Stoll's Baker Street

Where was 221B Baker Street?  It has been a much-debated and much investigated. In Doyle and Holmes' lifetime, the question was already being asked by tourists to London.... and film-makers. When Stoll Pictures began the creation of their Sherlock silent films starring Eille Norwood in 1920, they needed to identify where to film on Baker Street!

Kinematograph Weekly - Thursday 16 December 1920

A Missing Address. 

Everyone knows that the immortal Sherlock Holmes lived in Baker Street. The fact is mentioned in most of Sir Arthur Conan Doyle's stories of the great detective's adventures, and most of the problems Sherlock solves are brought to the Baker Street rooms by the people they most affect. In short, Sherlock Holmes and Baker Street are almost as closely associated in the public mind as Sherlock Homes and his none too brilliant Boswell, Dr. Watson Now to the readers of these famous stories the exact location of the house in Baker Street is of but little importance. They may feel a mild curiosity on the subject, but certainly nothing more. To Maurice Elvey, who is now filming the big Stoll series of "The Adventures of Sherlock Holmes," in fifteen episodes, the case is very different. For picture purposes an imaginary place has to become a real one, and it is absolutely essential that Holmes's house in Baker Street shall figure on the screen. Within the next fortnight; Mr. Elvey must take scenes upon the doorstep and in the doorway, and the problem which is baffling both the producer and Sherlock Holmes himself (in the person of Eille Norwood) is this : Which is the doorstep? Which is the doorway? Residents in Baker Street who have any reason to suppose that they are living in the house Sir Arthur Conan Doyle had in mind when he selected the detective's address have been asked to solve this knotty problem by writing to Maurice Elvey, and indicate their readiness to allow their premises to be used, immortalised on the screen.

The Bioscope - Thursday 16 December 1920

Everyone knows that the immortal Sherlock Holmes lived in Baker Street, but to readers of these famous stories the exact location of the house in Baker Street is of but little importance. They may feel mildly curious on the subject, but certainly nothing more. To Maurice Elvey, who is now filming the big Stoll series, of "The Adventures of Sherlock Holmes" in fifteen episodes, however, the case is different. For picture purposes an imaginary place has to become a real one, and it is absolutely essential that Holmes's house in Baker Street shall figure on the screen. Within the next fortnight Mr. Elvey must take scenes upon the doorstep and in the doorway. Here is a chance tor residents in Baker Street who have any reason to suppose that they are living in the house Sir Arthur Conan Doyle had in mind when he selected the detective's address. They can help to solve this knotty problem by writing to Maurice Elvey without delay—especially if they will at the same time indicate their readiness to allow their premises to be immortalised on the pictures. Not that Mr. Elvey wishes for one moment to suggest that he has any professional axe to grind, but that he is willing to stimulate the interest the public takes in increasing measure in film production. 

The interior scenes for the films were created at the Stoll film studios outside London:

Kinematograph Weekly - Thursday 06 January 1921

Concerning sets.

Three days before Christmas there were eighteen different sets standing in the Stoll studios at Cricklewood  - twelve on the main floor and six on the "deck" floor, which extends over the property room and the generating plant. Four of these sets had been struck by Christmas Eve, but two others had taken their place, but two others had taken their place, and there will be an average of fifteen sets in the studio for some time to come. It is very doubtful whether any other studio in the country could establish such a record, but Stoll thinks nothing of breaking records now that it has a super-studio in which to do it. Harold Shaw, who is producing the screen version of E. Phillips Oppenheim's famous novel, "False Evidence," has recently completed 230 scenes, in twenty sets, in the space of eight and a half days. And Martin Thornton talks of twenty-five scenes as a perfectly ordinary day's work. Most of the sets on the "deck " floor are for the big Stoll series (fifteen episodes) of "The Adventures of Sherlock Holmes," and they will probably remain where they are for quite a while. For they represent the famous detective's rooms in Baker Street, together with staircases and landings, and they will be needed in most of the episodes. These sets have been most ingeniously contrived by Walter W. Murton, the art director, and R. Swann, the master carpenter. Except for their unfinished tope they might be a portion of a Baker Street house transplanted to the studio, for the rooms really open out of one another, as rooms should do. Each room has one wall missing, but otherwise the realism is wonderful.

The 'Kinematograph Weekly' joined the dots nicely in shooting Baker Street from the outside, and the sitting room on a set.... 

Kinematograph Weekly - Thursday 06 January 1921

Even a big film serial like "The Adventures of Sherlock Holmes" has its little ironies. Sherlock Holmes' rooms are now conveniently situated in the Stoll Studio at Cricklewood, but the great detective needs a front door in Baker Street in order to get in an out of them.

The answer to which house was selected by Stoll was not published in newspapers, but as the movies are restored and released we should be able to determine which house was selected. Some wide shots of the street were regularly used, such as this shot in 'The Sign of Four' (1923):

Burnley News - Saturday 22 January 1921

HIDING THE CAMERA.

Although the fact is not yet generally known, Maurice Elvey has already taken a considerable number scenes Baker-street for the big Stoll series adapted from Sir Arthur Conan Doyle's famous stories "The Adventures Sherlock Holmes." 

Most these scenes have been filmed through the window of a solicitor's office which happens to be situated very conveniently on the ground floor of a building opposite the house which it has been decided that Sherlock had his rooms. From this window the King of Bohemia has been seen to drive to Sherlock's residence in a car and to descend from it; Grant Munro, the client who figures conspicuously in the "Adventure the Yellow Face" (played most convincingly that popular actor, Clifford Heatherley), has been seen to arrive in a taxi, knock the door, and be admitted by the housekeeper (Madame D'Esterre), and to depart in another taxi with the redoubtable detective and his faithful henchman, Dr. Watson (Herbert Willis). And ail sorts other characters, doubtful and respectful alike, have been "shot" on the pavement arid the doorstep with the sheltering aid of the law. 

