Scenic Studio – Page 14 – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1011 – Buhler & Peltz at the Criterion

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. Today’s post begins an exploration of the Peltz family.

The story is a bit complicated, as there was a Herman Peltz, Sr. and a Herman Peltz, Jr., who both worked in theatre. The elder Peltz was a German immigrant born on May 1, 1869. He passed away at the relatively young age of 45. On June 14, 1919, the “Chicago Tribune” announced, “Stage Carpenter Drops Dead in Woods Theater. During a performance in the Woods theater last night, Herman Peltz, 45 years old, the house stage carpenter, died of apoplexy in the box office. He had just turned in his weekly pay roll when he fell over dead” (page 17).

I’ll start with connecting Peltz with Harry J. Buhler and William F. Mann at Chicago’s Criterion Theatre.

On October 29, 1906, the “Morning News” described the artistic process at the Criterion Theatre, mentioning the master machinist Herman Peltz and scenic artist Harry J. Buhler (Wilmington, Delaware, 29 Oct. 1906, page 2). Here is the article in its entirety:

“There is no dramatist now before the American public, who endeavors to please the eye with beautiful scenery, as does Lincoln J. Carter. In fact, every play he has produced in the last twenty years, is built on a foundation of scenic effect, with locales of exceeding great beauty, or where Dame Nature’s whims have erected some eccentric upheaval upon which to lodge a Carter situation.

“His Chicago theatre – the Criterion – contains a labyrinth of scene painting bridges and curios (to the layman), workshops for the construction of those scenic wonders, that are a part, and no inconsiderable parcel of the equipment of his many road shows. The models of these scenes are made of cardboard, according to scale and beautifully colored in gouache by the manager-author – for Mr. Carter is an artist of marked ability and decided merit in originating. From the author’s studio they are sent to his master machinist, Herman Peltz, who, having built the great scenes, in turn, passes them onto Mr. Carter’s scenic artist, Harry J. Buhler, who colors them with the Carter conceptions. In the newest play by the dramatist. ‘While ‘Frisco Burns,’ which will be scene here, commencing this afternoon there is a very riot of scenic coloring. The first act opens in an old English fire-lit oak chamber; from here it passes to a balcony dining room in the famous Cliff House. The scenic transition from here to the finish of the play, carries you through conservatories, ball rooms of the nabobs of Knob Hill, into the murky and foul-smelling dens of mysterious China Town to City Hall, when the earthquake begins to demolish man’s handiwork, and, the avenging fire, as if seeking to obliterate the cruel cracks and chasms, finishes the work of desolation by wiping the earth’s face clear of his puny efforts. It is in a scenario like this, that the Garter genius shines best. A special matinee will be given to-morrow.”

In 1906 Buhler and Peltz were credited with delivering scenery for the “Cow Puncher.” The show was still touring two years later. On Jan. 9, 1908, the “Abilene Semi Weekly Farm Reporter, announced, “’The Cow Puncher’ by Hal Reid and under the direction of W. F. Mann. Opens a one-night engagement at the Lyceum Theatre on Tuesday, Jan. 14^th. If good newspaper notices, backed by large box office receipts, are any indication of successful plays, the ‘The Cow Puncher’ comes in the category of those manager hunted offerings. It is the simple pure Americanism of this play of western life, that not only endears it to its audience, but places it in a class of unique originality. Theatre goers cannot help being enthusiastic and intensely interested in its excellent presentment. The story is laid in Arizona, the company is more than capable, and the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery. As a special feature two well-known vaudeville acts are introduced” (Abilene, Texas, 9 Jan 1908, page 6).

“The Cow Puncher” used scenery by Harry J. Buhler (scenic artists) and Herman Peltz (stage machinist). From “The Joliet Evening Herald News,” 13 Sept 1907 page 10.

“The Cow Puncher” used scenery by Harry J. Buhler (scenic artists) and Herman Peltz (stage machinist). From “The Joliet Evening Herald News,” 30 Aug 1908, page 13.

On February 16, 1908, Buhler and Peltz were also mentioned in the “Washington Post” concerning their scenic work for “Shadowed by Three” (page 3). The article reported, “To-morrow night at the Academy a new play by Lem B. Parker, called ‘Shadowed by Three,’ begins a week’s engagement. It is under the direction of W. F. Mann. According to press reports few plays seen in the popular priced houses have the dramatic value that this romantic drama contains. The plot was cleverly conceived, and the characters taken from real men and women. The cast contains a personnel of players well-known to theatregoers, and their names guarantee a first-class performance. The scenery was specially designed and built by the well-known artists, Harry Buhler and Herman Peltz, from an original drawing made by Mr. Buhler. The light effects are the perfection of stagecraft, and patrons can feel certain that they will see something worth seeing in the performance of ‘Shadowed by Three.” Of the scenic effects, the “Joliet Evening Herald News” reported, “Henella, the Mystifier, who turns a marble statue into life and exercises seemingly superhuman powers, the LaSalle singing four, one of the most splendid quartets on the opera statue, the onrush of a 60-horse power automobile and its crash through a plate glass window, the sensational recues of a supposed horse thief and the work of great detectives, Tom, Dick and Harry, the ‘Three’ are but a few of the features to be seen in ‘Shadow by Three,’ one of the greatest melodramas of modern times…Two carloads of scenery, horses, sleighs, stage coaches and a 60-horse power automobile are carries with ‘Shadowed by Three’” (25 Aug 1908, page 3).

