Thomas G. Moses – Page 14

Tales from a Scenic Artist and Scholar. Part 1018 – John H. Kunsky of Detroit, Michigan

In 1919, Thomas G. Moses delivered scenery to two Detroit movie houses owned by John H. Kunsky. A decade later, the “Detroit Free Press” published an article about Kunsky and his chain of theaters. It provides a good perspective when considering the declining demand for painting scenery during the second and third decades of the twentieth century.

From the “Detroit Free Press,” July 22, 1928, page 11.

Here is the “Detroit Free Press” article from July 22, 1928 (page 11):

“More than 20 years ago, in 1905, John H. Kunsky brought the first motion picture machine to Detroit. It was a cumbersome affair, far from reliable, but it served its primitive purpose, and the first Kunsky theater – formerly a store – prospered.

As the idea of motion pictures took hold upon the public, the firm benefitted. There came into being in 1908 the Theater Royale, the first 10-cent theater Detroit every had seen and the first link in the Kunsky chain. On one occasion a charge of 25 cents was made during the showing of ‘The Passion Play,’ the first ‘super-feature’ of multiple reel length.

In quick succession there followed the Majestic and the Empress. As they too, prospered, there came into being the Garden, located in the then residential section of Woodward and Selden, the forerunner of the chain of de luxe suburban and residential theaters sponsored by the Kunsky Theater corporation.

The Hippodrome, and the Columbia followed, in short order, the latter still being operated by its founders, but none met with the huge success of the Liberty, the first , with its 15-piece orchestra under Eduard Werner, its organ, and pleasant atmosphere, did much to popularize the motion picture with the so-called ‘silks and satins.’

In 1914 the Kunsky chain took over the old Washington theater previously operated by a none-too-successful stock company. This was the beginning of the march toward Grand Circus park, and so profitable was the venture that in 1916 the Madison was erected.

Other followed quickly. In 1917 the Adams came into being followed by the Capitol; in 1925, by the State; and in 1926 by the Michigan.

Meanwhile the suburban field had not been neglected. More and more attention was given to providing entertainment in the residential sections, until now the chain owns and operates the Birmingham, the Redford and the Royal Oak, all opened during the last 10 months; the Strand, the De Luxe, the Alhambra, and the Columbia, in addition to its five big downtown theaters.

Unusual attention has been given to making the anniversary celebration a big one. Jackie Coogan, child cinema star, is appearing in person at the Michigan, with Frank Beaston’s Publix show ‘Sunshine Days,’ while Eduard Werner and Arthur Gutow offer musical specialties and Laura La Plante stars on the screen in ‘Home, James.’

The Capitol brought on Lou Holtz, ‘Scandals’ star, especially for this occasion, to appear with Del Delbridge in a lavish Publix stage show ‘Fine Feathers;’ Samuel Benavie and Don Miller assist musically, while on the screen William Boyd stars in ‘The Cop.’

The Adams offers Norman Keery in ‘The Foreign Legion,’ with Lewis Stone and Mary Nolan, with symphonic accompaniment by the Adams Symphony orchestra, while two talking pictures, ‘The Jazz Singer,’ starring Al Jolson, and ‘The Lion and the Mouse,’ with Lionel Barrymore and May McAvoy are seen and heard at the Madison and the State respectively.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1017 – John H. Kunsky and the Adams Theatre, 1919

In 1919 Thomas G. Moses wrote, “Adams Theatre occupied much of my time during the month of February.” The Adams Theatre opened in March 1919 and was located at 22 West Adams Avenue in Detroit, Michigan.

Picture of the Adams Theatre posted at HistoricDetroit.org: https://historicdetroit.org/galleries/adams-theatre-old-photos/

The president and treasurer of the Adams Theatre Company was John H. Kunsky. By the summer of 1919, Moses wrote, “A number of drops and a large picture set for Kunsky of Detroit was completed in June with success. This is the first work that we have done for him.” If he hadn’t written, “this was the first work we have done for him,” I might have thought it was a second delivery to the Adams Theatre. It is also possible that Moses worked with another Adams Theatre representative on the Adams Theatre project, just not Kunsky. However, it was likely that successful delivery of scenery to the Adams Theatre caused Kunsky to contact him directly for another job. Kunsky also owned the Madison Theatre in Detroit, a venue that opened on March 7, 1917. Moses mention of drops and large picture set delivered were possibly for that theater. The Madison Theatre was a sizable house with a seating capacity of 1800. The top floors of the building housed the Kunsky circuit’s main offices.

