Scenic Studio – Page 13 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1043 – Herman Kramer Sr. and the Kramer Theatre of Detroit, 1920

I return to the life and times of Thomas G. Moses after a two-week break. The research, writing, and painting didn’t stop during the past fourteen days, just all of my online activities. This was my first significant pause since my blog in September 2016; I was overdue.

In 1920, Thomas G. Moses wrote, “The Kramer Theatre of Detroit gave us quite a good-sized order which came in very handy.” The Kramer Theatre was a sizeable venue, boasting 1,732 seats.

Entrance to the Kramer Theatre in Detroit, Michigan.

At the time, Moses was working for Chicago Studios and work was only trickling into the shop. Although WWI had ended, a recession had also started at the beginning of 1920. This slowed many theater projects but did not stop them all; the Kramer included.

The Kramer Theatre was located at 5741 Michigan Avenue in Detroit, Michigan, and named after a very successful Detroit businessman – Herman Kramer, Sr.

In 1922, Herman Kramer was included in “The City of Detroit, Michigan, 1701-1922.” Compiled by Clarence Monroe Burton, Kramer was one of many individuals recognized for their contribution to the city (City of Detroit, 1922, page 386). Of Kramer, Burton wrote, “Herman Kramer is the president of the firm Herman Kramer & Sons, furniture dealers of Detroit, and owners of the Kramer Theatre, which has recently been completed and constitutes one of the most attractive and modern amusement houses of the city.”

H. Kramer & Sons advertisement in the “Detroit Free Press,” 9 Dec 1923, page 66.

Kramer was born on February 11, 1868, to parents Edward and Frederica (Heinman) Kramer. The couple arrived in America during the 1880s and settled in Detroit. Edward was in the lumber business. Herman began in the wallpaper hanging trade. He continued in that line and established his own business by 1893. Burton described, “His patronage steadily grew, and success attended his efforts. This constituted the initial step towards his present line, for after a time he added to his establishment a stock of furniture and has developed his business into one of the most successful furniture houses in the city. He has at times been most progressive and enterprising in his methods, the attractive line of furniture which he carried enabled him to meet every demand of the trade and he has outfitted many of the attractive homes of Detroit. He has also completed a fine structure known as the Kramer building, containing tea stores and offices with apartments above. The building is one of the valuable pieces of business property in that part of the city an occupies an entire block front on the southwest corner of Michigan avenue and Greusel street, and contains the Kramer Theatre, the second largest playhouse in Detroit. The theater, which is conducted as a vaudeville house for high-class theatrical performances and the better clean motion pictures, is thoroughly modern in all its appointments, seating over two-thousand people.”

Kramer passed away the same year as Thomas G. Moses, in 1934. Kramer’s obituary reported, “Herman Kramer, founder of the Kramer Furniture Co., and widely known in business and Masonic circles here for almost half a century, died Friday at his home, 5711 Michigan Ave. Born in Magdeburg, Germany, 68 years ago he came to Detroit when he was 16 years old. Forty-two years ago, he founded the furniture company bearing his name, located at the same building with his home. Later another store at 7665 Gratoit Ave. was opened. The Michigan Ave. store was discontinued about a year ago. He was also the owner of the Kramer Theater, 5731 Michigan Ave., and the entire block in which his home and theater are located. Mr. Kramer was a member of Union Lodge, No. 3, F.&A.M.; Peninsular Chapter, R.A.M.; the Michigan Sovereign Consistory, and Moslem Temple of the Shrine. He is survived by his wife Elenore and two sons, Walter and Herman, Jr.” Detroit Free Press, 27 April 1934, page 20).

Kramer was remembered as “one of the pioneer businessmen in the Junction-Michigan Aves. Section and was in the furniture business there for more than 30 years” (Detroit Free Press, 27 Nov. 1935, page 24). Herman Kramer & Sons had a store on the east side at 1697 Gratoit Ave. and on the west side at 1609 Michigan Ave. (“Detroit Free Press,” 21 Nov. 1920, page 15).

