemetery, a mile west of town.
Philip Dodd Ackerman (1875-1963) was an actor, scenic artist, designer and producer. He
became an extremely well-known and well-respected Broadway designer, and has
numerous entries in the Broadway Database (https://www.ibdb.com/).
Ackerman is credited with ninety-one productions from 1897-1939, but this is
just a small percentage of his work throughout the duration of his career.
In 1929, the “Daily News”
announced, “P. Dodd Ackerman who has created the settings for 800 productions
intends to become a full-fledged producer. He is reported to have been the
nameless angel of more than one show, but now he comes out in the open and
announces that he will stage “Montana Fury” by David Davidson, jr. It is all
about an idiot hill-billy, and the role will fall to Barry McCollum. Ackerman’s
800 scenic production is A. H. Wood’s German play, ‘Hokus Pokus.’ His first
play was Harrison Gray Fisk’s “The Privateer” (NY, 28 Jul 1929 page 162).
Philip Ackerman is quite
an interesting character, and possibly one of the more fascinating personalities
that I have encountered to date. The 1880 US Federal census listed the Ackerman
family living in Mobile, Alabama. At the time, Joseph Ackerman (b. 1848) was a
salesman. His wife Frances and two young sons, Philip and Earle, were living
with him. Joseph came from a relatively large family, one of eight children
born to Joseph Chandler Ackerman (1812-1867) and Sophia Belinda Vanburen
(1821-1892). Joseph Ackerman was born in Mobile, Alabama, in 1848. At the age
of twenty-six, he married Frances T. Dibble in 1874. Philip was born in
Atlanta, Georgia, on June 16, 1875, Phillip was the son of Joseph Van Buren
Ackerman (1848-1882) and Frances T. Dibble (1842-1916). Two years later, his
brother Earle Van Buren Ackerman arrived was born in Pensacola, Florida, on
July 29, 1877. E A. Akerman (1877-1970) also became a scenic artist. There is
no indication of how, or why, the world of theater beckoned both sons, luring
each to New York. However, when they entered the scenic art profession
opportunities were abundant and financial prospects high.
Ackerman became a scenic artist when he was about twenty years old. Typically, scenic artists began their careers at the ages of sixteen or seventeen. Later advertisements suggested that his studio was founded in 1890, but the 1892 New York Census listed Ackerman’s trade as a “gilder”; he was seventeen at the time It is possible that he took an interest in painting and art in 1890, but wouldn’t enter the theatre for another five or six years. Ackerman repeatedly cited that his first stage show was “The Privateer” Harrison Gray Fiske. Lew Morrison purchased Fiske’s melodrama in 1895 with the intent to produce it the following season (The Richmond Item, 18 Feb 1895, page 3). By 1897, Fiske took Morrison and Abram to court for violation of their contract with “The Privateer,” citing that they failed to provide “adequate scenery and a competent company” (Democrat and Chronicle, Rochester, NY, 22 Aug. 1897, page 15). Fiske asked for a temporary injunction for Morrison and Abram to have the opportunity to live up to their contract. Therefore, Ackerman either delivered scenery for the failed attempt in 1896 or the revised production in 1897.
Regardless, 1897 was a
turning point for Ackerman. He married Marguerite “Margaret” Meyer in Manhattan,
New York on July 16, 1897. At twenty-two
years old he was rapidly making a name for himself, and soon became associated
with the Empire and Novelty Theatres. The couple celebrated the birth of one
daughter by 1899, Emma Bella Ackerman. At the time, the small family was living
in Brooklyn, New York.
In 1898 Ackerman painted
special scenery for the James-Kidder-Warde Company’s productions of “The School
for Scandal.” When the three-star combination toured Lexington, “The Morning
Herald” reported, “Special scenery from the brush of Mr. P. Dodd Ackerman,
scenic artist for the Empire Theatre, New York, has prepared for all of the
plays” (Lexington, 29 Oct. 1898). That year Ackerman also painted scenery for
the “A Fair Rebel” at the Novelty Theatre. The “All the scenery necessary for
the production has been under the direction of P. Dodd Ackerman” (The Brooklyn
Citizen, 4 Dec. 1898, page 10).
By 1899, “The Gazette”
described Dodd’s scenic contribution to Howard Hall’s “A Soldier of the Empire”
(Montreal, 21 Sept. 1899, page 5). The review reported, “The costuming is of
the Directoire fashion, while the elaborate scenic investiture is perfection of
the artist’s skill. The latter is by P. Dodd Ackerman whose work for the
Frohman productions, particularly “Under the Red Robe,” called for so much
praise in the past.
At the turn of the
century, newspapers refereed to the scenic artist as “that international famous
artist, P. Dodd Ackerman” during his work for “The Honest Blacksmith” (Courier-News,
Bridgeport, NJ, 8 Nov. 1900, page 2). During this same time, he was also
responsible designing scenery for the revival of “M’liss,” a comedy drama of
western life, produced by A. J. Spencer of Jacob Litt’s office (Democrat and
Chronicle, 13 May 1900, page 14). Ackerman was quickly becoming a rising star
in the scenic art world.
The 1900 US Federal Census
listed Ackerman as an artist and living at 878 Driggs Avenue I Brooklyn, NY. That
year, he briefly partnered with Homer F. Emens to deliver scenery for the
production of “Aria” at the Columbia Theatre (Evening Star, Washington, D.C.,
17 March 1900, page 20). Reviews noted, “’Aria’ is to be very big scenically,
and the picturesque settings by Homer Emens and P. Dodd Ackerman.” The
partnership continued into 1901 with the pair designing and painting scenery
for “The Power Behind the Throne” (Brattleboro Reformer, 17 Sept. 1901, page
1).
