Buhler & Mann – Drypigment.net

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 2 – Harry J. Buhler, scenic artist.

Harry J. Buhler was a scenic artist who worked at Sosman & Landis during the nineteenth-century, c. 1883 – 1891. The first mention that I have located of Buhler representing the firm was from 1883. That year he painted and installed scenery at the Myers Opera House in Janesville, Wisconsin.

Buhler arrived in Janesville in October, with the “Janesville Daily Gazette” announcing “New Scenery at Myers Opera House.” On October 23, 1883, the newspaper reported, “Mr. H. J. Buhler, of Sosman & Landis scenic studio, Chicago, arrived in the city yesterday afternoon to begin the work of painting the scenery for Myers Opera House…There has been great improvement made of late in stage decorations, and standing at the front of artists in this line are Sosman & Landis. They have within the past year or so painted scenery for many of the largest theaters in the west” (page 4). Of the Sosman & Landis scenic artist, the article continued,” Mr. Buhler, who has been commissioned to do the work, is an artist of rare skill in the line. The decorations in many of the principal opera houses in the west are by his brush. He thoroughly understands the tendency of modern art as applied to the scenic department and will do some excellent work. It will take him about two weeks to complete the work and will be engaged both day and night.”

*A page from a nineteenth-century Sosman & Landis catalogue.*

On Nov. 12, 1883, the “Janesville Daily Gazette” described his work in detail, reporting,

“Mr. H. J. Buhler, from the scenic studio of Sosman & Landis, Chicago, who has been engaged in painting new scenery for Myers opera house for more than two weeks past, will finish the work on Wednesday of this week. To-morrow evening Mr. Buhler will arrange different stage settings which will show the general characters of the work done by him. This will be done for the accommodation of the press of the city.

“Among the pieces executed by Mr. Buhler are two tormentor doors and two tormentor wings, and a grand drapery border 12 feet wide and 25 feet long. The scenes include a kitchen set, a plain chamber set, a prison set, and a handsome box parlor set of modern Eastlake ebony comprising two pairs of flats and four wings, and borders to match. It is one of the finest sets to be found in any theater or opera house in this state, and is beautifully decorated with bric-a-brac armor, plaques, and so on. There is also a Louis 14^th gothic set which is also very beautiful. The landscape paintings embrace a country landscape; a dark wood scene; a rocky pass taken from the Yellowstone park; a garden set, including a garden backing, a set house, vases, and balustrade. There is also an ancient scene taken from Strasburg, and is, in all respects, a very effective scene. One of the finest scenes among the large collection which ornaments the stage of the opera house, is an ocean set, which is a splendid piece of marine painting.

“Very many of these sets and scenes will be used for the first time on Thursday night when Miss Anna Dickinson will produce Anne Boleyn. Mr. Buhler has kindly consented to remain here that night and arrange the scenery for the play. A new drop curtain, a very elegant one, costing not less than $200, has been ordered by Mr. Myers, and will be painted in Chicago. There is now four times more scenery in Myers opera house than ever before, and aside from the quantity, in artistic merit it is not excelled by that of any other opera house in Wisconsin. New gas-burner lights have also been put in above the stage, and also new rope which will greatly facilitate the changing of the scenery during the presentation of the play.

“Messrs. Sosman & Landis have a wide reputation as scenic painters, and have decorated many of the leading theaters and opera houses in the west; and they have served Mr. Myers well and have done the public a good service, by sending Mr. Buhler here to furnish the opera house with new scenery. He is a thorough artist, and having made scenery a specialty for years, he was in every particular fully competent for the task. He is a rapid workman and a genius in his line. The public will be surprised on Thursday evening to learn the great quantity of fine scenery he has turned out in so short a time. Every single piece is a credit to the artist, and a great advantage to the open house” (page 4).

On November 14, 1883, the “Janesville Daily Gazette” included another lengthy article describing each of the scene painted by Buhler. Of the scenic artist the article praised,

“Mr. Buhler has added considerable to his already wide reputation as an artist by the excellent work he has done for Mr. Myers. Messrs. Sosman & Landis are to be thanked for delegating Mr. Buhler to do the work, and the theatregoers of Janesville are under deep obligations to Mr. Myers for his enterprise in having the work done. We wish to state in connection with this notice of the new scenery that Mr. Buhler prepared the stage settings for Anna Dickinson’s first performance of Hamlet in New York, and for his skill and taste in doing the work he was highly complimented by that distinguished lady.”

