World Fairs – Drypigment.net

Travels of A Scenic Artist and Scholar – Henry E. Burckey and the Colorado Exhibit for the World’s Industrial and Cotton Centennial Exposition, 1884-1885

Yesterday, I started exploring the life and career of scenic artist H. E. Burckey. Remnants of Burckey’s painting still exist at the Tabor Opera House in Leadville Colorado. In 1890, Burckey painted eight jungle wings constructed by William J. Moon for the venue. Burckey was a scenic artist who grew up and entered the theatre industry in Chicago.

By the age of eighteen, Henry E. Burckey was listed as “scenic artist” in the 1875 Chicago Directory, living at 83 S. Halsted. Little is published of Burckey’s early career, but in 1879 he was credited as the sole artist for “Queen’s Evidence,” playing at Hamlin’s Theatre. The show starred Geo. C. Boniface and advertisements reported, “Every scenic in this play will be entirely new and painted by Henry Burcky” (Chicago Tribune, 14 Dec. 1879, page 16). Five months later, Burckey was credited as the scenic artist for a charity event that included a production of “The Frog Opera.” The “Chicago Tribune” reported, “This novel extravaganza, which has recently been given in New York, Philadelphia, Baltimore and other cities, will be brought out at the Central Music-Hall on Tuesday and Thursday evening s and Wednesday afternoon this week, for the benefit of the Nursery and Half-Orphan Asylum. Among the cast and chorus of frogs are some of the best actors in the Farragut Boat Club. Special scenery, representing the swamp in the earlier part of the piece, and the old mill in the last act, is being painted by Burkey, the scenic artist. As its title indicates, the Frog Opera is purely an extravaganza, and, with considerable continuity of plot, it describes the wooing on Prince Frog and his experiences with Simple Simon, Baron Rat, Sir Thomas Cat, Baroness Rat, etc. The costumes are made after designs by Mark Waterman, the Boston artist, and are said to be unusually effective” (“Chicago Tribune, 16 May 1880, page 11). His career was on an upward swing, bringing him into contact with other scenic artists, such as Henry C. Tryon who worked at McVicker’s Theatre.

By 1881, Burckey partnered with Tryon, and the two ventured south to paint scenery for the Cincinnati Opera Festival. Their work was very well received, and their departure even made headlines. The “Cincinnati Enquirer” reported, “Messrs. Burcky and Tryon, the distinguished artists who painted part of the scenery for the Opera Festival, are delighted with Cincinnati; say they were never treated so kindly, and never had so much appreciation shown them. They will probably leave for Chicago this week” (4 March 1881, page 5). Burckey, like most scenic artists of his generation, would travel to secure work. This was often in addition to holding down a seasonal theatre gig.

Western theaters offered wonderful opportunities for artists young and old alike. Soon, Burckey and Tryon two headed west, making a name for themselves in Colorado. In 1882, Tryon settled in Denver and was associated with H. A. W. Tabor’s second theater, the Tabor Opera Grand House. Built only a few years after the Tabor Opera House in Leadville, the Tabor Grand was a massive undertaking. By 1884, Burcky was listed as the scenic artist for the venue. Although Burckey was still listed in Chicago directories throughout the 1880s, he was building a good reputation as quite an accomplished artist. Although Burcky was now listed as the Tabor Grand’s scenic artist, he continued to paint for touring productions and other Chicago shows. The train ride from Chicago to Denver was only a day away, 17 hours and five minutes; a short jaunt with only one overnight. Similarly, Denver to Salt Lake City was only a fifteen-hour trip, explaining the ease of Henry C. Tryon working at both the Tabor Grand Opera House and Salta Lake Theatre during the early 1880s. Rail travel made it possible for scenic artists to hold dual positions in two different states.

While in Denver during 1884, Burckey painted the State’s exhibit for the World’s Industrial and Cotton Centennial Exposition. The States of Colorado constructed a 6,600 square-foot exhibit in the Government & States building. One of thirty-eight states represented at the exposition, the Colorado exhibit was located near the north entrance of the building, and included a realistic representation of the Rocky Mountains, painted by Burckey. As with other exhibits, Colorado’s agricultural products, ores and minerals were set out on display.

**The World’s Industrial and Cotton Centennial Exposition, 1884-1885**

The Colorado Exhibit at the World’s Industrial and Cotton Centennial Exposition at New Orleans, 1884-1885.

Painting by H. E. Burckey for the Colorado Exhibit at the World’s Industrial and Cotton Centennial Exposition at New Orleans, 1884-1885.

The “Memphis Daily” credited Burckey with painting “The Pioneer Car” for the World’s Fair in New Orleans, (Memphis Daily Appeal, 19 Nov. 1884, page 2). The exhibit was described as a “work of art” in the “Memphis Daily Appeal.” The article described Burckey’s work in detail. Here is the article in its entirety:

“Upon its sides are some splendid paintings from the brush of H. E. Burcky, the scenic artist of the Tabor Grand Opera house. These pictures are well worth careful scrutiny.

Upon one side of the car the picture is emblematic of Colorado’s beautiful scenery, her resources and the glory of the South, with New Orleans as the crown of that section. In the center is a large horseshoe, upon the arch of which is the inscription, “Miner’s Cabin.” Withing the arche, formed by the emblem of good luck, is the full-length figure of a miner with pick upon his shoulder, apparently just starting out on a prospecting tramp.

In the right center is a group of two figures, one a farmer binding a sheaf of wheat, while beside him sits his wife with a dinner-pail and basket, evidently resting after her noonday walk with her husband’s lunch. From this scene, the perspective goes back over fertile plains across which a railroad train is gliding, until the plains heighten to a grand view of the Rocky Mountains.

Upon the extreme right of the picture is a splendid view of the Grand Canyon from the mouth of which is approaching a train, the locomotive tender showing the letters D. & R. G.” At the left of the horseshoe, and covering about one-third of the side car, is the Southern scene, with idle darkies lounging around bales of cotton and cut watermelon lying in the foreground, while away to the left of the scene and in the depth of perspective is a river with the city of New Orleans in the distance.

Upon the other side of the car, about one-third of the picture represents a miner’s cabin, with utensils of a prospector’s housekeeping hanging upon its wall, while sitting a little distance in front is the miner with extended hands. In his hands he holds a pan, into which his eyes gaze earnestly for the coveted gold. The remainder of the picture is a sweeping view of snow-capped mountains.

This car and decorations will be a credit to the artist and to Colorado which sends it forth, and is safe to predict that no exhibit which will arrive in the Crescent City will attract more attention before it is opened to view.