By the fall of 1901,
Ackerman was again working solo with assistants. The “Brooklyn Citizen” noted
that Ackerman and his “assistants” were the scenic artists for the Orpheum
theatre, and delivering scenery for all the upcoming shows at the Gotham
Theatre, formerly the Brooklyn Music Hall, after its renovation (15 Sept. 1901,
page 10). They were responsible for new scenery. He also designed scenery for
the Elite Stock Company’s production
“All the Comforts of Home” (The Brooklyn Citizen, 10 Nov. 1901, page 10),
as well as scenery for “Russian Serfs,” a melodrama dealing with the Crimean
War (The Brooklyn Daily Eagle, 29 Dec, 1901, page 16).
In 1902, business was going so
well, that Ackerman bought a house on Warwick Street in Brooklyn from Catherine
Rose (Brooklyn Daily Eagle, 18, Jan 1902, page 16). “The Buffalo Review” reported
“Four complete sets” for “The Lily and the Prince” were being painted by Homer
Emens, P. Dodd Ackerman, L. W. Seavey and Church & Wheeler (17 Feb 1902,
page 5).
It was in 1902 that
Ackerman formed a partnership with Lemuel L. Graham, Thomas G. Moses’ former
business partner. Purchasing a studio on Bushwick Avenue in Brooklyn, New York.
The property was described as “s w s, 100 n w n e 56.3; John C. Schenck to
Philip D. Ackerman and Lemuel L. Graham” (The Standard Union, 13 Aug. 1902,
page 10). By July 1903, ownership of the
property was transferred from Graham to Ackerman (The Standard Union, 22 Jul
1903, page 10), effectively forming the P. Dodd Ackerman Studio. The same
property would be transferred to Louis Jacobs by 1904 (Time Union, 4 May 1904,
page 13), yet Ackerman’s business address would remain the same.
1903 productions with
scenery by Ackerman included “Mayor and The Judge” – with the Scranton
“Tribune” reporting the show was “painted by the celebrated artist P. Dodd
Ackerman of New York City” (The Tribune, Scranton, 9 Dec. 1902, page 6).
Ackerman was also credited with the Gotham Theatre production “Pearl of Savoy”
(Brooklyn Daily Eagle, 20 April 1902, page 52), the Elite Theatre Company’s
“The Unknown” (16 March 1902, page 24); “Tracy the Outlaw” (Brooklyn Citizen, 5
Oct. 1902, page 16); “Beacon Lights” (Times Union, 8 March 1902, page 17); “A Rough
Rider’s Romance” (Brooklyn Citizen, 22 Feb 1903, page 16)’ “Deserted at the
Altar” (Times Union, Brooklyn, 14 Nov. 1903, page 13); and “The Lost Paradise
(The Standard Union, Brooklyn, 18 Jan. 1903, page 15). When “Deserted at the
Altar” appeared at the Novelty Theatre, newspapers reported, “P. Dodd Ackerman,
the celebrated scenic artis, worked three solid months on scenery for the
‘Deserted at the Altar’” The Fall River Daily Herald, 28 Nov. 1903, page 2).
That same year P. Dodd
Ackerman was listed as the scenic artist for both the Gotham and Orpheum Theatres
in Brooklyn, NY (The Brooklyn Citizen, 22 Feb. 1903). He advertised in “Julius
Cahn’s Official Theatrical Guide” under “P. Dodd Ackerman, Scenic Artist”
adding, “now occupying my large Studio building devoted exclusively to this
business.” Ackerman’s business address was still listed as 1576 to 1580
Bushwick Ave. He advertised, “Productions carefully prepared and models
designed from Author’s descriptions,” offering “estimates gladly furnished for both
Painting and Constructing scenery, properties, electrical apparatus, etc.”
Ackerman expanded his firm the next year, changing the name to “P. Dodd
Ackerman & Co.” The company was advertised as “Scenic Artists and
Constructors.”
P. Dodd Ackerman advertisement in “Julius Cahn’s Official Theatrical Guide,” 1903-1904.
1904, the scenery for
Burlington’s New Theatre was credited by P. Dodd Ackerman & Co., of Brooklyn,
NY (Burlington Clipper, 15 October 1904, page 5). By 1905 the firm’s services
included “Electrical scenic productions for parks, etc. scenery for theatres,
halls and exhibitions, act drops and asbestos curtains, fireproof scenery and
storage.”
In 1905, Ackerman
transferred the Warwick St. home to his wife, Margaret M. Ackerman (Times
Union, 6 May 1905, page 9). This is likely the year that marriage troubles
accelerated for the young couple. Yet their marriage seemed to struggle along
for another decade. That same year, P. Dodd Ackerman’s studio and the studio of
Gates and Morange delivered scenery for “The Lightning Conductor”
(Courier-News, Bridgewater, 18 Dec. 1905, page 4). In 1906, the “Greensboro
Dispatch” reported P. Dodd Ackerman was part of a team dispatched to Alaska’s
Klondyke country to gather images of atmosphere and scenes for “The One Woman”
(17 Oct, 1906, page 8) – “The hunters after atmosphere and scenes spent three
weeks wandering about the Alaska goldfields and returned to New York City with
enough stuff for half a dozen shows…The three scenes in Alaska are actual
sketches from life and will be recognized by many who have visited the
Klondyke. The electrical effects, which include the play of the aurora borealis
on the sky, and its reflection on the snow-capped mountains, the lurid gleams
of red and blue lights on glaciers and the snow drifts, the curtain of light,
the Alaskan cloud effect, the sun shining at midnight, and the prayer fires of
the Esquimaux, or ‘witch lights,’ as the miners call them – with the usual
stage lights make an unusual equipment.” The stage electrician that went on the
trip was Charles Hayman.”