Buhler’s first name varies in newspaper articles and other historical records over the years. Buhler was identified as H. J. Buhler, J. Harry Buhler, Harry Buhler and Henry Buhler; they were all the same individual.

Buhler was born in 1853, the second child of recently-arrived German immigrants Wilhelm Bühler (1818- ?)and Carolina Lorey (1830-1907). His parents were married in Speyer, Bayern, Germany, on August 28, 1845, and emigrated separately to the United States between, 1848 and 1849. Wilhelm arrived in Feb. 5, 1848 in New York Harbor, with Carolina and their daughter Anna F. (b. 1847) following in 1849.

Harry was born in New York City before the family continued on west. As the country expanded westward, new construction provided ample opportunity for employment. Little is known of Buhler’s early training, or exactly how he was introduced to the theatre trade. However, in 1870, the Federal Census places Henry J. Buhler in Little Rock, Arkansas. At eighteen years old, he had already painting a variety of projects in the area, living with another artist, Arthur W. Drewry, at a boarding house. Like most itinerant artists at the time, he completed a variety of painting projects that included sign painting, carriage painting and easel art exhibits. He soon partnered with another scenic artist named “Akin” to paint an advertisement drop for Little Rock’s theater hall. The two placed an advertisement in the “Arkansas Daily Gazette” on Nov. 4, 1870: “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” (, page 4).

By 1872, Buhler moved to Memphis, Tennessee. That spring he became the stage manager for the newly formed Memphis Amateur Dramatic Company. This meant that he was responsible for all of the backstage duties and all scenic contributions for various productions. By the fall he was painting at both the Memphis Theatre and Olympic Theatre in Memphis. At the Olympic Theatre, he was listed as “H. J. Buhler, Esq.” Buhler’s transformation scenes for “The Black Crook” received favorable reviews in the “Public Ledger” on October 17, 1872 (page 2). He also worked at the Memphis Theatre, first touched up the well-known drop curtain entitled the “Voyage of Life.” He was then engaged as an assistant to scenic artist Adam Walthew. Walthew became a well-known artist in both New York and Detroit, who passed away in 1886.

In 1879, Buhler was still painting the Memphis Theatre and was credited for providing the new drop curtain, replacing the one he previously touched up. On April 18, 1879, he “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 [H. M. S. Pinafore] by Buhler” (18 April 1879, page 4).

Although, Buhler was living in Memphis, he was still traveling as an itinerant scenic artist and completing projects across the country. Work brought him to Illinois by 1878. That year Buhler was working at the opera house in Paxton, Illinois, and was credited with nursing the Flack family back to health after a disastrous incident. At the time, he was identified as “the scenic painter at the theatre” (The Weekly Standard, Paxton, Illinois, 5 Oct. 1878, page 3).

At the same time that Sosman & Landis were starting up their scenic studio in Chicago, Buhler got married. On July 12, 1879, “The Memphis Herald” announced “Last night Mr. Henry J. Buhler, the well-known scenic artist was married to Miss Alice C. Garrett, daughter of S. S. Garrett. The wedding took place at the residence of Capt. Garrett. 382 Vance street, and the ceremony was performed by Rev. S. Landrum.” The 1880 census records that Harry and Carry were living with the in-laws – Sirus and Sarah Garrett. At the time, Buhler was listed as an artist and Garrett at a boat inspector. The couple soon moved and were living in Chicago by the early 1880s, living at 295 Wabash. In 1885, Buhler was also listed in the Scene Painters Show (see past post 13: https://drypigment.net2017/06/29/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-131/). This was an event that solidified the network of many Midwestern scenic artists, particularly those working for Sosman & Landis.

In 1887, Buhler joined the Order of Chosen Friend (a fraternal benefit order), and was active as a trustee for the Apollo Council No. 29 in Chicago. In 1888, Buhler was also listed in the “Minneapolis Directory” working at the Pence Opera House and boarding at 224 Hennepin Ave.

His permanent residence was in Chicago at this time, where he and Carrie began a family, celebrating the birth of two children in: Blanch W. Buhler (b. Sept 1888) and Edgar Garrett Buhler (b. Sept. 1, 1892).

By the 1890s, Buhler continued to filter in and out of the Sosman & Landis studio, working on a variety of projects for them throughout the region. Thomas G. Moses later mentioned working with Buhler on the Temple Theatre in Duluth, Minnesota, for Sosman & Landis in 1891. Moses, Buhler and Joe Hart were credited for their scenic contributions in the “Duluth Evening Herald” on July 11, 1891. In 1892, Buhler was mention in the “Chicago Sunday Tribune” article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” – “H. J. Buhler is another artist whose interiors are excellent examples of careful drawing, in which projection and shadow are most skillfully handled.”(Dec 18, 1892, page 41). Like other Sosman & Landis artists, he sporadically left to form a partnership; work was quite plentiful.