The Miner’s Cabin idea and its careful preparation is highly creditable to its agent, Mr. T. E. Boynton, and Mr. Noel May, who so ably assisted in carrying the conception to a reality. Mr. Boynton will accompany the car to-night and Mr. May will follow in a few days.

The car is loaded with contribution of ores and minerals from over 100 different mines throughout the State, to be used in the construction of the “Miners’ and Prospectors’ Cabin,” connected with the Colorado exhibit at New Orleans. This collection includes many rare and valuable specimens of bullion-producing mineral. The “Cabin” is intended to be emphatically a Colorado structure, the mortar used being compressed of a material presented by the Denver Cement Manufacturing Company, and sand taken from the bed of Cherry Creek. Other shipments of ore will follow this car, to be used in keeping the cabin in repair, as well as to constantly ass its attractions.

The train containing the exhibits from the Denver Exposition and some other exhibits will follow, leaving Denver about the 20^th instant. The Denver Exposition display is now nearly all packed ready for shipment. A very valuable addition was made yesterday by the Hon. H. A. W. Tabor, who will send a splendid cabinet containing the specimens from Robert E. Lee and the Matchless mine, and valued at $1000.”

Much has been written about the World’s Fair in New Orleans, but here is a link to the 1885 publication – “Practical Common Sense Guide Book trough the World’s Industrial and Cotton Centennial Exposition at New Orleans”- http://archive.org/stream/practicalcommons00perkrich#page/26/mode/2up

To be continued…

Tales from a Scenic Artist and Scholar. Part 1041 – The Gold Room at the Congress Hotel, 1920

At the beginning of 1920, Thomas G. Moses wrote, “A one night stunt for Mrs. Ryerson at the Congress Hotel Gold Room caused considerable trouble.” Moses was referring to Mrs. Martin Ryerson and the Congress Plaza hotel. The Gold Room hosted many interesting events during 1920. On January 20, there was an opportunity to meet an socialize with performers from the Chicago Grand Opera Company. This is possibly the “one-night stunt” that Moses was referring to in January.

The Congress Hotel was originally called the Auditorium Annex and built in 1893, hosting many visitors attending the World Fair that year. The current website for the venue states, “The original conception was an annex with a façade designed to complement Louis Sullivan’s Auditorium Building across the street, at the time housing a remarkable hotel, theater and office complex. The Auditorium Annex was built by famous hotel developer R.H. Southgate. The first section, or north tower, was designed by Clinton Warren, with Louis Sullivan and Dankmar Adler serving as consultants. “Peacock Alley,” a celebrated feature of the new hotel, was an underground marble passageway that connected the new annex with the Auditorium Hotel. The south tower, constructed between 1902 and 1907, was designed by renowned architectural firm Holabird and Roche. The South Tower construction included a magnificent banquet hall, now known as the Gold Room, which would become the first hotel ballroom in America to use air-conditioning. Another ballroom, called the Florentine Room, was added to the North Tower in 1909. These two famous public rooms combined with the Elizabethan Room and the Pompeian Room to host Chicago’s elite social events of the day.” Here is the link to this historic Chicago Hotel: https://www.congressplazahotel.com/history

Peacock Alley at the Congress Hotel in Chicago.

In regard to the Ryersons, they of elite society with money to burn and some good deeds to do. On January 8, 1920, the “Chicago Tribune” reported a donation to the Field Museum by Mr. Ryerson (page 1). The donation of 222 stone blocks, comprising Unasankh’s tomb, was described in detail: “36×16 feet, with walls three feet thick…The excavation was performed by Arabs under the supervision of British officials – and 222 stone blocks were crated and shipped to Chicago.” Headlines announced, “Egypt, 2650 B. C., to Chicago, 1920; Story of Tombs.” Museum director, Dr. Frederick J. V. Skiff announced the gifts from Martin A. Ryerson and Edward A, Ayer. The article reported, “Mr. Ayer, the first president of the museum and the chief benefactor of its Egyptology department, learned of the possibility of acquiring the sarcophagi of these ancient dwellers of the Nile, and recently he conferred with Mr. Ryerson. That’s how Messrs. Uter-Neter and Unsankh happened to lose their tombs. Six hundred carloads of exhibits now at the old museum in Jackson park, about 80 per cent of them packed, are now being prepared for transportation to Grant Park.” Mrs. Ryerson was also involved with a series of guest lectures that spring, including Museum talks on Russian Art and Literature.

Mrs. Ryerson pictured on the left, from the “Chicago Tribune,” 21 jan 1920, page 3.

It is important to understand that scenic studios delivered far more than painted settings for commercial theater. They were also an artistic resource for high society, collaborating with wealthy women to produce elaborate and exotic themed social events for various charities. Scenic artists were visionaries for many public spectacles.

To be considered…

Tales from a Scenic Artist and Scholar. Part 968 – The Olympia Theatre in Olympia, Washington, 1917

On May 11, 1917, “The Washington Standard” reported. “Olympia theater is now provided with two drop curtains, one painted by Sosman & Landis, Chicago, entitled “The Water Place,” and the historic painting of Olympia by Mr. Lange, which was used at the Spokane Fair during the canvass for state capital” (Olympia, Washington, page 7). This is another one of the many jobs by Sosman & Landis not mentioned in Thomas G. Moses’ memoirs. This is a single article with no follow-up information, so I am left with very little to go on.

The article notes that a painting created for a country fair was repurposed for a theatre, used as a drop curtain. This is not unusual. In 1893, a 20×30 mural for the California building at the world fair was repurposed as a drop curtain for the Native Sons of the Golden West Hal in San Francisco. I explored this subject a few years back (see post #294). The Reed & Gross Panorama Company created large scale paintings for the California State Building with compositions that included: the harbor of San Francisco and the city, as viewed from Goat Island; Christmas in Pasadena; the Stanford Ranch in northern California; Leland Stanford’s Vineyard; Leland Stanford Jr. University in Palo Alto; New Years at Hotel del Monte in Monterey, Santa Barbara, and Fresno.James D. Phelan, one of the of the World’s Fair Commissioners in 1893 purchased the 20’ x 30’ painting from the California State Building after the fair, intending to use it as the new drop curtain at the Native Sons of the Golden West’s Hall. At the time, the organization was constructing a new building in San Francisco. Phelan was the association’s president and purchased one of the paintings. Unfortunately the painting was irreparably damaged in transit.

