Peltz & Carsen – Drypigment.net

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

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

1923 Advertisement for Peltz & Carsen in a Chicago Directory.

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

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

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

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

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

“An announcement

SUSAN STUBBS GLOVER

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

Advertisement for Robt. P. Carsen Scenic Studios.

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

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

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

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

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

To be continued…

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

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 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…