The Baldwin Theatre

 Powell at Market St. | map |

Opened:  The theatre opened March 6, 1876. It was initially called the Academy of Music and managed by Thomas Maguire. An 1882 theatre list gives 932-936 Market as the address. This 1879 photo is from the Jesse B. Cook Collection at the UC Berkeley Bancroft Library. The building also contained a hotel, opening about a year later. Mark Ellinger commented on the project: 

"After a Comstock silver lode bonanza made him a multimillionaire, in 1876 Elias J. 'Lucky' Baldwin opened a luxury hotel and theater bearing his name on the northeast corner of Powell and Market. In the area nearby were restaurants and saloons where gambling took place, and around 1885 dance halls and parlor houses began to appear in the district. 

 

"Where the money flows, there also vice goes; and thus from around 1880 through the 1890s, the area roughly encompassed by Market Street, Union Square, City Hall, and Van Ness Avenue—distinctly uptown from the Barbary Coast near the waterfront—developed as a center of entertainment and vice that was subsequently characterized as 'tenderloin,' a term that originated in New York."  

Tenderloin historian Peter M. Field offers more background: 

"San Francisco grew incessantly--driven by its constantly increasing population--and much of this growth spread southwest of the town's original center around Portsmouth Square. This growth tended to follow Market St. when the construction of the Market Street Railroad in 1859 and 1860 opened up Market St. southwest of Third St. and the land along either side of it to development for the first time. During the 1860s and the 1870s, the town's original center around Portsmouth Square was aging out and people of means, as well as their institutions, followed this growth into these new neighborhoods. 

 

"By the 1860s Union Square and the area east and north of it was emerging as a destination for amusements. This included venues like the Mechanics Building in Union Square, several circus and theatre venues along Stockton St. between Post and Sutter, and the more notorious Morton St. running east from Stockton St. between Geary and Post. Thus by the 1870s San Franciscans were accustomed to traveling to this area for fun and entertainment. The triangular area bordered by Market, Stockton, Geary, and Taylor streets quickly grew into a middle and upper middle-class residential district sprinkled with the mansions of the wealthy. Economically upscale, the district attracted development, including theatres.

"The opening of Baldwin's Academy of Music in 1876 inside the still unfinished Baldwin Hotel heralded the beginning of the move of the original theatre district to this area. Baldwin's was followed by the Tivoli Garden on Eddy Street between Powell and Mason in 1879 (renamed the Tivoli Opera three years later). After that, new theaters like the Alcazar, Fischer's, the Orpheum, the Wigwam, and others opened along Ellis, O'Farrell, and Geary streets.

"These venues attracted restaurants and saloons and hotels to the neighborhood, and those, in their turn, attracted vice. And so it wasn't until the 1880s, when new theatres, restaurants, and hotels were established in the neighborhood, that vice began moving southwest from the Portsmouth Square area and Grant Ave. and their prostitution alleys, and into the new theater, restaurant, and hotel neighborhood north of Market and Powell streets. By the 1890s, it was a theatre, hotel, restaurant, and vice district called the Tenderloin." 

Thanks, Peter. He is the author of the 2018 Sutton Publishing book "The Tenderloin District of San Francisco Through Time."

Architect: Samuel C. Bugbee. The building was described on page 12 of the 1876 city directory in a section detailing the year's "Building Improvements":

Thanks to Art Siegel for locating this. The directory is on Internet Archive.

 

 

 

The theatre's orientation in the six-story hotel building can be seen in this detail from image 31 of volume 1 of the 1887 Sanborn Fire Insurance Map. Thanks to Art Siegel for locating it in the Library of Congress collection. That's Market St. along the bottom of the image, Ellis St. in the upper right.  

Seating: It was a two-balcony house with capacity of about 1,700. The 1884 "Social Manual of San Francisco" came up with 1,036 on the lower two levels with 176 in the orchestra, 72 in the twelve proscenium boxes, 310 in the dress circle at the rear of the main floor, 40 in the ten mezzanine boxes, and 438 in the 1st balcony, also called the family circle. They don't mention the 2nd balcony (aka the gallery) as none of the better people reading their book would be sitting up there. Thanks to Glenn Koch for the data. 