Buhler (scenic artists) and Herman Peltz (stage machinist). “The Joliet Evening Herald News,” 9 Sept 1907 page 6.

“Shadowed by Three” used scenery by Harry J. Buhler (scenic artists) and Herman Peltz (stage machinist). “The Joliet Evening Herald News”, 25 Aug 1908 page 9.

In 1908, Buhler and Peltz also produced scenery for “The Toymaker.” The “San Bernardino County Sun” reported, the scenic equipment is the work of Harry Buhler, the artist, and Herman Peltz, the well-known builder of theatrical scenery.” (7 Feb. 1908, page 4). More on Buhler & Peltz tomorrow.

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.

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…

Tales from a Scenic Artist and Scholar. Part 998 – The Hamlin Theatre Picture Set, Chicago, 1918

In the life and times of Those G. Moses, it’s September 1918. Moses is now working for New York Studios, having resigned as president of Sosman & Landis on September 1, 1918. On October 10, he will be injured when a boy riding a bicycle accidentally knocks him down in the street.

By mid-September Moses was looking for a studio to paint in He wrote, “We got the 20^th Street Studio for a month to month rental. It is pretty cold there but we can manage to keep going. We made Models and received the picture set order for the Hamlin Theatre. $1,000.00 is not much for the set.”

Chicago’s Hamlin Theatre was constructed in 1914 and located at 3826 West Madison Street, it was a 298-set venue that would close by 1929. According to cinematreasures.org, the space was later converted into an AmVets Hall (http://cinematreasures.org/theaters/45100). I have only identified a few advertisements for the movie house to date. The Hamlin Theater is a hard one to track down because over the years there were a few Hamlin Theaters that operated in Chicago during the late nineteenth and early twentieth century.

In addition to the 1914 Hamlin Theatre, there were two other Hamlin Theatres built in Chicago during 1926; one was on W. Madison and the other on W. Belmont. The one that Moses delivered the picture set to was for the one on W. Madison.

Over the past few years, the most difficult part in tracking down Moses’ theater projects is locating the correct venue. Many theaters across the country used the same name because they were part of a circuit. Think of the names like Orpheum, Lyceum, Fox, Majestic, and so on. There were also some cities that had multiple theaters with the same name; I just don’t understand this at all. In a few cases, two theaters with the same name would open with the same name in the same year. Why anyone ever thought this was a good idea is astounding, as it never ended well as simply confused people.

When Moses received the picture set order for the Hamlin Theatre in 1918, it was primarily a movie house. By 1917, the Hamlin featured the same films as the Kimbark Theatre, Milford Theatre, Oakland Sq. Theatre, Lane Ct. Theatre, Ziegfeld Theatre and Halfield Theatre.

Advertisement in the “Chicago tribune” 23 April 1919, page 20.

The actual project that Moses was referring to included the painted surround for a projection screen. Unlike today’s use of a simply white screen, elaborate compositions filled the area between the projection surface and the proscenium arch. What makes this confusing, however, is the use of the term “picture set.” In 1918, “picture set” was used to identify the painted surround manufactured by scenic studios for movie theaters. It also identified the actual settings used for films, such as the picture set for “Tarzan of the Apes.”

On Oct. 27, 1918, the “Boston Globe” also introduced a new definition for “pictures sets” (page 36). An article reported, “There are four stages used in “Chin Chin Chow” at the Schubert Theatre – the regular stage, and three small miniature stages on rollers, which show what are known as the “picture sets” being like small scenes viewed through a window. This stage device is new and somewhat resembles the closeups of the movies, only on a bigger scale.” This last use of “picture sets” has me a little baffled. For a little context about the production, “Chu Chin Chow” was a massive spectacle set in ancient Bagdad. The show included fourteen scenes with eighteen musical numbers and a company of three hundred.

To be continued…

Tales from a Scenic Artist and Scholar. Part 997 – Scenic Artist Horace Cyrus Buell (1892-1916)

There is one last person in the Buell Family that I have not covered yet, Horace Cyrus Buell. tHorace C. Buell was the he son of Nina Giles and Horace H. Buell.

[I was recently emailed by Mark Trainor who offered the following correction: Horace Cyrus Giles Buell’s grandfather was Cyrus Augustus Buell (1824-1904). His great grandfather was Horace Buell (1791-1837) of Troy, New York. I have no research showing Horace’s middle name was Cyrus].

