Evening Star Newspaper, September 22, 1935, Page 56

F--6 Nearby Streams Harbor Old Float Melodramas No Longer Lead the Bill at Maryland and Virginia Landings of Twenty-Two-Year-Old Show Boat. By Kathleen Read Coontz HOSE who speak mournfully of the passing of that picturesque American institution — the show boat—have but to look around a bit in Maryland and Vir- ginia waters to find one of the most historic and flourishing representa- tives of the floating theater era still daing business at the old landings. From June until November the Original Floating Theater plies the waters of the Chesapeake Bay and the rivers that flow into it, the Dis- mal Swamp and Albemarle and Pam- lico Sounds, playing week stands at landings which sometimes boast not more than a dozen houses, For 22 years this show boat has fattened without competition in a veritable clover patch, for circuses, movie pic- ture houses and other entertainments have failed to dim the glamour of the show boat to its faithful audiences. Quite by accident we stumbled upon it as we were vagabonding along Maryland's Eastern Shore. There it was, rocking lazily at anchor in the quaint little harbor of St. Michaels. Almost we had to rub our eyes to be- lieve what we saw. The familiar old show boat archi- tecture bearing the huge letterings, ing Theater the stage and the Hunters almost luxurious suite over the box office it is small wonder that the troupe is a happy and carefree one. A far cry from the old show boat days are the autos that are carried aboard ready to whisk members of the troupe—perhaps to city enter- tainment, when the curtain has been dropped on show -boat drama. FROM some of the town hangabouts at the landing we learned that this twentieth century shew Yoat visits are viewed by the Negroes with the same superstitions that have fol- lowed show boats since they first made their appearance nearly chree- quarters of a century ago. Namely, that the floating theater is diabolical invention to lure the black popula- tion aboard, lock them up and trans- port them back to Africa! However, even the shanty wireless that has dogged the boats at landings has ever been powerless to keep the dark faces and music-loving hearts from loitering on the wharf and listening to the sweet sounds from within. No picture of Mississippi show boat days would be complete without the levee roustabouts and the shrill cries of pickininnies when “de floatin’ pal- aces” started to bellow at the landing. | *The Original Floating Theater.” We,| and after all, it is back to “Ole THE SUNDAY BTAR, WASHINGTON, D. €, SEPTEMBER 22, 1935—PART FOUR. SHOW BOAT DAYS : LOST ART WORKS BROUGHT TO LIGHT who had been “raised” on show boats down in the Mississippi River, along with the rest of humanity, deemed the floating theaters one of those en- terprises vanished with covered wagons and organ grinders. Yet there it was, £0 drab in the daylight, so fairylike a3 night, and possessing a mystery not unlike the swan of the Lohengrin legend. The Original Floating Theater merits that title in Eastern waters, for it was the first show boat ever to sail salt water. For 22 years chil- dren have raised ecstatic voices at the sigiit of the big boat following proudly in the wake of the vigorous little tug and later danced to the bellowing caliope, their dresses ballooning in the breeze. This show boat, formerly known as | the James Adams Floating Theater, de- serves a personality sketch of its own. Besides being the first show boat in salt water, it is one of the boats from which Edna Ferber drew her inspira- tion for the novel that has broken all book, stage and film records. N THE Spring of 1925 Miss Perber spent a week on this boat gather-, ing material for her novel. In writ- ing, afterward, of that visit the writer said: “For three days I teed to pia Charles Hunter, juvenile lead and di- rector of the James Adams Floating Theater, to a long talk. He knew show boats from stem to stern, from pilot house to cook’s galley. But he was busy with rehearsing, acting, di- recting. “Finally one afternoon, just as I had despaired of cornering him, he slumped his lean length into a rocker up in the bright, cheerful bed room off the balcony and began to talk. He talked for hours. He talked until evening came on and the nour for the night’s entertainment approached. “Tales of river. Stories of show boat life. Characterizations. Romance. Adventure. River history. Stage su- perstition. From those readers who do not like the ‘Show Boat’ as it now stands I crave another chance. For it seems to me a fair-sized volume could be made up entirely of rich hits told by Charles Hunter that never got in that book at all” Mr. Hunter is still with the show boat as troupe director