The orchestra and dress circle seating chart from the 1890 San Francisco Blue Book. 

The 1st balcony seating chart from the 1890 Blue Book. The book doesn't give us a chart for the 2nd balcony, commonly called the gallery. Thanks to Glenn Koch for the images from the book in his collection. There are diagrams of the three seating levels and a discussion of the exit situation on page 8 of the 1889 program from "Little Lord Fauntleroy." It's reproduced at the bottom of the page. 

Balasco and Baldwin: In 1925 David Belasco looked back on various chapters of his life in "David Belasco Adventurer," a full page article "as told to" John J. Wallace that appeared in the December 27, 1925 issue of the San Francisco Examiner. Thanks to Art Siegel for locating this. A few excerpts about 'Lucky' and the Baldwin Theatre: 

"He was a 'character' even about San Francisco, where unusual types were common... One day, as I was passing the lot adjoining the stable where he was employed, I found him washing a horse. He greeted me, whimsically bemoaned the fate which made him what he termed a 'horse butler' and then amused me with this prediction: "...Well, some day I'll have the biggest and best theater in California - and when I do you'll be my star actor." The incongruity of the words caused me intense inward mirth but I covered my amusement.. I bade him a quick goodbye, little realizing how prophetic were his words. A few months later came news that 'Lucky' Baldwin had justified his nickname and had won thousands at the gambling tables. The next two years made his name a household word in San Francisco, for everything he touched turned to gold. 

"Then one day the city's admiration turned to derision, for 'Lucky' had bought a group of undeveloped lots out in the sand dunes at Powell and Market streets where, he said, he intended to build a great hotel and theater. Realty men condemned the plan as 'crazy' declaring that the city had stopped developing in that direction. Scores of business men pleaded with Baldwin to forego his project. Baldwin's arch-enemy in those days was Thomas Maguire, a cab-driver, whose rise to riches had been nearly as spectacular as that of Baldwin. These two never could agree, even on the apparently obvious question of whether it was day or night. 

"So when Baldwin bought the parcel of ground, Maguire promptly sought out the surveyors, discovered that there was a triangular strip which encroached on the Baldwin property, and promptly bought it! In explanation it will be remembered that the early surveys were faulty in many cases, and there were hundreds of such mixups. Eventually, when Baldwin began preparations to build, he found himself blocked by Maguire, who would neither buy nor sell. 'Lucky' raved frightfully and threatened all sorts of dire things - but ended by taking Maguire into partnership with him on the deal! 

"Baldwin, still bemoaning his fate, called me in and told me his predicament, promised me great things when the theater was built - and then practically made me his business envoy in all matters in which Maguire had a part. The Academy of Music, as the house was named, opened March 6, 1876, with the stage managers duties divided between James A. Herne and myself, both of us playing heavy roles as well. Eventually as Baldwin's wealth increased, he leased the theatre to Maguire and the latter, through gambling, finally lost his last dollar. 'Lucky' Baldwin withdrew his backing, Maguire was compelled to withdraw - and out of this combination of events I was left footloose and in a position to... come to New York and begin my career here."

An image from the Examiner's Belasco article. On the left it's 'Lucky' Baldwin, a "spectacular figure in San Francisco's early dramatic days." On the right it's Thomas Maguire "once Baldwin's enemy and later his partner."

Thomas Maguire vs. Baldwin: We get a slightly different take in Lawrence Estevan's "Tom Maguire; Dr. David G. (Yankee) Robinson; M.B. Leavitt," completed in 1938 as part of a Works Progress Administration project. The copy in the collection of the San Francisco Public Library is reproduced on Internet Archive. In his chapter titled "A Deal With 'Lucky' Baldwin," he discusses the theatre:

"Fortunately, Maguire, in the midst of calamities, succeeded in interesting 'Lucky' Baldwin, the famous San Francisco millionaire, in entering upon a theatrical enterprise. Together, they built the Baldwin Hotel and the Academy of Music in 1876. Baldwin and Maguire were never very friendly -- lions are solitary creatures -- and it was young David Belasco who became Tom's secretary and acted as go-between in their business dealings. Winter, in his 'Life of Belasco,' remarks with amusement the partnership in the enterprise of Baldwin, an ex-hostler, and Maguire, former cab driver. He states that they were not on the best of terms and that Belasco served as intermediary in the negotiations, which were complicated by the fact that Maguire owned the land selected as a site and was listed on the bills as 'proprietor' of the new house."