On January 10, 1896, “The San Francisco Call” reported, “A Fine Painting Spoiled” (page 8). The original painting by Thaddeus Welch depicting “Golden Gate as Viewed from Goat Island” was sold for $3,000. The article noted, “On Tuesday it was found that the painting had been ruined by the careless persons who packed and shipped it two years ago. Instead of winding the canvas around a roller these bunglers wrapped it around a 4 by 4 inch scantling and every four inches the canvas is cracked so that it is doubtful if it can be used.”

There are a few factors to consider:

The first is that the 1893 world fair painting was likely an oil painting, as it cracked. Even if it had arrived safely, it may have looked horrible under stage lights due to the sheen, characteristic of oil paintings. Those unfamiliar with scenic illusion, for example Phelan, may not have realized this, or that the oil painting would propose a fire threat once on stage. However, I am intrigued with the basic idea that any large painting could be transformed into a drop curtain for the stage.

To be continued…

Tales from a Scenic Artist and Scholar. Part 900 – Thomas G. Moses and George Senseney, 1915

George Senseney, *Moret,* n.d., color aquatint on paper, Smithsonian American Art Museum, Gift of Chicago Society of Etchers, 1935.13.289 From https://americanart.si.edu/artwork/moret-22139

In 1915, Thomas G. Moses wrote, “On January 23^rd I got a ‘hunch’ that I was cut out for an etcher, at least I was led to believe it by my friends, after they saw some of my early pencil drawings and they insisted I could etch. I joined a class headed by Mr. George Sensmey, an etcher of some prominence, and I started at it like a house afire. For a wonder, the first two plates proved to be very fair, but the third one was pretty bad. While I am not discouraged, I am convinced that I will never etch a plate like Pennell or Whistler. I like it, but I haven’t the time to put on the work that it requires, so I am afraid that niche in the Hall of Fame will be vacant for a while.” That summer, Senseney was awarded a silver medal in the class for etching and engravings at the San Francisco Exposition (Evening Star, 28 July 1915, page 2).

George Eyster Senseney (American, 1874-1943). *Landscape*, 1977. Color aquatint on wove paper, Plate: 11 7/8 x 9 3/8 in. (30.2 x 23.8 cm). Brooklyn Museum, Designated Purchase Fund, 77.119.1 (Photo: Brooklyn Museum, CUR.77.119.1.jpg) https://www.brooklynmuseum.org/opencollection/objects/103539

That same year the “Evening Star” reported, “George Senseney, another erstwhile pupil of the Corcoran School of Art, has likewise attained much distinction, but in a different field, having made a specialty of color etching. For several years Mr. Senseney has resided abroad, but during the past winter he has been in Chicago, and now it is announced that from June 21 to August 28 he will assist in directing a summer school of painting at Saugatuck, a most picturesque place on the shore of Lake Michigan near the mouth of the Kalamazoo river. He will conduct the classes in landscape painting formerly under the direction of the late Walter Marshall Clute. Mr. Senseney is a member of La Societé des Gravures Originales en Couleur, Paris, and is represented in numerous public and private collections. Quite a number of his works are to be found in the print collections of the Library of Congress” (Washington D.C., 9 May, 1915, page 74).

George Senseney, LANDSCAPE WITH TREES, c. 1910
Color drypoint on wove paper, image: 12 13/16 x 9 1/2 in. (32.5 x 24.1 cm) plate: 12 13/16 x 9 1/2 in. (32.5 x 24.1 cm) sheet: 17 5/16 x 13 1/8 in. (44 x 33.4 cm)
Acquired by the Clark, 1988
1988.216
https://www.clarkart.edu/Collection/3453

Senseney was born in Wheeling, West Virginia, the son of Charles H. and Anna May Eyster Senseney. He attended the Corcoran School of Art in Washington and the Julian Academy in Paris, studying with Jean Paul Laurens and Benjamin Constant in France. He taught etching for the Art Student’s League in New York and in 1916 organized the New School of Art in Chicago. Senseney taught design at Smith College from 1916-1920. While teaching, he became the art director for the American Writing Paper Corporation in 1919. Two of his colleagues were Francis C. Heywood, who was a member of the technical force, and Russell S. Bracewell, a research chemist. While at the American Writing Paper Corporation, Senseney developed a flotation process, a marbling process, for decorative paper. It was this process that instigated his formation of the Marvellum Co. of Holyoke, Massachusetts. In 1921, the Senseney, Heywood and Bracewell organized the Marvellum Company, with Senseney as president, Heywood as treasurer and Bracewell as clerk and superintendent. Senseney remained president until his passing in 1943. The firm was known for its distinctive papers in the production of distinctive booklets and catalogues, such as Marvellustre and Marvelhide. They developed a wide range of products, including various papers from decorated cellophane to heavy cardboards for photo calendar mounts. Other products were for fancy papers used in gift wrap, greeting cards, candy boxes, and stationary. The company even perfected papers with wood grain effects.

In 1931 the Marvellum Co. was instrumental in organizing the Beveridge-Marvellum Company in South Hadley Falls. Beveridge-Marvellum developed pyroxlin-coated papers. They manufactured decorative metalloid, crystal and mother-or-pearl finished papers.

Senseney remained in Holyoke until 1934 when he moved to Ipswich Village. Senseney passed away in 1943 after a long illness. Leaving behind his widow, Dorothy L. Stewart Senseney, a daughter, Virginia and two sons, George L. and William. Senseney’s obituary noted that he held a reputation as a “World Renowned Etcher” (Press and Sun-Bulletin, 9 Nov. 1943, page 18).

The same year that Moses studied with Senseney, the etcher filed a patent for a “Color and Design Study” device (serial No. 63,672). To aid the “study of color and design, which consists of a plurality of superimposed, perforated, color strips slidable one over the other to produce various geometrical figures and various color combinations, and auxiliary colored sheets secured to an detachable from said strips, having figures thereon which may be cut out in accordance with the designs suggested by said strips.”

Even in his studies, Moses surrounded himself with innovative individuals, many whose ideas prompted change in industries other than theater. At this point in his diary, I am never surprised with the people he encounters, a surprise with every year.

To be continued…

Tales from a Scenic Artist and Scholar. Part 893 – Miller & Draper’s Minstrels, 1914

Miller & Draper’s Minstrels advertisement published in the “Olney Democract,” 12 Nov 1914 page 5.

“Lives there a man with soul so dead

Who never to himself hath said:

Both for my own and family’s sake

A bit of min-strel-sy I’ll take?”

(Published in the “Billings Gazette,” April 12, 1914, page 1).

Miller & Draper’s Minstrels advertisement published in the “Billings Gazette,” 12 April 1914, page 17.