and male lead, and together with his wife, Beulah Adams, leading lady, they lead the life of Reilly “show boating.” Miss Adams is the daughter of the builder and first owner of the floating theater, and has been called “the Mary Pick- ford of the Chesapeake.” The show boat has been her home and profes- sion almost since childhood. ‘When we found Mr. Hunter he was far too busy with preparations for the evening’s performance to drop into the reminiscent moed which had so inspired Miss Ferber, but later he hadYy some intereging things to tell us about the original floating theater, ker hjstory and achievements. “James Adams, who built the boat,’ -was formerly a partner of Johnny ones, the King of the carnival world. ter he had a spectacular success C with a two-car 10-cent vaudeville #how in the South. It was here that he mggghis first acguairtance with the show boat enterprise and was imme- diately*intrigued with it. ‘Thgt looks like trouping as is trouping,’ he told his wife and the following year (1912) saw the hulk of the present boat ris- ing in a ship yard at Little Washing- ton, N. C. Mr. Adams himself drew the plans and oversaw the building of the thea- ter superstructure. It is more sturdily constructed than are the fresh-water boats. The boat is 130 feet long and 34 feet wide and seats 500 people. It has its own hotel, electric light plant and two tugs. It was launched in 1914 and has| been playing Virginia, Maryland and North Carolina sice that time. In the 22 seasons it has been afloat it has covered over 67,000 miles, and in 1933+ the boat was purchased from James Adams by Mrs. Nina Howard of St. Michaels and renamed the Original Floating Theater. “The company usually numbers 30 people, 14 on the stage, 7 in the or- chestra and the rest crew. The cali- ope has long since given way to the orchestra, now known as Bob Fisher and His Fishermen. The type of Rlays are not the “East Lynne” or “Lady Audley’s Secret” school nor the sexy “Parlor, Bed Room and Bath” type, but the wholesome type of plays such as we are featuring in this sea- #ons repertory—"I Want the Moon,” “Why Wives Worry,” “The Only Road,” ete. “We qpen in Virginia, working up the Rappahannock through July, then in the Potomac during August, to the head of the Bay, September and Oc- tober, then towing South in time for the peanut, tobacco and cotton crops —we have learned to follow the A survey of the Show Boat-“behind scenes” makes one wonder how one not-so-large boat can carry all the comlforts of home besides its ample theater auditorium. With business offices and lobby at the bow, eight living-room.dressing- rooms at the stern, dining room, kitchen and cook’s quarters beneath [guess which town actually was 10| gg Ave. and Quedee Man Ribber” that we must turn to trace the glamorous life of its most picturesque institution — the show boat. There are only two left on the Mississippi today, ten years ago there were 13. At the close of the nineteenth century there were 50 and all doing a landoffice business. Two years ago when the Cotton Blossom, one of the famous Missis- sippi show boats, was sold and con- verted into a barge it was front-page news in metropolitan papers. Ro- mantic hearts from every quarter | wrote wistful reminiscences of child- ish thrills when the “floatin’ palaces™ drifted to the landing unheralded save by the snort of a caliope. The Cotton Blossom, built and "owned by the famous Capt. Otto Hitler, | was one of the largest show boats ever built. It boasted a seat{ng u-! pacity of 1,200, with a history inter- | | woven with cotton blossoms, mag- | | nolia blooms, mockig birds and lone stars. The Golden Road, one of her | sister boats, is still doing business | down by the Mississippi levees. Some day the history of this most unique and picturesque division of the American theater (although not ex- actly recognized as such in histronic annals) will be gathered into one | volume with sketches of the captains given full space. For, there is no| more colorful character in American history than some of those men who sensed the need of entertainment for remote little river towns without benefit of “opry house” and who, for over a period of half a century, made the floating theater share with Thanksgiving and Christmas in the life of the community. Who has not heamd of Capt. French and Aunt Cally French, his wife, the pioneers | of the show boat business after it emerged from its shady reputation of | pre-war days? An orphan at Palmyra, Mo., ¢ounty seat to Hannibal, home of Mark ‘Twain, French joined on a river steamer as cabin boy at just about | the time Huckleberry PFinn, Tom Sawyer and Niffer Jim were headed down the river on a raft. Later the boy became part of a troupe th-t‘ floated down the river on Spaulding Floating Palace. The war drove him and the pleasure boats—then of ques- | tionable reputation—from the river | and French eaked out a living wher- | ever he could find it. But the river called and called—it has a way of doing that to children born within sound of its seductive | voice. He envisioned a “floaung‘ palace” that would appeal to a better patronage than that to which he had played in his youthful days. His “Cally” backed him up—she had the Stuff of pioneers in her make-up— and they manage to scrape to- gether enough money to build the first-Sensation. From that date, 1879, until 15- years ago, there was always a Prench’s Sensation afloat. It made towns large and small and vied with | Mardi Gras in the thrill it brought to “fablous New Orleans.” 'APT. FRENCH entered the show- boat business prepared to “live down” its vile reputation, and he did. In addition to the stage revelations, certaln gamblers, tricksters and worse had made the show boats a by-word until the time came when armed posses of citizens guarded the land- ings and prevented the boats from tying up. This reputation, together with four years of war, drove the boats from the river never to appear again in thejr old guise. Capt. French, more than any other, perhaps, had the leading role in this purification of the show boat. He saw a chance of bringing entertain- ment as might be viewed with im- punity by all and he straightway | went about it in his own original | manner._ For the next six years the Frenchs operated two boats, known as Sensa- tion No. 1 and No. 2. Mrs. Frengh, who had won her pilot’s license in 1888 and her master’s papers in 1892, became skipper of the older boat and her husband took the newer. She was the first woman to hold a pilot’s license on any river and the only woman who ever held both pilot’s and ‘master's papers. Up until the time of the old lady’s death, some 10 years 8go, she delighted in exhibiting her master’s ticket, which read, “on all rivers,” and her pilot’s license, good from Cincinnati to Bayou La Fourche in Louisiana. The French success soon attracted others in the purified show boat busi- ness, and in 1890 the finest boat on the river was built by Capt. C. F. Bredinbaugh and christened the The- atretorium,. The boat played the river from the Evangeline oak in Louisiana to Prarie du Chien, Wis. Soon show boats became thick up and down the river, varying in reputation and en- ‘Dumbarton formance. THE very beginning of show-boat history goes back to the early years of American control of the Mississippi Basin. Soon after Jeffer- son bought Louisiana from Napoleon strolling players drifted over the mountains in the wake of the first boats and rafts. to the headwaters of the Cumber- | with a show that passed muster on the frontier. His was the first re- WEEK OF SEPTEMBER 22 Sunday Sol Smith, a well Hirst Milhollen (n Insert) looking over the rare print, “Home for Thanksgiving,” recently discovered in the Library of Congress. Grouped around him are four seenes in the “fireman” series. Upper left: “Running receive the favor of the next per- enough to attract the competition of -known aggor, for whom Sol Smith Russell was named. Everything but grand opera has been played on show boats, including medi- cine shows, freaks and menageries, circuses and minstrels. # Many a Keith- Orpheum circuit has introduced s polished-up show boat skit, and even Ophelia is reputed to have trailed | tide of Yankee emigration, and, in lieu | her daisy chain down the Ohio lit- ; of anything better, performed on keel | toral once, long ago. Many Broadway In 1817 an actor | hits of the Civil War period made named Ludlow crossed the Blue Ridge | their debut to show boat audiences. ‘The old programs have progressed modern comedies. Monday land, where he built a rude shelter | from “Ten Nights in a Bar Room,” on a keel boat and drifted down the | “From Rags to Riches, Cumberland, the Ohio and Mississippi | Went Wrong” and “East Lynne” up | through the “Pollyanna” variety Show boats cast | corded show boat and was successtul | aside the old favorites, which seemed in the matter of entertainment. Puri- Photoplays in Washington Theaters This Week to Tuesday | ights and the mysterious splash of | little theaters and the movies began to a Fire.” Upper right: “Near a PFire.” lower right: “At a Fire." so suited to wavering seats, blinking darkened water, just as roadside and to revive them. ‘Those of us who are lucky enough to be at the landing when a show boat is playing are frequently dis- appointed not to find the dear, tearful old melodramas, where virtue still achieves its just reward in the third act and vice gets it in the neck when the curtain falls. However, a