Estevan cites a passage from 'Annals of the San Francisco Stage," an unpublished manuscript compiled by the Federal Theatre Project in 1937: 

"Baldwin's Academy of Music was a part of a huge architectural project which eventually housed the ornate Baldwin Hotel as well as the theatre. This house was located on Market Street near Powell, then at some distance from any other theatre, and was to influence the southwesterly trend in the entertainment district. The Baldwin building was six stories high and was surmounted by a largo domed tower and a number of smaller ones from which flags fluttered on state occasions. 

 

"The theatre was a marvel of elegant filigree and red plush, boasting elaborate and expensive fresco painting, a drop curtain of satin -- which was said to have cost $6,000, velvet draperies, and gilt scroll-work. Crystal chandeliers were said to have cost $l,600 apiece. At the opening of this theatre on March 6, Thomas Maguire, still proprietor of the smaller Opera House and of the New Theatre, was installed as manager. The first attraction was Barry Sullivan in 'Richard III,' James A. Herne was stage manager, Belasco his assistant and prompter... The Chronicle announced that his 'Richard' is beyond a doubt the best that has been seen upon the California stage."

The original Maguire's Opera House had by this time been demolished. The "smaller Opera House" noted in the article was a venue at 318 Bush St. that he had renamed. It had opened as Congress Hall in 1865. Later it was known as the Standard Theatre. The 'New Theatre' mentioned was a house that had opened in 1868 as the Alhambra at 325 Bush St. which Maguire called, after a rebuild, Maguire's New Theatre. It was later known as the Bush St. Theatre. 

Other Maguire venues at different times included the Jenny Lind Theatre, in three versions from 1850 to 1852 and another house using the Academy of Music name on Pine St. near Montgomery, running only from 1864 to 1867.  

Peter M. Field on the ownership of the property: 

 

"The story that Maguire owned the property on which sat the Baldwin Hotel is likely specious: an authoritative source reported that Baldwin leased the land for the hotel from one H. M. Heuston for $1,500 a month in 1875 ('A $650,000 Building on Market, Ellis and Powell,' The Real Estate Circular, May 1875) or $1,200 a month ('Footlight Flashes,' San Francisco Chronicle, February 28, 1875, page 3; 'Building Enterprise In San Francisco,' Sacramento Daily Record-Union, May 16, page 3). Heuston was Hamilton M. Heuston, a successful and wealthy clothing merchant who came to California in 1852 and San Francisco in 1861. ('H. M. Huston's Death,' San Francisco Examiner, April 5, 1892, page 3). He was much more likely to own that property than the episodically impecunious Maguire.

"Shortly after the lease was consummated the buildings on the lot were knocked down at auction on condition of removal after purchase. ('Auction Sales,' Daily Alta California, March 28, 1875, page 3; 'Brevities,' Alta California, April 3, 1875, page 1). Construction began in May of that year. ('A $650,000 Building on Market, Ellis and Powell,' The Real Estate Circular, May 1875). This was around the same time that William Ralston was building the Palace Hotel just three long blocks down Market Street from The Baldwin site. (David Lavender, 'Nothing Seemed Impossible,' American West Publishing, 1975, page 361)."

The opening: It opened March 6, 1876 with "Richard III" starring Barry Sullivan. Thomas Maguire was the initial manager. During nearly the first year of the theatre's operation Peter M. Field notes that "theatre-goers had the unique experience of attending shows in a theatre inside a building that was still under construction." He continues: 

"Moreover, the first weeks of the theatre were marred by several stumbling blocks. Newspapers loved its bijou design, and celebrated the triumph of its opening with Barry Sullivan as the Duke of Gloucester in 'Richard III.' But they reported complaints about the best seats being sold before ticket sales were opened to the public. ('Footlight Flashes,' San Francisco Chronicle, March 5, 1876, page 8). First nighters had to brave a storm to attend, though the play opened to a full house. Yet the papers criticized the theatre as having too few aisles, causing patrons to have to squeeze past too many others to reach their seats. 