P. Dodd Ackerman & Co. advertisement in “Julius Cahn’s Official Theatrical Guide,” 1905-1906.
On Aug. 24, 1907, the
Brooklyn Daily Eagle listed P. Dodd Ackerman’s purchase of a new home from
Edwin G. Wright in Nassau County, in Riverside Park, Rockville Centre (page
20). By 1910 Ackerman moved to Hempstead, New York. He seems to have been
living with his wife and daughter again; daughter Emma was eight years old at
the time.
By 1911, the studios of
Ackerman and John H. Young delivered scenery for Paul Wilstach’s dramatic
version of “Thais” (The Gazette, York, Penn, 14 Feb 1911, page 9). John H.
Young was also a close friend and colleague of Moses whom I have covered
extensively in past posts. By his point in his career, Young was also a
well-known and well-respected Broadway Designer.
In 1912 the “Washington
Herald” reported Ackerman’s involvement with “The Chimes of Normandy.” The
article reported, “Edward Temple, formerly stage director of the new York
Hippodrome, had staged the production, while Reisig, late of the Metropolitan
Opera and P. Dodd Ackerman have built the succession of cyclorama scenes, and
the armor and costumes have been imported from France especially for this
production (20 Oct 1912, page 22). “The scenes have been built on a cyclorama
plan” (Burlington Free Press, 22 Sept. 1913, page 6).
Then there was a decided shift;
a shift in his life, his marriage and his career. It is not that he began
failing in his career, but his love life became quite complicated.
By 1914, Ackerman
partnered with his brother E. A. Ackerman, establishing Ackerman Brothers
Scenic Studio. Previously, brother Earle was also running his own studio,
renting the old Harley Merry space in Flatbush until it burned to the ground in
1911. The 1914 “Gus Hill’s Theatrical Directory,” included an advertisement for
Ackerman Bros. The ad stated, “scenery painted and constructed,” also offering “motion
picture settings.” Their studio was listed on Bushwick Ave.
This is about the time
when everything changes for Ackerman and his first wife; their marriage appears
to start falling apart, with their separation making the newspapers by 1916.
That will be a separate post tomorrow.
In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island. Had to get a permit. I enjoyed myself immensely. Saw all the old places, also had a visit with Charlie Kindt.” This was the year before Kindt retired at the age of 58. Charlie was the son of German immigrant and well-known panorama painter Louis Kindt (1832-1923). For more information about the artistic career of Louis Kindt, visit http://www.wisconsinart.org/archives/artist/louis-kindt/profile-1809.aspx
The
1920 US Federal Census lists Charles T. Kindt as a 57 yrs. old theatre manager,
living at 120 17th St, in Davenport, Iowa. Kindt was living with his
wife, Helena. Daughters, Helena (age 28) and Julia (age 30) were also living
with them, as well as their grandsons Stoddard and Kindt Fields. At the time,
Kindt was manager for the Burtis Opera House. In 1921, the famous opera house would
be gutted by fire. The 1600-seat venue was originally constructed by J. J.
Burtis in 1867. Kindt began managing the theater in 1890. Of the tragedy, “The
Daily Times” reported, “Mr. Kindt lives in the Perry apartments next to the
opera house and was one of the first to be notified of the fire. He and Mrs.
Kindt and their daughter Julia, dressed and were among the first on the scene.
Mr. Kindt remained on the scene for three hours watching the fames and talking
to friends, who extended their sympathy. He took his loss philosophically, no
losing any of his joviality, which characterizes him. ‘Yes, there have been
some great people who have played on the old Burtis stage,’ he reminisced. ‘Many
before my time and many since I took over the management. There’s not any
salvage in the building. I guess it’s a totals loss. But what’s the use of
hollering about it? It’s not going to do any good.’ …Scores of autographed
photographs, presents from friends in the theatrical world, were destroyed or
badly damaged. Mr. Kindt is unable to say what his future plans will be. He has
been negotiating for some time a new theater and it may be the fire will hasten
such plans” (26 April 1921, page 2).
The Burtis Opera House was destroyed by fire in 1921. Thomas G. Moses visited Charles Kindt in 1920 and 1922. Article from “The Daily Times,” 26 April 1921, pages 1- 2.The Burtis Opera House after the fire, from “The Daily Times,” 26 April 1921, pages 1- 2.
In
1922, Moses wrote, “I met my old friend Chas. Kindt in Davenport. He is manager for the Thos. Cusock Company,
on the site of the old Burtis Opera House.”
Charles Kindt also started out as a scenic artist like his father, but soon transitioned to theatre management by the age of 25, in 1888. Kindt married Helen “Nellie” Stoddard in Chicago on March 22, 1882. By 1888, Kindt was acting as assistant manager for the Turner Opera House in Davenport, Iowa (The Morning Democrat, 17 July 1888, page 4). He was working with manager Charles Becker. By 1889, Kindt became manager of Davenport’s Grand Opera House. In 1890 he was manager of the Burtis Opera House.
Charles T. Kindt listed as manager of the Burtis Opera House. From the “Daily Leader,” Davenport, Iowa, Sept.13, 1893, page 4.
A year later, Chamberlin, Kindt & Co, was formed, and the firm began managing the Burtis Opera House (Quad City Times, 10 Dec. 1906, page 10). The firm continued to expand, controlling over 25 theatres on the Illinois-Iowa circuit. Their theatres were located in Marshalltown, Rock Island, Ft. Madison, Burlington, Oskaloosa, Davenport, Galesburg, Monmouth, Muscatine, Rockford, Grinnell, Keokuk, Kewanee, Creston, Sedalia, Quincy, Peoria, Boone, Joliet, Elgin, Waterloo. Chamberlain passed away by the end of the 1906, a severe blow to Kindt and the company. That same month J. R. Lane, C.T. Kindt and Isaac Deutsch purchased the Burtis property, consisting of the Burtis Opera House and Kimball House for $55,000 (The Dispatch, Moline, Illinois, 13 Dec 1906, page 4).