A variety scenes have been taken in the street itself, moreover, but Mr. Elvey confesses that it is neither easy nor pleasant to film in such a thoroughfare. 

How many solicitor offices were on ground floors of Baker street in 1921?

There were Messrs T. RICHARDS & Co., 109 Baker-street (Portman Square), and this firm were operating at that address into the 1960s!

Ultimately, filming on Baker Street proved to be impractical, and the outside and inside of 221B Baker Street were brought together at the film studies - as this beautiful photo attests:

Illustrated London News - Saturday 06 August 1921

BAKER STREET IN A STUDIO: A REMARKABLE SET

A “SHELL” OF SHERLOCK HOLMES’S CHAMBERS: AN EPISODE UNDER THE RAYS OF AN ARC LAMP, FOR THE CINEMATOGRAPH.

When the Stoll Company began the film of “The Adventures of Sherlock Holmes,” the producer at first attempted to take some of the scenes on the actual spot in Baker Street, but without success, and subsequently a marvellous reproduction was built in a portion of the studios at Cricklewood. Our illustration shows one of the fifteen episodes of the film, in which Mr. Eille Norwood plays the part of Sherlock Holmes, being acted beneath the rays of a big special arc lamp designed to give a night effect to the scene. Above can be seen the mercury vapour tubes of the special lights which are a feature of all cinematograph studios. 

Other specific filming locations were needed. For example, for 'A Scandal in Bohemia' as filmed required a theatre scene.

The Bioscope - Thursday 21 October 1920

For one of the scenes in one of the fifteen two-reel episodes of Stoll's big serial, "The Adventures of Sherlock Holmes," a large theatre crowded with people is essential ; and Maurice Elvey has been wondering how to secure such a scene without hiring a theatre specially for the brief occasion, or securing (if such a thing be possible) the permission of a theatrical manager to interrupt the performance of some actual play. 

"The theatre I need," says Mr. Elvey, "is one about the size of the Alhambra. Would it not be possible, then, to have the camera, the players, the necessary high-power lamps and all the other accessories, ready and waiting at some forthcoming Trade Show in that building, and to enact and take the necessary scenes immediately after the Trade Show is over and before the people in the auditorium have departed?"

Kinematograph Weekly - Thursday 16 December 1920

A Theatrical Notion. For the filming of " A Scandal in Bohemia," which is the first episode in the big Stoll series adapted from Sir Arthur Conan Doyle's famous stories of "The Adventures of Sherlock Holmes," a theatre is necessary. Some of the most striking incidents in this particular " adventure " take place upon the stage of a West-End playhouse, and Maurice Elvey, who is producing the whole series for Stoll's, is hoping to secure the use of a real theatre in the West-End and to engage the services of a real audience, after the regular performance is over. More, probably, will be heard during the next week or so of the scheme which has been evolved, but at the moment it would be injudicious to describe that scheme in detail.

A solution was indeed found, and the scenes were filmed in front of a live theatre audience. 'Bioscope' provided a particularly detailed report of a remarkable event. Oh to be in that audience, and part of the film! What is particularly confusing is that the two newspaper articles below mention two different theatres!

London Daily Chronicle - Wednesday 22 December 1920

PLAYGOERS AS PLAYERS

WHOLE THEATRE AUDIENCE IN A CINEMA PLOT. 

A matinee audience at the Ambassadors Theatre yesterday enjoyed two separate performances, themselves taking part in one of the shows—as supers. 

When the curtain had fallen upon “The White-Headed Boy,” some scenes from the forthcoming Stoll film production of “The Adventures of Sherlock Holmes " were screened at the theatre, and those present were forthwith transformed from a real audience which had paid its admission money to a stage audience which had not. 

"A Scandal in Bohemia" was the particular Sherlock Holmes episode which was being produced. The story is that in which Sherlock Holmes, in order to gain possession of a letter written by the King of Bohemia to a London actress, impersonates the hero of a play in which she is appearing, and chloroforms her upon the stage. 

Technical details of the production were watched by all parts of the house with great interest, and a request by Mr. Maurice Elvey, the producer, that the audience should applaud "in a natural manner" was obeyed with enthusiasm. 

The Bioscope - Thursday 30 December 1920

"A Scandal in Bohemia"

A Daring Innovation 

Filming a Theatre Audience 

The Stoll Picture Company and Mr. Maurice Elvey are to be heartily congratulated on scoring a most pronounced success the other day, when in their efforts to obtain realism they resorted to the daring innovation of filming some of the scenes of their forthcoming production, "A Scandal in Bohemia" - one of the Sherlock Holmes episodes - in a London theatre, with a real audience acting as supers. 

The coup was brought off at the St. Martin's Theatre on Tuesday afternoon, when following a matinee performance the audience were invited to remain seated the while Mr. Maurice Elvey showed them how "Pictures" were made. 

Readers of Sir A. Conan Doyle's delightful series of adventures of the great detective, Sherlock Holmes, will have no difficulty in remembering the occasion when Holmes was visited at his Baker Street apartments by the King of Bohemia, who explained that he was in great trouble. From his statement it appeared that before he became king he had been involved in a love affair with Irene Adler, an actress, who was threatening to expose him before the grand duchess, to whom he was now betrothed. Holmes asks what proof the woman possesses, and the king produces a photo, which would incriminate him at once. He explains that he has already made one unsuccessful attempt to recover the remaining copy from the actress, and he fears exposure greatly. Holmes promises that he will do his best to recover the proofs.