The Kramer Theatre in Detroit, Michigan. From www.cinematreasures.org Here is the link: http://cinematreasures.org/theaters/4121

From www.cinematreasures.org Here is the link: http://cinematreasures.org/theaters/4121

From cinematreasures.org: “Renovations occurred in 1938 when Michigan Avenue was widened, making it necessary to alter some of the Kramer Theatre building that included a portion of the auditorium. It was at this time that the exterior was also dramatically changed to reflect a more modern and streamlined appearance. The reopening of the Kramer Theatre was on February 11, 1939.” Here is the link: http://cinematreasures.org/theaters/4121

To be continued…

Tales from a Scenic Artist and Scholar. Part 1030 – The Empress Theater and the Chicago Studio of Sosman & Landis, 1919

Chicago’s Empress Theater opened in 1913. The venue was located in the Englewood neighborhood of Chicago. Six years later the building was renovated and purchased new scenery. The Chicago Studio of Sosman & Landis was contracted to supply the new sets. This is not to be confused with Chicago Studios, the company that Thomas G. Moses worked for in 1919 after leaving New York Studios.

In 1919, Moses wrote, “A new contract was entered into between the Chicago Studios and myself for one year. I hope it will prove to be a paying one in which I participate in the profits and a raise in salary, which means my old salary of $100.00 and a bonus.” Chicago Studios was a competitor of Sosman & Landis. It was also the same name as midwestern branch of Sosman & Landis Scene painting Studios, making the history a bit complicated. On Nov. 1, 1919, Chicago Studios placed a want ad in the “Chicago Tribune”:

“MEN-YOUNG, BETWEEN THE AGES OF 16 and 21 to learn to paint theatrical scenery; must start in as paint boy and work up; salary to start $15 per week; an excellent opportunity for one who wishes to learn the trade. Apply Chicago Studios 15 W. 20^th-st” (page 25).

This is from the same time when Moses was working at Chicago Studios; he needed to expand the staff.

Of the Sosman & Landis’ Chicago Studio, the “Herald and Review” credited the firm with the new Empress Theater sets in 1919 (Decatur, Illinois, 10 Aug 1919, page 18). The article reported, “Empress Theater Opens Next Week. Interior has been redecorated and new stage lighting system installed. After being closed for a period of six weeks for redecorating, the Empress will open for its fall and winter seasons next Sunday afternoon. Extensive improvements have been made during the closed period, the interior being entirely newly decorated, new seat covers for the orchestra chairs and the scenery department supplied with new sets from the Chicago studio of Sosman & Landis. A new lighting system has been installed, exactly like the one being used on the stage of the Great State-Lake theater, Chicago. Twelve sets of lights, each containing a 500-watt nitrogen lamp, set in a specially constructed reflector, will throw 6,000 watts of light on the performers, making it one of the brightest stages in this art of the country.”

From the “Englewood Economist,” Chicago, 10 June 1920 page 4.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1029 – DeKoven Opera Co., Robin Hood, 1919

Thomas G. Moses resigned at Sosman & Landis on September 1, 1918 and began working for New York Studios that fall. In 1919, he left the employ of David H. Hunt at New York Studios and signed a new contract with the Chicago Studios. Even though Moses was no longer affiliated with Sosman & Landis the company trudged on under the management of Perry “Lester” Landis, son of the co-founder Perry Landis. Much of the scenery credited to the studio in 1919, however, had been completed under the direct supervision of Moses before his departure.

Advertisement for the DeKoven Opera Company’s production of “Robin Hood,” from the “Alton Evening Telegraph,” 15 April 1919, page 7.

In 1919, Sosman & Landis studio was credited with the scenery for the DeKoven Opera Company’s production of “Robin Hood.” Ironically, the scenic art was still credited to the firm’s two founders Sosman and Landis. On May 19, 1919, the “Post Crescent” reported,

“APPLETON THEATRE. ‘Robin Hood.’