In 1906, F. W. Chamberlin &
Charles T. Kindt purchased and remodeled the Burtis theater. Sosman &
Landis delivered new scenery to the renovated stage. If Kindt did not know
Moses from the Chicago scenic art scene, he would have met him at the Burtis. Of
the Burtis Opera Houses 1906 renovation “The Daily Times” reported, “The theater
will be completely remodeled from stage to foyer” (Davenport, Iowa, 16 March
1906, page 6). Manager Kindt, was quoted as stating, “The Burtis will be
completely remodeled. In fact, when it is improved, it will be practically a
new theatre. Everything that is in it will be removed, and it will be fitted up
in modern shape throughout” (The Daily Times, 24 March 1906, page 12).
Kindt passed away in 1947. His obituary reported, “Charles
T. Kindt, 86, a veteran Davenport theater operator and a partner in the old
Chamberlin-Kindt Theater corporation, which operated theaters in Moline and
other cities, died at 3:40 yesterday in Mercy hospital, He had been ill for
some time. Mr. Kindt was the first exalted ruler of the Davenport Elks’ lodge…Mr.
Kindt was best known as the owner and operator of the old Burtis theater. He
had not been in active business since 1921. Mr. Kindt, who lived at 1104 River
drive, Bettendorf, was active in Bettendorf civic affairs many years. At one
time he was president of the Bettendorf Chamber of Commerce. He was born in
Sandusky, O., on March 28, 1861, and was reared in Chicago. Mr. Kindt became
acquainted with the theater business through his father Louis Kindt, and became
a scenery painter in Chicago. He came to Davenport in 1888 on a contract to
paint scenery for the Grand Opera house there. Later he became manager of that
opera house and in a few years became manager of a second opera house in
Davenport. He formed the Chamberlin-Kindt partnership, which operated a chain
of 51 theaters in the middlewest. An organizer of the Elks’ lodge home in
Davenport, Mr. Kindt was the only surviving charter member. He married Helen
Stoddard in Chicago March 22, 1890. She died in 1937. Surviving are a son, C.
Roy Kindt of Davenport; two daughters, including Mrs. John A. Martinelli of
Davenport; a brother; three sisters, including Mrs. Julia Donald, of Davenport;
11 grandchildren and seven great-grandchildren” (The Dispatch, 11 July 19487,
page 20).
From “The Dispatch,” Moline, Illinois, 11 July 1947, page 20.
In 1920 Thomas G. Moses wrote,
“The Madam and I have concluded to go to California this summer, so we started
to make our plans, going in August.”
“We left for the West August 19th. As I have written the trip up very fully in
my travelogues, I will not repeat it here.
Arrived home on September 28th, having been gone forty days,
it was certainly some trip.” This was Moses’ “summer vacation” before really
settling in at the Sosman & Landis main studio. Although Moses’ desired to
move west, his strong ties to Chicago kept him tethered in the Midwest. Later
in life, Moses would spend an increasing amount of time in California, joining
the Pasadena Scottish Rite and frequently landing scenery contracts along the
Pacific Coast.
Moses was one of many scenic artists across the country who
migrated west as employment opportunities continued to skyrocket; they followed
the work. The scenic art business was
rapidly changing as the demand for painted scenery continued to decline in many
areas. However, California continued to offer new opportunities that ranged
from parade floats and circus shows to legitimate theater and film sets. In
addition to an abundance of work, the temperate climate was ideal. Many Chicago
scenic artists moved to the west coast, after apprenticing in Chicago. One
California contemporary of Moses was O. L. Fest. Only four years older than
Moses, he began working as a scenic artist in Chicago and then moved to San
Francisco by the late 1870s. Fest became a mainstay at the Tivoli Theater, a
venue where Moses’ mentioned stopping to visit friends.
In 1920, the “San Francisco Examiner” announced Fest’s passing:
“Scenic artist at Tivoli Dies. Oscar L. Fest Widely known
among theatrical people passes away at 67” (6 March 1920, page 4). The article
continued, “Oscar L. fest, for more than twenty years the chief scenic artist
at the old Tivoli Opera House, died yesterday at his home, 1616 Turk st., after
a lingering illness. Fest arrived in this country from Germany when 9 months
old. His work as a scenic artist was a feature of the Tivoli operas, and his
yearly transformation scenes at Christmas were much admired by early-day
theatre-goers.
“He was a life member of Cleveland Lodge, No 211, F. &
A. A., and of Golden Gate Camp No. 64, Woodmen of the World. A widow [Minnie]
and two daughters, Helen A. and Mattie Lois Fest, survive. Funeral services
will be held this afternoon from the undertaking parlors of Theodore Dierke
& Co., 901 Divisadero st., Interment will be private.”
“The San Francisco Chronicle” added, “Fest is well
remembered by those who attended the performances at the old Tivoli Opera house
a generation ago and up to the time of the 1906 fire, where he was a scenic
artist, and his Christmas season transformations were considered wonderful” (7
March 1920, page 12.)
Oscar Louis Fest was born 10 August 1852 in Breslau, Germany.
His parents, John and Helena “Ellen” Fest, emigrated to the United States,
sailing aboard the Mathilde, from Bremen, in 1853. In Syracuse, Fest’s father
became a naturalized citizen on 29 Sept. 1858. The family was still residing in
Syracuse, according to the 1860 US census. By 1870, the Fests were living in
Chicago. At the age of 18, Oscar L. Fest was listed as a painter in the 1870 US
Federal Census. His father was employed as a cooper. On May 6, 1874, Fest
married Minnie Burkhart in Cook County, Illinois.