The Detective's Discovery

The detective discovers that Irene is starring in the production, "The Tragedy of Mrs. Keragon," which is in its finishing stages at the Alhambra, and, with Watson, he pays a visit to the theatre the same day. The detective takes no interest in the play until the final scene, when the hero knocks out the villain with a timid blow and comforts the heroine, Irene Adler, whilst the baffled villain raises himself on his elbow and glances with hatred at the pair. 

The next day Holmes confines himself to his room and refuses to admit even Watson, who is puzzled by his behaviour. Holmes' companion is still more confounded when he receives a note from the detective requesting him to visit the Alhambra again and offer his services when a doctor is called upon. The final scene once more arrives, but this time the hero delivers a knock-out blow that has every appearance of being genuine. He then comforts the heroine, but seems to struggle with her, pressing her handkerchief close to her face, and the curtain then drops. The hero of the play appears, and, explaining to the audience that Miss Adler has been taken ill, calls for a doctor, and Watson at once volunteers. Behind the scenes he is amazed when he discovers that the hero is Sherlock Holmes himself, who instructs him to clear everyone out of Irene's dressing-room, including himself (Holmes). 

The Work of the Doctor 

Watson does so, and whilst he is locking the door the dresser fumbles with Irene's clothes, and produces a packet, which , she hands to Watson and exits. Irene comes to, and the doctor then also leaves. He joins Holmes outside, and in a taxi the detective explains how he had asked Geoffrey Norton, the hero of the play, to dine with him, and had drugged him and taken his place that night, having learnt the part and 'words in his room the previous day. What the packet contained was no concern of the audience at the St. Martin's Theatre, but what they saw was a very excellent rehearsal of the scene set out above and the subsequent shooting three times until performed to the satisfaction of Mr. Elvey. 

It was all splendidly organised and wonderfully successful, and from the remarks one heard on leaving had greatly interested an audience which seldom, if ever, patronised the pictures. We believe that as the result of the Stoll Company's enterprise many more patrons of the cinema theatres have been made. 

It would be ungenerous to conclude this notice without a word of appreciation of the excellent and valuable services rendered by Mr. B. A. Meyer and his entire staff of the St. Martin's Theatre.

Eille Norwood interviewed 1924

A very enjoyable interview with Eille Norwood (1861-1948) in the Derby Daily Telegraph in 1924. At the time this interview was conducted, Norwood had finished the last of his forty seven Sherlock silent films (1923), and had performed in the play 'The Return of Sherlock Holmes' from October 1923 to February 1924 in London before touring it in Great Britain.

Whether or not Norwood knew it or not, his active career as Sherlock Holmes was coming to an end - the last performances of the play appear to be in the very month this interview was conducted (November 1924). Norwood was to perform his play at the Grand Theatre in Derby, and the last references I can find to the play were just a few weeks later (December 1924).

Derby Daily Telegraph - Saturday 15 November 1924

Derby Daily Telegraph - Wednesday 19 November 1924

THEATRICAL TOPICS.
MR. EILLE NORWOOD'S LOCAL ASSOCIATIONS. 

SHERLOCK HOLMES INTERVIEWED. 

With feelings very much akin to those experienced by the harassed visitors to the immortal sanctum in Baker-street, I entered the dressing-room of Mr. Eille Norwood at the Grand Theatre this week (writes "Stagestruck"). Sherlock Holmes pulled his dressing gown around him, and sat down opposite to me. He scrutinised me keenly before speaking. 

But a disappointment was in store for me. I had anticipated a full and minute story past career, garnished with details of my professional habits. I fully expected to hear that mother had dropped me on my head in youth, that I had omitted to shave that morning, and that I had weakness for boiled eggs. In response to my startled glance the Great Detective would then smile enigmatically and chuckle to himself "Elementary, my dear Stagestruck! Quite a simple problem in the art of deduction!" 

But no such thrill awaited me! Sherlock merely glanced at his watch and said, "Sorry to have kept you waiting. What shall we talk about!" I put my foot in it straight away by calling him "Eely." "For heaven's sake, don't, pronounce it that way!" he said wearily, "I've had scores of letters asking me how I pronounce my Christian name. Eille is pronounced so as to rhyme with Filey!"

Mr. Norwood a playwright of mean order, at least two of his playlets having achieved great success, "Chalk and Cheese" and "Hook and Eye." As a matter of fact, Ethel Irving made her first appearance on any stage in Mr. Norwood's production of "Chalk and Cheese." Another of his hobbies is musical composition, as a glance at the programme of selections played the Grand Theatre orchestra this week will show. One of his pieces has been recorded, and is played by the Coldstream Guards. 

Mr. Norwood is particularly interested in this district, for he has relatives at Ashbourne, while his own family lived for close on 300 years at Burton Joyce in Notts. Eille's father removed to York, however, where the interpreter of "Sherlock" was born. Like so many other famous actors, he has built hie experience on the solid foundation of repertory. Commencing his career with Benson, he played in repertory for fifteen years without a break, doing in the main Shakespeare and old English comedy. During that time he was also with Edward Compton, and for five years was Sir Charles Wyndham's leading man in London. He created the part of Joe Garson in "Within the Law" at the Haymarket, and also played the leading part in that terribly gripping spy story which achieved success during the war, "Inside the Lines." 