Kunsky was a mover and shaker in Detroit by this time. Kunsky was integrally linked to the movie theatre industry in the town, having brought a motion picture machine to Detroit in 1905 and opened the Royal theatre in 1908. The “Detroit Press” cited Kunsky’s history in Detroit in relation the Royal Theatre. The article reported, “John H. Kunsky started in business as Michigan’s first exhibitor in 1905, in the Casino theater, in Monroe avenue, remodeled from a store, and having a seating capacity of 125. Encouraged by the success of this venture, in company with others he gained a lease on the property at Monroe avenue and Farmer street, demolished the building and erected a new structure that was christened the Royal theatre and contained 200 seats. At the time it was said to be the largest and finest motion picture house west of New York, a statement that sounds strange in these days when seating capacity is counted in thousands, and the entire original equipment of the Royale would not inventory enough to give a modern house a fair start in the matter of decorations. Nevertheless, Detroiters marveled at so large a place devoted to a new-fangled idea that. It was predicted, was only a fad, and not a few local wiseacres predicted speedy failure for the enterprise. Mr. Kunsky had the true showman’s idea of giving the public plenty for its money. He promptly installed and “orchestra” consisting of a piano and drums. As an added attraction there was a singer who warbled ballads to the accompaniment of colored lantern slides. Detroiters used to go to the Royale to scoff and remain to marvel, for they not only found lavish appointments, as those things were reckoned then, but pictures that were worth watching. Gradually the business grew, and soon the house was firmly established, with seats at a premium most of the time. The Royal was one of the first, if not the first, picture houses to stage a longtime run. It screened ‘The Passion Play’ at an advanced price, admission being raised from 5 to 10 cents, and for eight weeks, with the aid of a special lecturer, it drew crowds. This helped to make the Royals the talk of the town, and to put the theater on a well-paying basis, even if its clientele came chiefly from the meek and lowly, the upper classes remaining skeptical. After a while it overcame this early prejudice, but it never was particularly conspicuous, because it was shortly followed by other and larger houses. Nevertheless, its career was a steady and profitable one, and from this modest little beginning on Monroe avenue came the Kunsky Theatre Circuit embracing 14 houses, that finds its highest expression in the magnificent new Capitol and the others circling Grand Circus park, to say nothing of the thousands of private houses scattered about the city and throughout the state, many of which drew their inspiration from the tiny place that is so soon to pass from existence.”

In the fall of 1919, Kunsky he announced plans for a new theatre on the northeast corner of Hamilton Boulevard and Highland Avenue. On Nov. 9, 1919, the “Detroit Free Press” announced, “Work is to be started almost at once on the erection of a handsome theatre on the northeast corner of Hamilton boulevard and Highland avenue, for John H. Kunsky. The building is designed by C. Howard Crane, architect, and Elmer Kiehler, associate, who in the last few years have designed more than 2oo theaters in the United States and Canada, their latest work having been Detroit’s new Orchestra hall. The new theater will cost approximately $250,000, will have capacity for 2,800 persons and will be the largest residential theatre in or near Detroit. It is announced that it will also surpass any other local theater in the attractiveness of its appointments. The front of the building, with length of 180 feet, is renaissance. The furnishing and appointments will be most luxurious, in many respects, its aid, surpassing those of Mr. Kunsky’s downtown theaters, the Madison and the Adams” (page 85).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1016 – Scenic Art Wages and the Actor’s Strike, 1919

In 1919 Thomas G. Moses wrote, “The scenic artists have made their minimum scale $50.00, a raise from $36.00, which means a number will have to go back as assistants. Very few are capable of earning $50.00 while a number are worth $60.00 and $75.00.” To put a scenic artist’s salary in perspective, the average actual weekly earnings per week worked in 1919 were $13.55 (Journal of Political Economy, Vol. 29, No. 1, Jan. 1921, pages 78-79). That being said, a large section of men employed suffered in America from extensive under employment. Estimates at the time, noted that the weekly wage for men could have increased to $23.56 if individuals were able to secure 42 to 45 hours of employment each week. So, in the big picture, making $50.00 per week as a scenic artist was a very decent salary at the time. However, that does not mean that their hourly rate was twice that of the average American worker, as they were likely working far more than 45 hours per week. If we take into account Moses’ records of long hours, scenic artists worked 10 to 12-hour days, often six days a week.