Named after his great grandfather, Horace Cyrus Buell (1793-1870) of New York, he came from a theatrical family. His father was a portrait and landscape artist who also worked as a scenic artist. Buell & Son scenic studio was established in 1908, and the two painted many productions at the New Auditorium in Wichita, Kansas.

Horace C. Buell was born on April 29, 1891, in Santa Monica, California. He followed in his father’s footsteps as a scenic artist, but very little is known about him. The younger Horace remained relatively absent from print, other that a few brief mentions in Kansas newspaper; the polar opposite of his younger sister. Horace C. only appears in a 1900 US Federal Census, a 1905 Kansas state census, and a few Wichita City directories and newspaper clippings.

In 1908 Horace C. Buell was enrolled at the Wichita School of Music, the same institution where his father Horace H Buell briefly taught art classes (Wichita Daily Eagle, 6 Sept. 1908, page 12). In 1911, Horace C. Buell was listed as a student in Wichita, Kansas, residing at 1012 Lawrence Av. This was his parents home at the time.

While looking for artworks by his father Horace H. Buell, I stumbled across one painting by Horace C. G. Buell. The “G” was for his mother’s maiden name of Giles. Like the rest of his family, he was quite an accomplished artist. Unfortunately his career was snuffed out the early age of 24. Horace Jr. died on Sept 3, 1916, in Cleveland, Ohio, and was buried at the Brooklyn Heights Cemetery there.

Artwork recently sold at auction and erroneously attributed to his father Horace Hervey Buell. This is a still life by his son, Horace Cyrus Giles Buell (Horace C. G. Buell).

Signature on painting – Horace C. G. Buell (1892-1916).

In 1915, Horace C. G. Buell enlisted in the New Work Guard, becoming a private in Co. F, 71st Inf. A year later he was dead, gone without any obituary or published memorial. I have no idea what happened, but the family had already splintered the year that he passed. Mother and daughter were working as scenic artists and Rapid City, Iowa, and his father was working elsewhere.

To be continued…

Tales from a Scenic Artist and Scholar. Part 996: Mr. and Mrs. H. Harry Buell, Designers and Builders of Floats

Horace H. Buell and Nina Giles Buell pictured in the “Wichita Daily Eagle” on Oct. 12 1911.

While looking for information about the Buell family I came across an article with both Mr. and Mrs. H. Harry Buell credited as the “Designers and Builders of Floats.” I have previously missed this article because the newspaper credits Mr. H. “Harry” and not H. “Hervey” Buell. This is the scenic artist Horace Hervey Buell, his wife Nina Giles Buell and children Mabel and Horace C. Here is the article from the “Wichita Daily Eagle” on Oct. 12 1911. This is simply a wonderful description of a community event and the artistic abilities of the Buell family.

“Work of Art is Electrical Street Parade.

Ten Floats Representing Historical Events, Seasons, ima and Civilization Prepared at Great Expense.

Parade Begins at 7:30 Thursday Night.

Line of March is Announced and Persons are Selected to Participate in Realistic Representations.

The Great Electrical Float parade which has been heralded far and near as the biggest conceived and built is now only a few days off, and the public is soon to be allowed to see the floats in all their glory and beauty. Months have been spent in the preparation of these floats but the tie has been well and skillfully used, and they are now completed and await only the word of the marshall of the parade to reveal their glories to the gaze of an admiring throng. Citizens of communities hundreds of miles from the Peerless Princess have signified their intention of attending the celebration of her Prophets and they will be well repaid for their trip.

There will be a slight change from the usual program and line of march. The parade will start promptly at 7:30 p. m. Thursday, October 12th, from the corner of Central and Main where it will be formed.

The parade will take its course south on Main to Lewis street, two blocks below Douglas; will double back on Main and Douglas; thence it will proceed east on Douglas to the Santa Fe tracks doubling back on Douglas to Market street, turning north on Market it will continue to First street where the parade will disband. Those having children in the parade will meet then in the second block on Market street after the conclusion of the parade.

As has been advertised so extensively, the parade will have in addition to the wonderful and unusual beauty, and educational value in their sequence, historically speaking. The first float representing the seasons covers all time, in that it represents the completed year and the completed cycle of existence, Following this, will come in detail the nine great characteristic period of human history as typified in the characteristic thought or country, or idea which dominated that period. In order that one seeing the trade may get his full value, it is suggested by committee that this article be clipped from the Eagle and taken to the parade.

