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Tales from a Scenic Artist and Scholar. Part 322 – Charles E. Porter, African-American Scenic Artist

Part 322: Charles E. Porter, African-American Scenic Artist

Before I was distracted by Daguerre’s chemical paintings, I was getting ready to complete my section on African-American scenic artists when another was brought to my attention. Gene Meier contacted me when I first mentioned Solomon E. White about an African-American panorama painter – C. E. Porter.

Charles E. Porter (1847-1923) worked on the cyclorama Niagara Falls for the Columbian Exposition. Meier shared information from a newspaper article, April 9, 1892 – the Freeman (Indianapolis, Indiana). It reported that C. E. Porter, an artist if Meridian, Conn., was working on the cyclorama of Niagara Falls that would be presented at the World’s Fair. Porter was also noted as the first “colored man” admitted to the Art Academy of New York and had studied two years in Paris. That was all he knew about C. E. Porter, so I decided to do a little digging.

First page Article in the Hartford Courant, “Charles E. Porter Paintings to be Auctioned” 9 Sept. 2012, page G1.

Second part of the article in the Hartford Courant, “Charles E. Porter Paintings to be Auctioned” 9 Sept. 2012, page G2.

Midway into my search, I encountered an article in the Hartford Courant, “Charles E. Porter Paintings to be Auctioned” (9 Sept. 2012, page G1-G2). It was an ideal story for “Antiques Roadshow”; a woman is urged by her mother to purchase some paintings at an estate sale by an unknown artist who turns out to be remarkable. Thirty years later, the paintings are positively identified as the work of C. E. Porter. Luckily for me, his life was briefly summarized to generate interest in the upcoming auction. Someone had really done their research, and the story helped me locate additional information. This article also reported that Porter was one of the first African-American artists to exhibit at the National Academy of Design.

Charles E. Porter, “Landscape with Grain Stacks.”

Here is what I discovered about C. E. Porter:

Porter was born in Hartford, Connecticut, and raised in the Rockville section of Vernon. The family was well connected to the New England abolitionist community, but exceedingly poor. Before reaching adulthood, he lost eight siblings due to childhood illnesses and war. Eight, I cannot imagine. Porter’s artistic talent was recognized by the local community at a young age, and he soon established a studio in Hartford. Porter gained the respect and admiration of many other, and much more well known, artists who lent their support over the years. One of his sponsors was Frederic Edwin Church. I was intrigued as Church has always been one of my personal favorite landscape artists. Then a second famous personality popped up in the story!

Mark Twain wrote a letter of recommendation for Porter to continue his studies at the Académie Julian in Paris. Wow. After studying abroad, Porter returned to the Hartford area where he established his residence at 23 Spruce St in Rockville. Near the top of Fox Hill, he had a studio at the summit.

As many artists, his fortunes slipped later in life and he ended up selling his paintings door-to-door in the town of Vernon. As many Vernon residents were hesitant to buy art from a minority, his friend Gustave A. Hoffman, a Bavarian artist, helped Porter sell his work. Hoffman (1869-1945) was a portrait painter, etcher, and lecturer. Born in Cottbus, Brandenburg, Germany, he studied at the Royal Academy in Munich before moving to America.

Sadly, Porter’s artwork was not always purchased, and on some occasions, he was forced to barter his artwork for food or clothes. Some historians have purported that when the community tired of trading goods for paintings, Porter was reduced to menial labor and had to cease painting for periods of time. Hildegard Cummings in “Charles Ethan Porter: African American Master of Still Life” (2007 exhibition at the New Britain Museum of American Art) wrote that “[Porter] was referred to as respectfully as Professor Porter and a disparagingly as Charles the Nigger.”

His tail continues as so many artists who never see fame in their lifetime. He sadly and slowly sank into obscurity until his death in 1923. Gradually losing his faculties, Porter continued to paint throughout his final years. I immediately got that mixed feeling of anger and helplessness. It never fails; extremely talented artists die penniless, only to have patrons crawl out of the woodwork and sell their art for exorbitant prices when they no longer need any care or financial support. Porter’s paintings now sell for the thousands and are included in collections at the Whitney in New York and the Smithsonian in Washington, D.C. In Connecticut, his work is part of the collections at the Wadsworth Museum of Art in Hartford, Florence Griswold Museum in Old Lyme, Lyman Allyn in New London, Connecticut Historical Society and the New Britain Museum of American Art.

Well, there is more to the story that came to light as I scanned newspaper databases. The Hartford Courant reported, “D. W. Tryon, the artist, has been sketching in the neighborhood of Rocky Hill for a couple of weeks, and C. E. Porter has been working with him.” (1 Aug 1881, page 2).

Article in the Hartford Courant about D. W. Tryon and C. E. Porter (1 Aug 1881, page 2).

This was Dwight W. Tryon (1849-1925) who was born in Hartford and raised on his grandparent’s farm in East Hartford. Tryon first sold his art in 1870, exhibiting at the National Academy of Design by 1873. Quick rise to fame, but he was also a white male. In 1876, Tryon auctioned all of his paintings to partially fund a trip to France with his wife where he enrolled at the atelier of Jacquesson de la Chevreuse and took classes at the École des Beaux-Arts. In addition to painting, Tryon was an art instructor at Smith College from 1886-1923. His personal papers are currently held at the Freer Gallery of Art and the Arthur M. Sackler Gallery in Washington, D.C. Charles Land Freer, founder of the Freer Art Gallery. Freer was a primary patron of Tryon.

In 1881 Porter prepared for his trip abroad and also auctioned off all of his studio collection (Hartford Courant, 25 April 1881, page 2). The article titled “Porter’s Paintings” reported, “The pictures, nearly one hundred in number, were painted with the strictest regard to artistic worth, from time to time during the past two or three years, and it is to satisfy a desire to acquire a finishing touch to his art education in Europe that Mr. Porter has decided to put them on sale at auction. The collection is quite varied in subjects and incudes some of his best efforts at fruit, flower, game, fish, interior and landscape painting. All the pictures have been elegantly framed by D. Vorce & Co. The sale will be held at the large studio in the Chesney building…”

Upon his return two years later, there was an art exhibition in Hartford of watercolors and oil paintings. The exhibition included not only Porter but also some very successful artists from the region (Hartford Courant, 16 Nov. 1883, page 2). The hope of this exhibit was to revive the Connecticut School of Design. I quickly scanned the names and found both Charles E. Porter and Dwight W. Tryon. Then I encountered a surprise – Mrs. Porter. It appears as though his wife was an artist too. I was unsuccessful with tracking down any of Mrs. C. E. Porter’s story or artwork. I finally managed to locate her married name in 1903 beyond a simple “Mrs.”