Draper & Miller advertisement in the “Billings Gazette” 5 April 1914 page 14.

In 1914, Thomas G. Moses wrote, “Closed a contract September 29^th with Chas. Kohl for Academy of Music work, $2,234.00. A big minstrel first part for Miller and Draper. Came out very good – something entirely new.” I believe that Moses was referring to the first part of Draper and Miller’s show as part of the Elks Minstrel Show (Billings Gazette, April 12, 1914, page 1).

On April 12, 1914, the “Billings Gazette” announced, “This year’s Elks Minstrel To Be Best Performance Ever Staged in the City” (page 1). The production was advertised as “Fast and snappy show replete with up-to-date features is assured theatre-goers next Wednesday , Thursday and Friday evenings. The article reported, “Miller & Draper of New York city, under whose direction this show is presented and who so ably served the local lodge two years ago, are the best known producers in the business. For twelve years they have been staging the annual Elk’s Minstrels over the United States, During that tome they made for Elks lodges approximately a half million dollars (Should they fail to make a half-million for Billings No. 394 there will be things doing not on the program). The leading Elks grand lodge offices and the lodges where Miller and Draper have played are enthusiastic in their endorsements. Harry Miller is an experienced show man of real value under whose system Elks lodges have started home building funds and furnished lodge rooms. Mr. Miller has a connection with the biggest publishers to supply him with the Cohan music he carries with his productions. Clint Draper comes to Billings well known as a performer of experience, having been with leading minstrel productions of the country. He is one of the very best black-face comedians and dancers in the country and under his tutelage dancing acts of exceptional merit are staged at Elks Minstrels. …Miller and Draper have invested thousands of dollars in scenery and costumes, all of which making a full carload, has been brought to Billings for the coming Minstrel [show].”

The article continued, “Program – First Part. The curtain will arise upon a scene entitled ‘Carnival Night at the Panama-Pacific Exposition, 1915. The scenery for this was built and painted from drawings furnished by the architectural commission of the exposition of the exposition. The scene represents the East Court of the Grand Court of Honor at the San Francisco Exposition, and is as authentic as canvas and paint can make it. The electrical effects introduced render the scene one of unparalleled beauty and elegance, achieving a distinct triumph from an artistic standpoint of what the great exposition will be. Following the opening chorus the ‘end men’ and the balladists will early being to get in their work. Joke will follow joke in quick succession, all of them localized to suit all sorts and condition of men in this city and vicinity – and all who know anything at all about the ability of these comedians – and everybody should, because they have an international as well as home reputation – may figure out in advance the side-splitting laughs that are in store. The real test of a minstrel show, nonwithstanding all the fun cropping out of the first part, is the Olio, or second part. Almost anybody can put on a pretty good first part. The Booster could do it itself, if it had a mind to. But most minstrels fall down woefully on the second part of the entertainment. This isn’t going to be the case with Billings No. 394, however, as the second part bids fair to eclipse in many ways the first part.”

As the Night approaches, the article noted, “men and things are getting busy at the Babcock [theatre] in preparation for this big event, Paper hangers, painter, ratcatchers, old clothes men, vacuum cleaners and the local fire department are now at work making extra preparations to accommodate the big crowds. The said walls of the theater are being pushed back, the roof raised, the floor dropped, and peep holes let in all around so as to let out the noise. The seating capacity will be increased to 2,371. Some seats have been greatly widened in order that visiting brethren of unusual avoirdupois may not be choked. These will be reserved for the heavy weights who come. Strong disinfecting germicides have been attached to the places where opera glasses ought to be and you are advices to use these freely after such jokes as may appear to require application.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 880 – Thomas G. Moses and Ruth St. Denis, 1914

Ruth St. Denis as “The Peacock” at Ravinia Park, 1914.

In 1914, Thomas G. Moses wrote, “Did a big cyclorama drop for Ruth St. Denis; a dark blue sky, black trees and a high wall, very effective drop.”

On May 25, 1914, “The Evening Journal” announced, “Miss St. Denis after ending the summer season, will go to San Francisco, where she is having a special theater built for her at the Panama-Pacific Exposition” (page 2). Moses’ scenery was for this new theater. 1914 was a big year for St. Denis, as she also married Edwin Myers “Ted” Shawn. Shawn was a young dancer from Kansas City, Missouri who toured with St. Denis’ production.

Ruth St. Denis and her new husband Ted Shawn, from the “San Francisco Examiner,” 29 nov 1914, page 25.

Photograph by Otto Sarony of Ruth St. Denis in 1910.

St. Denis and Shawn later founded their own studio that became known as the “cradle of modern dance,” where students like Martha Graham, Charles Weidman and Doris Humphrey received their training before beginning studios of their own (Tulare Advance-Register, Tulare, CA, 22 July 1968, page 3).

Ruth St. Denis (1879-1968) was a pioneer in American modern dance and noted as “the first dancer to introduce the charm and mystery of Hindu dancing to Europe and American public” (“San Francisco Examiner,” 29 Nov. 1914, page 25). During the spring of 1914, St. Denis performed in “East of Suez,” a show that featured an exhibition of “Hindoo dances.”

The “San Francisco Examiner” reported, “Other forms of Oriental dancing had already become popular, but the subtlest of all, the Hindu art, was first interpreted for us by this American girl from Newark, N.J. Lately she has been giving Egyptian and Japanese dances” (29 Nov. 1914, page 25).

St. Denis began her performance career in 1893, dancing for vaudeville. She was part of an act called “The Cherry Sisters.” Ruth’s performance caught the attention of George W. Lederer who signed her up for his new production, “The Passing Show.” From musical comedy, St. Denis’s passed to the management of David Belasco. She toured for a period of five years under Belasco’s management, and during this time she performed in “Du Barry” and “Zaza.”

The “Arizona Daily Star” reported, “It was while under the tutelage of Belasco that she gained her first knowledge of light effects and stage management –a knowledge which has been invaluable to her in the creation of her Oriental dances first at trial performance in a New York Vaudeville theater where they created such a sensation tat she was immediately engaged for a Fifth avenue theater and subsequently for a long engagement at the Hudson and Fullton theaters, New York. From there she went to London, Berlin and Paris, achieving a far greater success than any other dance artist has ever entertained. The creation of Hindoo dances by Miss St. Denis is the result of patient study, infinite thought and a deep delving into the mysterious philosophy of the Far East. Strange to say, she has never visited India, and yet she posses more information regarding that land of occultism than most Occidentals who have resided there during a lifetime” (23 Nov. 1914, page 8).

