Buhler, Peltz & Carsen – 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 1013 – Robert P. Carsen, Scenic Artist, Stage Mechanic and Studio Founder

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

1923 Advertisement for Peltz & Carsen in a Chicago Directory.

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

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

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

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

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

“An announcement

SUSAN STUBBS GLOVER

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

Advertisement for Robt. P. Carsen Scenic Studios.

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 1012 – Herman Peltz, Sr., Stage Mechanic, Peltz & Carsen

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

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

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

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

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

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

Advertisement placed in “The Player,” Feb 23, 1912, page 20.

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

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

To be continued…

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 1007: Peltz and Carsen Studio, 1918

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

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

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

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

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

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

To be continued…