The Emperor Norton Trust

TO HONOR THE LIFE + ADVANCE THE LEGACY OF JOSHUA ABRAHAM NORTON

RESEARCH • EDUCATION • ADVOCACY

Filtering by Tag: 1935

The Ferry Building Clock Tower from Emperor Norton's Street

The best-known vista of the 245-foot-tall clock tower of the San Francisco Ferry Building is from along Market Street, looking northeast.

The best-known street vista — but not the only one.

The clock tower also rises as the eastern visual terminus of Commercial Street.

On today’s Commercial Street, the tower is most readily seen from the 2-block stretch between Montgomery Street to the east and Grant Avenue to the west. This is the stretch adjacent to, and near, the former site of 624 Commercial between Montgomery and Kearny Streets — where Emperor Norton lived from 1864/65 until his death in 1880.

The view of the Ferry Building clock tower from here is one reason why The Emperor Norton Trust has proposal that the tower be named Emperor Norton Tower. You can read our proposal and commentaries by clicking the Learn More button at EmperorNortonTower.org.

Click through for a series of seven views of the clock tower photographed from the 7-block stretch of Commercial Street between Drumm Street and Grant Avenue during the first half of the tower’s 125-year life-so-far — the period between c.1900 and 1960.

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The Pantheonic Statuette of Norton I

It’s well known that souvenir photographs and lithographs of Emperor Norton were sold in San Francisco shops during the Emperor’s lifetime.

Norton biographer William Drury takes it considerably further to claim that, by the early 1870s, there was a whole cottage industry of “Emperor Norton statuettes, Emperor Norton dolls, Emperor Norton mugs and jugs, Emperor Norton Imperial Cigars” — and even that there were peddlers hawking Emperor Norton merch at his funeral.

I find no evidence to support much of what Drury asserts — but…

In 1877 — a couple of years before Emperor Norton died in 1880 — a German immigrant jeweler and sculptor in San Francisco created a highly accomplished statuette of the Emperor that deserves a much closer look than it has received.

Although there is no ready evidence that this nearly-two-foot-tall statuette was sold in shops, there is evidence to suggest that it was a fixture in San Francisco saloons — and even that the Emperor himself had a copy in his apartment.

Among other things, I document here the three known copies of the statuette and offer a glimpse into the life and work of the sculptor.

There even are cameo appearances from historians of Ancient Rome and the Oxford English Dictionary.

It’s a fascinating story, previously untold.

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Emperor Norton Arrives on the Great White Way

The Emperor Norton character had only a few lines — but, the lines he had were good ones.

Both the character and the lines arrived on Broadway courtesy of one of the most influential theater collectives of the twentieth century.

Today, Lee Strasberg, Clifford Odets, Elia Kazan, Stella Adler and Sanford Meisner are household names to students of the American theater. Their legacy approach, “the Method,” and their legacy project, The Actors Studio — founded in 1947 — is known to millions.

But, in 1934, when these playwrights, directors and actors — and their Group Theatre — brought their play Gold Eagle Guy to Broadway, they were unknowns.

It appears that the Broadway production of Gold Eagle Guy marked the first time that Emperor Norton was portrayed on a Broadway stage.

The Emperor was played by Stella Adler’s brother, Luther Adler.

The fascinating story of this play — and of how the character of Emperor Norton gave voice to ideas expressed in the recently published Brave New World, by Aldous Huxley — is on the flip.

Includes archival Playbill images; an early cartoon by Al Hirschfeld; and a wonderful rare live-stage photograph of the Broadway production of Gold Eagle Guy, showing Luther Adler playing Emperor Norton.

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Emperor Norton in the Artistic Taxonomy of Antonio Sotomayor

The Emperor Norton mural in The Pied Piper, at the Palace Hotel, in San Francisco — painted by the city’s longtime “artist laureate,” Antonio Sotomayor (1904–1985) — is one of the best-known and -loved Emperor-themed works of art.

A newly discovered art-historical survey done for the San Francisco Arts Commission in 1953 offers an elusive date for the painting — and a new way of seeing it.

Includes rarely seen photographs.

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