Karoun Tootikan for the “Los Angeles Times” wrote a lovely article about St. Denis when she passed away in 1968 (28, July 1968, page 511). I am including it today, because St. Denis’ legacy is quite prolific in the history of American dance:

“Over the years, the great and near-great have made pilgrimages to the Ruth St. Denis Dance Studio in Hollywood to observe, to learn and renew friendship with the indomitable Miss Ruth. The studio, with its faded front poser of the dancer (in a pose from her interpretations of the poems of Tagore) is now a memorial, for Miss Ruth is gone.

It was befitting, in a way, that the dancer, whose career spanned five generations, should choose July 21, a Sabbath, for the goodbye, since it was she who introduced the revolutionary work, ‘Rhada,’ in 1906, which brought to America the completely new idea of religious Hindu dancing in its purest and most esthetic forms.

She was helpful in her goal of popularizing interpretive dancing as a suitable career for young people by three contemporary dancers: Isadora Duncan, Loie Fuller and Maude Allen, who all developed different forms of the dance. While St. Denis delved into Oriental religions for her main inspiration, Duncan became responsible for eliminating the old confines of classic movement, and danced barefoot in a light tunic. Fuller dressed in billowing silk skirts and lighted by various colored lights, she created spectacular forms with subtle variations and silhouettes, while Allen drew from all three for her sensational dance forms.

Whereas Duncan’s talent was best expressed by dancing with symphonies, Fuller’s in creating spectacular serpentine movements, St. Denis’ famous solos were, for the most part, confined to extreme discipline of movement and economy of gesture. Draped form head to toe in voluminous silk and jersey, Miss Ruth presented each nuance of movement in rippling waterfall effects inspiring great tranquility.

It was both Duncan and St. Denis’ great purpose to found a school where the essence of the dance could be taught to perpetuate their dreams. The Duncan Schools, both in Paris and Moscow, did not outlive the death of the dancer, who was strangled when her long red scarf became entangled in the back wheel of an automobile in 1928. By the Denishawn School of Dance (formed in 1914 in Los Angeles, with her husband, Ted Shawn) became a beacon of learning for some of America’s most illustrious proponents of modern, interpretative dancing.

Out of this conservatory came Martha Graham who toured extensively with the Denishawn Dancers and who later developed the individualized choreography in such creations as “Appalachian Spring” and “Night Journey.” Doris Humphrey, who joined Denishawn in 1916 and danced with the company for 12 years, also made her mark wit the electric ‘Lament for Ignacio Sanchez’ and ‘Ruins and Visions.’

Miss Ruth never officially retired and continued to give concerts as late as 1966. Separated from Ted Shawn since 1931, the famous couple nevertheless appeared together occasionally on the stage, most notably in recent years at the observance of the Golden Anniversary in 1964 at Shawn’s School, Jacobs Pillow, at Lee Mass.

Of Miss Ruth’s wide repertoire of original dances, four are perhaps indicative of her genius: ‘Incense,’ in which the rippling arm and hand movements first drew the attention of Ted Shawn who purportedly fell in love with her as she performed on stage in Denver; ‘Dance of the Cobras,’ wherein the hand movements become the snake charmer’s pet in an Indian market place; ‘White Jade,’ which was inspired by a visit to the Temple of Heaven in Peking and shows the Goddess of Mercy bestowing compassion upon the world: and ‘The Minstrel of Kashmiri,’ a Nautch Dance for which Charles Wakefield Cadman composed a special score.

A legend in her own time, Ruth St. Denis, at 91, whom dancer Charles Weidman once called ‘the most beautiful woman in the world,’ the mother of modern interpretive dance, will live on in the students whom she inspired to carry on her work.”

From “The Missoulian,” (Missoula, Montana, 22 Jul 1968, page 2).

To be continued…

Tales from a Scenic Artist and Scholar. Part 875 – The Death of Walter W. Burridge

Walter W. Burridge. Undated newspaper clipping from the scrapbook of Thomas G. Moses.

Walter W. Burridge was a good friend and colleague of Thomas G. Moses. In 1887, they established the scenic art firm Burridge, Moses and Louderback, with well-known art dealer Walter Louderback. In 1914, Burridge died after sketching scenes of the Grand Canyon for two months. His work was part of the Santa Fe Railroad’s $300,000 exhibit for the Panama-Pacific Exposition in San Francisco. Many newspapers covered Burridge’s death and burial, but it was the “Brooklyn Daily Eagle” that provided a wonderful recount of his achievements (Brooklyn, NY, 26 June 1913, page 20). Although I have written extensively about Burridge in the past, this is a lovely summery of his life:

“WALTER W. BURRIDGE SCENIC ARTIST DIES.

Brooklyn Man Succumbs to Heart Disease at Albuquerque, New Mexico.

STOOD AT TOP OF PROFESSION.

Was Engaged on Big Contract for Panama Exposition When End Came.

Word was received in Brooklyn today, that Walter W. Burridge, one of the foremost scene painter of his time, has been found dead in a hotel in the little city of Albuquerque, N.M., yesterday. Death was attributed to heart disease super induced by acute indigestion. Mr. Burridge had just arrived in Albuquerque from the Grand Canyon, where he had been painting pictures for two months. He was 56 years old.

Walter Burridge was a Brookylnite, born and bred, and very well known as a painter of theatrical scenery. In 1903, he executed at the Academy of Music the largest scenery contract ever awarded to a scenic artist. $200,000 worth of scenery, including eighty complete sets and 300 hanging pieces, was turned out under his supervision. The work was done for Henry W. Savage, manager of the Castle Square Opera Company. Its most important feature was the preparation of special sets of scenery for each one of the operas in the Castle Square Opera Company repertoire. One of the pieces he completed was the magnificent storm scene in the first act of Verdi’s ‘Othello.” It was considered the piece de resistance of all the scenic effects ever produced at the Academy.

Mr. Burridge had, at one time or another, been associated with all the prominent actors and actresses in the country, among them Otis Skinner, Julia Arthur and Margaret Miller.

Mr. Burridge’s father, Henry, was the proprietor of the old Mason’s Arms Inn, on Myrtle Avenue, which was noted in its time as a resort for artists and actors. The leading lights of both professions met there frequently and the boy learned to know them well.

Young Burridge had a magnificent soprano voice and sang as a choir boy in St. Anne’s Church, the Church of the Redeemer, and St. John’s Church, where he was solo singer. His voice bade fair to connect him with the stage in another capacity than that of a scenic painter.