The order and significance of the parade, together with a complete description of the floats and those privileged to occupy positions of hone upon them, follow. At the head of the parade will come Chief of Police, George T. Cubbon, with a pantoon [sic.] of mounted police. Following the pantoon [sic.] of policemen will be a pantoon [sic.] of cowboys from the stockyards and packing houses led my Marshall Fredericks. Following this body of Wichita Boosters, who represents one of Wichita’s greatest industries, will come the band of Oxford, Kansas, and immediately following this will be the first float, that of ‘the Seasons.’ This float is an entirely new conception of Mr, Buell, the official designer, and is one that will long be remembered. It is built in the form of a monument with four compartments in the base, representing Spring, Sumer, Fall and Winter. Those representing Spring will be Wilna Armstrong and Charles B. Payne, Harriet and Josephine Booth with be in the compartment of Summer. Raymond and Margaret Casey will represent Autumn and Elizabeth and Alfred Campbell impersonate the spirits of Winer. Surmounting these compartments will be characters representing the four seasons of human life. Anna C. Brown will represent childhood; Genevieve Saunders, Youth; Mrs. Gray and her baby will picture Motherhood; and Mrs. L. S. Carter will represent maturity of life.

Float Number 2 represents the ancient Oriental civilization, of which there were several, and all of which flourished before the Grecian era. History reveals the fact that the primal characteristics of the early days of any race was Religion, and this is portrayed in a striking manner. The Oriental idea is given by two immense pyramids, standing alone amid stretches of glittering sand. The sphinxes of Egypt and the winged bulls of Persia are the embellishments if the four corners of the floats. In a beautiful oasis in the midst of the desert appear the characters of the ancient religions. In a temple which will slowly revolve, spear Moses, represented by James Lawrence; Zoroaster by Dan Thurston; the priest of Buddha by Randall Cline; and the worshipper of Isis by Victory Mead. As an escort to this float will come the patrol of Midian Temple, under captainship of C. A. Baker, and accompanied by their inimitable band from the deserts of Arabia.

Float number 3 will take up the next era of human development and will represent the power and glory of Rome. This float has been skillfully designed and embodied a thrilling and lifelike picture if the Eternal City, as it burned in the time of Nero. The float is very gorgeous , and is one upon which the most action will take place. Nero, impersonated by Edwin Johnson, will sit high above the tumult upon his throne, enjoying the terrible sight. The Roman soldiers impenetrable in their reserve and steadfast in their discipline, will be represented by Jim Davidson, Fred Dold, Walter Innes, Theodore Johnston, Robert Campbell and Paul Johnston. Among the terrified populace, rushing in horror from the conflagration, will appear Marshall Mueller, Lloyd Taylor, Arthur Wolf, Gladys Wallace and Elizabeth Avey. A guard of Roman soldiers will be furnished by the Y.M.C.A.

Following the development of Rome, the world fell into a period of desuetude and decay. Learning in and the arts of civilization seemed to have disappeared, and savagery and superstition were rampant. The fourth float represents a scene in the forests of Germany among the old Saxon ancestors, before they assumed the habits and habiliments of civilization. Amid the forests, peopled by wild beasts of various sorts, will appear the Druids in their fire worship, before their rough stone altars. The Druids will be represented by Howard Anderson, and Nellie Hewey, Hortense Thompson and Milton Hutchinson. The Modern Woodmen of America will furnish and escort, i uniform, for this float.

Next in order is the Wichita Union band.

Float Number 5 will represent the Middle Ages and will represent a scene from King Arthur’s court. Irwin Bleckley will impersonate King Arthur and will be attended by two princes, Jack Stewart and Walter Taylor, and two guards, Neal Kirkwood and Rolle Thorpe. At the opposite end of the float will be the representation of knighthood rescuing womanhood from oppression. Orio Thorpe will be the Knight, and Ruth Mueller the fair damsel to be rescued. The dragon is pictured as a terrible creature, Harold Clark will see that the dragon does his duty.

Float Number 6 is a most beautiful allegorical representation of that period of awakening and development commonly called the Renaissance. This float of a beautiful galley, or ship. The oarsmen being represented by Gertrude McCullough, Ida Wilson, Ruth Heppe, Katherine Lewis, Genilee Gregg, Marion Dunn, Nannie Brubacher and Koa McComb. The pilot will be Gladys Warren. The spirit of the Renaissance, Katherine Stewart, while Hazel Johnson will impersonate the Herald which proclaims the coming of an enlightened age.

The seventh float will represent the landing of the Pilgrims. This float is certainly a work of art. A beautiful picture of the rugged, rock-ribbed coast, upon which are gathered a band of Pilgrims, while in the distance, in beautiful perspective rides a little bark, tempest-tossed upon the turbulent waves. the pilgrims will be Homer Hutchinson, Lawrence Rorabaugh, Grosvenor Charles, Aldrich Lasen, Robert Johnson, Marian Hutchinson, Nora Woods, Lillian Bailey, Helen Moore, Marie Gilbert, Lawrence McComb. The Indian will be impersonated by M. W. Longnecker.

Following this float will come the Moose band of this city.

The eight float will represent the United States, and will be one of the most beautiful and unique floats every seen anywhere. The idea of this float is ‘Zangwell’s idea of the ‘Melting to.; Columbus will be seated upon and immense throne and will be attended by four soldiers, Upon the front of the float are Liberty, Justice and Equality, represented by Helen Charles, Edith Saunders and Stella Armstrong. In the center fo the float is the Melting Pot from which arises the American flag as a result of the blending and amalgamation of all races.