By 1877, Fest was listed in the San Francisco Directory as a scenic artist, residing at 548 ½ Tehama. At the time, he was listed with the Grand Opera House.
By 1879, the directory listed Fest was working for the Adelphi Theatre. The earliest mention of Fest at the Tivoli was in 1883. That year, “The San Francisco Examiner” reported, “The new drop-curtain, ‘The Spanish Mail” painted by Oscar L. fest, will be used during the run of the piece, which judging from the manner of its first presentation and the applause that welcomed each successive scene, will be a long period” (27 Feb 1883, page 3). In 1889 Moses recorded visiting fellow scenic artists at the Tivoli Theatre, including Bill Porter. In 1891 the San Francisco Directory still listed Fest at the Tivoli.
Fest’s 1896 passport application noted that the artist was 56
years old with a height of 5’-9.” His physical description listed brown eyes, iron
gray hair, a square and high forehead, straight nose and “ordinary” mouth and
chin.
On September 10, 1919, the
“El Paso Herald” announced, “El Paso Scenic Artists in Okla.” (page 13). The
article reported, “Friends of Ben F. Tipton, former scenic artist of the
Redmond Follies and Art Phillips, who spent one year in El Paso as scenic
artist of the Raymond Teal company, will be pleased to know that they have
opened a studio in Tulsa, Okla., and are doing a good business. Tipton left El
Paso about two weeks ago to join Phillips who had preceded him to Tulsa and
arranged for the opening of the studio. ‘Tip’ writes that the company at
present has more scenery than it can handle and that Tulsa at present is a live
wire town as a result of the Oklahoma oil boom.”
The Phillips Tipton Scenic
studio was credited with providing the scenery for “All Aboard” by the next
spring (Morning Tulsa Daily World, 21 April 1920, page 9).
By July 7, 1920, Oklahoma
newspapers announced the opening of another scenic studio – Southwestern Scenic
Studio. The “Daily Law Journal”
announced, “Certificate of Partnership of the Southwestern Scenic Studios…That
Chas. Cassius and Raleigh Dent, are associated as partners in the business of
furnishing theatrical scenery of all descriptions in the City of Oklahoma city,
Oklahoma County, Oklahoma, Scenic Studios; that said partnership is a general
partnership, dating from the first day of May, 1920” (page 4). Both Phillips
Tipton Scenic Studio and Southwestern Scenic Studio were relatively
short-lived, a common trait as scenic studios continued to pop up like daisies
all over the country. The abundance of firms often saturated an area, quickly
causing supply to outweigh demand and prompting the closure of new companies.
As in the 19th
century, American scenic artists followed the work. Scenic studios were
established in areas experiencing economic growth and building booms. In 1919,
the Ben Tipton cited the Oklahoma oil boom as the cause for an abundance of painting
projects. Although the oil boom began in 1897, the money was still streaming in
by 1919. Great influxes of money into the economy supported theatrical growth
and even shifted the theatrical centers throughout North America. After the
1871 Chicago fire, a period of unprecedented theatrical construction activity
drew scenic artists and other theatre technicians from all over the country to
the Windy City. By the turn of the Twentieth century a similar period of
activity in New York, especially Coney Island and coastal attractions such as
the Atlantic Boardwalk shifted the theatrical centers again. Although many
believe that the theatrical center remained in New York throughout the duration
of the 20th century (Broadway), there were a series of building booms
that drew people westward. Oil money offered ample opportunities for scenic
artists to secure work, whether it was for live theatre, public spectacles, or
residential murals in mansions of the wealthy. During the severe recession that
hit the United States in 1920 and 1921 scenic artists left the larger
metropolitan areas of the east. Sometimes labeled as a depression, western
opportunities in successful towns funded by oil money continued to support a
variety of artistic endeavors during this time.
There is something else to
consider at this time. There was also the stylistic shift in scenic art that
prompted artists to move west. As the “new art” for the stage diminished the
demand for painted illusion, film offered additional opportunities for those
experienced in romantic realism for the stage. Moses and many of his Chicago
colleagues dreamed of both living and working in California. It was not only a vibrant theatre scene, but
also an artistic hub for fine artists. Moses actively sought work in the
Oakland area, starting in 1918 when he was working for New York Studios
(Chicago branch). He became a member of the Laguna Beach Art Association (1est.
919).
Those specializing in
traditional scenic art were able to tweak their skill set, tighten their
brushwork to produce realistic film backgrounds. It is understandable that the west
coast drew and abundance of highly skilled and well-known scenic artists. Those
transitioning to work in the film industry likely had an easy choice when
examining the set designs of the modern designer. Film offered the continuation
of painting large and picturesque vistas.
I came across an interesting article about scenic artist Charles Squires while researching the life and times of Thomas G. Moses (1856-1934) in 1919. On April 20, 1919, the “Dayton Daily News” published an article about Squires entitled, “Gang Battle Brought Artist to His Career” (Dayton, Ohio, page 36). This one is just delightful.
Charles Squires, scenic artist.
Here is the article in its
entirety:
“When Charles Squires,
scenic artist for the Brownell Stork players was hesitating over a decision as
to whether he would become a policeman or president when he should grow up, the
desire to paint struck him, and the blow was a lasting one.
The ‘gang’ that made
headquarters on one of Burlington’s numerous hills and numbered young Squires
among its members, fought its way downtown one day and took up a position to
the rear of the town’s ‘opry house,’ from which strategic point, epithets and
stones were hurled at the opposing forces with such excellent marksmanship,
both physical and vocal, that the invaders were left in possession of the alley
and in close proximately to the mysterious door beyond which loomed in
semi-darkness the summer crop of scenery and dusty properties that serves to
emphasize the emptiness of a theater’s stage when the season is over.