On January 13, 1903, the Pittsburgh Press posted the legal notification of the divorce between Charles E. Porter and Sallie G. Porter (page 15). I had to wonder if that was the beginning to his end.

To be continued…

Tales from a Scenic Artist and Scholar. Part 307 – Start Spreading the News, I’m Leaving Today

Start Spreading the News, I’m Leaving Today

Thomas G. Moses traveled to New York while working for David H. Hunt in 1894. The touring show was a production that replicated parts of the Midway Plaisance from the Columbian Exposition. In New York Moses met up with the actor and producer William Haworth (1860-1920). Haworth needed a scenic artist to design and paint the scenery for his new production “On the Mississippi.” Two years earlier, Moses, A. J. Rupert, Harry Vincent and Frank Peyraud had all worked together to create the settings for Haworth’s production “A Flag of Truce.” Moses was a well know commodity to Haworth. He closed the contract for $3,000, today’s equivalent of $83,000.

Poster for “On the Mississippi” by William Haworth, 1894-1895.

This was NOT a job secured through Sosman & Landis. Moses wrote that on his return to Chicago, he leased the frames at the Schiller Theatre where he immediately went to work on the project. The show later opened at the People’s Theatre on February 4, 1895, in New York and immediately went on tour across the country. “On the Mississippi” was advertised with ”a wonderful panorama of gorgeous spectacular effects” (Quad City Times, 27, Dec 1895, Page 1).

Advertisement for William Haworth’s “On the Mississippi,” painted by Thomas G. Moses in 1894.

It was another perfect opportunity for Moses to paint what he did best – landscapes. The production was set in the Walden Mountains of Tennessee. The action took place during the “villainous Reconstruction” period after the Civil War. The plot involved the Ku-Klux Klan and their attempts to execute an innocent man. Haworth played the leading role.

During this same time, Moses made another contract with Thomas Prior in Chicago. Prior was now the manager of the Schiller theatre. He offered Moses the position of scenic artist at his theatre to paint the weekly opera sets for $50.00 per week, the equivalent of approximately $1400. This was in addition to working for Sosman & Landis and painting the Haworth scenery. Prior had worked for Dr. F. Ziegfeld as the assistant manager of the Trocadero, before the venue promoted vaudeville acts and Ziegfeld Jr. took over. Prior was familiar with Moses and his painting from when he created scenery for the Trocadero.

Postcard of the Schiller Theatre in Chicago. Moses worked as scenic artist there starting in 1894.

Illustration of the Schiller Theatre in Chicago.

Architectural detail from the Schiller Theatre in Chicago.

Seating chart for the Schiller Theatre, later known as the Dearborn Theatre and Garrick Theatre, in Chicago.

Interior of the Schiller Theatre in Chicago.

The Schiller Theatre was in a 17-story building that opened in 1892. It was originally funded by German investors to be used for German-language operas and cultural events. The building was designed by Louis Sullivan and Dankmar Adler of the firm Adler & Sullivan for the German Opera Company and had a 1,300 seat house. It was briefly known as the Dearborn Theater from 1898 to 1903, until finally settling on the name Garrick Theater. The building was demolished in 1960 and replaced with a parking structure.

Photographs of the Schiller Theatre during demolition in 1960.Link to image: http://flavorwire.com/340210/fascinating-vintage-photos-of-beautiful-buildings-being-demolished/2

And this was the turning point for everything. Moses wrote “Sosman and Landis did not think I had given them a square deal. They thought that I had made so much money during the summer that I didn’t care to do any more contracts. To show me they were game, they gave me a contract for $1,500.00 to fit up the Masonic Temple Roof Garden. They didn’t want to let me go entirely. I pleased them on this work.”

One of the electric scenic theaters created by Thomas G. Moses in 1894 for the Masonic Temple Roof Top Garden space.

So, Moses was drumming up enough business for himself that he was now competition for Sosman & Landis. He was an expensive employee, but they need to keep him close so they offered the two electric scenic theatres that would grace the top of the Masonic Temple on Randolph and State Streets (see past installment # 264).

Each electric scenic theater was designed with a seating capacity of 75. The first theatre replicated the Columbian Exposition’s “Court of Honor” as viewed from the agricultural building, looking northwest. The second theatre featured “A Day in the Alps” from the Columbian Exposition’s Midway Plaisance, presenting an alpine scene that transformed from dawn to dusk. Moses used the Academy of Music’s paint frames to create another “Day in the Alps” show (for more information on this production, see installments # 262-265).

Regardless of the Masonic roof top scenery offer, Moses was getting restless. Some of it was financially based, as he knew of potential profits just out of his reach. Until this point, he was working for Sosman & Landis, but also received much of their subcontracted work such as the Temple roof theaters. I think the creation of the west side studio, or Sosman & Landis annex studio, was to kill two birds with one stone.

The first was to ensure that Moses remained associated with Soman & Landis; having all work funnel through them. This prevented Moses from becoming even further competition. He worked only so many days on Sosman & Landis projects each week. The remainder of his time was spent on subcontracted projects in the annex studio or elsewhere. I believe that Moses began to realize this situation was much more beneficial to Sosman & Landis than himself. He would leave the studio by the end of 1894 and strike out on his own – again.

To be continued…

On a separate (and artistic) note:

The front curtain created for the Schiller Theatre used a unique design that I have only encountered for Scottish Rite theatre’s under Thomas G. Moses’ supervision as head of the paint studio. It used decorative slits, such as those still hanging at the Tucson and Grand Forks Scottish Rite Theaters, as well as the one remaining at the City of Winona’s Masonic Theatre.

Detail of the Schiller Theatre front curtain had a similar design to many front curtains used in Scottish Rite Theaters during the early-twentieth century.

Front Curtain for the Winona Masonic Theatre, notice fabric slits and decoration that is similar to the Schiller Theatre.

Front Curtain for the Tucson Scottish Rite Theatre, notice fabric slits and decoration that is similar to the Schiller Theatre.

Front Curtain for the Grand Forks Scottish Rite Theatre, notice fabric slits and decoration that is similar to the Schiller Theatre.