The Ninth float will represent Kansas, and the spirit of the commonwealth is to be Miss Edith Gilbert, She, as queen, will be attended by her maids of honor, Anel Saunders, Francis A. Brown, Henrietta Allen, Helen Johnston, Cecil Gilbert, Dorothy Booth and Francis Williard. The center of this the float will be an immense cornucopia filled with overflowing products of the state. The best fruit in all lines has been contributed and will make a memorable show, presiding in all this display will be Pauline Ayers and Leon Cain.

The last float will of course be the climax of all ages and will represent Wichita, the Peerless Princess. The form of the float will be a monument to the greatness of the city. An immense granite monument has been built, surmounting which will be Miss Mabel Buell, representing Wichita. Upon the four wings of the base stand an Indian by the Buffalo he has killed, represented by Horace C. Buell, and the cowboy with his trappings, represented by David Jackman. These two representing the pioneers of the valley. Upon two other wings appear the mechanic and the traveling man represented by Phi Patterson and Harry Schuler. These representing two of the factors of the present financial greatness, Upon the front and rear of the float appear Bessie Applegate, May Weiss, Evelyn Rorabaugh and Helen Booth. representing Fairmount, Mr. Carmel, Friends and the High School, while Katherine and Margaret Ayres appear as pages to the queen.

In addition to these, the following gentlemen will be the marshals of the parade: J. A. Hopkins will be chief marshall of the floats, hill Messrs, Jay Gill, R. B. Campbell, Paul Wall, J. N. Chappie, R. E. Bird, C. L. DeLong, M. E. Garrison, Walter Parrott, James Crossfield and others will assist by being marshals with each float.

The committee consisting of G. M. Booth, H. W. Stanley, Lyman Woodruff and C. L. DeLong have worked tirelessly at the making a success of this parade, as of the other features of the carnival, and they feel that the result has justified the efforts put forth. They believe that no better float parade was every put on by any city. While this committee, however, has had supervision of the entire carnival, the particular task of designing building and decorating these floats has been delegated to H. Harry Buell. Mr. Buell is an artist of much ability and has in times past, as in this present instance done some exceedingly creditable work along artistic lines. Mr. Buell has been most ably assisted in the painting and decorative work by his daughter Mabel Buell and his son Horace Buell, who, seem to inherit a wonderful talent along this line. The detail work outside of the painting and construction, and of costuming has been left almost whole to Mrs. Buell, and she has made a great success of her work as Mr. Buell has at his. Wichita is to be congratulated upon having artists with the ability of the Buells.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 995: Scenic Artist Horace Hervey Buell

Yesterday, I explored the 1884 antics of Horace H. Buell when he shipped himself in a crate from Chicago to Manhattan, Kansas. His strange journey made headlines across the country. At the time he was married to Fannie B. “Nina,” future head of Buell Scenic Co.

Buell was born in 1857, one of four boys born to Cyrus A. Buell, a hatter. At the age of thirteen, Buell moved with his family to Wabaunsee, Kansas and then Manhattan, Kansas. At the age of 18, Buell was sent to Brooklyn to live with his uncle, where he worked as barber. Eventually he returned Manhattan, Kansas, initially working as a barber and later an artist. In Manhattan he established his own art studio by the age of 22 years old. On May 30, 1879, the “Manhattan Nationalist” included an advertisement for H. H. Buell’s “new photograph gallery” (page 2). Located over the post office, Buell’s services included tintypes, photographs, crayon portraits and oil portraits. By the early 1880s, Horace opens another art store in Topeka, Kansas. On April 15, 1882, “The Topeka Daily Capital” reported, “H. H. Buell, a telented [sic.] young artist of this city, proposes giving an art drawing at an early day in Union hall. He has a number of beautiful paintings and artotypes to dispose of” (page 8). Interestingly, in Topeka Buell was active in the Knights of Pythias, Topeka Lodge No. 38, (Daily Commonwealth, 29 Jan. 1882, page 1).

By the summer, however, Buell sets his sights on better opportunities in Chicago and left Topeka. “The Topeka Daily Capital” announced, “H. H. Buell went East yesterday to take a position under Geo. Pullman, of the palace car company” (13 June 1882, page 8). It was purported that Buell met his future wife there, as she was a Pullman relative. By the end of the year. Buell married Fannie B. “Nina” Giles on Dec. 1. The Buell’s were encountering financial difficulties in the Windy City by 1884, and work was not a plentiful as Buell had hoped. On May 31, 1884, the “Salina Semi-Weekly Journal,” reported, “Manhattan is just now enjoying the excitement of a novel romance. Saturday night a large box of express matter was rolled out at the station, and on being opened was found to contain a young man who figured quite prominently here two years ago, a crayon artist, society blood and capital guard. H. H. Buell is his name. He was in Chicago, got broke there, wanted to get home, so shipped himself C.O.D., by express. Lawrence Herald” (page 4). Note there is no mention of his wife, at all. Buell did not return to Chicago and was still living in Manhattan the next year. The “Manhattan Nationalist” reported, “H. H. Buell has been doing some nice work in his line lately. All who have ever seen anything from his brush recognized unusual ability. The battle scenes that added so much to the impressiveness of the opera house were his latest works” (5 June 1885, page 1). This was the first mention that I have located to date that mentioned Buell as a scenic artist.

