(A few years ago I had the opportunity to visit Tree Studios in Chicago. Tree Studios is currently owned by Friedman Properties. The managers of the property were kind enough to give me a guided tour. When I returned to Fort Worth they asked whether they could use the story of my visit for their newsletter. The following is the article I submitted to them.)
Jim Rosenthal of Fort Worth, Texas, son of Charles Rosenthal, visited The Tree Studios Building on January 24, 2012. His purpose was to visit the place his father worked during the 1930’s. (Charles Rosenthal died on June 12, 2012 in Scottsdale, Arizona.)
The following is an excerpt from Charles Rosenthal’s autobiography:
“From 1934 to 1938 my Dad, Henry D. Rosenthal, had a studio in the Tree Studio Building. He had formed a company called Hobbs-Rosenthal Studio to print etchings and engravings. His partner, Morris Henry Hobbs, was able to obtain a lease. The Tree Studio Building was built by Lambert Tree for fine artists at a rent they could afford. Ours was $20 per month, including utilities. (Wash rooms were down the hall.)
My Dad met Morris Henry Hobbs through my uncle from Highland Park, Uncle Charlie Sanborn. Mr. Hobbs’ profession was as an architect but in 1934 architects and artists were in tough straits. However, Dad and Mr. Hobbs formed a partnership to produce etchings.
1934 was the second year of the World’s Fair in Chicago and, through some mutual friends, Dad was able to get an appointment with the Chairman of the Nations section. This area was composed of villages resembling the various nations that participated. My Dad’s idea to produce souvenir etchings was approved. Then Mr. Hobbs drew and etched plates (I believe there were 16 in all) of scenes representative of the buildings. My Dad printed them. They were packaged in sets of 10 and sold at the fair.
The Black Forest Village at the Chicago World’s Fair
Business was good and I often helped my Dad on Saturdays. I was 16-years-old and still in High School.
When I was 18, I started to work for my Dad full time at his studio. My job was to produce the etchings on our etching press. The press was operated entirely by hand. It was difficult, back-breaking work but I was young and I enjoyed the excitement of the Tree Studios atmosphere.
The Hand Etching Press Used in Studio 20, Tree Studios Building
After my Dad and Mr. Hobbs ended their partnership, Mr. Hobbs obtained another studio across the hall where I took art lessons from him. I also asked him questions on etchings and dry points. We continued to print most of his work.
(Note: According to Joseph Czestochowski in his book James Swann: In Quest of a Printmaker, James Swann moved to Chicago in 1936 to apprentice with Morris Henry Hobbs in the Tree Studios Building at 4 E. Ohio Street. (Page 28) The fact that Hobbs had someone to print his etchings may have led to the demise of the Hobbs-Rosenthal partnership. But relations between the former partners were not permanently broken since Henry Rosenthal, Sr. continued to print etchings for both Hobbs and Swann. Charles Rosenthal had this to say of James Swann in his memoirs; “James Swann earned a living all his life from etching and that is in itself very unusual. We printed all of his Christmas card orders and without realizing it we both learned a great deal about how to simplify the printing of etchings and drypoints.”)
Morris Henry Hobbs and His Art Class in front of Tree Studios, circa 1935 (Charles Rosenthal photo)
Mr. Hobbs taught me a great deal about etching, sketching in general and, I suppose, a little about life as he was doing nudes and it seemed there were always a couple of gals hanging around. Guess when I went over to ask him a question or two?
Mr. Hobbs was a member of the Chicago Society of Etchers and a good friend of the founder and long-time Secretary, Bertha Jaques. After several demonstrations, Dad was able to obtain their OK as an official plate printer of the Society. Since many etchers did not have the time or equipment, we were able to pick up quite a few artists from all over the country. Our customers included many of the best known etchers of the era including Ralph Fletcher Seymour, James Swann, Leon Pescheret, Reinhold Palenske, Lee Sturges, Antonin Sterba, Richard Bishop, David Bekker and F. Leslie Thompson. We had a good relationship with these artists and were given many signed etchings. We also learned that one should never ship completed works to an artist without the dough in hand or very excellent credit.
I had a lot of fun these years meeting with etchers, taking lessons from some of them and learning something about the World, and Bohemian life styles, that I never knew existed except in history books and novels. This period of my life was all too short but the practical side of my personality, and far more lucrative endeavors took over. Besides there were such things to consider as girls, sports, night clubs and even paying the bills. So I took lessons in accounting at Northwestern University (Chicago Campus), ditto several classes at the American Academy of Art (layout, lettering, pencil sketching), a course at Central College (YMCA) in marketing and copy writing and for about two years took open classes from Mr. Sterba at the Art Institute.