Keep in mind that the scenic artist salary increases from $36.00 to $50.00 was during a period of increased unionization in American. Workers needed representation for fair wages, decent hours and safe working conditions. I keep thinking of my grandfather who opted not to work in a steel mills of Milwaukee as a newly arrived immigrant, explaining that if he wanted to work in “hell” he would have stayed in Poland. My grandfather Waszut later ran the north trolley line in Minneapolis. Then, as now, many businesses took advantage of their employees, placing profits ahead of people; the safety of their workers was not a priority. This is why union representation is critical, an organized movement helping implement safeguards while holding businesses accountable. Unfortunately, if often took a tragic event, a horrific moment, that instigated people rise up and act, becoming part of a nationwide movement.

The passion in people becomes ignited to organize and protest. Their protests start because there are a series of unacceptable incidents, especially if there is a history of prior warnings and citations. A tragic event will become the catalyst where people stand up and say, “enough is enough.” That is when the massive protests start. Similarly, those wanting to maintain the status quo try to quickly silence the protestors or distract the public’s eye away from the tragic incident. In 1911, the Triangle Shirtwaist Factory fire was the catalyst for change and increased union representation. Most of the victims dies as a result of neglected safety features, such as locked doors. Seeing women plunge to their death from a burning building, resulted in a demand for change, helping unite organized labor and reform-minded politicians. Here is an article about the tragedy from Smithsonian Magazine: https://www.smithsonianmag.com/history/uncovering-the-history-of-the-triangle-shirtwaist-fire-124701842/

In regard to the theatre industry in 1919, there was quite a bit of turmoil already, including 1918 measles outbreak, the Spanish Flu and WWI; these presented a series of obstacles…and then there was the actors’ strike.

Image posted at https://www.americantheatre.org/2013/03/01/when-actors-equity-staged-its-first-strike/

On August 21, newspapers across the country reported that six ‘legitimate’ theaters in Chicago, went dark. The cause was a result of musicians and stage mechanics striking in sympathy with the striking actors. The walk-out in six theaters took place just before the afternoon performance on August 20, 1919. I was fascinated with the idea that when the actors fought back, other factions of the industry rushed to their aid; it was a community endeavor.

On August 2, articles described the actions of the sympathizers: “Dick Green, business agent of the local Stage Mechanics’ Union and vice president of the International Alliance of Theatrical Employees, said the strike yesterday was in sympathy with the actors and that there would be no compromise until the fight with the producing managers’ association in New York was settled. He said the stage hands had no grievances of their own. Officials of Chicago Musician’s Union made a similar statement. A nation-wide spread of the strike is now threatened, according to union officials and the hostile attitude of the theatre managers toward making any concessions indicate a long night…The strike of stage hands and musicians as an adjunct of the Actors’ strike threatens to close every downtown playhouse in Chicago” (“Morning Post” Camden, New Jersey, 21 Aug 1919, page 6)

On August 22, 1919, “The Record” reported the actors strike was augmented by nearly two hundred scenic artists employed by the Schuberts and several score more actors, The article noted, “The Actor’s Equity Association members are jubilant, declaring they are sure they can force the managers to recognize the union and accept the players’ demand” (Hackensack, New Jersey, 22 August 1919, page 16).

However, there was another force at work mentioned in the last paragraph: “Louis Mann has begun the organization of an actors’ organization in opposition to the Equity Association in an effort to end the strike. He is backed by the Producing Managers’ Association and is said to have been given $100,000 by George M. Cohan to finance the project.”

For more information about the 1919 actor’s strike, see “The Lambs Club Remembering the 1919 Actors Strike” (https://t2conline.com/the-lambs-club-remembering-the-1919-actors-strike/) and “When Actors’ Equity Staged Its First Strike” from “American Theatre” (https://www.americantheatre.org/2013/03/01/when-actors-equity-staged-its-first-strike/).

To be continued…

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

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

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

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

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

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

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

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

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

To be continued…

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Tales from a Scenic Artist and Scholar. Part 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 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 1005 – Peace, November 11, 1918

In 1918 Thomas G. Moses wrote, “The Big World War ended November 11^th, and the biggest kind of rally was pulled off. I never saw such a crowd. It was not safe to be on the street with a hat on or a good suit of clothes.”

Front pages of newspapers across the country announced the end of the war to end all wars, but it was the Los Angeles Times that used the headline of PEACE. The first page of many city newspapers reported, “The world war will end this morning at 6 o’clock, Washington time, 11 o’clock, Paris time. The armistice was signed by the German representatives at midnight. The announcement was made by the State Department at 2:50 o’clock this morning. The announcement was made verbally by an official of the State Department in this form” ‘The armistice has been signed. It was signed at 5 o’clock a.m. Paris time and hostilities will cease at 11 o’clock this morning, Paris time.’”