By 1886, both Buell and his wife were living in Kansas City, Missouri, at 1328 Lydia Ave. Not much is known of their life in Kansas other than nearby familial ties. Soon, they headed west, settling in California by early 1890s and welcoming two children to their home – Horace, Jr. (1892) and Mabel (1896). In regard to their daughter, sources vary about a birthdate. 1896 is Mabel’s birthdate on census reports and the gravestone that she shares with her daughter. However, newspapers and the social security administration list consistently list Mabel’s birthday as 1900. Keep in mind that newspaper articles give Mabel’s age as four years younger than she actually was at the time. So, working as a sixteen-year-old scenic artist by herself in 1916 really meant that she was twenty; this puts a slightly different take on her wunderkind status in retrospect.

By the turn of the twentieth century, the Buell family moved Portland, Oregon. The 1900 US Federal census lists a 41-years-old Horace Sr. working as a portrait and landscape artist and living in Portland with his family. Nina Giles Buell, was still listed as “Fannie B.” in this census, but the children remain the same Horace C. and Mabel A., ages 8 and 6 respectively. Both children were attending school.

The Buells returned to Kansas in 1904, the same year that Buell’s father (Cyrus Augustus Buell (1820-1904) passes away. Until 1904, Buell artistic endeavors are primarily absent from print, as he was working as a portrait artist and not connected with any theatrical productions. There are mentions of his checking into hotels and visits home to Manhattan, Kansas. In 1904, the “El Paso Herald” announced, “H. H. Buell of San Francisco, has completed the work of painting a large oil painting of the city of Alamogordo, 12×21 feet, for the Alamogordo Townsite company, to be displayed at the World’s Fair. It is a beautiful piece of work” (3 June 1904, page 2).

In 1905, a snapshot of the Buell’s life was again captured in a state census report. Horace H. Buell, Fannie B. (Nina) Buell, Horace C. Buell and Mabel A. Buell are listed and living together in Manhattan. The “Manhattan Nationalist” included a Buell advertised: “Portraits and frames. Studio at residence, southwest corner of Fifth and Houston. –H.H. Buell, Artist” (31 March 1905, page 4). Later that summer, Buell’s advertisements noted that his studio was located on North Second Street, opposite of the Manhattan Marble Works. The second advertisement announced, “We make portraits and photographs at the summer school of painting and photography, Positions furnished to students in photographic retouching as soon as qualified” (Student’s Herald, Manhattan, Kansas, 8 June 1905, page 2).

Not everything went well for Buells in Manhattan. The “Manhattan Nationalist” reported an unfortunate incident at the Buell home: “The other night, after H. H. Buell had installed water pipes in his house, he felt water dripping on the bed where he slept. He got up to investigate just in time to avoid a large mass of plastering which fell from the ceiling. As the ceiling is high, he probably made a lucky escape” (30 June 1905, page 4). This just made me think of the crate story.

The family left Manhattan and moved from Kansas City to Wichita in 1908, presumably for better employment opportunities. In Wichita, Buell became the scenic artist for the Wolfe Stock Company, providing scenery for their production of “The Princess and the Girl” at the New Auditorium that summer (Wichita Daily Eagle, 18 June 1908, page 12). He also painted the scenery for “Salomy Jane” that fall. Of the production, the “Wichita Daily Eagle” reported, “Mr. Horace H. Buell, the Wolfe scenic artist, and his assistants, have made a record for themselves painting the life-like reproduction of the famous California redwoods in which the Bret Harte stories are laid” (11 Nov 1908 page 10). Buell’s son, Horace C. Buell was sixteen years old at the time. Buell’s scenic work in Wichita continued with the help of his children and wife. By December 1908, the scene painting work for Manager Wolfe at the New Auditorium was credited to Messrs. Horace H. Buell & Son (6 Dec. 1908, page 15). Horace Sr. and Horace Jr. painted scenery for “The Eternal City”. The “Wichita Daily Eagle” reported, “For the past two weeks the scenic artists of the New Auditorium, Messrs. Horace H. Buell & Son, have been busy preparing the backgrounds for this richest of all plays, and they will show the Holy City as true to life as it is possible for brush and colors to depict on canvas.” In 1923, Mabel would recall, “Of course I learned much from my father, though even he was more often than not loath to have me around. It was my brother who used to act as his ‘paint boy,’ cleaning his brushes and mixing his paints. But I made the most of my opportunities. I hung around and picked up what information I could, and always kept in mind that some day I was going to climb to the bridge and do scene painting all by myself.’