Detail from the front curtain at the Tucson Scottish Rite front curtain.

Detail from the front curtain at the Grand Forks Scottish Rite front curtain.

Tales from a Scenic Artist and Scholar. Part 305 – After the Party’s Over

Part 305: After the Party’s Over

Sosman, Landis & Hunt also managed the Grand Opera House in Indianapolis and the Grand Opera Stock Company there. This was at the same time that they ran the Pike Theater in Cincinnati. By 1900 the firm was contemplating a move to Detroit due to a noticeable reduction in patronage at their productions in Indianapolis. (Indianapolis News 21 Nov. 1900, page 8). The Indianapolis Journal commented on the characteristics of the Grand Stock Company (23 Nov. 1900, pg. 3) reporting that the Grand Opera House “had a fixed payroll of a very large aggregate amount, most of which is spent within the limits of Indianapolis.” In 1900 the Grand Opera Stock Company was getting ready to present a revival of “Trilby,” “Camille,” “The Social Highwayman,” and “The Girl With the Auburn Hair.”

Sosman, Landis & Hunt also managed the Grand Opera House in Indianapolis and the Grand Opera Stock Company. The Grand Opera House later became the New Grand, a vaudeville house.

The Grand Opera was initially under the management of “Dickson and Talbott.” George A. Dickson and Henry M. Talbott rented the playhouse to the new theatrical management company of Sosman, Landis & Hunt in 1896. This was two years after their theatrical management company began in Cincinnati. They would continue to manage the Grand Opera and stock company until 1901. From 1900-1902, weekly receipts began to plummet, forcing a new company to take over the venue. It became a vaudeville house under the next management team of Anderson and Ziegler in 1901. Anderson and Ziegler were credited with introducing vaudeville in Indianapolis during 1900, the same time that profits at the Grand Opera House started to diminish (Indianapolis Star 26 May 1916, page 11). The Grand Opera House would later be known as one of B. F. Keith’s venues too.

Fire map depicting where the Grand Opera House in Indianapolis was located, later Keith’s Grand Opera House.

What I find interesting about the Sosman, Landis & Hunt business venture is the timing. Business slows after the World Fair of 1893 and they are left with two studios and a huge staff of artists. They take elements of the Midway and produce a touring show that they manage. In addition to managing the Masonic Temple Roof scenic electric theaters, they also start to invest in stock companies. This is on top of their involvement with the American Reflector Company, the manufacture of theatrical rigging and stage hardware, as well other investments. It appears that the significant profits made during the fair were invested in other business ventures. None of the wealth amassed during 1893 trickled down to their employees and this caused many of the artists to leave the following year, including Thomas G. Moses. I am sure that after all of their had work, they felt slighted when asked to take a pay cut after such a successful year.

At the beginning of 1893, Thomas G. Moses wrote, “The big Fair progressing nicely and a world of work for us in sight.” That was not the case after the close of the fair. By the end of 1893, Moses wrote about business after returning from a trip to New York, “On my return home, I found business very bad, as we all thought it would be at the close of the Fair.” Moses further wrote about his situation, commenting, “There were no more contracts and all I could see was a salary of $10.00 per day.” That is today’s equivalent of approximately $250 a day.

$10.00 a day was the same amount offered to Moses by David Hunt to replicate a few scenes from the Columbian Exposition’s Midway Plaisance, including the electric theatre. Hunt also wanted him to paint at the Pike Theater. In 1894, Thomas G. Moses went to work for David H. Hunt as scenes from the Columbian Exposition’s Midway toured the country. Highlights from the fair were appearing all over in the comfort of local venues.

Scene of the Midway Plaisance at the Columbian Exposition.

Moses traveled to Philadelphia to install and open Hunt’s Midway show on February 15, 1894. The Buffalo Commercial (Buffalo, New York) reported “The Famous Midway” was in town. A “very realistic exhibition” was on display at the 74^th regiment armory. Hunt was also the manager of the Midway Plaisance Company in addition to starting his business venture with Sosman & Landis. The article continued that those who went to the Columbian Exposition and attended the Midway “were pleased to note that an excellent reproduction on a much larger scale than might have been expected had been made, and they were well pleased with what they saw” on February 8, 1894 (page 10). Scenes included the Chinese Theatre, Dahomey village, Indian village, German village, the Turkish Theatre Hagenbeck’s animal show, the Streets of Cairo, and Old Vienna. Other scenes, such as the Ferris Wheel” were included in the distance. The article commented that the scenery was painted “so faithfully that you believe for a moment that it is the real thing. In short you have a picture of the Midway as you might have seen it in Chicago by looking through an inverted opera glass.”

Moses next traveled with the show to install it at the Madison Square Garden in March of 1894. Moses wrote, “We got the whole show up in a day, including the Electric Theatre.” He continued that they “opened to big business.” Yet he saw none of the profits and continued to work for $10 a day, while traveling with large expenses.

David H. Hunt of Sosman, Landis & Hunt, theatrical management company. Image from 1903.

Of his time spent away from Chicago with Hunt, Moses write, “Sosman and Landis didn’t like my being with Hunt as they felt I was slipping away again, which I did.” This was a turning point and we see things come full circle for Moses. Throughout his entire career he impressed people. He impressed them with his artistry, speed, and personality. Wherever he went, jobs magically appeared before him and whatever studio he was working for. It was as if Moses were one big magnet, constantly drawing future projects to his doorstep. Why not leave the studio and ensure himself a share of the profits?

To be continued…

Tales from a Scenic Artist and Scholar. Part 301 – Thomas G. Moses and Fred McGreer, Scenic Artists

Moses wrote extensively about the Columbian Exposition in his typed manuscript. He commented that the “Great Fair” opened with bad weather, but soon changed, and there wasn’t rain for 106 days. Moses recalled, “We continued to get work at the Fair, away up into July.”

Portrait of Fred McGreer in the Cincinnati Enquirer, 1900.

On June 1, 1893, work was still plentiful and Moses hired Fred McGreer at the annex theatre on the West Side. Moses recorded that McGreer “proved to be a good man.” It was McGreer’s speed that was the key for Moses’ approval. Moses was also known for his speed, having written in 1881, “The others were able to draw more, because they were better in the artistic end, but I had it over them when it came to speed.” McGreer was also fast and built his reputation on the rapidity of his painting.