First Etching of Charles Rosenthal – Cabin in the Woods – 1936
Mr. Sterba was my first (big time) art teacher. He also had a studio in the Tree Studios building. I printed all of his etchings at the time as he did not have a press. His lessons at the Art Institute were on figure drawings and painting. They were on Saturday afternoons. There were 6 or 7 people in the class. His fee was $1.00.
Man with Old Hat – Antonin Sterba
In 1938 we moved from the Tree Studios Building to a place across the street at 43 East Ohio. We stayed at this location for two years. This building was a commercial building full of commercial artists and ad agencies.”
In the late 1940’s Charles Rosenthal focused his business on commercial printing and had a company in Itasca, Illinois on Irving Park Boulevard. Some of his many customers included Rand McNally, Inland Steel, and Northern Trust Bank. In a touch of irony, one of his best customers was Weber-Stephen Products Company – the makers of the Weber Grill – and the parent company of the restaurant across the street from Tree Studios. Charles produced and printed the first Weber cookbook.
Charles Louis Rosenthal – Prescott, Arizona 1984
He sold his business in 1968 and moved to Scottsdale, Arizona where he resumed his artwork. He was a Juried Member and Past President of the Arizona Artists Guild. His etchings, paper sculptures and water colors are in many private and public collections. He donated the etchings he acquired during his time at Tree Studios to the Phoenix Art Museum.
I am glad you found the article helpful. What a great idea to do a catalogue raisone of the etchings of your father-in-law. I have always loved his work. I know that the etchings Morris Henry Hobbs gave my father were some of his prized possessions. When my father passed away several years ago, I inherited these etchings. If you need any help on the Chicago portion of MHH’s work, I will be glad to assist.
There may be additional information about MHH in the James Swann papers. Swann moved from Texas to Chicago to apprentice with your father-in-law in the mid 1930’s. I believe they remained lifelong friends.
My family visited New Orleans in 1958. One of the purposes was for my Dad to visit with MHH. Since I was 10 and somewhat of a pest, I was not able to come with. Thinking back it would have been a great experience.
You are welcome to add a blog post about your father-in-law to this site. I would be honored to include it.
I stumbled across this as I’ve been, off and on, trying to learn more about Morris Henry Hobbs.
I live in New Orleans… in an apartment on Royal and St Ann, on the 3rd floor. On my front door is a pane of glass and, etched into it, it says “Morris Henry Hobbs 1938” …being curious of course I had to look and see if I could find anything on this mysterious character who had embedded himself in the front door, lol. I came across a painting/etching he did of the courtyard… and it’s funny because the statue and pillars are still here, just as they were in the painting, all those years ago.
I found one photograph of him standing on the balcony with lots of plants as well… pretty fascinating.
The French Quarter is a treasure trove of stories of past residents and amazing people. 😀
Joyce
Very interesting. I believe your apartment is the first one Hobbs lived in after moving from Chicago. More details about his life are in his Catalogue Raisonne described in this blog post http://www.inpraiseofprints.com/morris-henry-hobbs-catalogue-raisonne-a-fitting-tribute/. there is a new website on Hobbs at http://www.morrishenryhobbs.com. I would love to see the print you describe and the etched pane of glass. I envy your living in the French Quarter – one of my favorite spots in our country. Thanks, Jim
Great blog post – I recently unearthed a bunch of information related to Hobb’s architectural career in Chicago and found a small cache of prints. If either of you would like more information feel free to reach out.
I would be interested in learning more about the prints that you found.
Mr. Rosenthal, I found 2 pelican drawings by your father Charles Louis Rosenthal, in a thrift shop here in Kingman, AZ. They are both written on the bottom left ” Jacks Pelicans”. As I love pelicans, I took them home. I love them.
Thanks for the comment. I am glad you are enjoying the “Jack’s Pelicans” drawings of my father. I do not know the specific story of where “Jack’s” is located, but I would imagine somewhere on the West Coast. My mother and father traveled extensively throughout the Western United States. My Dad took many pictures which he used for his drawings, etchings and watercolors. The actual artwork was created in the studio in his home. He often participated in shows in Flagstaff and Munds Park so it does not surprise me you found the drawings in Kingman.
Mr. Rosenthal, I have acquired art that is handmade paper casting with 3 sections signed by 2 artist. The middle section resembles an ancient indian pueblo and has the signature Rosenthal and the other two sections are signed with a signature Nandi. Since there are other artists with the last name Rosenthal I am trying to find out if this art work is from your dad. Is there a way I can sent you a copy of this artwork. It would be nice to know which Rosenthal this came from. I live in the Phoenix Arizona area. Thank you.