On the day of the
invasion, however, there was activity within the building, as the more
adventurous members of the gang learned upon cautious investigation. Straggling
inside and edging along gradually until their bare feet were collecting
splinters from the very center of the stage, they stod [sic.] in awe before the
biggest picture frame they had ever seen and watched white-clad artists wield
bog brushes and daub gallons of paint over the canvases which the boys had
never seen before beheld at closer range than the distance between the gallery
and the stage.
In the mind of at least
one of the rapt audience that watched the artist at their annual task of
retouching the theater’s scenery there was born the desire to emulate their
achievements. Charles Squires resolved to be a scenic artist.
Ensued a period of
feverish activity within the gang. The biggest barn in the hill neighborhood
was chosen as a theater and studio. A monster production of “The Siamese Twins”
was planned with “That Squires Boy” as dramatic director, leading man and –
scenic artist.
As to the dramatic value
of “The Siamese Twins” Mr. Squires refuses to be quoted. Certain it is, though,
that it was a huge success, and it was responsible for the present fact that
Mr. Squires is one of the ablest scenic artists in America. As soon as parental
consent could be obtained he journeyed to Chicago and began the long
apprenticeship which is necessary if one would qualify as a real artist. Study
and application have helped him to forge ahead, and specimens of his work are
to be found in the theaters of New York, Chicago, Winnipeg, Minneapolis, New
Orleans, Washington, Denver, and half a dozen other cities scattered over the
continent.
This versatile genius and
master of the art of scene painting will become closely acquainted with a
number of young folks who will avail themselves of the opportunity offered by
the Brownwell-Stork Players to serve an apprenticeship upon the scene bridge.
Under the excellent instructions of Mr. Squires it is expected that the various
classes will make rapid progress, so that their own creations on that canvas
may form part of the settings of the various plays to be offered.
While these instructions
will be absolutely free of charge, no application will be considered unless
recommended by a member of the hostess committee.”
In 1919, Thomas G. Moses wrote, “The
Madam and I started for a river trip down into Alabama by way of St.
Louis. I have written this trip in
detail in my travelogues. It was a most
enjoyable trip, during which I made pencil sketches. We had a nice time in St. Louis at Kirke
Moses’ home, and at P. J. Toomey’s new home.”
From the “St Louis Post Dispatch,” 13 March 1922, page 14.
Patrick Joseph Toomey was the
co-founder of Toomey & Volland, a main competitor to Sosman & Landis
during the early twentieth century. I have explored the life and career of
Toomey in past posts, but it is time to revisit this well-known scenic artist. Toomey
worked in many theaters across the country, especially those in St. Louis,
including, Pope’s, the Olympic, and the Century. At one time, he also painted for the
Knickerbocker Theatre in New York City.
In 1894, Toomey’s US Passport
application described him as 5’-7” tall, light brown hair, blue eyes, gold
rimmed spectacles, and a fair completion.
From the “St. Louis Post-Dispatch,” 2 April 1896, page 5.
By 1896, the “St. Louis Post-Dispatch” featured Patrick J. Toomey, including a brief biography next to a portrait of him (St. Louis Post-Dispatch, 2 April 1896). The article reported, “Patrick J. Toomey was born in Limerick, Ireland in 1854 and came to St. Louis with his parents as an infant. He received his education at the Christian Brothers’ College and in the public schools. His first employment was in the retail grocery trade. After a few years he found this work uncongenial and apprenticed himself to scenic art under Mr. Thomas C. Noxon at Deagle’s Varieties. With his tutor, four years later, he formed the partnership of Noxon & Toomey, continuing in the same line ever since. In connection with Mr. Noxon, Mr. Toomey has been the scenic artist at the Olympic Theater and Grand Opera House for over twenty years. In 1886, he married Miss May Vogt, a daughter of Dr. Wm. Vogt of Iowa City, Iowa.”
Thomas
Toomey and Ellen Kane were Irish immigrants who arrived in America sometime between
1850 and 1854. A 1920 census record notes that the Toomeys arrived in the
United States in 1854 and Patrick became a naturalized citizen by 1904. Patrick
Toomey’s US Passport application from 1894 lists that he was born on Nov. 27,
1854, emigrated to the United States in 1855, was naturalized on March 8, 1894.
There is quite a bit of discrepancy regarding Toomey’s year of birth, year of
emigration, and year of naturalization, as historical records provide
conflicting information. A 1900 census lists his being born in February 1853,
whereas a 1910 census, notes his birth year as 1848; the 1910 census notes his
age as 62 at the time. The 1910 census also lists his year of immigration as
1850. On the other hand, a 1922 obituary reports his birth year as 1851, so take
your pick. Regardless, Toomey left Ireland with his parents when he was just extremely
young and grew up in St. Louis, Missouri.
After
apprenticing with Noxon at Deagles’ Variety Theatre in St. Louis, Noxon and
Toomey established a scenic studio around 1867, this also supports a birthyear
of 1848-1851, not much later. Noxon was the firm’s president and senior partner
in the company. Ernest Albert
joined the scenic studio by 1881 and the firm’s name changed to Noxon, Albert
& Toomey by 1883. At this time Toomey was reported to be “the
itinerant member of the firm” (“Richmond Dispatch,” 24 Jan 1886, page 3).
1886
Johnson County records indicate that P. J. Toomey married Mary Isabelle Vogt in
Iowa City on Oct. 5. The daughter of William Vogt and Mary O’Connor born on
Dec. 20, 1859, she was 27 years old at the time. Toomey’s age at the time was
also recorded as 35 years old, placing his possible birthdate, again, as
1851-1852. The couple celebrated the birth of one child, Thomas Noxon Toomey.