In Chicago, the “Tribune” published, “Chicago Gets Out of Bed; Bedlam Reigns in the Loop.” The article continued, “The first news of the signing of the armistice reached THE TRIBUNE office at 1:55 o’clock this morning. It came in a flash from the Associated Press by telephone. The text of the flash was simply: “Armistice signed.” THE TRIBUNE immediately verified the flash. By this time the meager details of the announcement from Washington had reached the Associated Press offices. Assured that the news this time was authentic, from Washington had reached the Associated Press offices. Assured that the news this time was authentic, THE TRIBUNE set off its giant sirens and within a few minutes the sleeping town was astir. THE TRIBUNE sirens were at least five minutes ahead of any other noise producing instruments in the informing of the public of the news.

“Within ten minutes a long procession of blue jackets who were asleep in downtown hotels or awaiting trains in hotel lobbies had poured into the street and formed a cheering procession past THE TRIBUNE office in Madison street. Jackies and soldiers in other parts of the city were soon emulating the first detachments and they were joined inside of half an hour by yelling, howling throngs of civilians, who made the sleeping loop resemble the jam and jumble of midday.

“Bandsmen were quickly tumbled from their beds and formed into units of loud sound, announcing to the town that it was over over there. The noise and the hurrah and the people sprang up as if by magic, and before 3 o’clock the downtown street were taking on the aspect of madness which ran riot last Thursday when the country went crazy over a rumor.

“THE TRIBUNE, with its forms waiting, as they had been for three anxious days and nights, was, as usual, the first on the street, telling the people that the hour of democracy throughout the earth had struck. In less than thirty minutes from the time the first flash reached the telegraph desk the “Peace extra.” Was being sold by newsboys on loop corners. THE TRIBUNE sirens were quickly followed in the outskirts of other whistles, and soon from downtown hotels and lodging houses, and from residents both in the city proper and in the suburbs, the citizens began flocking downtown to join in the general hilarity.

“THE TRIBUNE notified the police and fire departments’ headquarters. Instantly the message was relayed to every engine house and police station in the city. Fireboats let go their sirens, awakening people for blocks around. Policemen on their beats were notified and in less than five minutes from the time of the arrival of the news in Chicago it had been carried to every nook and corner by the police and firemen.

Hundreds of taxicabs and other motor vehicles jammed the streets. The police reserves which had been held Sunday evening in expectancy of the signing of peace had been sent home, and save for a handful of policemen, the downtown streets were unprotected. Lieut. William Murphy of the Central station took it upon himself to call every available man from outside stations. By 3 o’clock 100 bluecoats were in the loop to keep order and facilitate traffic. I seemed as if the whole navy was downtown. An observer who came into the office a short time after the sirens had announced the greatest story in the world, said he thought there must be more sailors here than at Great Lakes.

“Parade after parade was quickly swinging up and down through the canons of the city, and the Stars and Stripes at the front, Uncle Sam’s men at home whopped and yelled the victory of their brothers in Europe. From hotel rooms the guests who tossed balls and ribbons of paper, and red fire and rockets soon came into the had not yet had tie to get outside game of rejoicing.

At the Hotel Sherman the news brought dozens of theatrical folks and guests into the lobby. Night manager Michael O’Brien had a general telephone alarm sent throughout the house, “Chicago Tribune announces armistice signed.” That was sufficient. The lobby soon looked like the height of New Year’s Eve. Every known noise devise was soon gathered. Brass cuspidors were grabbed. Flags were torn down and waved. At Randolph and Clark Street the crowd took possession and almost wrecked the newsstands. When THE TRIBUNE extra arrived announcing the news the crowd fought good naturedly for the papers. Dimes, quarters, and even dollars were tendered, no one waiting for change. Red fire was burned which lighted up the streets for several blocks. A fleet of taxicabs gathered and added to the other noise making devices.

“From the night watchman’s door of the Conway building five shots in the general direction of the cornice on the county building. A tall, gray-haired man jumped from a yellow taxi and asked what it all meant. The chauffeur, too, leaped out and gave the explanation.

“It means that you owe me just two-sixty,” he said, “if this is the end of your ride.”

“But the shots? The shots?” insisted the tall man.

“That’s the end of Germany’s ride,” said the chauffeur.

The tall man paid and rushed madly to Righeimer’s, where he pounded vainly on the door, calling “Let me in! Let me in! The law’s all off on booze this morning of all the mornings in the world!”