My Dad did many paper sculptures in addition to his etchings. In all probability he created the one that you own. I would be glad to take a look at pictures of the paper sculptures. You can email them to me at jimrosenthal5757@aol.com. Many thanks for your interest.
I own a small etching press that I understand was designed by Morris Henry Hobbs. It is a Permo Etching Press and was manufactured by; Permo Products Corp. Chicago The rollers are 4.5″, the whole press is only 6.5″wide by 8.5″ long. I am looking for more information about this press.
According to Claudia Kate Kheel who wrote her thesis on Morris Henry Hobbs, he designed the Permo Etching Press in the mid-1930’s. It could print a plate up to 4″ by 6″. It sold for $12.50 and was designed primarily for beginning students of printmaking and for those more experienced artists that wanted the option of using a miniature press. Despite the low cost the press had modest sales. I would think that the press you have is relatively rare. Hope this helps.
I have a sketch or etching, I don’t know the difference by Antonin Sterba. It is an old fisherman with a sailboat in the background. How would I know if it is an original?
Thanks and regards,
suzannedonlonlee@gmail.com
The easiest way to tell is that an etching has a “plate mark” in the paper where the etching plate was forced under pressure into the plate. A sketch will have no “plate mark.”
Antonin Sterba usually signed his works on paper – usually in pencil. If it has a “Sterba” signature, you can be pretty well assured that it is an original.
Jim – Thought you would like to know that “Morris Henry Hobbs: A Catalogue Raisonné of Etchings, Engravings, and Lithographs” was published in 2017.
That is great news! How can I obtain a copy? Many thanks, Jim
An excellent book! A copy of my review can be found in my February 28th Blog Post entitled: Morris Henry Hobbs Catalogue Raisonne – A Fitting Tribute
I found one of Charles’ paper sculpture prints titled Large Knotty Problem. Email me if interested. Thanks.
That’s great. My father was a productive and very good artist. I am glad you have one of his paper sculptures and hope that you enjoy it as much as the good representational selection that we own.
Hi Jim,
It was nice to read more about your father and his work. On my honeymoon in Sedona in 1994 my wife and I bought a paper sculpture of a native american wedding vase with turquoise mounted with a beautiful pueblo water color scene. It definitely brings back nice memories and is one of my favorites to gaze at.
Dirk
Thanks for the kind words about my father’s art. He really enjoyed making paper sculptures. He was one of the first artists to combine pottery molds with paper in it’s liquid form to create his pieces. This technique gave the sculptures a “deep relief” that could not be obtained by other methods. I am glad you enjoy your paper sculpture/water color piece.
I am elated to discover that my father David Bekker was acquainted with Chaeles Rosenthal. The Phoenix Museum is plannin an inline exhibition of prints by my father that were donated by Charles Rosenthal.
It would seem my father also utilised Tree Studios to produce his works.
I am wondering what other connections with other artists and art lovers might be discovered. Very exciting!
This is very exciting. I am glad you read the article and responded. Hopefully, it added a little to your knowledge of your father’s artistic career. I am very pleased that the Phoenix Art Museum is going to exhibit some of his works. I also have two of your father’s prints – “Water Carrier” and “Farmer with Goats.” Your father did fine work and I particularly like his unique style. Tree Studios must have been a lively place back in the 1930’s. It is still a very interesting place to visit. I was there back in January and had a glass of wine in the shop on the first floor.
Just stumbled across this site when I was telling my daughter-in-law about Morris Henry Hobbs, and told her to Google his name. I did myself, and discovered much more out there than the last time I looked when I was working on my son’s family tree (which was a few years ago). Hobbs was my son’s paternal great-grandfather, and Hobbs’ daughter, Bette, was his grandmother, also an artist in her own right. You have some interesting information in here I am going to have to explore further, and it helps to build a more complete picture of the man.
Thank you for your research in finding our site and for your interesting comment. There are several other articles on “In Praise of Prints” with more details about Morris Henry Hobbs – your son’s great-grandfather. There is also an excellent Catalogue Raisonne of his etchings by Reed Isbell. The most comprehensive biography is “Morris Henry Hobbs: Printmaker 1892-1967” by Claudia k. Kheel written as her Master’s Thesis for Tulane University in 1994. Some years ago I was sent some pictures of the Hobbs’ house in Highland Park. If I am able to locate them, I will post them for you. I would love to hear more about Bette’s art. She sounds like quite an accomplished person herself. Again, thank you for connecting.