Born in 1893, he entered the medical field, becoming a who a doctor. All three
were picture in a postcard mailed to Thomas G. Moses in 1908.
Patrick J. Toomey, Thomas Noxon Toomey and Mary Vogt Toomey, 1908.
The
projects completed by Noxon, Albert & Toomey dramatically increased during
the 1880s and lasted for almost a decade, establishing regional branches in
Chicago, Illinois and Cedar Rapids, Iowa. In Chicago, Noxon, Albert &
Toomey used the paint frames at the Chicago Opera House, with Albert leading the
scenic production for the Chicago Opera House. This is likely when Moses and
Toomey first encountered one another. At this time, Toomey traveled throughout the
country, but still kept his home residence in St. Louis.
In 1889,
Albert left the studio and then name changed, again, to Noxon & Toomey.
Their partnership continued until 1898 when Noxon passed away from Nephritis.
At the time, Toomey was quoted as saying, “Mr. Noxon was the greatest scenic
artist this country has produced. He was 69 years of age and had done work for
the leading theaters of the country, besides what he did in way of pageantry.
(“The Weekly Wisconsin, 25 June 1898, page 4).
By 1901, Toomey established his final business – Toomey &
Volland. His began a new business venture
with another scenic artist, one who had previously worked at Noxon & Toomey
– Hugo R. Volland. Volland emigrated from Grossbremback, Germany, during the
late 19th century, and soon found work as the secretary of Noxon
& Toomey.
The new Toomey & Volland Scenic Co. studio, built in 1922.
Toomey
passed away from a heart attack in 1922. On March 15, 1922, the “St. Louis Globe-Democrat”
reported: “TOOMEY – Suddenly, on Sunday, March 12, 1922 at 9:30 a.m., P. J.
Toomey, beloved husband of Mary Vogt Toomey, father of Dr. Noxon Toomey.
Funeral will take place from the family residence, 11 Aberdeen place,
Hillcrest, on Wednesday morning, March 15, at 8:30 o’clock, to our Lady of
Lourdes Church Interment in Calvary Cemetery. Deceased was a charter member of
St. Louis Lodge, B.P.O.E.”
The “St. Louis Post-Dispatch” reported that Toomey was “one
of the pioneer scenic painters of St. Louis” (St. Louis Post-Dispatch, 13 March
1922, page 14). The article added that Toomey was best known, for his creation
of the first floats for the Veiled Prophet’s parade and continued this sort of
work for 25 years, only giving it up shortly before his death. He achieved fame as an electrical float
builder,” known for his work at the Mardi Gras parade in New Orleans and the
Milwaukee Carnival (“Wichita Daily Eagle,” 13 July 1900, page 6).
In 1919 Thomas G. Moses wrote,
“The scenic artists have made their minimum scale $50.00, a raise from $36.00,
which means a number will have to go back as assistants. Very few are capable of earning $50.00 while
a number are worth $60.00 and $75.00.” To put a scenic artist’s salary in
perspective, the average actual weekly earnings per week worked in 1919 were $13.55
(Journal of Political Economy, Vol. 29, No. 1, Jan. 1921, pages 78-79). That
being said, a large section of men employed suffered in America from extensive
under employment. Estimates at the time, noted that the weekly wage for men
could have increased to $23.56 if individuals were able to secure 42 to 45
hours of employment each week. So, in
the big picture, making $50.00 per week as a scenic artist was a very decent salary
at the time. However, that does not mean that their hourly rate was twice that
of the average American worker, as they were likely working far more than 45
hours per week. If we take into account Moses’ records of long hours, scenic
artists worked 10 to 12-hour days, often six days a week.
Keep in mind that the scenic
artist salary increases from $36.00 to $50.00 was during a period of increased unionization
in American. Workers needed representation for fair wages, decent hours and
safe working conditions. I keep thinking of my grandfather who opted not to
work in a steel mills of Milwaukee as a newly arrived immigrant, explaining
that if he wanted to work in “hell” he would have stayed in Poland. My
grandfather Waszut later ran the north trolley line in Minneapolis. Then, as
now, many businesses took advantage of their employees, placing profits ahead
of people; the safety of their workers was not a priority. This is why union
representation is critical, an organized movement helping implement safeguards
while holding businesses accountable. Unfortunately, if often took a tragic event,
a horrific moment, that instigated people rise up and act, becoming part of a
nationwide movement.
The passion in people becomes ignited to organize and
protest. Their protests start because there are a series of unacceptable incidents,
especially if there is a history of prior warnings and citations. A tragic
event will become the catalyst where people stand up and say, “enough is
enough.” That is when the massive protests start. Similarly, those wanting to
maintain the status quo try to quickly silence the protestors or distract the
public’s eye away from the tragic incident. In 1911, the Triangle Shirtwaist
Factory fire was the catalyst for change and increased union representation. Most
of the victims dies as a result of neglected safety features, such as locked
doors. Seeing women plunge to their death from a burning building, resulted in
a demand for change, helping unite organized labor and reform-minded
politicians. Here is an article about the tragedy from Smithsonian Magazine: https://www.smithsonianmag.com/history/uncovering-the-history-of-the-triangle-shirtwaist-fire-124701842/
In regard to the theatre
industry in 1919, there was quite a bit of turmoil already, including 1918
measles outbreak, the Spanish Flu and WWI; these presented a series of
obstacles…and then there was the actors’ strike.
On August 21, newspapers across
the country reported that six ‘legitimate’ theaters in Chicago, went dark. The
cause was a result of musicians and stage mechanics striking in sympathy with
the striking actors. The walk-out in six theaters took place just before the
afternoon performance on August 20, 1919. I was fascinated with the idea that when
the actors fought back, other factions of the industry rushed to their aid; it
was a community endeavor.