As a boy, Mr. Burridge helped produce the scenic waves at the old Park Theatre, by doing stunts on his hands and knees under a layer of canvas, The old theater carried with it many pleasing reminiscences for him. There he met Fred Chippendale and his wife. Later, at the Brooklyn Theater, which stood on the site of the present Eagle building, he was fortunate enough to attract the attention of Harley Merry, who was a great scenic artist of his day, He was apprenticed to Merry at the age of 13 and scored his first success by painting a water fall that had to be gotten out during his master’s absence.

Mr. Burridge did most of his work in the West. Thirty-five years ago, he painted many cycloramas. For the Philadelphia Centennial he painted the ‘Siege of Paris,’ and supervised the reproduction of the well-known ‘Battle of Gettysburg.’ He also executed a Government commission in Hawaii. He was sent there to paint a cycloramic picture of the great volcano, Kilauea, which was part of the Government exhibit at the Chicago World’s Fair.

Hugo Gerber, manager of the Lee Lash Studios at 1476 Broadway, Manhattan, who knew Mr. Burridge well, said today that he received a telegram from the West confirming the news of the death of Mr. Burridge. ‘His wife was with him at the time,’ he said. ‘Mr. Burridge had been working for us lately and had been sketching in the Grand Canyon. He was preparing some very important work there for the Panama Exposition, but I don’t know the details of it.

‘We expected Mr. Burridge to return East in a short time. The telegram we received was from his wife. It did not state the cause of death.

‘Mr. Burridge had done much big work for Klaw & Erlanger, but principally for Henry W. Savage. One of the last pieces of work he did was painting the scenery for ‘The Trail of Lonesome Pine.’ He was one of the most prominent scenic painter in the country.”

Burridge was survived by his wife, son Walter, two brothers, Cyril and Harry Burridge (New York and Marblehead, Mass.), and a sister, Miss Sarah Burridge (of Brooklyn). The loss of this artist in the prime of his career was immeasurable, a shock to the fine art and theatre worlds. He had so much potential and the Grand Canyon exhibit was to be one of the pinnacles of his career.

There is so much more to Burridge’s story and his accomplishments that I could not include in today’s post. However, I will end with a quote from Burridge in 1902:

“Did you ever stop to think,” said Walter Burridge, one of the best-known scenic artists in the country, “how the public says all kinds of nice things about some popular theatrical production and throws bouquets at everyone connected with it, except the man who painted the scenery? Of course the man doesn’t care a rap for fame. His soul is wrapped up in his work; he never comes before the gaze of the public, and never wants to. But at the same time, it is a curious fact that the scenic artist is an individual whose personality never becomes known to the public. If he paints a particularly beautiful scene it never fails to elicit round after round of applause. The people who are applauding, however, do not know who executed the painting, and they don’t care. It is pretty and that is enough for them.” When Burridge was interviewed by Chicago’s “Inter Ocean” on June 8, 1902, he was putting the finishing touches on the scenes that were to be used in the production “The Wonderful Wizard of Oz” that was opening at the Grand Opera House the next week (page 42).

Walter W. Burridge with model of a theater design. Undated newspaper clipping from the scrapbook of Thomas G. Moses.

To be continued…

Tales from a Scenic Artist and Scholar. Part 874 – The Grand Canyon Exhibit for the Panama-Pacific International Exposition and Walter W. Burridge.

During the summer of 1913, plans were announced for a Grand Canyon Exhibit at the Panama-Pacific International Exposition in San Francisco for 1915. Walter W. Burridge was hired to create a series of 100-feet long oil reproductions of the Grand Canyon. On June 25 1913, the “San Francisco Call” announced, “SANTA FE AT WORK ON GRAND CANYON EXHIBIT. Reproduction for Fair to Cost $300,000. Illusion Will Be Perfected by Canvases and Modeling.” The article reported, “Plans for the $300,000 reproduction of the Grand Canyon of Arizona, the exposition exhibit of the Santa Fe Railroad, were outlined yesterday by W. F. Sesser in a communication to the exposition company. Walter W. Burridge who will paint the canvasses, is on an extensive tour of the canyon with Mr. Sesser. The work will be made up of canvases and stone modeling. Rocks, trees, cactus and shrubbery have been collected for the model” (page 18).

Other newspapers soon included and an interview with Sesser of the exhibit:

“F. Fraser, manager of the Santa Fe exhibits, and who will have charge of the $300,000 reproduction of the Grand Canyon, of Arizona, at he Panama-Pacific International Exposition, in an interview, gives some interesting information about the construction of the exhibit. ‘In the production of this work,’ said Sesser,’I have had with me at the canyon Walter W. Burridge, one of America’s greatest painters; Charles R. Fisher, J. C. Schwerdt and a full equipment of guides and helpers. Captain John Hance, the hermit of the canyon, has been with us all the time. We have made studies at ten of the principal points of the canyon that will embrace in the exhibit we are to make the most grand and magnificent portions of the canyon. ‘We are gathering rocks, trees, cactus and shrubbery of all kinds from the rim of the canyon, which we will use in constructing the facsimile rim at the Grand Canyon exhibit. We will build a portion of Hermit trail, showing a trail party in motion, actual figures being constructed in correct position to accomplish this effect. In one section we will reproduce a storm in the canyon. We will also, in another section, have the effect of moonlight and sunset, with beautiful El Tovar hotel illuminated at night on the rim. ‘We are forwarding to San Francisco the first consignment of our studies in oil, pastel and water color, with color keps [?], color tones, dimensions, positions and the data necessary for the carrying out of the scheme. ‘I am going into the Indian villages, accompanied by Burridge and the rest of the party, for the purpose of making careful notes and studies of the Puebla life, as this will be an important feature, occupying the second floor of our front construction, In this part of the exhibit will be housed Hopi and Navajo Indian villages. Here the Indians will be engaged in their daily occupations, the same as in their original villages” (Victoria Daily Times, June 30, 1913, page 3).

A scene from the final display at the Panama-Pacific International Exposition in 1915.

Burridge traveled to Albuquerque after painting pictures for two months. He was found dead in his bed at the Alvarado hotel the evening of his arrival. Death was attributed to heart disease, caused by acute indigestion. His widow received the news at the home of H. M. Smith, 438 Maple avenue, Oak Park, where she was a guest at he time. Burridge was only 56 years old and newspapers across the country reported, “His work of the Grand Canyon he had hoped to make the best of his career and fulfill his ambitions as a scenic artist.”

After his passing, the Santa Fe Railroad selected a another scenic artist, and friend of Burridge, to complete the paintings of the southwest – Edgar Payne.