Very little is known of McGreer beyond a few articles that mention his artistic speed and skill as a scenic artist. The first time Fred McGreer appears in print is in 1887. He was reported as providing “an hour’s divertissement” in rapid oil painting at the Continental Council No. 55 under National Union section of the Inter Ocean (10 April 1887, page 20).

Advertisement for Fred McGreer’s painting in the Chicago Tribune, 28 Nov 1888, page 8.

A year later, there is an advertisement in the Chicago Tribune about a free art exhibition by Fred McGreer at the store James Wilde Jr. & Co. on the corner of State and Madison Streets. (28 Nov 1888, page 8). It reported that McGreer was “the most Wonderful Artist in the World – the rapidity of his work is marvelous. Hundreds of thousands of people visited him at the New Orleans Exposition.” Every afternoon between 1 and 5pm, McGreer was exhibiting his great talent in the James Wilde Jr. & Co. Boys’ and Children’s Department. He was advertised as completing an 8×12 oil painting in ten minutes while customers waited. If customers spent more than $10 in the store, they could select any painting free of charge as a Christmas Gift.

By August 1888, McGreer partnered with his cousin Ernest Cooke to exhibit their rapid painting skills. They were featured at E. W. Viall’s store on Main Street in Oshkosh, Wisconsin. The two artists showed how fast paintings could be created and also gave lessons. Their art classes numbered 20 students and were offered in Elgin and Janesville, Illinois. I chuckled as the advertisement noted “Ladies are specially invited to the Entertainment; seats will be kept for them.”

Advertisement of Fred McGreer painting with his cousin Ernest Cook in Oshkosh, Wisconsin.

Four years later, McGreer is still exhibiting art in Chicago at A. H. Abbott & Co.’s with several other local artists, including Norwegian artist Svend Svendson and Adele Ross. McGreer exhibited two landscapes: “The Grove” and “A Scene Near Allegheny, Pa.” (Chicago Tribune, 22 May 1892, page 40). It is around this time that Moses hires McGreer. He remains with Moses until 1897. That year, Moses writes, “Early fall found Mr. Landis and Mr. Hunt camped on my trail; offering me the Pyke Theatre Stock Company work at Cincinnati for the season. They agreed to send down enough drops from the studio to complete my contract. I accepted $75.00 per week and went, taking McGreer and Loitz from Chicago.” It appears as if McGreer never left Cincinnati and soon became the scenic artist for the Pike Theatre.” By 1900, the Cincinnati Enquirer did an entire article on Fred McGreer, the scenic artist. He was still successfully employed at the Pike.

To be continued…

Tales from a Scenic Artist and Scholar. Part 299 – Thomas G. Moses’ Float for Chicago Day at the Columbian Exposition

A photograph of activities surrounding Dedication Day for the Columbian Exposition.

There were many parades held in conjunction with the Columbian Exposition. One of the first parades accompanied the dedication ceremonies for the Columbian Exposition World’s Fair in Chicago on October 20-21, 1892. Even though the fairgrounds would not be open to the public until May 1, 1893, approximately 75,000 people participated in the event, representing a variety of groups and organizations. Some of the participants included the Independent Order of Foresters (10,000 men), Italian Democratic Club (500 men), Grecian Brotherhood Association (300 men), Patriotic Order of Sons of America (8,000 men), Chicago Turners Society (2,500 men), Croatian Benevolent Society and Polish Societies (5,000 men), Swedish and Scandinavian Societies (10,000 men), Ancient Order of Hibernians (2,000 men), Catholic Knights of America (1,000 men), and many others.

But there was anther event with a parade that surpassed this – Chicago Day.

Poster for Chicago Day at the Columbian Exposition on October 9, 1893.

Illinois Governor John P. Altgeld asked the state’s citizens to observe Chicago Day on October 9, 1893. The day marked the twenty-second anniversary Chicago’s great fire. Newspapers published Altgeld’s proclamation in its entirety. He wrote, “In the short time which has elapsed since that day the people of the city have not only rebuilt it on a scale of magnificence and grandeur which astonishes the world, but they have carried most of the burden and been moving and directing force in creating that great White City by the lake is attracting the nations of the earth to our gates. It has been decided to make October 9 Chicago day at the World’s Columbian Exposition and to hold the anniversary celebration there” (Chicago Tribune 22 Sept., 1893, page 5).

The Chicago Tribune further reported there would also be a “brilliant pageant” with elaborate floats showing the “ history of a great city from obscurity and ruin to celebrity and affluence” in the article “As Victor Over Fire, Proud Chicago Burns Living Tableaux into the Night” (10 Oct 1893, page 3).

One of the Chicago Day floats for the Night Pageant on October 9, 1893.

Thomas G. Moses recorded his working on the wagons for the Night Pageant, including the Thomas Edison float. He wrote, “I had a number of floats to do for Chicago day. I shall never forget it. We had everything ready to go when the dragon on the Edison float broke and we had to fix it, and by the time we got in line again, the crowd had got in between the floats. A howling mob of 750,000 people – everyone happy and tired, and what a time the trains had to get the mob home.” The parade was interrupted half way through, causing great chaos as the second half frantically attempted to catch up with the first half.

The Edison Float that Thomas G. Moses helped to create for the parade.

Moses was referring to the wagon designed for General Electric Company that contained over 3,500 electric lights. During February of 1892 the Edison Company had merged with General Electric. Sosman & Landis were very aware of ample opportunities provided by the ever-advancing field of lighting technology. This was highlighted by the fact that the Western Electric Manufacturing Company was across the street from their scenic studio on Clinton Street.

The Western Electric Manufacturing Building on Clinton Street in Chicago.

They developed the electric scenic theatre at the fair and later created two electric scenic theatres for the roof top garden on top of the Masonic Temple. In 1893, Perry Landis was one of the three incorporators for the American Reflector & Lighting Company. His scenic studio partner Joseph S. Sosman was an investor. Sosman and Landis were deeply involved in the use of electric light for applications beyond the mere illumination of theaters. It was natural that their scenic studio would embrace the new technology and create an illuminated pageant wagon for Chicago Day. The Edison Float was a perfect opportunity.

Chicago Day was a massive event, one that the newspapers covered weeks in advance. The committees, participants and designs were presented in detail. Various groups and organizations met and presented their intended floats to the public. They were generating excitement for the big day. When evening rolled around on Chicago Day, buildings along the parade route tuned on their light, illuminated pageant wagons rolled down the streets, and fireworks completed the evening.