Did you really ever see a first class performance of the best COMIC OPERA any American Composer has written? ROBIIN HOOD is worth seeing and hearing, for both is joy. The time you remember as the 13^th century and the locale is the Medieval City of Nottingham in England where the ubiquitous ‘Sheriff’ is the ‘Pooh Bah’ of the town. Here is where Ed Andres the veteran comedian shines. Later his activities extend to Sherwood Forest, and his complicated drolleries seem never ending. The scenic artists Sosman & Landis have achieved a remarkable piece of work in both of these settings for the DeKoven Opera Company, the Central square of Nottingham being a magnificent panorama of the middle ages and the forest scene with its rustic beauties a vista of rare beauty. The choral effects, the clever dances, the kaleidoscopic lighting, and the delightful ensembles which Mr. DeKoven wove into his most successful opera form a cycle of entertainment which those who witness at the Appleton Theatre next Monday May 17 will long remember” (Appleton, Wisconsin, page 7).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1027 – The New Studio 1919

In 1919, Thomas G. Moses wrote, “Found the new studio in good shape and we will be able to get a lot of work, as it is so far ahead of the Peltz and Carson Studio.” This was written in July. Since September Moses had been looking for a new studio on behalf of New York Studios. On September 1, 1918, he resigned as president at Sosman & Landis and began working for the firm, but he only lasted a year. This is not surprising as New York Studios was run by former Sosman & Landis employee David H. Hunt. Hunt established New York Studios as an eastern affiliate of Sosman & Landis in 1910. It wasn’t really a regional branch; as Sosman & Landis had previously established regional branches, such as Kansas City Scenic Co. run by Lem Graham.

New York Studios was different; a separate entity that really seemed to take advantage of the Sosman & Landis name, labor and resources, giving little in return. This always irked Moses, so I have to wonder what caused Moses to quit and work for a man who he really didn’t like at all. However, Hunt had lured Moses away from Sosman & Landis before, but a long time before – 1894. This was when there was a lull in business after the Columbian exposition; Sosman & Landis scenic artists scrambled for any outside work after weekly wages were ridiculously reduced from a drop in demand. Of his 1894 departure, Moses wrote, “Sosman and Landis didn’t like my being with Hunt as they felt I was slipping away again, which I did.”

From the fall of 1918 to the summer of 1919 Moses spent much of his time looking for an acceptable studio, finally renting the Peltz and Carsen space in Chicago on behalf of New York Studios. Unfortunately, Moses only benefited from the new studio for little over a month. By September 1919, Moses wrote, “A new contract was entered into between the Chicago Studios and myself for one year.” So, what happened?

That summer Moses wrote “Our work kept up very good at the studio.” New York Studio projects include settings for the Pittsburgh Shrine, Denver Shrine, Pittsburgh’s Albin Theatre Albin Theatre. It all seemed to be going well until just after he went on a sketching trip with Alex DeBeers.

It has taken me a while to recognize something, a pattern in Moses’ career. Change for Moses always occurred after spending an extended period of time with a close friend, a fellow scenic artist, or his after painting a series of fine art piece. It seems as though there was some type of conversation (whether inner dialogue or chat with a colleague) that suggested work would be better elsewhere. Moses left the employ of Sosman & Landis four times between 1880-1904. When he finally returned in 1904, he lasted until 1918, but this was when he became vice-president and then later president of the company. Right before each decision to leave the company, Moses was working away from the main studio, possibly thinking that there were greener pastures elsewhere, so I began to contemplate his departures from Sosman & Landis in 1882, 1887, 1894, 1900 and 1918.

In 1882, Moses left Sosman & Landis to partner with Lemuel L. Graham after spending a pleasant time with Will Davis on a project in Richmond, Indiana. That year Moses wrote, “1882 found me just as restless to do something big, and I drifted along with the regular work, until about May, when Graham’s season as the theatre closed. We got together and I quit the firm after refusing a big salary – that is, for me.” He had been accepting outside work and helping Graham with several projects before he tendered his resignation.

In 1887, Moses also left; this was after he returned to his hometown to refurbish an old project. He had completed eight years earlier. At the time, Moses wrote, “My discontent with studio work got the upper hand and I quit on February 11^th, and joined Burridge, Moses and Louderback.”

In 1894, Moses struck out on his own for two years. This occurred after a lull in work and spending time on his own art. It was a constant stream of projects in the Sosman & Landis studio that often prohibited Moses from doing any fine art; that was his true goal. In 1885 Moses wrote, “I was ambitious to do something besides [being] a scene painter, to leave something besides a name, which is about all a scene painter leaves as his scenic work is soon painted out.” I think it was really this desire that prompted Moses to leave Sosman & Landis every time, hoping he would be able to carve out a little time for his own painting. Any art that he produced for Sosman & Landis was ephemeral and attributed to the studio, under names that were not his.