"But the most serious criticism was that the exits, which were on Market Street even though the theatre was on Ellis, were too narrow and crowded and would delay the emptying of the theatre in the event of an emergency. ('Amusements,' Chronicle, March 7, page 1; 'Amusements,' Daily Alta California, March 7, page 1). In those fire-prone days it didn't take much to panic an audience into flight, and the result was that patrons stayed away in droves after the first week or two. ('Danger Ahead,' Alta California, March 22, page 1). Baldwin responded by hiring a crew of workers who worked 24/7 for a day or two ripping out seats to make more aisles and an additional exit to Ellis St. from the theatre, which the newspapers publicized. ('Amusements,' Chronicle, March 24, page 3; 'The Alterations In Baldwin’s Academy of Music,' Alta California, March 24, page 1; 'A Safe Building,' Chronicle, March 26, page 5). 

"There was a third exit on Powell Street, but the newspaper accounts aren't clear on if this was built before or after the theatre's opening. Audiences did resume their attendance and Sullivan's six weeks of Shakespeare and other plays ('Footlight Flashes,' Chronicle, April 9, 1876, page 5) drew good reviews ('Dramatic Clippings,' Alta California, April 16, page 1; 'Footlight Flashes,' Chronicle, April 16, page 5) and large crowds ('Footlight Flashes,' Chronicle, April 2, page 5). 

"However, the theatre's jewel box design came at a price: at least one playgoer was reported as saying, 'that his chair was just about large enough for a canary.' ('Dramatic Clippings,' Alta California, April 9, 1876, page 1). There were also numerous complaints about hack drivers aggressively soliciting exiting patrons at the Market St. entrance and refusing to take no for an answer. ('Hackmen’s Insolence,' Chronicle, April 18, page 3). In addition, attendance slacked some towards the end of Sullivan's stint. ('Amusements,' Chronicle, April 19, 1876, page 3).   

Thomas Maguire's tenure as manager of the Baldwin didn't last long. He produced occasional shows there as late as 1882. Lawrence Estevan has some details: 

"But the trend was still downward and Tom Maguire could decipher the handwriting on the wall in 1877. After spasmodic offerings at his three theatres during the first months of the year, he announced retrenchments. On April 1st he reported that his Opera House had been leased to Billy Emerson on a two-year lease, and was to be known as Emerson's Opera House. Here Emerson opened on April 23, offering his minstrels. On April 1st it was announced that the Alhambra was also to be re-titled. The Bush Street Theatre opened on April 7 under the management of Titus and Locke. The first offering was burlesque by the Salisbury Troubadours. 

"The Shut-Down of Baldwin's - Baldwin's Academy had closed ingloriously by April, and young Belasco, former right-hand man of Maguire, had in February been enlisted by a new variety house known as Egyptian Hall to write, direct, and act in specialty plays in conjunction with 'illusions.' Maguire was deserted by fortune and the public. On and off, however, Maguire continued to produce plays at the Baldwin until 1882. During this period the relations between Maguire and Baldwin became more and more strained. Baldwin was forced to cover heavy losses at the theatre and Maguire was continually gambling in an effort to keep the enterprise going. Baldwin finally withdraw his support and Maguire's management was at an end. From that time until his death in 1896, his activities in the theatre world became increasingly negligible." 

It was later known as the Baldwin Theatre. Al Hayman was the lessee and the manager beginning around 1883.

 

 

An August 1883 "Children's Souvenir Programme" from the Callender Minstrels, during the run of their "15th Callender Minstrel Festival." Thanks to Mark Reed for sharing this from his collection. He provided the following comment: 

 

"The story of Callender's Georgia Minstrels -- an all-Black troupe -- is actually a story about brothers Gustav and Charles Frohman, early in their career. While other white blackface companies pursued buffo and burlesque in the 1880s, the Frohman bros doubled down on 'plantation' scenes in its all-Black company. In his book on Black American humor 'On The Real Side,' author Mel Watkins writes that the Frohmans acquired Callender’s Minstrels in the early 1880s and 'presented even more lavish plantation fantasies, advertising themselves as "THE PICK OF THE EARTH’S COLORED TALENT."'