few epic lines from one of these earlier successes are still re- “Why She | circles. | original floating theater 22 years ago peated in certain Chesapeake Bay When Mr. Adams first launched the he had to watch his step pretty closely hil Wednesday Thursday Lower left: “Ni tanism was still rampant in the Old Dominion, and even in parts of cavalier Maryland. As tights were f; best tidewater circles, the heroine in “The Balloon Girl,” a circus per- former, found it necessary to arrange a semi-ballet skirt in lieu of tights. But her lines, when the abashed | bachelor parson offers her his bath Tobe to cover her exposed “limbs,” re- | mained undisguised. . | History, New York City, which sent expeditions into jungles, dese: and mountains of foreign countries | gather animals for museum groups, | plans to collect United States to round out State ex- bits. Friday L4 ear a Fire.” And rowned upon in the | By John Jay Daly. IRST MILHOLLEN, etcher and H uthority on American prints, went down to the cellar of the Library of Congress and came up with a long-lost art treasure, an early lithograph labeled “Home to Thanksgiving.” Only three copies of this prized pic- ture are known to be in existence. Recently one of these prints sold at public auction for $3,000—in the midst of the depresson. Nor is this the only rare print re- cently unearthed by Milhollen. He brought to light three other pieces that print collectors all over the United States have been searching for these ‘past 30 years. Of there, more later. The rare find, “Home to Thanksgiv- ing,” which will kindle enthusiasm in the heart of all art lovers, is a litho- graph of an old New England farm scene, in the time of the colonies, by the painter, G. H. Durrie. The lithog- rapher was John Schuller. The pub- lisher was the world-famed firm of Currier & Ives. Now Currier & Ives prints have come into their own. For some time collectors have roamed the land try- ing to find in attics of old homes hand book stores and the like those and in stowaway places of second- | Rare American Prints Found at Library Here Hirst Milhollen Unearths Engraved Treas- * ures Long Buried in the Cellars of the Library of Congress. |ican craze is liable to be created like | autograph or stamp collecting. When | news of the Library’s latest find seeps | through the countryside the fine arts division of the Library will undoubt- edly be deluged with requests for “more information.” It is always that way when some collectors come across rare pieces. Milhollen recently made a re-check of the Currier and Ives collection at | the Library. He found there are about 2,500 lithographs—not counting more than 500 duplications. As some of these prints range in value from the humbler ones at $30 and $40 to the | latest acquisition, “Home to Thanks- | giving,” at $3,000, the value of the | collection runs into extremely high ground. While the craze for Currier and | Ives has not yet struck its height, Mil- hollen and his confreres at the Library say there are more collectors of these | works in the market than those in- | terested in any other similar exploit. | Because of this, Mr. Milhollen sounds | a warning. He says: “There are being | put on the market today reproductions of Currie and Ives lithographs. These are easy to identify because they are | a little smaller than the original prints.” Never a day goes by but some one old prints that delighted the hearts| g ites 1o the fine arts division of the of American citizens before the ad-|yjhrary asking that prints be identi- vent of the camera and the kodak In & perfect state of preservation, “Home to Thanksgiving” stands as a tribute to the early American art of lithography. It will soon be placed on where Mr. Milhollen has charge of such display. BECAUSE these old prints are the only authentic glimpses Amer- jcans can get into the actual living conditions of their forebea®s, such lithographs as “Home to Thanksgiv- ing” have a two-fold value—historic and artistic. The print just discov- ered shows a New England farm house in the midst of Winter—with the fam- ily awaiting the homecoming of a wanderer. A black and white study, there is no color in the print at all. Still, it is considered exquisite artistry. The | landscape is laden with snow. There is a lone bleak tree in the foreground and another back of the house. The door stands ajar. Occupants of the housg step out on the porch to wel- come the returned wanderer, just dis- mounted from his horse. In lieu of photography, this is the way they im- prisoned such scenes in the good old days. About the other prints recently dis- covered in the Library of Congress: They are three rare fire prints that make up a series of four, called “The Fireman.” In his