A Tremendous Audience.

"It was rather strange that Sherlock should be my first big film part," he continued, "for I had been playing "Raffles," and had to switch straight over from committing crimes to detecting them. It has been estimated that no less than fifty million people in all parts of the world have seen the films I made, for I have appeared in every Sherlock Holmes story that has been written, with only four exceptions." When "The Hound of the Baskervilles" was shown at the Capitol Theatre in New York it played to 30,000 dollars in a single week. Among the advertising attractions was an actual photograph of Mr. Norwood outside the theatre, eight feet in height. 

"It is largely a matter of accident," said Eille, "that many of Sherlock Holmes' characteristics should happen to be mine also. So much so that, before I was really conversant with the character many people approached me and suggested that I should play the part. I commenced to read ;'Sherlock," and found him so interesting that I made a complete study of the character, and the greatest joy of my interpretation is that I have satisfied his creator."

As matter fact, I believe that when Sir Conan and Lady Doyle went to see 'The Return' at the Prince's Theatre they placed 'Norwood' incomparably first, 'Gillette  second, and the rest nowhere! A wonderful compliment, but one that was well earned, for no actor has ever studied his subject more closely. When you go to the Grand Theatre this week notice Sherlock's collar and tie, his hair, and the details of dress usually scamped by the insincere actor. Norwood has studied the original illustrations of Sydney Paget's till he has absorbed every detail of the detective's outward appearance. Paget, who did more to popularise "Sherlock" than many people would admit, used his brother as his model for the detective in his pictures. Where so many actors have failed has been trying to adapt Sherlock to themselves instead of themselves absorbing the spirit of the character. 

"I had an offer from an American impresario quite recently," Mr. Norwood told me. "Said he, ' I guess I can take you Over There, but before I put the play on in America you will have to alter it and make Sherlock Holmes marry Lady Carfax.' "Will you Americans never grow up?" was the reply. "Must you always have this craving for a happy ending?" 

Norwood will soon have played the part of "Holmes" the 500th time, for he has not had an evening off since October, 1923. He has been on tour since the London run was cut short at its most successful point by the expiration of his tenure of the Princes Theatre, which was wanted by D'Oyly Carte for the Gilbert and Sullivan season. Mrs. Norwood, the actor's wife, is Ruth Mackay, whose name has figured in many big London successes including "The Luck of the Navy" and "The Man who Stayed at Home." 

Incidentally, he finds that constantly assuming a detective's air he is coming to notice many of the detective's faculties. Quite recently he startled his friend in the street by telling him that the man walking in front of them was bound for the bank. He explained his deduction by pointing to the bloodless tips of his fingers caused by the heaviness of the bag he was carrying. Such a weight in such a bag could only mean one thing —money. And where should one take money but a bank? Similarly, he refuted the idea that another stranger's bad cough was due to excessive cigarette smoking. In support of this he indicated to his friend that one of the man's teeth had been driven into the jaw by constant gripping of pipe. 

Quite elementary, my dear Watson, I assure you. Kindly pass the cocaine. 

A night at the Lyceum Theatre

From September 1901 to around April 1902, William Gillette performed as Sherlock Holmes in... well..... Sherlock Holmes. Here's what the program looked like - attendees could pick up a copy for free. 

My copy has folds because whoever picked it up did what I would do - folded it and placed it in a jacket pocket.

The program consists of eight pages, including three pages of advertising, and one page advertising the sale of souvenir editions of Sherlock Holmes volumes.

Of the remainder, they include a synopsis of Act 1, and a cast list.

Transcribed cast and synopsis of first act

SHERLOCK HOLMES                               WILLIAM GILLETTE

DOCTOR WATSON                                   PERCY LYNDAL

JOHN FORMAN                                        SYDNEY HERBERT

SIR EDWARD LEIGHTON                        J. A. ROSIER

COUNT VON STAHLBURG                      WILLIAM S. PARKES

PROFESSOR MORIARTY                        W. L. ABINGDON

JAMES LARRABEE                                  RALPH DELMORE

SIDNEY PRINCE                                       HARRY PAULTON, JR.

ALFRED BASSICK                                   HENRY HARMON

JIM CRAIGIN                                            GRIFFITH EVANS

THOMAS LEARY                                      HENRY J. HADFIELD

"LIGHTFOOT" MC TAGUE                       HAROLD HEATON

JOHN                                                        DAVID CAMPBELL

PARSONS                                                SOLDENE POWELL

BILLY                                                        HENRY McARDLE

ALICE FAULKNER                                   MAUDE FEALY

MRS. FAULKNER                                     CLAIRE PAUNCEFORT

MADGE LARRABEE                                CHARLOTTE GRANVILLE

THÉRÈSE                                                LOUISE COLLINS

MRS. SMEEDLEY                                    ETHEL LORRIMORE

THE PLACE IS LONDON THE TIME TEN YEARS AGO

A BRIEF SYNOPSIS OF THE FIRST ACT OF "SHERLOCK HOLMES"