Newspapers reported in detail how various companies would show their support on Chicago Day as part of the build up to the event. The Chicago Tribune reported on “cordial expressions of support,” such as that from the Chicago Opera House. David Henderson, manager of the Chicago Opera-House, placed the theater’s wardrobe that was not in use at the disposal of the Chicago Day Committee. Other businesses expressed their support by decorating buildings, giving the employees a holiday, or offering employees free tickets to attend the fair if their doors remained open on October 9.

The admission numbers for the Columbian Exposition reported for Chicago Day reached 713,646 with total attendance for the day at 751,026. Chicago Day was one of four days during the duration of the World’s Fair when attendance exceeded 300,000. In 1893, Benjamin Cummins Truman wrote about the event, reporting “there were parades by military and other organizations during the day and a procession of floats and fire-works at night – the latter surpassing anything ever before attempted in the way of pyrotechnic effects” (History of the World’s Fair Being a Complete and Authentic Description of the Columbian Exposition, 1893, page 597). What an amazing event to not only attend, but also work as a scenic studio employee.

Inside of the Electrical Building at the Columbian Exposition in 1893.

To be continued…

Tales from a Scenic Artist and Scholar. Part 294 – The Native Sons of the Golden West’s Drop Curtain

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.

The California State Building at the 1893 Columbian Exposition.

Floor plan of the California State Building at the Columbian Exposition, 1893.

James D. Phelan was one of the California World’s Fair Commissioners in 1893. Later, he would become the mayor of San Francisco (1897-1902) and elected to the US Senate (1915-1921).

James Duval Phelan (1861-1930). Photograph from 1910.

He purchased a 20’ x 30’ painting from the California State Building after the fair. He intended to use it as the new drop curtain at the Native Sons of the Golden West’s Hall. They were constructing a new building in San Francisco and Phelan was the association’s president.

Unfortunately, the “handsome new building on Mason street, between Post and Geary” would never receive his donation.

NSGW Hall before the 1906 San Francisco earthquake.

NSGW Hall in San Francisco, California, constructed in 1911.

The new NSGW Hall was a four-story structure. The main meeting room was on the main floor and meeting rooms were situated on the other stories; fifteen rooms were used by the Native Sons and five rooms used by the Native Daughters. The Marine Engineers, Knights of the Golden Eagle and letter carriers also met in the building. The hall was intended for large meetings, as well as balls and entertainments. The stage in the main assembly room included “a handsome new drop-curtain and scenery for the entertainments,” according to the San Francisco Call (Volume 79, No. 71, 9 February 1896). But the drop curtain was not the one that Phelan originally intended for the opening of the building.

Interior of the California State Building at the Columbian Exposition. The mural that James D. Phelan purchased is likely the one immediately behind the statue.

Detail of the murals in the California State Building at the Columbian Exposition. The mural that James D. Phelan purchased is likely the one immediately behind the statue.

The San Francisco Call from January 10, 1896, included the article “A Fine Painting Spoiled” (page 8). The original mural measured 20’ high by 30’ wide and was produced by Thaddeau Welch, a California artist, for the California State Building at the Columbian Exposition. The article reported that the subject was “Golden Gate as Viewed from Goat Island” and had “attracted much attention at the World’s Fair,” costing Phelan $3,000 to procure.

The article continued, “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.” A scantling is a piece of timber of relatively slight width and thickness, such as a stud or rafter in a house frame.

I chuckled as I read this. The end results from the actions of ignorant people who don’t understand the proper handling techniques for a large painting. I suspect that, like many wall murals, it was constructed of oil paint and heavy canvas. This would have also been the common medium for panorama studio artists anyway. I doubt that they would have used the lighter weight distemper paint that was commonly used for theatre drops, especially as the painting wasn’t intended as a theatre backdrop.

That would also explain the excessive cost of the mural – $3,000! A drop curtain created with dry pigment and diluted hide glue in 1893 would have cost a fraction of that amount. At the beginning of the twentieth century, a backdrop typically ranged between $150 to $300. This makes me think that Phelan was paying for the artistic provenance of the piece.

I also believe that Phelan simply not understand the physical demands of a drop curtain, or how they were constructed. He probably thought – “Hey! That painting is about the same size as a theatre drop! We will need a new drop in the NSGW Hall and it even depicts San Francisco!” This is where I need to stop and explain something, a common assumption that continues until this day. Many people believe that historical drops are created with oil paints. It is a common misperception that I encounter quite often. It is understandable as these individuals simply don’t have the knowledge to understand that oil paint is often too thick and shiny for stage applications.

Oil paint for panoramas was different as they were lit with a diffused lighting source and not stage lights. Therefore panoramas were not subject to the same rules as theatre drops. The same principle works for the use of oils in fine art and murals; they are not subject to the harsh glare of stage lights. For this reason alone, the painting form the California State building that was purchased by Phelan would have been a disappointment.

Piles of dry pigment surrounding granulated hide glue.

It is also possible that the painting as a drop curtain would have also failed due to the thickness of oil paint if used as a roll drop. There is nothing to suggest that the four-story NSGW Hall had a fly system to raise and lower drops. Like most halls, the stage would have used roll drops. Roll drops really necessitate the use of dry pigment and diluted hide glue as the binder. This distemper paint, unlike oil paint, allows the fabric to remain flexible. The oil painting would crack. This also brings us to the article reporting that the painting cracked. This would not have been a disaster if the composition were produced with water-based paints, as they are easily reconstituted. With historical backdrops, cracked paint can easily be repaired with artful blending. That is not the case with cracks in oil paintings.

Then the article further reveals, “The package has been at Mr. Phelan’s home since its arrival two years ago. It was intended to open the building on the 26^th inst. And the loss of the drop curtain is a sad blow to those interested. Efforts will be made to see if it can artistically be retouched and pressed out smooth again.” It is unlikely that the oil painting was successfully “pressed” or “retouched.” The years in storage in possibly less-than-ideal conditions took its toll. Oil paintings don’t easily recover from creases and stretching. When wrinkles and cracks appear in distemper painting, such as theatre scenery, they are easily repaired and touched up.

The public perception is often that “anyone” can handle and move a big painting, such as a theatre backdrop. In reality, “anyone” can’t. You really have to know what you’re doing.