history of “America on Stone” —=a treatise that deals with the old lithographs and prints that flourished on this continent in an earlier day— Harry Peters, said to be the highest to specimens in the | to | Saturday Mcherd Dix 1 e_Arisonian.” Neil Hamilton in Academy 8th and G Sts. S.E. Ambassador 18th and Columbia R Apollo 624 H St. NE. laudette Colbert | in “8he Married Her Boss.” Loretta Y nd & oung and Richard Dix in, “The_Arizonian." Claudette Colbert | Loretta Young and Charles Boyer, in “Shanghai.” ed: Betty Purness in “McFadden's Flats. Chick Chandler. “Cl cumstantial EY Claudet! in “She Married Her Loretta Youns and Charles Boyer in “Shanghai.” Comedy. Lew Ayres in +Spring Tonic." Kermit Maynard in ‘Northern_Frontier. Betty Purness in “McFadden’s Fla! Lew Ayres in “Spring Tonic.” '!'(‘crmlt Maynard lorthern_Frontier. Gilbert Roland in Ladies Love Danger. orge O'Brien in “Pair Warning.’ Janet Gaynor and rma Shearer and Predric March in “Smilin’ _Through.” Cartoon. George Faft in “~Every Night at R 1 of “Roaring Keaton com | West." W. C_ Fields in *Man on the Flying e ape: ! Comedy. _Variety. Tda Lupino and Kent Taylor ii “Smart_Girl."” Our Gang. et the Dance. Silk Hat Kid" | No. 4 of “Roaring West."” Warner Oland in “Charlie Chan in ypL. Comedy, News. Arcade Hyattsville, Md. Warner Oland in “Charlle Chan in &yD Comedy._ News. Marion Davies and Pat O'Brien in “Page Miss Glory. Co! Trapeze. Comedy._Variety. | Marion Davies and Pat O'Brien in “Page Miss Comedy. W. C. Fields in “Man _on the Flying 2 Glory."” ‘Trape: Comedy. _Cartoon. W. C. Fields in Buck Jones in «“Border Brigands Alice Brady in “Lady Ashton Clarendon. Va. Dark. John Boles and | Jean Muir n “Orchids_to_You.” medy. News. John Boles and Jean Muir in “Orchids_to_You." Gresgory Ratoff in *“This Woman Is Mine."” “Nell Gw Also Andy Clyde comedy. Tom Tyler in “Born_to Battle.” Serial. Comedy Tubbs.” Cart. Serial Mons_Barrie in__ | ““Ladies Love Danger."” | Last episode of | “Law of the Wild." Avalon 5612 Conn. Ave. Bhirley Temple in “Curly Top." Cartoon. Shirley_Temple n “Curly Top." Shirley_Temple in ‘Curly Top." Charles Bover and | Charles Boyer ai nd Loretta Young in in s 8hi ZaSu Pitts and Guy Kibbee in “Going Hllélbrow." s in Ave. Grand 645 Pa. Ave. B.E. at O'Brien in ““The Irish in Us.” Cartoon. James Cagney and | Cartoon. James Cagney and Brien at “The Irish in U Cartoon. in | e Comedy. Cartoon g pnd n Cagney Pat O'Brien In “The Irish in Us." Cartoon Janet Gaynor and M y Fonda in “Farmer Takes & Wife.”" _Variety. Janet Gaynor and Henry Fonda in “Farmer Takes & fe.” _Variety. aureen O'Sullivan and Jogl MaCrea in “Woman Wanted.” Comedy. _Cartoon. | come Ho! “Atlantic_Advel and . Richard Dix ij ‘Let "Em Have Comedy. News. Cameo Mount Ratnler, Md. | .Rickard Dix in | “Let omedy. News m Have It." | Mary Boland and Charlie Ruggles in eople Wl Talk” Jane Withers in | All “Ginger.” L Comedy. News. News. Cl G comedy Drog| aurel and Hardy, ‘harlie Chase, Our ang_and _others m_|Fred MacM Ann Sher! Carolina 11thand N.C. Ave.S.E Shirley Temple in “Our Little & Shirley Grey in Shirley Temple in “Qur Ljttle Girl.” Shirley Grey in Wi Baxterin‘U: der the Pampas Moo} Richard Cromwell arner Baxterin Un-, der the Pampas Mool Richard Cromwell er in | H “Lover Divine.” JackHolt in “Awal ing of Jim ken- Burke " elen Chandler in John Wayne in wrhe Dawn Rider.* Also_“Triumph of Sherlock Holmes “'Green Eyes." elcome Home,” “Jalna” Central 425 9th 8t. N.W. o= “‘Green Eyes.” “Welcome Home," “Jalna" Cartoon. “Men_of the Hou ClarkGable. n Hi low and Wailace Bee) e Comedies. | China Seas.” “Men_of the Hour. Clark Gable Jean Ha low and Wallace Beery in “China Seas.” Comedies. Comedies. “Lover Divine Guy Kibbee in “Going Highbrow."” Comedies. Colony Ga. Ave. and Farragut James Cagney and O'Brie; a 0 in “The_ Irish in Us.” Sport_reel. James Cagney and Pat O'Brien in “The Irish in Us.™ Sport_reel James Cagney and Pat O'Brien in “The Irish in Us.” Sport _reel. Loretta Young and | M Loretta Youns and Charles Bover in Musical. _Cartoon sureen O'Sulll nd Joel McCrea ‘Woman Wante Comedies. Hugh Herbert and Joan Blondell in |“We're in the Money. | Comedies. u Pitts and ‘Guy Kibbee in ‘Going Highbrow. Serial. Cartoon. Com. John Beal #ad Gloria Stuart in 1349 Wis. Ave. N.W. | o iaddie’ ddie Comedy. News. Edmund Lowe and | Esther_Ralston in “Mr._Dynamite.” Comedsy. Wheeler and Woolsey n “Nitwits.” Comedy. Mitiam Ho kins in ‘Becky Sharp.” Tim McCoy in__ “Fighting _Shadow. No. 4 of “New Adven- tures of Tarsan.” Com. Bette Davis and Brent in “Front Page Woman." _Also short subjects. | Fairlawn Anacostis. D. O. Bette Davis and George Brent in “Front Page Woman." Also_short subjects. _ Shirley Temple in “Curly Top.” Ce Mat.. 3 ‘omeds. p.m.. contin.