Next summer, the exhibit was well underway. On August 27, 1914, the “Fergus Country Democrat” reported, “A panoramic reproduction of the Grand Canyon is being built at the Panama-pacific International exposition at a cost of over $300,000; over fifty thousand square yards of linen canvas, imported from Scotland, are being used for the set pieces. Visitors in this concession will view the panoramic from observation parlor cars, moved by electricity on an elevated trestle, seemingly along the rim of the canyon. The observer will be enabled to see eight of the most distinctive points of the canyon and the ride will last over half an hour, including, apparently, a journey of more than one hundred miles of the great gorge. Every resource of modern science is employed in the work of this production” (page 11). The “Joliet News” added, “The Grand Canyon concession is built upon so prodigious a scale that visitors will view the canvases from a standard gauge railway coach running on a standard gauge track” (Joliet, Illinois, 11 Feb. 1915, page 5).

Location of the Grand Canyon exhibit in the Zone at the Panama-Pacific International Exposition, 1915.

The Fred Harvey Collection at the University of Arizona includes wonderful photographs documenting the Grand Canyon Exhibit at the Panama-Pacific International Exposition, 1915. Many are posted online.

When the World Fair opened, the Panama-Pacific attraction was located in the “Joy Zone” of the world fair. The “Peoples Easy Guide” described the attraction:

“Grand Canyon of Arizona

With an entrance like a typical railroad station of the Santa Fe in New Mexico, where we can seat ourselves in the tiny electric trains and be conveyed over mountain passes, through deserts and past villages till we reach the replica of the Grand Canyon of Arizona. Here we will descend and visit the Indian Colony, inspect the weaving of the Navajo blankets and the making of pottery and other crafts by the Indians brought here for the purpose.”

Entrance to the Grand Canyon Exhibit at the the Panama-Pacific International Exposition, 1915.

Scene at the Grand Canyon Exhibit at the the Panama-Pacific International Exposition, 1915.

To be continued…

Tales from a Scenic Artist and Scholar. Part 873 – The Panama-Pacific International Exposition, 1915

Advertisement lobbying Congressmen to vote for the Panama-Pacific International Exposition to the held in San Francisco in 1915.

World Fair exhibits and midway amusements were a staple for many scenic studios; these projects brought in big money. Sosman & Landis created elaborate displays to illustrate a variety of features and products at world fairs that ranged from miniature electric theaters to Indiana health resorts. These projects also provided an opportunity for scenic studios to produce massive panoramas and outdoor exhibits that exceeded any stage show, advertising their services on a grand scale. Some displays were extended beyond the fair dates. In 1894, many exhibits from Chicago’s 1893 Columbian Exposition were transported to the West Coast for California’s Midwinter Exposition.

The Panama-Pacific International Exposition, 1915.

The Panama-Pacific International Exposition was held in San Francisco, California, from Feb. 20, 1915 to December 4, 1915. The vast fair stretched along 2 ½ miles of the Pacific Ocean. The theme was to commemorate the completion of the Panama Canal, but is also provided California with an opportunity to share their recovery from the 1906 San Francisco earthquake and fire. Almost 80% of the city had been destroyed, but had recovered and rebuilt itself from the ashes. San Francisco also built a second city for the exposition, named the City of Jewels. Harbor View was selected and nearly a hundred earthquake shacks housing low-income residents were evicted to make way for the fairground. The homes were condemned by the Department of Health, all helping fair organizers plan for the event and clear the necessary space. Significant landscape changes occurred, including filling in waterfront marshland.

One of the fair highlights was a functional, five-acre scale model of the Panama Canal. A painted surround for the attraction depicted the whole canal-zone for thousands of miles. Visitors traveled around and listened to a lecture of the Panama Canal little phone headsets. Below the ride, miniature ships moved with electric mules towing them through small locks of real water.

18 million people visited the fair in 1915. Travel and communications were two popular subjects at this event. A telephone line was also established in New York City so that people across the continent could hear the Pacific Ocean. It was the first world’s fair to demonstrate a continental call. Railroad companies were big investors, featuring coast-to-coast travel and vacation destinations. They used the event to promote National Parks; with each railroad building massive exhibits that showcased the parks they serviced. Both the Union Pacific and Atchison, Topeka & Santa Fe built elaborate exhibits promoting scenic treasures. The AT&SF Topeka created a Grand Canyon exhibit spread out over five acres. Walter W. Burridge, close friend of Thomas G. Moses, designed a series of 100’ paintings depicting scenic marvels of the Grand Canyon for the exhibit. Although Burridge passed away mid project, Edgar Payne was later commissioned by the Santa Fe Railroad to provide the paintings of the southwest. It was this Panama-Pacific exhibit that greatly helped the Grand Canyon becoming a national park by 1919.

The Union Pacific’s exhibit of Yellowstone Park at the Panama-Pacific International Exposition, 1915.

An aerial view of the Union Pacific’s exhibit at the Panama-Pacific International Exposition, 1915. It was located in the Joy Zone of the Fair.

Map of the Zone at the Panama-Pacific International Exposition, 1915.

The entrance to the Grand Canyon exhibit in the Zone at the Panama-Pacific International Exposition, 1915.

Similarly, the Union Pacific built a massive four and-a-half acre replica of Yellowstone National Park, complete with working geysers spewing boiling water. There was a model of Old Faithful at the Old Faithful Inn, a venue that included a dining hall and auditorium. The Canadian Pacific’s Huntington was also on display at the fair, a feature contributed by the Southern Pacific Railroad.

A postcard of the Zone at the Panama-Pacific International Exposition, 1915.

The Grand Canyon attraction was in an amusement in the area called “The Joy Zone” at the fair. In the Zoe, concessions, exhibits and rides were gathered, with a price estimate of $3,500,000. That is today’s equivalent of over $89,000,000. It was the largest amusement park constructed at the time. Here is a great link to the Zone: https://www.nps.gov/goga/learn/historyculture/ppie-thezone.htm

For individual exhibits, here is the link to the Peoples Easy Guide of the Panama-Pacific International Exposition: http://www.books-about-california.com/Pages/People_Easy_Guide/Peoples_Easy_Guide_text.html

The Peoples Easy Guide the the Panama-Pacific International Exposition, 1915.

The guide sold for 10 cents and included a description of the various buildings and contents, a map of the exposition that indicates the best route to follow, illustrations of the principle buildings, and a complete description of attractions on the Zone.