Ironically, his work would become so intertwined with Sosman & Landis, that he would eventually purchase the name after the company liquidated in 1923. It has to have been hard, knowing that his legacy would always be associated with a scenic firm that did not include his own last name. Moses & Graham (1882-1883), Burridge Moses & Louderback (1887-1888), Moses (1894-1896) and Moses & Hamilton (1901-1904) were all very short lived, Sosman & Landis lasted for decades. The scenery associated with his own firms disappeared long before Moses passed away. In fact, much of what remains of Moses scenic art are installations delivered by Sosman & Landis. Moses had no way of knowing that work painted for Masonic theaters would far outlast his other commercial endeavors; forming historical time capsules that are only now disappearing.

So, in 1919 Moses went on a sketching trip with Alex DeBeers. He wrote, “The last of August, Alex DeBeers and I started for Utica, Illinois, from where we struck into the Starved Rock country for a few days of sketching. We found it very good. This trip is also included in my travelogues.” After his return to the new studio, Moses worked on only one more protect then left New York Studios, writing, ““A new contract was entered into between the Chicago Studios and myself for one year.” What was discussed on that sketching trip?

To be continued…

Tales from a Scenic Artist and Scholar. Part 1025 – Patrick Joseph Toomey, 1919

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 19^th 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).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1024 – Kirke W. Moses, 1919

Previously this year I was contacted by a descendent of Kirke Moses who wrote, “Thank you for this. Thomas Gibbs Moses was my Great Uncle. His brother Kirke White Moses was my Great Grandfather whose daughter was my beloved Grandma, Ruth Moses McNulty! Our family still has a few paintings from Thomas Gibbs Moses and his brother, Walter Farrington Moses! Periodically, I search for information on my ancestors and I was happy to find this. Thanks again.”

My first thought was, “Who is Kirke?” I never stopped to consider the children born after the death of Moses’ mother, as I have remained so focused on his career. Moses’ father re-married. and I knew very little of the second family; never really looking for more familial information.

Of the first family, Moses wrote, “Father and Mother had a family of seven children. Kate, the eldest, was accidentally killed at sea. Lucius was the first boy and died at sea. Sister Lucia was born in Halifax, Nova Scotia, July 23rd, 1853. I was the third child. Frank was born in 1858. Illie was born in Sterling, Illinois, December 25^th, 1860. Little Kate (named for the first child) born in Sterling; died shortly after my mother’s death in 1862… It was here [Sterling] that mother passed away and left four children for Father to bring up. I remember every detail and incident of her death. I can see each dear friend of Mother’s grouped about. I crawled upon the bed to kiss her good-bye. One of her last bequests was to give her watch to “Tommy,” which I received after I had passed middle age. Among the many little keepsakes of Mother’s, I have a drawing book that she used in school in 1835. The pencil drawings show considerable talent. If she had only lived, what a wonderful Art companion I would have had.” His mother was Mary W. Titcomb Moses.

Moses later wrote, “One housekeeper we had was Mary Planthofer. She was awfully good to me – almost like a real Mother. She saved me a good many whippings. She remained with us after our new Mother arrived…When the new Mother took charge of affairs, there were many radical changes made. Many of them made my young life a burden, and had a strong influence on my whole life, and also kept my nose to the grindstone.” Not much of his new mother was recorded, including a name. Moses’ only description of her at all was when he wrote, “A good novel had a great deal of interest for my new Mother, much more that our garden, so why should we worry when the garden went wild. It was even more artistic.” His second mother was Adeline Gowen, sometimes spelled Adaline.

About the time that Kirke was born, Moses’ life at home was quite miserable and all he wanted to do was become and artist in Chicago. By the time When Kirke was just a toddler, Moses wrote, “My wild career as an Artist started in April. Father would not help me, so I started for Chicago with 10¢ in my pocket and a new pair of boots, red leather tops and copper toes; some heavy clothes and a lot of pluck.” Upon arriving in Chicago, he immediately started working for the decorative firm ran by P. M. Almini. From this point onward, Moses’ career took off, and there is little said of his family.