The Buell’s were still living in Wichita in 1911 when Buell began working for the Wichita College of Music’s art department. The “Wichita Daily Eagle” reported, “The art department, under the direction of H. H. Buell, late of Paris and London, will be a success…H. H. Buell, who is a thorough artist, will be in a position to give very valuable instruction as well as produce some specially artistic work” (22 Jan 1911, page 6). Little is known of his trip abroad, the timeline or purpose. However, his trip to Paris was again sited when Buell received the contract to design electrical floats for the Peerless Prophet’s Parade that year too. The “Wichita Daily Eagle” reported “Paris Man to Design Electrical Floats. Contract Let to H. H. Buell for $2,000 Feature of October Jubilee” (23 July 1911, page 3). In the “Hutchinson News,” Buell was actually noted as the “well known scenic artist” (9 Sept. 1911, page 1). It is uncertain when Horace H. Buell & Son became known Buell Scenic Co.

By 1912, Horace was working as an itinerant artist and mentioned in a few newspapers across the country, including Jacksonville, Florida. Four years later, his wife and daughter were working in Sioux City, Iowa at the Princess Theatre, with not mention of Horace H. Buell. This is the same year that Horace Jr. passed away.

The notice of Horace H. Buell’s own passing was brief, and appeared in only few papers. The “American Art Annul” reported, “Buell, Horace Hervey. – a painter and head of the Buell Scenic Company, died in New York, December 22, 1919” (Vol. 16, page 266).

To be continued…

Tales from a Scenic Artist and Scholar. Part 993 – Nina Giles Buell and Buell Scenic Company

I explored the life and career of scenic artist Mabel A. Buell in the past two posts. However, the Buell family’s history is complicated and will take a few more posts bit to unwrap. This is the most interesting theatre family that I have encountered to date, so I am going to take a little time and enjoy myself. The tales surrounding Buell’s would be an absolutely fascinating book; maybe even a miniseries as there is romance, death, intrigue and kidnapping.

To start with, it was a theatrical family entirely composed of scenic artists: Horace H. (father), Fannie “Nina” Giles (mother), Horace C. (son) and Mabel A. (daughter). The patriarch was a well-known scenic artist, assisted by his wife, son and daughter. The son was initially selected to follow in his father’s footsteps, but passed away in 1916 at the young age of 24. Although the patriarch of the family actively once discouraged his daughter from the profession, she had also assisted him on projects when he needed an assistant and was an accomplished artist in her own right. Regardless of her father’s warning, Mabel became a scenic artist and was actively working the year her brother passed. In fact, in 1916 both Mabel and her mother were listed as scenic artists in the Sioux City Directory, working at the Princess Theatre. There is no indication of what their father is doing at that time, but in 1912 he was working and living in Florida.

Horace Sr. passes away in 1919, and both mother and daughter now constitute the Buell Scenic Company. In many newspaper reports, they explain the desire to continue the Buell name in the scenic art world, an acceptable rationale for two women running a scenic art business. Mabel makes the paper as a petite pretty blond who holds a union card and works just as hard as the men who dominate the world of scenic art. The mother is listed as head of Buell Scenic Company and becomes a member of the Vaudeville Artists’ Club.

In 1923, the Mabel marries Herbert Schulze, also a scenic artist and designer, but a sickly one with a heart condition. Three years later, the mother “retires” from heading Buell Scenic Company, but is still involved as a consultant. Interestingly, she retires the same year that her granddaughter Joy is born to Mabel and Herbert. My guess is that she opted to stay home with her granddaughter so that her own daughter could keep working. The family of four – mother, daughter, son-in-law and granddaughter – all live in Manhattan during the 1930s.

It is in the mid-1930s, however, that the daughter meets Yates Stirling, Jr., a retired admiral. She begins working with him on several projects, including providing illustrations for his various publications, such as “Sea Duty: Memoirs of a Fighting Admiral.” They also partner to create the musical comedy “Sea Legs.” Then, as now, some of society has a hard time believing men and women can work together and maintain a platonic friendship without some sort of romantic liaison, so there is speculation that the two were having an affair. Whether this is the case or not, really doesn’t matter, but Stirling’s family had a problem with it. But is in the in 1930s and 1940s that Stirling becomes an increasing involved with the Buell family, going on extended absences with the three Buell women to work on his writing projects. This is at the same time Mabel’s husband, Herbert Schulze, nears the end of his life. He passes away in 1940 at the relatively young age of 48. At the time of his passing, Schulze was no longer living in the Buell home, but lodging with others and still working as a scenic artist. Other than a heart condition listed on his WWI draft card, there is no indication of what caused his early departure.