The scene is laid in the London House of the Larrabees, a pair of unscrupulous adventurers. While abroad, they have made the acquaintance of Mrs. and Miss Faulkner, whom they have invited upon a visit, and who are now practically prisoners in their house. Miss Faulkner has certain papers which may be of great value in the future. The Larrabees have done this, because they are aware that these papers are love-letters, photographs and other compromising documents, which have been sent by a certain very exalted foreign personage to Miss Faulkner's sister. This poor girl was betrayed by her titled lover, and died of grief and shame. Miss Faulkner retains the evidence of the man's guilt with the intention of using it against him when he should himself desire to marry. The Larrabees are anxious to gain possession of these papers for purposes of blackmail, but Miss Faulkner has removed them from the safe in which they were kept, and concealed them elsewhere. All the brutality of the Larrabees fails to discover where they are. Mr. Sherlock Holmes, however, has been commissioned by the foreign nobleman to secure the compromising. papers. He has already managed to place one of his own agents as butler in the house. He calls, insists upon seeing Miss Faulkner, and by an ingenious stratagem succeeds in laying his hands upon the papers. Having got them, however, his first act is to return them to Miss Faulkner. His reason for doing this is not a sudden impulse of generosity, but it is because it is the best means of attaining his design. He cannot take her property against her will, without actually breaking the law. If he can gain her confidence and put her under an obligation he may soften her bitterness and prevail upon her to voluntarily give up her plans of revenge. Before leaving the house, Sherlock Holmes, who is much interested in the young lady, takes steps to secure her in future from the brutality of the Larrabees.

The play was performed every evening, and twice on Saturday - truly grueling. The program notes there intermissions between each of the four acts.

Watson's Tin Box meeting summary - November 17, 2025

Each third Monday of the month, the Watson's Tin Box of Ellicott City scion meets at Union Jack's in Columbia MD and we gathered on Monday November 17 for another great gathering of members - 30 in total (highest post-COVID!!!!) with one first-time attendee.

I again took a census of where people attended the meeting from (MD locations unless otherwise stated): Baltimore; Bowie; Carol County; Columbia; DC; Darnestown; Ellicott City; Fairfax VA; Frederick; Gaithersburg; Gambrils; Harford County; Laurel; Sandy Spring; Silver Spring; Westminster, Woodbine. Quite a mix!

Along with a first-timer, we have three NEW MEMBERS, who were attending their second meeting: Sheridan Ameo, Cindy Saver, and Grant Heller. 

The story of the meeting was The Solitary Cyclist. Being at Union Jack's we were technically at 'the nearest public-house. That is the centre of country gossip.' Very appropriate, and a very full house!

After introductions, we moved to the toasts.

Brent Morris delivered the toast to 'The Woman' (Irene Adler), using a toast he'd written previously - it's got some great puns!

One of the great charms of studying the canonical writings is speculating as to what might have been. With my interests in prestidigitation, I’ve often wondered why Irene Adler’s love for the magic of performing on the stage did not lead her into becoming an illusionist. Now this possibility is not as far-fetched as it might seem. While male magicians are better known than females, there have indeed been a number of grand female performers.

A contemporary of Irene Adler was Adelaide Hermann the first great female Magician. In 1896, her husband, Alexander Hermann—Hermann the Great—died suddenly, leaving Adelaide deeply in dept. Just six weeks later, Adelaide reopened the Hermann show as “The Queen of Magic” and played around the world successfully for 32 years. Thus there is evidence that the world could have accepted another woman of dazzling mystery and intrigue, had Irene been so inclined.

Certainly there is some tantalizing evidence of Irene’s magical skills from “The Scandal in Bohemia.” We know that “a slim youth in an ulster” said “Good night, Mister Sherlock Holmes” as he walked down Baker Street. We know this was Irene Adler, but Sherlock Holmes was puzzled as to the source of the words. I suspect the puzzlement came because she disappeared. The indication is that she performed the famous English magic trick of walking down a street and turning into a pub.

She could have been involved in the illusion first introduced by the English magician, P. T. Selbit—“Sawing through a Woman” or “Sawing a Woman in Half” as we know it today. The classic method requires the woman in the box to have a half sister. Regrettably Irene seems to have been an only child, and so could not have performed that illusion.

There are few stage mysteries more spectacular than the elegant floating lady. Irene could have performed this admirably, but English law at the time was relatively unenlightened and no doubt dissuaded her from following this path to magical fame. At each evening’s performance she would have risked being arrested for no visible means of support.

The initial clues of a magical career were promising, but further study leads us to conclude that Irene Adler did not pursue the mystical arts. Alas, magic and prestidigitation lost a practitioner, but opera was forever enriched by her presence.

Please join me in a toast to “The Woman.”

Liane Luini then presented a toast written by Tin Box member Yale Stenzler, originally delivered at a Watson’s Tin Box meeting in 2008, and written at the passing of our founder Paul Churchill:

I lift my glass in a toast to THE MAN ...
Who co-founded Watson’s Tin Box in Ellicott City.
Who was a member in good, no great standing, in Watson’s Tin Box.
Who has been a member of the Baker Street Irregulars in New York City for many years. 
Who was a member of the Six Napoleons.
Who personally knew Dr. John H. Watson.
Who was a collector and creator of all things Sherlockian.
Who recreated and lived within 221-B Baker Street, London (Eldersburg, MD.)
Who extended himself to every new member of Watson’s Tin Box.
Who had a case box for every Sherlock Holmes adventure in the Canon.
Who loved to talk about his Sherlockian collection and memorabilia.
Who was beyond doubt a gentleman of fine character and gentle disposition.
Who will be greatly missed by family, friends, and those that knew him by name only.
To you THE MAN – Paul G. Churchill, we lift our drinks to recognize you, not once, but always.

Carla Coupe then read a toast to Mrs Hudson, first presented at the recent Copper Beeches (of Philadelphia) meeting by Dana Cameron.

Finally, as always, came the traditional Haiku for the story delivered by Tom Fahres. Tom pointed out that this haiku was appropriate as a utility haiku for multiple Sherlock stories:

Which story is this?