| Shifley Temple, in “Curly Top."” Comedy. 3 _p.m.. gontin. Mat. C Spencer Tracy and Virginia Bruce in, “The urder Man." omedy. _Cartoon._ Buck Jones in _ “Outlawed Guns. Comedy. Cartoon. Serial (matinee only). William Powell and | Luise Rainer in A o ‘Esc: ‘ Cartoon. News. Hippodrome K Near 9th ‘William Powell and Luise Rainer in ‘Escapade.’” Cartoon. Com. News. Ann Sothern in “Party Wire.” Nova Pielbeam in “Little_Friend.” n Sothern in Party Wire.” Nova Pielbeam in “Little_Friend.” George Raft and Edward Arnold in “Glass Kev.” Comedy. News. Cagney and t O'Brien in edy. Cartoon. James Cagney and Pat O'Brien in “The Irish_in Ut Comedy. _Cartoon. Shirley_Temple n, “Curly Top.” Comedy. Home 13th and C Sts. N.E. Shirley_Temple in “Curly Top." Comedy. Joan Blondell and Glenda Farrell in “We're in the Money. Joe Cook_comedy. Joan Blondell and Glenda Parrell in “We're in the Money."| Joe Cook comedy. Joel McCrea and Mau-, reen O'Sullivan “Woman Wanted.’ Comedies. Eu “Hi rns and Allen in ere Comes Cookie. ‘odd and Kelly comedy. “Qrchids to You.” “The Black Room" i al Cartoon. Agiine Judse Kent Taylor ““College Scandal.” Com. SillySymphony. Jesse %5 18thnr. R. 1. Ave. N.E Arline Judge and James Cagney and | O'Brien in “The Irish in Us." Comedy. _Cartoon. James Cagney and | Pat O'Brien in “The Irish in Us." medy. _Cartoon. Robert Young and Madge Ev: in, “Calm Yourself.” Comedy. Cartoon. i ackie Qooper and Mary “Astor in *Dinky. Comedy. _Serial. Tew Avres in ~silk Hat_Kid.” Randolph Scott in “Village Tale. Marion Davies and Gary Cooper, in ‘Operator 1: Also_short_subjects. Little Oth between F and G ““Operator 1 Also Short subjects. Marion Davies and Coo) ) “““Operator 11 POy T Edward Arnold in | Edward Arnold in “The President “The t Vanishe: Also_short_subjects. o Vanishe: Also_short_subjects. | Al Randolph Scott and Jackie Coogan in ome on theRanse.” so_short_subjects. Randolph Scott and Jackie Coogan in “Home on the Rang Also_short _subject Palm Del Ray. Va. Dark. Neil Hamilton and “Keeper of the Bee: Comedy. _Cartoon. Neil Hamilton and Cagney and O'Brien in “The Irish in Us.” Laurel and Hardy com. | James Cagney and Pat O'Brien rien in “'nlf Irish in Us." Laurel and Hardy com.| and George Raft ward Arnold in “The_Glass Kev.” Our_Gang_comed: George Raft and Edward Arnold i e Glass Ke: Comedy._Cart. Serial. ~Virginia Bruoe in es Square Geo. O'Brien in Rock Harrigan.’ Princess 1119 H St. N.B. Virginia Bruce in ““Times Square Lady.” |Geo. O'Brien in ““Hard| | _Rock Harrigan. Headline pencer Tri so ““The Triumph of Sheriock Holmes. Spencer Tracy in 's a_Small Worls icardo Cortes in ‘Manhattan Moon.” John, Wayne in “Rainbow Valley.”_ Richmond Alexandria. Va. Dark. Sir Guy Standing and| Tom Brown in “Annapolis Farewell. Comedy. News. Sir Guy Standi; om Brown “Annapolis Farewell.”| Comedy. News. and|8 in ir Quy Standing and| Brow! ‘om n “Annapolis Farewell.” Comedy. News. Sir guy Standing and Tom Brown in *‘Annapolis Farewell, Comedy. News. George Raft and Patsy Kelly in : ba Night at 8." Fomedy. News. George Raft and Patsy Kelly in “Every Night at 8. Comedy. 8. James Dunn n “Welcome Home.” Comedy. Savoy 3030 14th St. N.W. James Dunn Tan Hunter in “Jalna " Comedy. Ian Hunter Tda Lupino and Kent Taylor 1 “Smart Girl." Comedy. New: ‘Willlam Powell and tufse Joe E. Brown in ' ALIDE The edy. Cartoon. Metro News. Seco Silver Spring, Md. E. Browi D in e.” Franchot Tone _and Una Merkel in “One New York Night.” Comedy. News. “Helen Gahagan and He Randolph Scott in “She.” Helen Gahagan and Randolph Scott in Comedy. Paihe News.! wolf Nova Pilbeam in nry Hull in - Were-| of London.” “Little Friend.” Geo. O Brien in “Hard Rock Harrigan. Jack Hoit in “Awaken- ing of Jim Burke.” Claudette Colbert in “Private Worlds.” 'w Ayres in “Spring_Tonic.” Stanton 6th and O Sts. NB. Claudette Colbert in “Private Worlds."” Lew Ayres in, “Spring_Tonie." Mirlam Hopkins in arp.” ck La Rue in “Calling All Cars.” | Comedy.” Fox News. b Miriam Hug{lnl in | Marlene Dietrich in! “‘Becky Sharp."" “‘The Devil Is a Wom- an, Manners, Jack La Rue in . David “Calling_All Cars.””_!in “The Perfect Clue.” Mariene “The an.” lin * Dietrich in Devil Is a Wom-! David Manne! “The Perfect Clue.” Shirley Temple in “Baby. Take a Bow.” Tim McCoy_ in “The Revenge Rider.” State Bethesda, Md. Mirlam Hopkins and| Prances Dee n “Becky Sharp.” Mirlam Hopkins and| Frances Dee in “Becky Sharp." Noel Coward in “The_Scoundrel.” ‘omedy. Novelty. Charles Butierworth and Jean Muir in, “Orchids toy You.” med¥. Noel Coward in “The_Scoundrel.” A Charles mtfi:rurlh ‘Orchids nd Jean Muir in < You. Robert Taylor in “Murder in the Fleet.” Dickey Moore ‘Swell_Hea! Bette Davis and rge Brent in Sylvan tertainment. Competition sprang up between the captains of the better class boats. + Capt. Joha McNair and Price waged a veritable .warfare with pioneer French and unique tactics were de- veloped. Each captain would bill as many as five or six landing for the same date, letting his competitor \ poe ret " 104 R, 1 Ave. N.W. ont Page Woman. Bette Davis and George Brent in ““Front Page Woman." Comed: Edmund Lowe and Claire Trevor in “Black Sheep.” Comedy. Novelties. ZaSu Pitts and Cus bee in “Going Highbrow."