In 1897, Buhler was working with A. L. Lamphear at Havlin’s Theatre. However, he was also painting with artist Henry Asper, Buhler and Asper delivered ceremonial scenery for the Knights of Khorassan at the Al Hathim Masonic Temple (Inter Ocean, 24 Oct. 1897, page 16). Everything was going quite well when tragedy struck.

At the end of 1898 Buhler lost all of his business supplies in a fire at the Lincoln Theatre on North Clark Street. Previously known as the Windsor, it was renamed the Lincoln after it was partially destroyed by another fire and rebuilt a decade earlier. On Dec. 6, 1898. The “Chicago Tribune” reported, “H. J. Buhler, the scene painter, had his collection of models and a library destroyed, with no insurance.” This suggests that Buhler ‘s own scenic studio was at the Lincoln Theatre. Interestingly, the 1898 Chicago City Directory listed the Buhler family as residing at 636 North Clark Street in Chicago in 1898; they were still residing there at the time in 1900.

The 1900 Federal Census listed the Buhler household as including Harry, his wife and two children as well as his Mother, Caroline Buhler (1830-1907), and sister, Annie Chapman. Hermania Atwood, aged 33 yrs. old, was also living there and listed as a “daughter” – his sister though. I have yet to find anything about the passing of his father beyond the fact that he mother and Anna previously resided in Portland, Oregon.

Julius Cahn’s Official Theatrical Guide of 1899 listed Buhler as the scenic artist who delivered stock scenery to Chicago’s Alhambra Theatre, New Lincoln Theatre and New Lyric Theatre. In addition to working for other studios, Buhler established at least three partnerships throughout the duration of his career: Buhler & Mann with William Fletcher Mann (1851-1926); Buhler & Peltz with Herman Peltz, Sr. (1869-1908); and Buhler, Peltz & Carsen with Robert Carsen (1876-1958).

By the turn of the twentieth century, Buhler partnered with William Fletcher Mann with the two delivering scenery for several productions between 1904 and 1907. In 1906, however, Buhler was identified as a scenic artist at the Criterion Theatre in Chicago. At the Criterion he worked directly for scenic designer Lincoln J. Carter. Carter’s models translated to the stage by master machinist Herman Peltz and scenic artist Buhler. Buhler continues to work with both Peltz and Mann for the next few years, but struggles with his health. He moved south to Arizona for health reasons in 1907.

By 1909, Buhler and Peltz begin to work with Robert P. Carsen, establishing the Buhler, Peltz and Carsen Studio in Chicago. They continued to work with Mann, although Mann transitioned to a producer.

In 1910, the Buhlers are still living in Chicago, and then them seem to disappear. For whatever reason, I can find no mention of Harry, Carry or their son after 1910.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1010 – W. F. Mann, Scenic Artist and Manager

There are four scenic artists whose histories are entwined: Harry James Buhler, William Fletcher Mann, Herman Peltz and Robert R. Carsen. They all worked independently, but also partnered to form the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz & Carsen, and Peltz & Carsen. I am exploring each of their lives, as Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in 1918.

Today I look at H. R. Buhler’s first partner W. F. Mann. The two formed a partnership at the turn of the twentieth century known as Buhler & Mann.

William Fletcher Mann was born in Maryland, in 1851. His parents were also born and raised in Maryland. It is unclear when Mann began work as a scenic artist, or any of his early work. However, by 1875 he married Olive Cramer and was already working as a painter.

By 1880, the couple was living in Union Township, Michigan, with their two young children, Mary A. (2 yrs. old) and Harry A. (less than a year old). Mann was working as a painter at this time, but I have not been able to locate any newspaper article that specific projects.

By 1892 the Manns had moved and were living in Augusta, Georgia. Interestingly, the Augusta directory listed both Wm. F. Mann and Mrs. Wm. F. Mann as artists, with their studio at 404 Jarvis-Conklin Bldg, northwest corner Broad and 8^th streets, and residence at the southeast corner of Jenkins and Tuttle streets.” Although it is unclear as to whether the entire family moved west, by 1894, W. F. Mann was listed as an artist in the Kansas City, Missouri, directory. The publication noted that Mann was residing at 513 e 8th Street. The entire family returned to Michigan by the late 1890s where their third child was born. Nettie B. arrived April 21, 1898 in Saginaw, Michigan.