A young woman named Violet

Gets help from Sherlock.

We then moved on to Announcements - 

• If you're looking for things to do - you can keep track of all Sherlockian events at.... www.sherlockiancalendar.com 
• We were reminded that the Irene's Cabinet publication from WTB will return in 2026. The deadline for submissions to Jacquelynn Bost-Morris is December 15. Time for some last-minute inspiration!
• I previously posted on the 46th Annual 'Sherlock Holmes at the Pratt Free Library' event on my blog here.
• The Red Circle of Washtington DC held its 75th Anniversary celebrations on November 15. Many WTB members were in attendance. There were 180 people at the screening (!!!) and of the three Eille Norwood restored films, two had never been released in the US before! The screening was followed by dinner and those who attended received a commemorative Red Circle 75th Anniversary pin! If you are looking for a blog review, our guest speaker Art Taylor wrote a post about the evening.

• Megan Homme reported on the recent meeting of The Naval Treaty of Annapolis, at St. Paul Church in Crownsville, MD. They have a neat strategy for story discussion - the winner of each month's quiz gets to choose the story for the next month!
• The DC Whiskey and Sodality meeting will again take place on Sunday, November 23, 2 pm at Shelly's Back Room, 1331 F Street NW. Contact Terry McCammon for details. "Excellent ventilation, excellent pub type food. Good whisky and draft beer list. I have cigars to share." Smoking optional ; ventilation excellent.

 

Next, we are lucky enough to have our speaker Art Taylor present on his experience as a literature professor teaching Sherlock Holmes, and student reactions to the canon. Art also spoke to the story for the evening - the Solitary Cyclist. The story centers around a case of unwanted attention, stalking, and violence against Violet Smith. Art spoke about modern statistics on stalking, the reality of the 'problem' Violet Smith faces, but also the agency Smith has in seeking help from Holmes, and withdrawing from employment. Art was then barraged with questions, and the entire group is about to begin auditing his amazing classes.

Thank you Art for making the long drive from Virginia to share your perspectives with us.

To the story of the evening - 'The Solitary Cyclist'. Art's presentation was the perfect segue into a conversation about the story. One comment raised during Art's talk is that Violet never gets to complete her story - we don't directly from hear from her after the assault - but the Bert Coules BBC radio dramatization does give Violet a voice at the end, which was a nice variation. The story reminds me of Doyle's non-Sherlock story The Winning Shot, in which the Swedish Dr. Octavius Gaster infiltrates a family and violently insists that a woman marry him. In this story, 'trouble' again comes from across the seas - in this case South Africans. Sherlock's acceptance, or passive understanding of the scenario, is revealed in his (to modern ears, very unsettling) comment "it is part of the settled order of nature that such a girl should have followers". I also noted that the village of Farnham is where - coincidentally of course - Eille Norwood lived and was buried! Small world.

Some themes discussed by the group included: who was the solitary cyclist? Violet or her follower? We discussed the recent Trifles episode on Andy Peck's analysis of Doyle's manuscript that proved it was her follower. Language did not help us solve it - it was pointed out that 'cyclist' is a gender-neutral term unlike many others at the time, for example aviator/aviatrix. Violet was an incredible person - she had the wisdom and agency to immediately act herself on her concerns, and to quit and ride away (or attempt to) when she became uncomfortable. The age-old rule applies - and it's a warning sign in the story - if a job looks too good to be true, it probably is!

Debbie Clark gave an overview of the items in the evidence box. A reminder that you can browse the Evidence Box items at our website, but here are some photos of the laid-out evidence. What do you recognize from the story?

Debbie shared that the tooth was sourced by Paul from his local dentist! 

The pistol is of course imitation.

There was no bicycle in the box (but there used to be when Paul Churchill created them!), so Michelle March created a collapsable bicycle for the box!

We ended with with traditional quiz, set by Olivia Millunzi. For the second month in a row we needed a tie-breaker, and for the second month in a row we also had an amazing prize from Michelle (I'll try and get a photo to add to the blog later).

And so, the end to another fun evening - our largest yet!

The Humorous and the Terrible - Charles Altamont Doyle exhibition

In 1924, Arthur Conan Doyle held an exhibition of his father's art. I've made a separate post where I've referenced his notebook discovered and published in the 1970s.

In Memories & Adventures ACD wrote of his father:

"His painting was done spasmodically and the family did not always reap the benefit, for Edinburgh is full of water-colours which he had given away. It is one of my unfulfilled schemes to collect as many as possible and to have a Charles Doyle exhibition in London, for the critics would be surprised to find what a great and original artist he was—far the greatest, in my opinion, of the family. His brush was concerned not only with fairies and delicate themes of the kind, but with wild and fearsome subjects, so that his work had a very peculiar style of its own, mitigated by great natural humour."

And it very quickly came to pass, for ACD was a man of action. In February of 1924, ACD exhibited a collection of his father's artworks at the Brook-Street Galleries, titled "The Humorous and the Terrible". Below I've compiled the relatively small number of newspaper notices I've found regarding the exhibition.

For some articles the repetitive/common backstory elements have been excluded, focusing on comments regarding the pictures in the exhibition.

Liverpool Daily Post - Saturday 26 January 1924
An Art Surprise.

It is thirty years since the death of Charles Doyle, the father of Sir Arthur Conan Doyle, and we are now to have the first opportunity of seeing a collection of his artistic work. It will be news indeed to many to know that the youngest of the five brilliant sons of John Doyle, himself famous as a caricaturist in the first half of the last century, is said to have been the greatest artist of them all. His life was spent in a Government office in Edinburgh, and his work never had a chance of challenging the verdict of London, but his famous literary son, realising an ambition he has long entertained, has succeeded at last in bringing together over a hundred exampes, which will shortly be shown in the Brook street Galleries.