Kirke was born on November 8, 1871. By 1880, the US Federal census listed Lucius and Adeline Moses living in Chicago. Lucius’ occupation was that of harness maker, in line with the tannery and harness shop he ran in Sterling Illinois. In Chicago, the Lucius Moses family include his wife Adeline, daughter Illie Kirke W. and Walter D. were listed as two sons, with Walter being three years younger than Kirke. I have briefly explored he life of actress Illinois “Illie” Moses in past post 174 (https://drypigment.net2017/08/15/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-178-illie-moses-sister-and-actress/).

Although both Moses and his sister Illie worked in the theatre Industry, little is mentioned of their relationship. Moses seems to have remained closest with his brother Frank Demming Moses. This is understandable as Moses’ eldest son Pitt went to work with Frank in the gas industry, so the family remained quite close over the years. Kirke ended up in St. Louis, Missouri as a contractor.

On April 4, 1929, Kirke E. Moses was featured in the “St. Louis Star” (page 24). The article announced, “Kirke Moses to Build Residences in Ivanhoe Park….Associated with the building industry for over twenty years, Moses has built more than 600 fine residences in various parts of the city. The son of a Chicago contractor, he began building and construction work shortly before the World’s Fair. Before coming to St. Louis he gained distinction in the field of building through his work in construction of the University of Texas buildings at Galveston and the Illinois Central car shops at Memphis. One of his first commissions in St. Louis was the reconstruction of the Philippine Building at the World’s Fair. Since that time, he has confined his activities to the building of fine homes. It was thoroughly in line with the policy of the St. Louis Better Built Homes Movement, that he was selected to build these model homes. The executive committee realized the importance of selecting a reputable builder. It is well known regardless of the fine materials used no home can be well built if poor construction methods are employed. The fact that his record as home builder was beyond reproach led to Moses’ selection.”

Kirke Moses. From the “St. Louis Star and Times,” 4 April 1929, page 24.

From the “St. Louis Star and Times,” 29 May 1930, page 19.

Newspaper articles are seldom 100% correct, so you have to take what they say with a grain of salt. I have never encountered any mention that Lucius Moses was not a contractor, other than the article above. He was initially a sea captain who moved inland and established a tannery in Sterling, Illinois. Lucius Moses’ occupation was listed as a harness maker. After Lucius Moses moved to Chicago, Moses recorded that his father ran a grocery store. That being said, I haven’t really looked to see if he was ever listed as a Chicago contractor.

Lucius Moses’ business listed in the Sterling, Illinois, directory, 1877-1878.

The other interesting bit of information I encountered was on Kirke Moses’ marriage certificate. He listed his occupation as “painter.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1015: Chicago’s State-Lake Theatre, 1919

In January 1919, Thomas G. Moses wrote, “Started the wood scene of the State-Lake Theatre job, which was a good beginning, rather hard to do in the Peltz and Carson Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor. The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough. I was quite successful in my work at the State-Lake Theatre Everything came out quite good.”

The State-Lake Theatre opened with scenery by Thomas G. Moses, representing New York Studios.

The State-Lake Theatre opened on March 17, 1919, as part of the Orpheum Circuit. The venue was described as “Chicago’s two and one-half million dollar vaudeville playhouse” (“The Standard Union,” 20 Aug. 1919, page 8). Part of a 12-story office building located “in the loop,” it was on the corner of N. State Street and W. Lake Street. There was an enormous electric marquee on the building, measuring 96’-0” tall by 14’-6” wide; at the time, one of the largest electric signs in the world.

From the “Chicago Tribune,” March 17, 2019, page 10.

From the “Chicago Tribune,” March 29, 1919, page 19.

The auditorium boasted a seating capacity of 2,800, hosting 70,000 patrons each week during its heyday. Newspaper advertisements promised “Continuous Double Value Vaudeville and Photoplays at Single Prices,” with 4 shows daily: 11:00-2:45, 2:45-5:00, 5:00-8:00 and 8:00-11:00 (Chicago Tribune, 29 March 1919, page 19).