Mark adds that the Chemung County (NY) Historical Society has an article about that act #16 - "Bob Mack and Educated Bantam Rooster."

 

The image on the reverse of the Callender program.

A drawing of the theatre's entrance appearing in the January 1, 1887 issue of the Chronicle. It was with a spread headlined "The Theatres - The Efforts of Our Local Impresarios - A Year Among the Actors" that also profiled the Alcazar, Bush Street and Vienna Garden. Thanks to Art Siegel for locating the article. The comments about the Baldwin, which they called "A Favorite Fashionable Resort With Amusement Seekers": 

"All the world's a stage, and it may be added that San Francisco stages furnish the most varied performances in all the world... Easily recognizable as one of the favorite resorts in San Francisco of all lovers of high-class amusement is the Baldwin Theater, situated on Market street, between Powell and Stockton. With an ample and handsomely decorated entrance fronting on the busiest thoroughfare of our city, with a seating capacity of 1600, without a bad seat in the entire auditorium, a stage perfectly appointed in every detail, with numerous additional exits and with every modern convenience provided for the comfort of its patrons, it is justly admitted to be a model theater.

"The Baldwin is, and has been for the past four years, under the direction of Al Hayman, the lessee, and the high class of attractions offered in the past and the notable engagements announced for the future form the best possible encomiums upon his ability. The past season has been one of unusual brilliancy and the prospects for the coming promise even better things. The past season, to be brief, witnessed the notable engagements of Salvini, Mary Anderson, Mme. Modjeska, A. M. Palmer's company, the Duff Opera Company and others; but it is the announcements for the coming season that are odf greatest interest. 

"The theater will reopen on January 10th with the Emma Abbot Grand English Opera Company, after which will appear in rapid succession Clara Morris, Edwin Booth, the Thalia Opera Company of eighty artists direct from the Thalia Theater, New York; Mme. Sarah Bernhardt, Henry Dixey and the entire Adonis company, Augustin Daly's company, A.M. Palmer's company, the Duff Opera Company, Rose Coghlan, Margaret Mather and others. Certainly this is an array of standard attractions of which both the San Francisco public and Mr. Hayman may well be proud."

The "Through the Opera Glass" column of the November 16, 1890 SF Call noted that the theatre was closing for several weeks for some badly needed stage improvements. Thanks to Art Siegel for locating this via the California Digital Newspaper Collection website:  

"Proposed Improvements. At the end of the Clara Morris engagement, the Baldwin Theater will be closed for a fortnight, and a very important improvement will be made. 'The Crystal Clipper' was presented at the Grand Opera House instead of the Baldwin owing to certain conditions of the Baldwin stage. There have been many improvements of late in matters back of the curtain in the way of mechanical devices, and it requires many changes to keep abreast of the times. 'The Crystal Slipper' occurrence is not likely to take place again, as during the two weeks' closure, the entire system of galleries, grooves and stage mechanical appliances in the Baldwin will be reconstructed and fitted with all modern improvements. 

 

"Six rooms in the Baldwin Hotel will be torn out, and the space gained thereby added to the stage room. The improvements, although not visible to the eye of the auditor in front, will cost several thousand dollars, and will be a great advantage to the possibilities of the Baldwin, as it will enable the management to place on the stage any spectacular production in the country, and to accommodate any company to the extent of 350 people. 

 

"These changes are rendered necessary in view of the fact that Hayman has booked for the Baldwin Henderson's new extravaganza, which is to be brought out in Chicago in the spring, and, at the close of its run there, be brought direct to California; Jefferson and Florence; 'The Soudan,' now running at the Boston Theater; 'The County Fair'; Bernhardt, etc., all of which attractions carry a large quantity of elaborate scenery which requires the latest improvements to handle. The theater will reopen on Monday, December 8th, with the Emma Abbott Grand English Opera Company."

 

In December 1895 producer Edward E. "Everlasting" Rice's production of the burlesque comedy "1492" played the Baldwin. Thanks to Mark Reed for researching the engagement for an extensive post on the San Francisco History to the 1920s Facebook page. He notes that Wikipedia has articles about Edward Rice and "1492."