Charles Doyle was influenced by his contemporary George Cruikshank, and his genius found expression not only in the humorous, but in the dainty and the terrible. A comparison of his work with that of his brother "Dicky" Doyle, of "Punch" should be interesting.

Belfast Telegraph - Saturday 26 January 1924

One of Charles Doyle's pictures, "The Death Coach," depicts a windy heath with two figures crouching in terror, while the ghostly coach carrying a row of corpses in shrouds passes along. In topical studies, such as "The Rogue's Progress," and "Curling," the study of a fat woman with billowy skirts at play on the ice, he expressed his sense of humour.

Daily Express - Saturday 26 January 1924

AN UNDISCOVERED GENIUS?

Painter-Father of a Famous Author

"The Sun Worshippers" one of the paintings by the late Mr. Charles Doyle, father of Sir Arthur Conan Doyle, which will be exhibited at the Brook-street Galleries. Daily Express exclusive.

Daily News (London) - Thursday 31 January 1924
HUMOROUS & TERRIBLE. 
Exhibition of Drawings by Conan Doyle's Father. 

Sir Arthur Conan Doyle called in at the Brook-street Galleries yesterday afternoon to see the collection of drawings and studies, "The Humorous and the Terrible," the work of his father, the late Mr. Charles Doyle. "I like the terrible ones best." said Sir Arthur to a "Daily News" reporter. "I was very keen to arrange this exhibition. My father had real genius, but it was never recognised. He lived all his life in Edinburgh." Sir Arthur explained that many of the drawings now on view have been rescued from scrap-books and albums. The "terrible" drawings, which Sir Arthur likes, are remarkable. One, "The Drowning Seaman's Vision" is full of a bleak, cold light, such as is found only in the Dore drawings; others, "The Ghost House," "Hell's Blast," "The Death Coach," are full of the jolliest swinging frescoes of ghosts, imps, hobgoblins and fairies. They would do splendidly as illustrations for the Ingoldsby Legends. 

There is at least one excellent joke— No. 5, "Explaining the Horse Chestnut to a Horse." 

Newcastle Daily Chronicle - Thursday 31 January 1924

CHARLES DOYLE’S ART.

The value of the interesting exhibition of Charles Doyle’s works at the Brook Street Galleries is probably not greatly lessened through failure of the organisers to get into touch with owners of his larger pictures. Of the 125 drawings and studies which have been collected for this show, the biggest are not always best. In the technical employment of colour, the artist did not rank high, although his colour itself  was often enough.

In a work like “Duddingstone Loch,” with its crowd of skaters, it goes hand in hand with clever characterisation. In line alone on the other hand he had more mastery. “Cricket,” and “Football” for instance are drawings of spirit and charm. The show does not confirm  Sir Arthur Conan Doyle's estimate of his father as the greatest and most original artist of his artistic family, but certainly Charles Doyle had a large share of its talent.

Sevenoaks Chronicle and Kentish Advertiser - Friday 01 February 1924
In his memoirs in the "Strand Magazine," Sir Arthur Conan Doyle said of his father, "It is one of my unfulfilled schemes to collect as many as possible of his pictures and to have a Charles Doyle exhibition in London, for the critics would be surprised to find what a great and original artist he was - far the greatest, in my opinion, of the family.
The realisation of his laudable ambition was seen on Thursday at a private view at the Brook-street Galleries, W., of a collection of drawings, humorous and terrible, by the late Charles Doyle, who was the son of John Doyle ("H.B."), and brother of Richard Doyle, of "Punch," the delightful cover of which was drawn by him.

Westminster Gazette - Friday 01 February 1924

WAITED 30 YEARS FOR FAME

AUTHOR'S TRIBUTE TO FATHER'S WORK

The exhibition of drawings and studies, including a remarkable series from the "humorous to the terrible" by the late Mr. Charles Doyle, provides something absolutely unique in the London art world. The exhibition was opened at a private view yesterday at the Brook Street Galleries, W.1.

The painter was the father of Sir Arthur Conan Doyle, and the present exhibition is the realisation of one of the ambitions of the son to collect as many as possible of his father's pictures in London.

The collection numbers more than a hundred examples of Charles Doyle's work, furnishing evidence of great imagination and originality.

Humorous and Terrible.

There are many examples in the exhibition of the humorous - a series of seven watercolours, entitled "Three little pigs went to market." There are fine examples of the dainty revealed in a number of various fairy scenes. Finally, there is the terrible, exemplified by such pictures as "The Ghost Coach," "The Saving Cross," and "The Hell Blast."

Charles Doyle's life was spent in a Government office in Edinburgh, and his work has never before had a chance of challenging the verdict of London. Now, thirty years after his death, the son has essayed an attempt to get that verdict - in the hope that his father's "remarkable and original genius may meet ith recognition."

Time & Tide - Friday 01 February 1924

TIME TABLE

Friday, February 1, 10-5. Sats. 10-1.0

Exhibition of Drawings "The Humorous and the Terrible," by the late Charles Doyle (father of Sir Arthur Conan Doyle) Brook Street Galleries, 14, Brook Street, W.1.

 

Western Morning News - Friday 01 February 1924

The Art of Charles Doyle. 