To be continued…

Tales from a Scenic Artist and Scholar. Part 293 – Painted Scenery for the State Buildings at the Columbian Exposition

Thomas G. Moses painted scenery for the Kansas State Building at the Columbian Exposition. He created a painted panorama scene depicting the state’s landscape that wrapped around the top of the rotunda.

Painted panorama in Kansas State Building by Thomas G. Moses in 1893 for the Columbian Exposition.

Interior photograph of Kansas State Building with top painted panorama by Thomas G. Moses in 1893 for the Columbian Exposition.

The world fair was open from May 1 to October 30, 1893; 179 days to the public, including all Sundays, except 4 that were reserved for special events (May 7, May 14, May 21, and July 23). 21,480,140 people were recorded to have attended the event over the course of six months. The fairgrounds covered 686.1 acres of what is now Chicago’s Jackson Park.

International participants included fifty nations and 26 colonies. In additional to international displays, there were buildings constructed to showcase the major resources of U. S. States and its joint territories, spending $6,200,000 on their exhibits, today’s equivalent of $160,685,377.00. The Kansas State Building was one of the first State Buildings to be completed, and the first to be dedicated.

Illustration of Kansas State Building at the 1893 World Fair.

Photograph of the Kansas State Building at the 1893 World Fair.

Stereoscope card of the 1893 Kansas State Building in Chicago for the Columbian Exposition.

Other State Buildings included Arkansas, Iowa, Ohio, California, Pennsylvania, Kentucky, South Dakota, Connecticut, Louisiana, Colorado, Maine, Massachusetts, Texas, Delaware, Maryland, Utah, Michigan, Florida, Minnesota, Virginia, Missouri, West Virginia, Montana, Vermont, New York, Wisconsin, New Hampshire, Washington, New Jersey, Idaho, Nebraska, Illinois, North Dakota, and Indiana.

Interior decoration in the Illinois State Building for the Columbian Exposition in 1893.

Seymour Davis, of Topeka, was the architect of the Kansas State Building, costing nearly $30,000 to construct. The structure was made entirely of materials from Kansas and decorated with the state’s native grains. The bas-reliefs on the exterior tower depicted scenes when the Kansas when admitted into the Union in 1861. The building used a cruciform plan, measuring 135 feet by 140 feet. There were four flights of stairs that lead to the second floor with rooms that included a woman’s exhibit, in addition to parlors for men and women. Various sources reported that the Kansas State Building stood out as “a wonderful shining example of progress and independence.”

Interestingly, Gene Meier recently sent information pertaining to the California State Building at the Columbian Exposition. It is also worthwhile to look at the painted decoration from another state building to provide context for Moses’ own painted project. The California State Building was massive compared to the Kansas State Building.

Meier’s research shows that Reed & Gross Panorama Company of Chicago created several large canvases for the exhibit building, located on the north and east walls of the gallery. Howard H. Gross had held business contacts in California since the 1880s and it was understandable that he would be a major contender for the contract. Gross also worked with many of the Moses’ contemporaries and close friends, such as scenic artists Peyraud and Vincent. Again, lots of work and artists that switched studios like their socks.

Howard H. Gross, as previously mentioned in installment #274, was the president of the Chicago Fire Cyclorama Company and managed the attraction that was on display during the world fair. He had also been involved in the Gettysburg Panorama. Reed & Gross Panorama Company created large scale paintings with compositions for the California State Building 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.

What is interesting in the articles and summary that Meier sent mentioned that one of the painted panels was repurposed a few years after the fair. The plan was to install a painting from California Building into another venue. It gives us a glimpse into an ignorant investor’s idea to transfer a large-scale mural into a backdrop for the stage. J. D. Phelan was one of the California World’s Fair Commissioners in 1893. He purchased a painting from the California State Building after the fair that he intended to present as a drop curtain for the Native Sons of the Golden West. Their hall had a stage. This was another fraternity, like the Freemasons, or the National Grange of the Order of Patrons of Husbandry, who incorporated a stage into many of their meeting spaces. N.S.G.W. was founded on July 11, 1875 by Gen. A. M. Winn and others in San Francisco for the payment of sick and death benefits to its members. Limited to Californians, membership was recorded at 9,500 strong in 1899. It is still in existence today.

Native Sons of the Golden West Hall in Pescadero, California.

Native Sons of the Golden West had halls like the Freemasons, Odd Fellows and Grange. As many fraternal spaces, some NSGW Halls had theater stages in their meeting facilities.

I believe that Phelan’s basic intent was to transform a large-scale oil painting into a roll drop for the stage. This is a really bad idea for so many reasons, reasons that I will cover tomorrow. Even if the painting had not been ruined during transport and storage, it was unlikely that this would have been successful in its new locale. It might have seemed like a good idea at the time, but destined to fail as Phelan was unfamiliar with the differences between the two artistic mediums and what was either appropriate or successful for the stage.

To be continued…

Tales from a Scenic Artist and Scholar. Part 274 – The Chicago Fire Cyclorama

Advertisement for the the Chicago Fire Panorama posted at Chicagology: https://chicagology.com/chicago-fire/fire031/

There were other cycloramas on display during the 1893 Columbian Exposition besides the Volcano of Kilauea. Gene Meier, 19^th century American panorama specialist, listed them as follows: Gettysburg, Jerusalem of the Day of Crucifixion, Chicago Fire, Bernese Oberland, Volcano of Kilauea, and Battle of Chattanooga.

Program for “Jerusalem on the Day of the Crucifixion,” 1893.

The Chicago Fire cyclorama was a similar in size to the Volcano of Kilauea cyclorama, and measured approximately 50 feet high by 400 feet long. A reproduction of the 1871 great fire was displayed in a building on Michigan Avenue, between Madison and Monroe Streets. Howard H. Gross managed the attraction and was President of the Chicago Fire Cyclorama Company. Ticket prices were 30 cents per adult and 25 cents per child. The cyclorama was open in the day and evening.