* Our_Gang_comedy. ZasSu Pitts and Gang com. Serial Jane Withers in “Ginges Tt Buck Jones in “Outlawed Guns."”. Jane Withers and Jackie Searl n “Ginger.” Takoma Takoms Park. D. C. Jane Withers and Jackie Searl in “Ginger.” Miriam Hopkins in | M o Nancy Ca in “After the Dance.” Mirlam Hoa%klm in “‘Becky Sharj P ncer Tracy in Nancy Carroll in “After_the Dance.” Spes “Murder Man.” 8pencer Tracy in -- r Man. irde Robert Donat in “Thirty-nine Steps.’ im MeCoy in “Justice of the Range.” Clark Gable, Jean Har- low and Wallace Beery in “China Seas.” Tivoli Clark Gable, Jean Har-| low and Wallace Beery| in “China Seas.” 14th and Park Rd. York Bhirley Temple 1o rat.” A v rtoon. Bhirley Templ Clark Gable, Jean Har- low an in “China Seas.” Cartoon. W C. Flelds in “Mai on the Fiving Keaton comeds, d Wallace Beery|Jq ClarkGable JeanHar-| Marion Davies low Wallace. in “China Seas.” Cartoon. M %0 mi;, e Keston comeds, |’ A Marion Davies “Page Miss Glory.” | “Page lnundlon | authority in the land, lists only one of ! these rare prints. He bemoans the loss A o s ¥ offuia thires fist found SMThGTen dla= | ot e o e o rts | covered the missing three in gOINE | yriter edi through the archives at the Library of Congress. The record is now complete, and the prints all duly recorded under their exact titles. 1. The Fireman, No. 1—“Running a Fire.” 2. The Fireman, No. 2—“Near a Fire.” 3. The Fireman, No. 3—“Near a Fire.” 4. The Fireman, No. 4—"At a Fire.” It is presumed that these four pic- |tures of firemen in action were sketches made in New York City about the time the metropolis had a volun- | teer fire department. The firemen of | that era were dressed in fantastic cos- tumes. They wore high silk hats, coats with capes, knee-breeches, and boots to their knees. ‘IN THE first picture, “Running to a Fire,” a fireman is shown blowing | | | | | exhibition in the Library of Congress, | fied—and valued. They believe their mossessions to be rare. It is usually discovered that these prints are re- | productions. Instead of being true | lithographs they are what is known as chromo-lithographs, which have | little value. “Now and then a correspondent does have a rare print,” Mr. Milhollen says, “and when this happens we are able to give all the data required, such as the auction records and the names of dealers and collectors who might be interested in such a rare print.” IN CURRENT correspondence at the Library, letters have been received from all parts of the world. While these early American prints were made solely for American trade some of them found their way to far corners of the earth. Collectors on vacation pick them up in unheard of places. Instead of waiting to bring back their treasure they write immediately to the Library and ask that informa- tion be forwarded them while they arc still on their journeys. Aside from the letter writers, each day brings to the Library men and women, and sometimes children, who are interested ir the process of making | etchings, lithographs and engravings. It is the duty of Hirst Milhollen, an etcher himself, to explain all the in- tricacies of his art. He is now a recog- nized master of the etching process. Only recently one of his etchings was placed on exhibition with those of Pennell and Whistler—and years ago, when he was but a stripling of & boy. his early etching, “Wash Day.” was placed in the permanent exhibition at the Library. Milhollen himself is the art discov- the magazine tor and correspondent, who makes his home at Falls Church, Vg. Mr. Bishop came across this young fel- low when Milhollen was working in g carpenter shop at Falls Church. Just out of high school, the boy was all set to go to Florida. where there was a boom on: but Bishop got him a job in the Library. That was 10 years ago. Immediately he saw all the etch- ings on display. Milhollen knew what he wanted to be—a second Whistler. They say he will be, too, or a Pennell. Student at the National School of Fine Arts Milhollen went to Paris {in 1929 to study under Florian. the famous etcher and painter. The tyro had previously enough good fortune to meet with Miss Gabrielle de Vaux. the Baltimore etcher and mural deco- rator. who guided his artistic talent into the proper channels. Now, Milhollen has the thrill of | of New York. his