Sir Arthur Conan Doyle's ambition, expressed in his memoirs, to get together a collection of the pictures of his father, Charles Doyle, has been partly fulfilled. I saw to-day in the Brook-street Galleries evidence about 120 pictures of the genius of that remarkable and little-known man.

Son of John Doyle, the famous caricaturist, and brother of Richard Doyle, famed of "Punch," Charles Doyle's creations were the hobby a man whose life was spent in an Edinburgh Government office. They were never exhibited, and his art now being recognized for the first time. It includes some wonderful fancies, both humorous and terrible. Some of his nightmare conceptions are both wonderful and fearful. Many of his sketches have a vivacious and an artistic wit. 

The best of the exhibitions are the water-colour pictures, some which are a revelation in the wealth of impression end effect. Quite on of the best is a blue wash picture, vivid with detail, "The Drowning Seaman's Vision." The sinking man, in his last delusion on the lonely sea, sees myriads of angels shining through the mists. A similar and perhaps more ingenious suggestion is conveyed in "The Breaking Wave," the crest of which, falling over the man, spar-clinging in the trough of it, cascades in a host of mermaid forms.

Sir Arthur Conan Doyle speaks of his father as far the greatest artist of the family. 

The Irish Freeman's Journal recognized the Irish Catholic angle of the story:

Freeman's Journal - Thursday 07 February 1924

It is interesting to note that amongst the many art exhibitions at present attracting attention is one at the Brook street Gallery, London, consisting of water colours and sketches by the father of Sir A. Conan Doyle. In the Press references to the collection the fact is naturally noted that they creator of Sherlock Holmes comes of an artistic stock. But that they were "Irish" is conveniently ignored. Thus, the famous Richard Doyle, "clarum et veserabile nomen," was Irish and Catholic to the backbone, a fact quite overlooked. He it was who, in a sense at least, made the reputation of "Punch." He it was whose sketches of the adventures of "Brown, Jones, and Robinson," added to the gaiety of the nations, and whose cartoons lent such enormous value to the publication in the early Victorian days.

Portsmouth Evening News - Saturday 09 February 1924

All the pictures, however, are not of this more or less uncanny order, though all show a wide range of imagination. There are faces to be seen in the bindings of sheaves of corn: in the boughs of trees, clouds become animals chasing one another, and so on! "The Roaring Game" is a boisterous picture of curling on a frozen loch, and there is a football scene, as well as others full of vigorous movement, of which Charles Doyle was a master, as was his brother "Dickey" - vide again the cover of "Punch." He could not paint faces so as to be convincing, but neither could that master of crowds and grouping, Gustave Dore. 

The Sphere - Saturday 16 February 1924

"A Fairy Meeting" One of the Weird and Clever Drawings by the late Charles Doyle Exhibited at the Brook Street Galleries. 

The late Charles Doyle (1832-1893) was the father of Sir Arthur Conan Doyle. For years the latter has been collecting examples of his father's remarkable drawings in order to hold an exhibition of them in London The recent collection on view at the Brook Street Galleries is the result of this filial devotion. Charles Doyle was a regular exhibitor at the Royal Scottish Academy, and in his fantasy and humour he was representative of his age, the age of his own brother, Richard Doyle, "Phiz," and other distinguished men. The drawing reproduced here is one of the many examples of Charles Doyle's art shown in the exhibition 

Truth - Wednesday 20 February 1924

A word must be given to the drawings and studies, "The Humorous and the Terrible," the late Charles Doyle—father of Sir Arthur Conan Doyle and brother of "Dicky" Doyle, of Punch—at the Brook Street Galleries. They may be said to belong to the "Ingoldsby" period, and to represent the corresponding attitude to the supernatural world—whether of spooks or fairies. "Terrible" is certainly not the word for the delightful drawing of " The Ghost House," with its tenants making holiday in the moonlight, and even "The Death Coach" and "A Hell-Blast" produce only a comfortable thrill. Whimsicality, in fact, is the note of the exhibition—best . expressed in "Fairies Envying the Family Going to Church" — and one or two drawings of everyday subjects, "Windy Day," for example, show high technical powers. 

The works. I have not identified a catalog for this exhibition. A significant number of items are held by the Huntington Art Museum in San Marino, California, acquired from Princess Nina Mdivani Conan Doyle (the widow of Denis Conan Doyle). One challenge with tracing artworks in the exhibition may be that their titling was arbitrary - ACD may have titled those he gathered.

Let's see what we can identify from those mentioned above:

• The Death Coach - depicts a windy heath with two figures crouching in terror, while the ghostly coach carrying a row of corpses in shrouds passes along
• The Rogue's Progress
• Curling (the study of a fat woman with billowy skirts at play on the ice)
• The Sun Worshippers 
• Three little pigs went to market - a series of seven watercolours
• The Drowning Seaman's Vision - full of a bleak, cold light, such as is found only in the Dore drawings. The sinking man, in his last delusion on the lonely sea, sees myriads of angels shining through the mists.
• The Ghost House - full of the jolliest swinging frescoes of ghosts, imps, hobgoblins and fairies
• Hell's Blast/The Hell Blast - full of the jolliest swinging frescoes of ghosts, imps, hobgoblins and fairies
• Explaining the Horse Chestnut to a Horse - No. 5, an excellent joke—
• The Breaking Wave - the crest of which, falling over the man, spar-clinging in the trough of it, cascades in a host of mermaid forms
• Duddingstone Loch - with its crowd of skaters
• Cricket - 
• Football - 
• The Saving Cross
• A Fairy Meeting
• Fairies Envying the Family Going to Church
• Windy Day

Huntington Museum.