In the end, the Zone was a financial failure, and many exhibitors were replaced mid-event. Without the support of wealthy corporate funders, such as the railways, many of the “living exhibits” failed. Both humans and animals from different countries were put on display for fair visitors to gawk at during the day, but these exhibits did not necessarily result in the necessary funding. Various groups struggled to remain open, with not all succeeding; the Samoans and Somalis were two of the groups returned home. Then as now, racism reared its ugly head in a variety of ways, demeaning those from different cultures. The Somalis were forcefully deported.

Novagems covered the Tower of Jewels at the Panama-Pacific International Exposition, 1915.

The iconic Tower of Jewels at the Panama-Pacific International Exposition, 1915.

The Panama-Pacific International Exposition fairgrounds at night, 1915.

The 435-feet high Tower of Jewels was the main architectural feature, covered with over 100,000 cut glass Novagems; jewels of Bavarian glass backed with mirrors. These ¾-inch to 2inch colored gems sparkled in the sunlight and marveled spectators, similar to what previous towers of electricity had accomplished at previous word fairs. This supported the name of “The Jewel City. “As with many world fairs, the millions of dollars spent on constructing an elaborate city of impressive building was only temporary. Most were torn down at the conclusion of the fair. The Palace of Fine Arts is the only building that has survived until today.

Other fair highlights included a playground for the children called Toyland. Even the Liberty bell, was brought from Philadelphia on a special flat car to the fair, complete with a grand procession. Stunt pilots did tricks over San Francisco Bay throughout the duration of the fair. The airplane was still the big thrill, but the pilot Beachey crashed and dies in San Francisco Bay. After honoring him in a public funeral, another pilot named Art Smith took his place. Smith flew both day and night. Under starlit skies, his attached flares to his plane and created a light show for evening visitors.

Stunt pilot Beachey flying over the Panama-Pacific International Exposition, 1915. He was replaced with Art Smith after his tragic crash.

Millions of people spent an enchanted summer in the City of Jewels, but it was really the end of an innocent era. The shadow of WWI fell over the City of Jewels and diminished some of its brilliance. Although the fair opened in February, by May the sinking of the RMS Lusitania by a German U-boat. This prompted many individuals to call for the closure of the fair. Nevertheless, the event continued despite increased hostilities in Europe. In the end, thirty elegant pavilions represented various countries, all lined up on the fair’s avenues, despite the deterioration of international relationships. The closing ceremonies included the lowering of the flag from the Tower of Jewels. Lights thrown on clouds of steam were gradually extinguished and the magic ended.

The scope of this event is really hard to imagine until you see film footage or photographs. Here is wonderful 23-minute film of the 1915 Fair if you want to step back in time: https://www.youtube.com/watch?v=OGXSkTOnw-A

Here is a shorter, silent movie that also shows original footage: https://www.youtube.com/watch?v=IQm6ttaHtcc

Tomorrow I will look in depth at the Santa Fe Railroad’s Grand Canyon exhibit initially designed by Walter W. Burridge, just prior to his passing.

To be continued…

Tales from a Scenic Artist and Scholar. Part 872 – The Indiana Building at the San Francisco World’s Fair, 1914

In 1914, Thomas G. Moses wrote, “Went from Fort Wayne to Indianapolis by trolley – a good ride. Saw Tom Taggert and Mr. O’Neill regarding a picture and built foreground, representing four famous health resorts of Indiana to go to San Francisco fair.”

Postcard of the Indiana State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Thomas Taggert (1856-1929) was an influential political figure and member of the Democratic National Committee. In 1877, he moved to Indianapolis where he became a financier, hotelier and politician. Taggert was elected auditor of Marion Country, Indiana from1886-1894, and later became mayor of Indianapolis from 1895-1901. When he left office in 1901, Taggert and a group of investors purchased French Lick Springs Hotel in Orange Country, Indiana. By 1905 Taggert bought out his partners’ interests and transformed it into a first-class spa and gambling resort. Taggert had a vested interested when meeting with Moses and Lieut. Gov. O’Neil about the “picture and built foreground, representing the four famous health resorts of Indiana.” His mineral springs resort was one of them.

On July 6, 1914, the “Daily Republican” announced, “Contracts for the erection of the Indiana building at the San Francisco fair were awarded in that city by Lieut. Gov. O’Neil and T. C. McReynolds who are members of the building committee of the commission” (Rushville, Indiana, page 1). The article continued, “The awards were made with West coast-builders are exceptionally favorable in prices, it is considered. Several Indiana firms were ready to enter bids had exorbitant process been demanded. The general contract was for $20,597; piling for $2,100; tile roofing for $1,200. Donations of material by Indiana manufacturers will affect a heavy saving for the state. The building is to be completed in six month time…While the Hoosier building will not have a gallery especially constructed for the display of finer arts, yet its design will permit an advantageous showing of the state’s achievements in this direction, while adding to the comfort, cheer and attractiveness of the rooms. The Commission is hopeful that state pride may prompt the support of such artists as whose production reflect credit on Indiana’s culture and accomplishment.”

Not all Indiana residents were in favor of the $75,000 appropriation for the Indiana Building. The “Princeton Daily Clarion,” argued, “The commissioners announce that of this amount, $35,000 has been spent for a building. Therefore, only $40,000 is left for the interior fittings and for traveling and hotel expenses. True, traveling is expensive. It is also pleasant, and the climate of California is said to be salubrious. An inkling of how the Indiana commission has mismanaged Indiana affairs thus far, at San Francisco, was given a special dispatch to the news from San Francisco a few weeks ago. Commissioner McReynolds, one of the members apparently desirous of giving the state all that is possible for the money, did not seemed to be pleased with the way work was proceeding. And now Lieutenant Governor O’Neil contemplates asking for the forthcoming legislature to make an additional appropriation for $60,000, or $75,000. For what? For interior decorations? Or for traveling expenses?” (Princeton, Indiana, 4 June 1914, page 2).

During World Fairs, states constructed elaborate buildings to feature products and tourism in each state. Many country’s had similar buildings with amazing exhibits. Thousands of dollars created ornate structures for fair visitors to experience, but ones that were temporary to the world fair. I am including postcards of a few state buildings for the Panama-Pacific Exposition of 1915 as it shows the scope of funds utilized on World Fair buildings.

Postcard of the San Francisco State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Postcard of the Iowa State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Postcard of the Texas State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Postcard of the Maryland State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Postcard of the New York State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Postcard of the Wisconsin State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Postcard of the North Dakota State Building at the Panama-Pacific Exposition in San Francisco, 1915.

Postcard of the Idaho State Building at the Panama-Pacific Exposition in San Francisco, 1915.

To be continued…