Copyright © 2020 by Wendy Waszut-Barrett
In 1917, Thomas G. Moses wrote, “We closed a contract with H. Robert Law of New York City for a lot of scenery for the Government Cantonment Theatres.” Yesterday’s post examined Smileage Books for government cantonment theaters during WWI. Today I explore the life of H. Robert Law.
Harry Robert Law, Jr. was born in Toronto, Ont., Canada, on September 20, 1876, but only lived there for the first year of his life. In September 1877, the Laws returned to the Wilmington, North Carolina.
His father, Harry Law Sr. was born in Wilmington, North Carolina. H. Robert Law’s 1923 passport application notes that his father lived for 63 years, uninterruptedly, in the United States, at Wilmington, N.C. and Baltimore, M.D. Law’s mother was born in New York.
By 1910, New York City Directories list H. Robert Law as an artist, living at 141 Park Hill Ave, Yonkers, NY. In 1914, Law partnered with John H. Young to provide scenery for the William A. Brady production of “Life.” (Boston Globe, 30 Aug. 1914, page 40). In 1915, the younger Law met and married his future wife Lilla Gertrude Batdorf. (b. March 5 1884), in Philadelphia. Lilla was a Chicago native and the daughter of John William Batdorf (b. 1852, Ohio) and Helen Gertrude Tetrick (b. 1858).
WWI draft records described Law’s physical appearance as “tall” and “stout,” with brown hair and brown eyes. “Stout” is subjective, as this simply could have meant big-boned and not morbidly obese. Draft records only give the options for a slender, medium, or stout build.
WWI draft records list Harry Robert Law’s address as 7389 West End Ave., Manhattan, New York. The record lists his present occupation as a “scenic artist” and his employer as “self.” His studio address was 502 West 38 NY, NY. This continued to be the studio address throughout the 1920s.
As a scenic manufacturer, Law was contracted by the United States Government War Department during WWI. He was a well-known individual at this time. On May 21, 1917, the “News-Journal” reported that Law had gained “considerable fame through his spectacular scenic creations” (page 11). 1917 productions that Law designed scenery for included “Molly O’” (May 17, 1916 – Jun 24, 1916) and “When Johnny Comes Marching Home” (May 07, 1917 – Jun 16, 1917). 1918 shows included “Cheer Up” (Aug 23, 1917 – May 11, 1918), “Oh Look” (Mar 07, 1918 – May 04, 1918) and “Hitchy Koo” (Jun 06, 1918 – Aug 03, 1918).
Law’s 1923 passport application, indicated that he was traveling for business purposes with his wife to France, England and Germany. His occupation was listed as that of a scenic studio manager of H. Robert Law Scenic Studios, still at 502 W. 38th Street in New York City. Law also listed his permanent residence that year as 1925 7th Ave., NY, NY.
While researching for additional information about Law, I noticed that he was in court – a lot. Here are just a few examples of his extensive legal battles:
In 1910, Law was involved with Joseph E. Shea in a contract dispute with D. S. Andrus & Co. (Star-Gazette, Elmira, NY, 14 April, 1910, page 7). In 1911, Law won a case against Sangor Rice Co. and Benjamin Sangor for $477. In 1914 Law sued to recover $75 from T. C. Brown, a local automotive agent for non-payment of a space on an advertising curtain (Asbury Park Press, NJ, 19 June, 1914, page 1). In 1917, Law sued Harry J. Everall and Samuel H. Wallach for non-payment (New York Herald, 22 Oct. 1917, page 14). In 1920, Law sued Daw Producing Co., Inc for $1,063.17 (New York Herald, 30 July 1920, page 13). In 1920, Law sued John Cort about the about “valuable services rendered” in relation to his scenic contribution to “Listen Lester” (Daily News, New York, 1920, page 2).
The most entertaining story, however, was published in the “Buffalo Times” on Dec. 1, 1921 (page 15). The article “Art Show Emporium Fine But Overpriced” noted, “Admits He’s an Artist but the Bill was Too High.”
Here is the article in its entirety, as it is quite entertaining:
Abe Attell, the artist, is in trouble. An interior decorator wants Abe to pay him some money for decorating the interior of Abes’ shoe shop on Broadway, near the Winter Garden. Abe says he owes the interior decorator some of the money but not all of it, and that he’s going to get his old pal Bill Fallon to take the matter into court and see that his rights are protected.
It’s a fight between artists. Abe explained that as he conducted us through his multi-colored depths of his show shop, pointing out its artistic beauties.
“This shop is for ladies,” said Abe. Then he paused and said, “LADIES.”
We got him right off the bat.
“Ain’t this a grand place,” said Abe, with a wave of his hand that took in the combination of Swiss and Japanese sunset effect.
Grand doesn’t describe it. It’s magnificent. It’s elegant. It’s sumptuous. It’s palatial. It looks more like 51st Street and Broadway than 51st Street and Broadway ever dared to look.
The color scheme is yellow, rose, vermillion, gray, blue, brown, a touch of saffron, a hint of turquoise, a dash of raspberry, a slice of mauve, a streak of green, a flare of purple and a mere suggestion of gold and ecru and silver.
The walls are gilded, and over the gilt have been painted Japanese hoochie-koochie girls in pink mother hubbards playing hide and seek in a bamboo forest. Chinese red has been worked into the effect, to say nothing of the black lacquered panels. The chandelier and wall lights are concealed by silk shades, yellow as the streak down a welcher’s back. The chairs are carved teakwood.
When LADIES have their shoes tried on they place their silk stockinged feet on red plush cushions with long gold tassels. A miniature Japanese fountain bubbles in the center of the room. On the level, it’s scrumptious.
Abe says he picked up his ideas of art while he was on the stage and out in Chinatown in Frisco. “Of course you not bein’ an artist,” said Abe, “you can’t appreciate what this difference of opinion is about. They say I owe ‘em 728 bucks and I says right back I’ll pay ‘em all except 250 bucks, which they ain’t entitled to.” Abe was served with a Municipal Court summons by Wise & Otfenberg, attorneys for H. Robert Law Scenic Studios who executed Abes’ ideas of art. “I ain’t woryin’,” said Abe. “Bill Fallon’ll take care o’ my end of it. You got to be an artist to see what I mean.”
I have not been able to locate the ruling of the case.
In 1925, the “Bridgeport Telegram” reported on another Law court case: “The ‘Three Morin Sisters,’ singers and dancers on the vaudeville stage, and who recently appeared at the Palace theatre have been named defendants in an action brought against them by H. Robert Law, a producer and scenic artist of New York city, who seeks damages of $1,250” (Bridgeport, CT, Sept, 4, 1925). The basis of the suit is that the plaintiff was not paid his commission for perfecting their specialty act, or providing their scenery and their booking. And there were many, many more cases in court for Law. I had to wonder if Law’s lawyers worked for him full-time.
To be continued…