Somebody passed the hopeful, untrue word that the tall man was Righeimer himself, and that he was going to open the bar and take a big chance. The door, at the end of five minutes, was as in the beginning. Then the big man emitted a roar of rage and pain, tossed his hat to the pave, and raised his long strong arms into the night.

“Think of it, all of ye!” he cried to the crowd, now made up of at least five hundred. “Think of it and weep with me! Any poor, downtrodden, despised bartender might, with one key and an ounce of nerve share the glory of the world at this moment with Foch himself!”

It was evident that hundred had waited in the loop for the bona fide announcement. Flags and streamers appeared quickly. The “I had told you so” cards bobbed in hatbands over the crush. Horns and cowbells added to the din. Railroad torches lighted the crowd with red glare. And all the time celebrants appeared and added to the delirious mob.

One of the first incidents to attract a special crowd on THE TRIBUNE corner was an impromptu speech by an excited blonde. She started out to tell her views to a bystander, but as she grew more enthusiastic her voice rose and she widened her circle of auditors. Before long she was shouting at the top of her voice and had a bodyguard of Great Lakes gobs cheering her on. A motor truck rolled down Dearborn street with an immense sign torn from a movie house held high above it. It read: “The Prussian Cur.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 1004 – Theatre Shut Down, 1918

Theaters closed across the country as the Spanish Flu raged through communities in 1918. Some theatre managers used the shut down as an opportunity for various renovation projects.

On October 21, 1918, the “South Bend Tribune” reported, “Many theater managers throughout the country are taking advantage of the closed period to renovate their houses. It is not necessary to do this at the La Salle for the house was just recently gone over with fresh coats of paint and with the painted cement floors, leather seats and exhaust fan ventilation it is inviting and sanitary” (page 7).

Moses’ records note a shift in the theater industry, an increased demand for fabric draperies in lieu of painted curtains.

Regardless of those who used the shut down as an opportunity for building and stage improvements, the industry was hit hard. The stream of orders for painted scenery slowed to a trickle in many shops. In October, Thomas G. Moses wrote, “We did some work for a Mr. Lynch at Greely, Colorado, a pair of sateen curtains.” Moses was referring to Greeley’s Sterling Theater. This was an extremely small order but was better than nothing. No longer at Sosman & Landis, Moses’ work for New York Studios was dwindling. Moses was currently painting at the 20^th Street Studio, a month-to month rental He recorded, “It is pretty cold there but we can manage to keep going.”

The “Des Moines Tribune” reported, “Theaters Hardest Hit By Quarantine” (October 10, 1918, page 1). The article continued, “Aside from those who actually have the Spanish influenza, theatrical folks are hardest hit by this epidemic.

“Ordering all theaters closed means that practically all managers and employees are left without employment and without wages. Several members of the Princess players will go to their homes for two weeks’ vacation. A few of them will remain in Des Moines without salaries indefinitely.

“Orpheum circuit players will remain in the city for the rest of the week and then go on their regular tour. If they are billed for a city which is under quarantine, they will rest during the engagement.

“Most of the Orpheum actors have private arrangements for their expense money to go on automatically. Salaries in local theaters stop when the theaters close.

“Harold Cavanaugh, manager of the Berchel, said he had cancelled all engagements for the next two weeks and tentatively cancelled several beyond that time.

“The cast of ‘Miss Springtime,’ which played here Wednesday night and was scheduled for Thursday, leaves this afternoon for northern Iowa cities. The company will continue the tour.

“The Behman burlesque show, which was at the Berchel earlier in the week, left today for Omaha. That city is now under quarantine, but the quarantine is expected to be lifted early next week.

“Moving picture houses have necessarily cancelled all picture contracts.

“Building rent because the theaters are closed by government order will possibly not have to be paid. A decision upon this point will be arrived at today.” It was this last sentence that really caught my attention.

From the “South Bend Tribune,” 23 Oct 1918, page 13.

The shutdown of theaters varied from region to region, but in Phoenix, Arizona, it was nine weeks. On Dec. 6, the “Arizona Republic” announced that Phoenix theaters were again opening after being “dark” for 9 weeks (6 Dec. 1918, page 10). The article reported, “The theater managers yesterday all expressed themselves as positive that from the opening of the theaters Sunday for weeks to come they will do unusual large business. In other cities where the theaters were closed on account of Spanish influenza the theaters when they re-opened did such a business that every seat was filled at every performance for weeks, according to advices from theatrical managers in these cities.”

We can only hope.

To be continued…