On August 2, articles described the
actions of the sympathizers: “Dick Green, business agent of the local Stage
Mechanics’ Union and vice president of the International Alliance of Theatrical
Employees, said the strike yesterday was in sympathy with the actors and that
there would be no compromise until the fight with the producing managers’
association in New York was settled. He said the stage hands had no grievances
of their own. Officials of Chicago Musician’s Union made a similar statement. A
nation-wide spread of the strike is now threatened, according to union
officials and the hostile attitude of the theatre managers toward making any
concessions indicate a long night…The strike of stage hands and musicians as an
adjunct of the Actors’ strike threatens to close every downtown playhouse in
Chicago” (“Morning Post” Camden, New Jersey, 21 Aug 1919, page 6)
On August 22, 1919, “The Record”
reported the actors strike was augmented by nearly two hundred scenic artists
employed by the Schuberts and several score more actors, The article noted, “The
Actor’s Equity Association members are jubilant, declaring they are sure they
can force the managers to recognize the union and accept the players’ demand”
(Hackensack, New Jersey, 22 August 1919, page 16).
However, there was another force
at work mentioned in the last paragraph: “Louis Mann has begun the organization
of an actors’ organization in opposition to the Equity Association in an effort
to end the strike. He is backed by the Producing Managers’ Association and is
said to have been given $100,000 by George M. Cohan to finance the project.”
There are four scenic artists whose
histories are entwined: Harry James Buhler, William Fletcher Mann, Herman Peltz
and Robert R. Carsen. They all worked independently, but also partnered to form
the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz
& Carsen, and Peltz & Carsen. I am exploring each of their lives, as
Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in
1918.
Today I look at H. R. Buhler’s first
partner W. F. Mann. The two formed a partnership at the turn of the twentieth
century known as Buhler & Mann.
William Fletcher Mann was born
in Maryland, in 1851. His parents were also born and raised in Maryland. It is
unclear when Mann began work as a scenic artist, or any of his early work. However, by 1875 he married Olive Cramer and
was already working as a painter.
By 1880, the couple was living
in Union Township, Michigan, with their two young children, Mary A. (2 yrs.
old) and Harry A. (less than a year old). Mann was working as a painter at this
time, but I have not been able to locate any newspaper article that specific
projects.
By 1892 the Manns had moved and
were living in Augusta, Georgia. Interestingly, the Augusta directory listed
both Wm. F. Mann and Mrs. Wm. F. Mann as artists, with their studio at 404
Jarvis-Conklin Bldg, northwest corner Broad and 8th streets, and residence
at the southeast corner of Jenkins and Tuttle streets.” Although it is unclear
as to whether the entire family moved west, by 1894, W. F. Mann was listed as
an artist in the Kansas City, Missouri, directory. The publication noted that Mann was residing
at 513 e 8th Street. The entire family returned to Michigan by the late 1890s
where their third child was born. Nettie B. arrived April 21, 1898 in Saginaw,
Michigan.
As an itinerant scenic artist, it
is expected that Mann would travel from town to town, completing one project
after another. Like Thomas G. Moses, he could have been on the road for months
at a time, only periodically returning home to visit his family. During his
travels, he met and partnered by another itinerant scenic artist – Harry J. Buhler.
By 1900 Buhler & Mann were credited with delivering scenery for a touring
production. Their partnership seems to have lasted for only five years, but the
firm was quite prolific during this time. Mann would transition to management,
with Buhler remaining a scenic artist. The two would continue to work on the
same projects, just in different capacities. The 1900 US Federal Census listed Mann
as living in 1900 Detroit and working as a sign painter. It remains unclear if, or when, he moved to
Chicago, but the 1910 US Federal Census placed Mann and his family as still
living in Detroit.
The first mention that I have located
of a Buhler & Mann production appeared in the “Hamilton Country Ledger” on
Nov. 30, 1900. (Noblesville, Indiana, page
1). They were credited with designing and building “The Eleventh Hour” and
listed as “well known scenic artists.” The newspaper article reported that one
scene cost $5,000; it was a reproduction of a Chicago millionaire’s “magnificent
drawing room.” They based their work on photographs taken of the space.
Their productions with scenery
by Buhler and Mann included “Go Wan Go
Mohawk” (1900), “At Valley Forge” (1901), “Jesse James the Bandit King” (1903),
“Alaska” (1903), “Over Niagara Falls” (1905), and “The Heart of Chicago”
(1906). Their last production, again listed as a Buhler & Mann attraction, appears
to be “A Gambler’s Daughter” in 1906. The two are also credited with producing scenery
for “Moonshiner’s Daughter,” a show that was still touring in 1907 (Miner’s
Journal, 1 April 1904, page 2, and Post-Crescent, 19 Sept 1905, page 8). The
“La Crosse Tribune” noted, “There are four acts and eight scenes, and each is
equipped with a scenic environment from the studios of Harry J. Buhler and W.
Fletcher Mann” (La Crosse Tribune, Wisconsin, 9 Sept 1907, page 3). What I find
interesting is that their names, Buhler & Mann, appeared in the producer’s
spot for many advertisements. Typically,
a scenic artist and his work was mentioned in the fine print. This credit would
appear after the location, name of the producer, title of the play, and short
descriptive.
From the “Great Falls Tribune,” Great Falls, Montana, 31 Dec 1901, page 4.From the “Great Falls Tribune,” Great Falls, Montana, 31 Dec 1901, page 4.From the “Pittsburgh Daily Headlight,” Pittsburgh, Kansas, 24 Oct 1901, page 5
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 the 1909 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.
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).
Memphis, Tennessee, pictured in 1870.
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.