Stirling’s relationship with the Buell’s only became a problem because of his children. His adult children were not happy with his new friendship and the time spent with the Buell family, to the extreme. There is all sort of drama revolving around his activities at the Buell’s and the reported disappearance of the admiral. In fact, when he left with the Buell’s to work on another publication in Florida, his children reported him missing and hired a detective. After Stirling requested that more personal items be shipped to him in Florida due an extended stay, the children broke into the Buell’s home and left with their father – who was in his 70s at the time. During the home invasion, 18-years-old Nina Buell was injured in “a scuffle with the admiral’s offspring” (“Tampa Bay Times,” 15 May 1946, page 11). Other reports proclaim that her injury occurred after she pulled a gun on the invaders and they were trying to disarm her, hence injuring her hand. Nina was even pictured in the newspaper with her granddaughter inspecting her injury. Charges against the Stirling children were filed and the drama continued.

Nina G. Buell and her granddaughter Joy Buell, picture in the “Tampa Times,” 11 May 1946, page 1.

Nina Fannie B. Giles Buell is a fascinating character in her own right. Various historical records list provide a variety of names for her, including Nina G., Nina C., Nina B., Fannie G., Fannie B. and Fannie C. Buell; yes, they are one in the same. When Mabel and her mother were painting at the Princess Theatre in Sioux City in 1916, she was listed as Nina C. Buell. Upon her passing though, newspapers remembered her as Nina Giles Buell and her position as “Former Scenic Firm Head” (Tampa Tribune, 31 Dec. 1947, page 2).

“The Miami News” announced, “Woman Theatrical Designer Dies” (30 Dec. 1947, page 1). The “Post Standard” reported, “Palm Beach, Fla. – Mrs. Nina Giles Buell for many years the head of Buell Scenic company, theatrical designers of New York city, died here yesterday after a short illness” (Syracuse, NY, 31 Dec. 1947, page 1). The Jan. 10, 1948 issue of “The Billboard” announced, “Mrs. Nina Giles, head of the New York theatrical designers, Buell Scenic Company, December 31 in New York. She was a member of the National Vaudeville Artists’ Club” (page 42). Nina was not simply window dressing or doing the accounting for a scenic studio, she was a major presence in the company, both designing and painting; still associated with the company two decades after her retirement.

Nina’s obituary is indicative of her unusual life. I have always found newspaper obituaries fascinating. Until you actually write one and submit it to the newspaper, it’s not an activity that one ponders. Having to encapsulate one’s life while contemplating length, and if an issue, overall expense. I have read thousands of obituaries to obtain little bits of information about others’ existences to gain little crumbs of truth. As the obituary is often submitted by a family member, typically they know how the dearly departed wanted to be remembered; what was really important to include about their life. On Dec. 31, 1947, “The Palm Beach Post” reported, “Mrs. N. G. Buell Dies in Resort (page 2).

Here is the article as it was written and submitted:

“Services for Mrs. Nina Giles Buell, former theatrical designer of New York, who died Tuesday morning at her apartment in the Paramount Bldg., will be held at 2 p.m. today at the graveside in Hillcrest Cemetery. The Rev. Ryan Wood, pastor of the Memorial Presbyterian Church will officiate.” I am going to stop here to point something out. Buell dies on Tuesday morning, the announcement and burial is the next day. I had no idea that a burial could occur that quickly, when considering the process that I have encountered in the past. This suggests that there was no need to plan a memorial service for friends or family coming from afar. Continuing with the article:

“Mrs. Buell, who would have been 82 in a few days, died after a short illness. For many years she headed the Buell Scenic Co., and after her retirement from active work in 1926, she was consultant to their daughter, Mabel Buell, a widow of Herbert Schulze, scenic designer, who uses her maiden name professionally.

“Mrs. Buell, her daughter and the latter’s daughter, Joy, came to Florida in April 1946, after spending some time in Miami Beach. They have made their home in Palm Beach for more than a year, where Miss Buell has been engaged in doing murals for a number of clubs.

“Mrs. Buell was born in Milwaukee, where her father was the second white man to settle in the community. For several years she worked for the Presbyterian Board in slum work in Portland, Ore. Later conducting a kindergarten which the board built for her in Mexico near the border.

“She was married to Horace Hervey Buell, portrait and mural artist.

“Their children, Mabel and Horace Cyrus Giles Buell, who died in 1916, were born in California, and when they were both quite young the family went abroad, living in London for two and a half years.

“After Mr. Buell’s death in 1919, Mrs. Buell who managed his business affairs and her daughter devoted themselves to their scenic business for years, and did sets for many shows, including a number of Schubert productions.

“Mrs. Buell was a lay member of the National Vaudeville artists Club, did many sets for vaudeville acts and was beloved by the profession.

“Though there are many nephews and nieces in California, immediate survivors include only the daughter and granddaughter.

“Friends who wish may view the body from 10 a. m. to 1 p. m. today at the Mizell-Simon Mortuary.”

To be continued…