Advertisements promised a “marvelous scene of Chicago while burning” with 20,000 square feet of canvas and numerous set pieces. The September 28, 1892, issue of the “Fort Worth Daily Gazette” reported, “thousands of acres of red hot ruins” and “thousands more a sea of flame.” Some of the painted compositions included Burning of the Court-House, Panic at the Rush Street Bridge, Escaping to the River, and Burning of the Old United States Marine Hospital. The attraction was created at an estimated expense of $250,000. Eyewitness accounts promoted this “most wonderful creation of art” with “thrilling scenes of burning Chicago” presented “truthfully and with a degree of realism impossible to conceive” (Chicago Tribune, October 20, 1893)

The details of the exhibit and depiction of the Great Fire, however, were under scrutiny from the day it opened to the public. An article on May 22, 1892 in the Chicago Tribune defended the careful researched process to maintain accuracy of the events that occurred in 1871 (page 39). In an article titled, “How People See the Same Thing Differently,” manager Gross stated, “I think the picture is as accurate as any that will ever be made. But what a time it took to get the facts and exact location in some instances, and other data necessary to make the work so accurate that those who saw the fire would agree with the reproduction!” Gross continued, “But with every human endeavor to attain this result, it is strange, interesting, and sometimes sad to overhear some of the old settlers who, viewing the work, begin to disagree about the details. And so it was in the gathering of facts for the painting.”

The example that Gross used during the exhaustive research prior to the design of the model was contacting the proprietor of a Lake Street business that caught fire. The proprietor explained that he knew the building caught on fire at 10am as he was just coming down to the business. Yet the bookkeeper arrived at 8am and explained that the fire had started two hours earlier. Disputing both reports was the man in charge of the building who reported that the structure caught on fire at 3am. Gross explained that this was the case with most eyewitness accounts that told drastically different versions of the same story. They had to select only one story to illustrate. During the design of the painting, over fifty individuals all swore that they witnessed the fire from its inception and described their experience to Gross and his stenographer. In the end, 1,300 eye witnesses accounts were collected during the design process. Gross summed up the inaccuracies stating, “The discrepancy or difference reminds me that the late Gen. Crook once said that a hundred Indians (or any number), would see an occurrence and each would describe it alike, but no two white men could do it.”

The Chicago Fire attraction was on display for the majority of 1892 and remained throughout the duration of the Columbian Exposition in 1893. The exhibit finally closed on October 10, 1893. An article posted in Chicagology noted that the after the attraction closed, the canvas was stored in a warehouse on South Indiana Avenue and eventually sold to a junk dealer for only $2.00 in 1913. According to Meier, Gross wanted to give the Chicago Fire Cyclcorama to the City of Chicago, provided Chicago Fire Cyclorama and the original Battle of Gettysburg (made in Brussels by Paul Philippoteaux) parked in his front yard at 600 Indiana Avenue until Gettysburg was sold for $1 in 1910 and CHICAGO FIRE was sold for $2 in 1913.

The only item that remains of the cyclorama is the original 1/10 scale design. The Chicagology article continued to report that this design was ,“recently discovered sitting, uncatalogued, in the Chicago History Museum archives. The painting, measured four feet high by forty feet long.” The October 19, 1892, “Inter Ocean” article verified the use of this design, reporting that the Chicago Fire Cyclorama was “made from photos and original sketches” (page 7).

Detail of 4′ x 40′ scale design for the the Chicago Fire Panorama posted at Chicagology: https://chicagology.com/chicago-fire/fire031/

Michael Kutzer and Gene Meier added information about the Chicago Fire cyclorama that was posted in Chicagology. I introduced Meier in yesterday’s post, but Kutzer also specializes in the same subject matter, specifically the F. W. Heine Diaries and panorama artists in Milwaukee. Meiers and Kutzer revealed that in November 1889 F. W. Heine was asked by a Mr.Van Valkenburgh if he would like to make the composition of the Chicago Fire for the rotunda building on Michigan between Madison and Monroe in Chicago that housed the “Battle of Shiloh” painting. The Chicago Fire cyclorama was painted by scenic artists Lorenz and Wilhelmi of Heine’s studio in Milwaukee.

To place Heine in context, an article titled “Fine Art in Milwaukee” credited F. W. Heine as “the celebrated battle painter from Leipzig” (The Nebraska State Journal, March 2, 1890). Heine was listed as one of the many European artists working for the American Panorama Company in Milwaukee. The article further reported “each one bore a high reputation in his own country.” There will be more about this Milwaukee panorama company in tomorrow’s post.

To be continued…

Here is the link to the Chicago Fire Panorama at Chicagology: https://chicagology.com/chicago-fire/fire031/

Tales from a Scenic Artist and Scholar. Part 273 – The Palace of Pele, Goddess of Fire

A depiction of Pele that was posted on a Pinterest Wall. Artist unknown.

The Volcano of Kilauea cyclorama was part of the Midway Plaisance at the Columbian Exposition in 1893. Placed between the Ferris Wheel and the Chinese Theatre, the polygonal-shaped building was 140 feet in diameter by 60 feet high. Exterior signs advertised “Hawaii, Palace of Pele, Burning Lakes of Kilauea” and “Greatest Volcano on Earth in Action.” Other advertisements promised visitors a painted that depicted a crater “9 Miles Around. 1000 Feet Deep.” At the entrance to the attraction was a statue of “Pele Goddess of Fire.”

Statue over entrance of cyclorama building in the Midway Plaisance of the Columbian Exposition, 1893.

Cyclorama building at Columbian Exposition. This attraction was designed and painted by Walter A. Burridge.

There are various legends that tell of how Pele came to live in the volcano of Kiluaea on the big island of Hawai’i. Many western versions describe the goddess as fiery-tempered, passionate and jealous. She is presented as a disobedient daughter, angry sister, or spurned lover. The story of Pele at the Columbian Exposition described her hurling fire-brands into the sea, aiming at a native prince who wronged her and was hiding in the ocean.

I share another story of Pele; one that I read on a text panel at a Lahaina visitor’s center museum in Maui. It is told that Pele journeyed across the ocean from a distant place called Kahiki. She traveled across with other members from her family. As with Pele, each embodied a force of nature. Pele employed her diving rod, Pa’oa, to survey each island’s capacity to provide her with a home. She dug up great craters and shaped each island into its present form with fire and lava. Pele ended her epic journey on Hawai’i, the largest and southernmost island of the Hawaiian Archipelago. There she still dwells in the fire pit of Kilauea.

Walter Burridge’s cyclorama for the Columbian Exposition was reported as 412 feet long and 54 feet high. It presented a view of Pele’s fiery palace from the center of the crater. The actual crater was a huge depression that measured about three miles by two miles. Halemaumau Crater at the summit of Kilauea Volcano is also referred to as the Navel of the World – Ka Piko o ka Honua. There, many believe that the gods began creation.