 

 

The role of Queen Isabella in "1492" was played by female impersonator Richard Harlow. Thanks to Mark for locating this image in the New York Public Library collection. Also see another NYPL shot of Harlow, not in costume. His obituary appeared in the February 19, 1920 New York Herald. Thanks to Mark for locating it via Newspapers.com. The show was back in 1898, playing the Columbia Theatre, with a different cast.

Management of the hotel: Peter M. Field notes that the hotel didn't do well under Baldwin's management: He says: "The finances of the Baldwin Hotel never came close to breaking even, let alone making a profit, and were a constant drain on E. J. Baldwin’s fortune, one of the reasons he didn’t buy fire insurance for the structure. The hotel’s shaky finances came to light from time to time." He offers commentary from several sources. From Tom H. Watkins and Roger R. Olmsted's 'Mirror of the Dream,' Scrimshaw Press, 1976, page 177:  

"'The character of its owner [Baldwin] prevented it from enjoying the cachet of social approval which the Palace claimed from the beginning."

The Oscar Lewis book 'Bay Window Bohemia,' Doubleday, 1956, page 78: 

"[Baldwin’s] 'cash settlements on parting from various ladies of the theater were said to have set new standards of liberality,' and these affairs took place in the hotel itself, where he lived."

From Robert O’Brien's 'This Is San Francisco,' Chronicle Books, 1994, pages 234-235: 

"... 'a wholesale liquor dealer attached the hotel safe and its contents for an unpaid bill of $9000.' Jim Marvin, chief clerk of the hotel, quoted in C. B. Glasscock’s 'Lucky Baldwin,' recalled: 'Another time he was so badly pressed for cash that he literally pleaded with the Bank of California for a loan of one hundred thousand dollars. The hotel was mortgaged and I guess everything he owned was in the same fix. The bank wouldn’t give him the money . . . We went to the bank together and he made a proposition that all the receipts of the hotel should be impounded in the safe under my absolute control until they amounted to enough to pay off his note for one hundred thousand dollars. On that arrangement the bank gave him the money . . . The hotel was losing a lot of money. Two or three times while I was there, between 1877 and 1882, I remember the help struck because they weren’t paid their wages. Sometimes the management had to get up and rustle up the pay roll before we could serve a meal or get the beds made.':

Peter adds: "There were just too many luxury hotel rooms for a town the size of San Francisco, and entire wings in both hostelries were closed off and unused. Thus, when Baldwin had six rooms of his hotel taken out to increase the space for the theater, it was no sacrifice." 

Closing: The Baldwin burned in November 1898 and in 1903 construction of the Flood Building began on the site. The Flood Building was completed in 1904 and rebuilt after it was burned out the 1906 earthquake and fire.

A lovely postcard of the building from the Wikipedia article on the Baldwin Hotel. The theatre's entrance was over on the left on the Powell St. side of the building. Almost directly across the street was the Columbia Theatre.

A corner view from the Jack Tillmany collection.

Another great photo from the Jack Tillmany collection. Look at those crosswalks! 

There's also an undated corner view taken down at street level that's on Calisphere from the Museum of Performance and Design Performing Arts Library.

A post-1883 view of the theatre that appeared on the Facebook page Lost San Francisco with the comment that he businesses along the Market Street side sold the finest art goods and luxury items. The photo appears in Bennett Hall's Flickr album SF Market St. 

 

 

 

 

"The Leading Theatre, Absolutely Safe." The cover for an April 1889 program for a run of "Little Lord Fauntleroy." Note that we get a small view of the proscenium and boxes. Thanks to Jon Perdue for scanning the copy of the program that's in his collection for a post on the BAHT Facebook page. The full eight page publication is reproduced at the bottom of the page.  

 

A closer look at the interior drawing on the program. Thanks to Jack Tillmany for the blowup.

The same cover design in use for an August 1889 program. The production was a two week engagement "Romeo and Juliet" starring Margaret Mather "supported by J. B. Studley and her own company." The cover image from the Museum of Performance and Design Performing Arts Library appears on Calisphere.

Thanks to Bennett Hall for this terrific c.1890 look east on Market that appeared on his Facebook page San Francisco Images. Hall noted that the hotel had 595 rooms with the 168-foot hexagonal dome containing five stories reserved exclusively for ladies. The photo also made an appearance on the page Lost San Francisco.