trumpet—an instrument still part | KROWIng his etchings are hanging in of the equipment of modern fire de- | COllections owned by President Frank- partments, though used more as an | LN D. Roosevelt, Mrs. Herbert Hoover. ornament than as a piece of necessary | S¢hator Harry Byrd, and a host of equipment. Firemen carry the tram. | OLher celebrities. One of his ardent pet mostly on parade. In “Running admirers is Frederick Ashley, assistant to a Fire,” the forerunner of modern | librarian of Congress. A member of firemen is shown upsetting an ol | the Southern States Art League and woman's apple cart—on the sidewalks | ('C Wasmngm", Society of Etchers. His back turned, she Milhollen recently saw his prints ex- 15 telling nim “where to hoad | hibited at the New York Water Color The second picture, ~Near a Fire,” | Club and the Washington Water Color displays & touch of humor. The fire- | C/U%- man has just attached his hose to NIILHOLLEN has a small collection the hydrant. He finds the length of of rare prints—some of them ex- gowhtw 5;:"" and the nozzle missing. | ceedingly valuable. In this collection of '.he ‘lsd ‘h‘l'“":il:asfedqguéfilem““ is the rarest lithograph of George A sfd:nl!kc- 0‘1-53;‘0 Jsugtage];‘?n?: Washington. The etcher found it in while I fetch another section, will |y roonand book sto you?” There are two pictures in the serie bearing the same label, “Near a Fire. re on Pennsyl- vania avenue. It is a lithograph drawn on stone by Rembrandt Peale after his S | original portrait of Gen. George Wash- i = ington. Only four of these lithographs The other one has to do with “An|gere printed when the stone was :wkwurd Attachment,” showing the pioren according to a story handed n:::‘;’; ",’l‘::fm’:fi lwx‘itl:nm,i%dgemle- 1 down to Harry T. Peters of New York The f o ‘m l"Th "F City, hailed as the greatest living ex- = "epr?:;hupncltt‘:r:u? cae aire- | pert in_matters of this kind. Peters - y has written a number of hooks on F':re,‘h T‘:‘l! fire ?:d!l;_‘s hnvle arrived American Ithography. He considers .t i heed “;' s ebo o “t':s ';; the lithograph in the possession of by and the boys on the old |y wmylhollen one of the first made hand pump are going at it “hammer |y, tpic country. As Peale made an- and tongs. A _|other drawing of the same subject, o There is also & moral pointed out: | a5y collectors are confused. They !::h;; :::s fl;l;.myen?sw:':‘yrhe: fi?fii wonder w:;lmh is the rare print and = which is the common one. boy, standing too close to the fire ! i hydrant, is being doused with water | “HOW can they tell?” Mr. Milhollen it wis’r;“ t's where I come in,” he re These so-called fire prints were pro- it i SR duced at Philadelphia in 1858 by the | Plied. smiling. ' : firm of Henry G. Harrison and Wil- | That Is exactly where he comes in; z for whenever a rare print is discov- =4, liam N. Wrightman. Art collecto: | Pigingelendh B priad Bag e feel there must be some more of these | i the “find” | $end it along to the fine arts division petite i existence, but i the THCH of the Library of Congress and Mr. s any of by Milhollen no one has sseh 857 & |y ner goes inth action. In this the original work. The discovery at | edly start | Way he has drummed up a reputation T among dealers and collectors in all lector other hunt. the azb cullsstas ofF o o parts of the world. His services are uld bring a | AIpIoRCl o) el e . | sought by art connoisseurs and estates handsome sum. - ; Milhollen, in charge of the Currier | With rarities of art to be valued. In his work as an art appraiser, & Ives collection at the Library— where therz are more than half a|Milhollen has viewed the collections million prints of all kinds—considers | of celebrated Americans. One of the the Washington exhibition one of the ‘ latest collections he appraised was Jargest in the world. It probably is | that of the late Judge Barton Payne, | | the largest; but the conservatism of Library of Congress officials will not permit of any braggadocio. Not at all, at all. Information concerning the value, rarity and other qualities of etchings, lithographs and engravings are sent J% | brary. Milhollen stands now as the No. pnd “Mugder Joan” s high authority there. MUCH interest is taken nowadays in rave prints that another Amer- SO out every day by experts of the Li-| | head of the American Red Cross. “This was one of the finest collec- tions I ever saw in Washington,” Mil- hollen states. “It consisted of a large number of etchings by Whistler, Zorn, Seymour Haden, D. Y. Cameron and Rembrandt.” Milhollen also helped on the Hen- derson collection by giving biograph- ical notes on the artists whose works were represented in the sale that brought collectors to Washington from all parts of the United States.