Visitors to this Midway attraction were positioned in the center of the crater and gazed around at “bubbling and seething pools and lakes of fire.” The “Handbook of the World’s Columbian Exposition” (Rand McNally & Co., 1893) describes the scene as “seething pools and lakes and fire; tall jagged crags; toppling masses of rocks; outpourings of lava – some flowing along in hissing, smoking streams, and some cooled in every fantastic shape imaginable.”

Sound effects accompanied the painted exhibit. Dull rumblings, distant thunder, and a sudden roar echoed throughout the display. The floor also moved to simulate the volcanic activity as the earth shook and labored near the crater. In addition to the sound and movement, pyrotechnic displays and colored lights added a reality to the setting. In the background of the cyclorama were the snowcapped peaks of Mauna Loa and Mauna Kea at their lofty elevation of 15,000 feet high. Opposite was the vast expanse, was the Pacific ocean and moonlit waves.

Three-dimensional foregrounds were carefully blended into the two-dimensional paintings, making an almost imperceptible transition to provide a vast depth to the scenic illusion. Fragments of rocky outcrops transitioned into painted cliffs. Painted figures and scale “dummies” were placed throughout the landscape. A live actor added an additional element of realism to the scenic illusion; climbing the cliffs that rimmed the scene, he chanted an invocation to the volcano goddess Pele. The attraction successfully marketed Lorrin A. Thurston’s homeland and his recent acquisition of the Volcano House on the northeastern side of the crater.

To be continued…

Tales from a Scenic Artist and Scholar. Part 272 – Walter Burridge and The Volcano House

Theater history isn’t always recorded by those directly involved in the production. There are written accounts by individuals who were in the audience or reviewing the performance. The writings of Thomas G. Moses are unique as we see the world of theatre through the eyes of a scenic artist and designer. When perusing through all of the documents sent to me by Gene Meier, fellow historian who is tracing 19^th century panorama painting, something stuck out. It was the writings of Lorrin A. Thurston (1858-1931) connected to Meier’s findings pertaining to the Kilauea Volcano cyclorama. Thurston was a lawyer, politician and businessman raised in Hawaii. He was the grandson of one of the first missionaries sent to the Sandwich Islands. Thurston also played a prominent role in overthrowing the Kingdom of Hawai’i under the rule of Queen Lili’uokalani during 1893.

Thurston invested in the renovation and enlargement of the Volcano House during 1891 – the same year as Walter Burridge’s visit to create sketches for the cyclorama. The original Volcano House (a grass hut) was built on the northeastern side of the crater by Benjamin Pitman Sr., a Hilo businessman, in 1846. A second grass-thatched Volcano House was constructed in 1866, boasting four bedrooms, a parlor and a dining room. Mark Twain visited this particular structure. The 1866 house was torn down in 1877 and rebuilt with wood. By 1885, Wilder’s Steamship Company of Honolulu purchased the Volcano House and operated it until 1890. That same year, Thurston’s writings record his seeking out the owner of the site – Samuel G. Wilder and creating the Volcano House Company. At the same time, the company purchased the Punaluu Hotel from Peter Lee, who was then placed as the manager of both hotels. The Volcano House property was remodeled and enlarged to a two-story frame building with fourteen rooms and an observation deck for visitors to see the lava activity and the crater several hundred yards away.

The Volcano House in 1891 with Walter Burridge holding is palette in the top left window.

The Volcano House in 1891 with Walter Burridge holding is palette in the left window.

On November 10, 1891, the Hawaiian Gazette published “Latest From the Volcano,” reporting a number of visitors including Mrs. Senator Stewart, Mr. and Mrs. Hyman, Miss Hirschberg. Messrs. Morrell and Blue of Pensacola, High, Scott, Walter Burridge, and C. A. Webster, “returned Tuesday afternoon on the Hall, having enjoyed an exceptionally quiet passage down.” The article continued, “All are enthusiastic over accommodations afforded by the Volcano House and general improvements in transportation arrangements. The volcano is reported to be in a fairly active condition, and is gradually rising to its old level of last March. It is estimated that the lake is now within four or five hundred feet of the top, and is perhaps a quarter of a mile in diameter at its widest point. Liquid lava and cakes of half-frozen crust are thrown, in the centre of the lake, to a height of twenty or thirty feet. If the lake continues to rise at its present rate, there will be an overflow in about seven or eight months.”

Photograph of Kilauea’s Lake of Fire in 1893.

Thurston was also interested in bringing Hawaii into the American public’s eye and began an exciting marketing plan for the island. A railroad advertising agent was being hired to visit Hawaii, take pictures and print marketing brochures. Thurston and a few other investors were creating “Vistas of Hawaii, The Paradise of the Pacific and Inferno of the World.” In August 1891, approximately 10,000 large pamphlets and 50,000 smaller pamphlets were printed for distribution. But this was a small part of a much larger picture.

Thurston then traveled to Chicago and secured a concession for a cyclorama of Kilauea to be included in the Midway Plaisance for the 1893 Columbian Exposition. He had help from Michael H. De Young, owner of the San Francisco Chronicle and California commissioner for the World Fair. Thurston returned to Honolulu, organized “The Kilauea Cyclorama Co.” and became the company’s president. W. T. Sense was the company’s first manager. They arranged for Burridge to visit Hawaii from October 13 to November 11, 1891. Burridge would sketch Kilauea in action and reproduce a spectacle for the fairgrounds. He was representing the scenic studio of Albert, Grover & Burridge.

On September 9, 1891 (page 7) the Chicago Daily Tribune reported that there were at least thirty firms in Europe who wanted to include a panorama at the Columbian Exposition and that the Ways and Means Committee was not prepared to consider panoramas at the present time. The committee did state that if panoramas were included, it would ask for twenty-five percent of gross receipts. That was half less than the fifty percent asked of Buffalo Bill for his Wild West show! It might have also helped that Burridge’s business partner was also a chair for one of the Fair committees.

By 1898 Hawai’i became a U. S. Territory. Thurston also opened a newspaper that same year – “Pacific Commercial Advertiser.”

On December 3, 1891, the “Honolulu Adviser” reported “Walter Burridge, the scenic artist, had his sketches stopped by the Custom House authorities at San Francisco for duty. Some friends at that place saw the Collector and arranged the matter without cost to Mr. Burridge.” Good to have friends around in your time of need.

To be continued…