Theatre wise, the block at the left in post-earthquake years was the site of the Esquire, Telenews and Pix theatres. It's now the site of Halladie Plaza.

A c.1890 look east on Market from Mason St. toward the Baldwin. The photo is from the UC Bancroft Library. Thanks to Mark Ellinger for locating it in the collection.

Thanks to Bob Ristelhueber for this ad he found in an 1895 book. It appeared as a post on the BAHT Facebook page.

 

A rare look at the theatre's entrance before the fire. The 1896 photo comes from the collection of Jack Tillmany.

The hotel's lobby. It's a photo from the Jack Tillmany collection.

Another lobby view from the Jack Tillmany collection. He calls our attention to the ornate Western Union desk.

The hotel dining room. Thanks to Jack Tillmany for the photo from his collection.

An 1890s photo from Stephen Gennerich appearing on the Facebook page A Tahoe and Northern Nevada Historic Photographic Portfolio.

E.J. "Lucky" Baldwin's luck changed 1898 when his hotel and its theatre went up in flames. It was all uninsured. The site sat vacant for several years and in 1900 construction started on the Flood Building. This shot of the Market St. side of the building is on Calisphere from the Museum of Performance and Design Performing Arts Library. At least 20 died in the fire.

A fire photo from the UC Bancroft Library that was located in their collection by Mark Ellinger. He comments that after the fire newspapers started referring to Baldwin as "the former millionaire." Note the "Concerts Nightly" sign on the first floor at the corner.

Emiliano Echeverria noted in a comment on the San Francisco History Facebook page: 

 

"Lucky Baldwin's luck didn't quite run out, although he did have some rough times. By 1898, Baldwin was getting on the elderly side, and the loss of the hotel and the ensuing lawsuits left him cash poor, although he still had assets left. Two assets he would not sell were the Santa Anita racetrack and a large tract of land in the deserts of Kern County. He just wouldn't sell them. The racetrack was understandable, but the desert, well that should have been expendable. Finally in 1906, he was pressed on the issue. He then, to shut people up he made a wild claim: the desert had oil below it. He was taking a wild guess as no exploration had happened to locate or verify. He said so without any substance to his claims. However, in mid 1907, oil was indeed discovered under his 'desert' in Kern County. In 1908, he died, wealthy once again, but this time he didn't get to enjoy his new millions. He was also a mentor to David Belasco, of Broadway fame."

Another 1898 post-fire view. At the left we're looking up Powell St. Thanks to Stephen Gennerich for the photo on the page A Tahoe and Northern Nevada Historic Photographic Portfolio.

A closer look at the fire damage along the Market St. side of the building. Thanks to Jack Tillmany for the photo from his collection.

No more "Concerts Nightly." A November 1898 look at the corner of the building from the Jack Tillmany collection. 

The theatre entrance on Powell St. after the fire. The photo from the collection of Hamilton Henry Dobbins is in the collection of the California State Library.

Bad news travels far and wide. The Sydney Mail picked up the story of the Baldwin's demise. Thanks to Bob Ristelhueber for finding the item for a post on the BAHT Facebook page. 

A c.1904 look at the replacement on the Baldwin site, the Flood Building. Thanks to Mark Ellinger for sharing the card. He notes that the Flood was "built by the heirs of James C. Flood, whose Consolidated Virginia Mine yielded the largest mineral strike in US history."

 

 

An April 1889 program for "Little Lord Fauntleroy" from the Jon Perdue collection:

 

Thanks, Jon!

 

 

More Information: Wikipedia has an article on the Baldwin Hotel. 

There was a later Baldwin Theatre, a smaller venture, in the building just east of the Flood Building. See the page on that [little] Baldwin Theatre for a photo.

Jack Tillmany's Arcadia Publishing book "Theatres of San Francisco" can be previewed on Google Books. It's available from Amazon or your local bookseller.  

For a fine history of the neighborhood see Peter M. Field's 2018 America Through Time/Sutton Publishing book "The Tenderloin District of San Francisco Through Time." It's available through your local bookseller or Amazon.   

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