The theater later became part of the of the Keith-Albee-Orpheum Circuit and then the Balaban & Katz chain. Lake many other theaters, it eventually dropped all live performances and only featured movies by 1941. In 1984, the theater officially closed, with the interior being transformed into studio and office spaces for WLS-TV, a Chicago affiliate of ABC. Here is a lovely article about the theatre:

https://www.chicagotribune.com/news/ct-xpm-1989-01-08-8902230716-story.html

To be continued…

Tales from a Scenic Artist and Scholar. Part 1014 – From New York Studios to The Chicago Studios, 1919

In 1904 Moses left a successful New York partnership in 1904; this was the business endeavor with William F. Hamilton, Moses & Hamilton. Sosman placed a series of incentives to draw Moses back to Chicago that included $5,000 in stock and a position as vice-president. Additionally, he also assumed all control over design, construction, painting, and installation at the firm. When Sosman passed away in 1915, Moses was elected president. Unfortunately, that was right in the midst of a challenging period, WWI, a measles outbreak, the Spanish Flu and a recession. It seemed that everything was falling apart and the demand for painted scenes was beginning to diminish nationwide.

By the summer of 1918, working at Sosman & Landis became untenable. On September 1, 1918, Thomas G Moses resigned as the president of Sosman & Landis, and started working for New York Studios, the eastern affiliate of Sosman & Landis. New York Studios was run by David H. Hunt. By the end of 1918, Moses wrote, “I am afraid that I will not be satisfied with my new deal.” Part of the problem was securing a studio space. Add in the fact that Moses never liked Hunt to begin with and his new employment was doomed from the start. Hunt consistently promised big and delivered small; Moses really should have known better by this point in his career.

During the fall of 1918 Moses hoped to line up a few projects along the west coast. Of possible California living, he wrote, “Mama and I would like to go out there. The hardest part of that will be the giving up of the old home and moving away from all the friends and children, but I don’t think it would take all that much coaxing to have the children move after us, which would all be fine. If I could only get a financial settlement with Sosman and Landis Company, we would go to California this winter.”

Needless to say, he remained in Chicago for the winter. His New York Studios projects ended up being built and painted in the Peltz & Carson shops. Of the experience, Moses wrote, “…rather hard to do in the Peltz and Carson Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor. The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.”

Of the search for a better studio space during the spring of 1919, Moses commented, “We looked at several buildings for a studio, but none seemed right to fill the bill. The only way to get one and have it right is to build one.” Early on, Sosman & Landis built a deluxe studio that was often toted as the largest one in the United States. When their main studio could not accommodate all projects, Sosman & Landis rented a series of spaces that they referred to as “annex studios.” Although New York Studios had long been marketed as the eastern affiliate of Sosman & Landis, there were never the funds to build a permanent structure for scenic work. In the end Moses severed his relationship with New York Studios in 1919.

By summertime, Moses wrote, “A new contract was entered into between the Chicago Studios and myself for one year. I hope it will prove to be a paying one in which I participate in the profits and a raise in salary, which means my old salary of $100.00 and a bonus.” This means that when he left Sosman & Landis to work with New York Studios, he took a pay cut. His base salary returned to normal when he began working for Chicago Studios.

About this time, The Chicago Studios placed a want ad in the “Chicago Tribune” on Sept. 13, 1919: “MEN – YOUNG. TO LEARN THEATRICAL scene painting; excellent opportunity for those inclined. The Chicago Studios, 15 W. 20th-st” (page 21).

From the “Chicago Tribune,” 13 Sept. 1919, page 21.

By Nov. 1, 1919, the want ad in the “Chicago Tribune” was a little more descriptive:

“MEN-YOUN, BETWEEN THE AGES OF 16 and 21 to learn to paint theatrical scenery; must start in as paint boy and work up; salary to start $15 per week; an excellent opportunity for one who wishes to learn the trade. Apply Chicago Studios 15 W. 20^th-st” (page 25).

From the “Chicago Tribune,” 1 Nov . 1919, page 25.

It is difficult to track down information for The Chicago Studios; much has to do with the name. Similar to New York Studios, the firm’s name is also used to denote location of other businesses. For example, in 1919, newspapers credited scenery to the Chicago Studio of Sosman & Landis. Essanay Motion Picture company also referred to their Chicago Studio. And on top of everything else, there was also another Chicago company named “Chicago Studio,” one that specialized in music.

Letterhead for The Chicago Studios after they moved to a new location in the 1920s – the old shop of Sosman & Landis.

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…