As an itinerant scenic artist, it is expected that Mann would travel from town to town, completing one project after another. Like Thomas G. Moses, he could have been on the road for months at a time, only periodically returning home to visit his family. During his travels, he met and partnered by another itinerant scenic artist – Harry J. Buhler. By 1900 Buhler & Mann were credited with delivering scenery for a touring production. Their partnership seems to have lasted for only five years, but the firm was quite prolific during this time. Mann would transition to management, with Buhler remaining a scenic artist. The two would continue to work on the same projects, just in different capacities. The 1900 US Federal Census listed Mann as living in 1900 Detroit and working as a sign painter. It remains unclear if, or when, he moved to Chicago, but the 1910 US Federal Census placed Mann and his family as still living in Detroit.

The first mention that I have located of a Buhler & Mann production appeared in the “Hamilton Country Ledger” on Nov. 30, 1900. (Noblesville, Indiana, page 1). They were credited with designing and building “The Eleventh Hour” and listed as “well known scenic artists.” The newspaper article reported that one scene cost $5,000; it was a reproduction of a Chicago millionaire’s “magnificent drawing room.” They based their work on photographs taken of the space.

Their productions with scenery by Buhler and Mann included “Go Wan Go Mohawk” (1900), “At Valley Forge” (1901), “Jesse James the Bandit King” (1903), “Alaska” (1903), “Over Niagara Falls” (1905), and “The Heart of Chicago” (1906). Their last production, again listed as a Buhler & Mann attraction, appears to be “A Gambler’s Daughter” in 1906. The two are also credited with producing scenery for “Moonshiner’s Daughter,” a show that was still touring in 1907 (Miner’s Journal, 1 April 1904, page 2, and Post-Crescent, 19 Sept 1905, page 8). The “La Crosse Tribune” noted, “There are four acts and eight scenes, and each is equipped with a scenic environment from the studios of Harry J. Buhler and W. Fletcher Mann” (La Crosse Tribune, Wisconsin, 9 Sept 1907, page 3). What I find interesting is that their names, Buhler & Mann, appeared in the producer’s spot for many advertisements. Typically, a scenic artist and his work was mentioned in the fine print. This credit would appear after the location, name of the producer, title of the play, and short descriptive.

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.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1009 – Henry J. Buhler, Scenic Artist of Little Rock and Memphis

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 1008 – Harry J. Buhler, Scenic Artist

There are four scenic artists whose histories are entwined: Harry James Buhler, William Fletcher Mann, Herman Peltz and Robert R. Carsen. They all worked independently, but also partnered for form the scenic studios of Buhler & Mann, Buhler & Peltz, Buhler, Peltz & Carsen, and Peltz & Carsen. Carsen was occasionally spelled Carson in directories, newspaper listings and articles. I am exploring each of their lives, as Thomas G. Moses mentioned the possible rental of Peltz & Carson studio in 1918. I am starting with H. J. Buhler, scenic artist and studio founder.

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

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

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

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

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

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

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

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

Julius Cahn’s Official Theatrical Guide of 1899 listed Buhler as the scenic artist who delivered stock scenery to Chicago’s Alhambra Theatre, New Lincoln Theatre and New Lyric Theatre. By the turn of the twentieth century, Buhler Partners with William Fletcher Mann. Buhler & Mann are credited as a scenic studio in 1901. From 1904 to 1907, the two are credited with the scenery for “Moonshiner’s Daughter.” (Miner’s Journal, 1 April 1904, page 2, and Post-Crescent, 19 Sept 1905, page 8). In 1907 the “La Crosse Tribune” noted, “There are four acts and eight scenes, and each is equipped with a scenic environment from the studios of Harry J. Buhler and W. Fletcher Mann” (La Crosse Tribune, Wisconsin, 9 Sept 1907, page 3).

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

By 1908 Buhler provided scenery for Charles A. Sellom’s musical “The Cat and the Fiddle” (Truth, Salta Lake City, Utah, page 8). He also designed and painted scenery for “The Cow Puncher” under the direction of W. F. Mann. This is the first link between Buhler and Herman Peltz. They would later partner with Robert Carsen to form Buhler, Peltz & Carsen. The “Coshocton Daily Times” reported, “The scenery was built by the well known artist Harry Buhler and Herman Peltz from the original drawings made by Mr. Buhler, the artist, who spent a year in Arizona for his health.” (Coshocton Daily Times, 1 Dec. 1908).

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

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

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