Copyright © 2020 by Wendy Waszut-Barrett
Philip Dodd and Earle Van Buren were the sons of Joseph Van Buren Ackerman (1848-1882) and Frances Talulah Dibble (1842-1916). Earle was two years younger than his older brother Philip, born on January 29, 1877, in Pensacola, Florida. Throughout the duration of his career, Ackerman was identified by a variety of names, including Earle Van Ackerman, Earle V.B. Ackerman, E. V. B. Ackerman and E. V. Ackerman and E. Van Ackerman. There is no indication of how, or why, the world of theater beckoned both Philip and Earle, luring each to New York. However, when they entered the scenic art profession opportunities were abundant and financial prospects high. Earle completed four years of high school before venturing north to New York.
The first mention that I have located of Earle’s scenic work was in 1897. That year, “E. Van Ackerman” was credited with painting a new drop curtain for B. F. Keith’s Union Square Theatre. The “New York Times” reported that Ackerman’s drop curtain depicted a “handsome interior with a view of a drawing room and distant conservatory” (Dec. 8, 1897, page 4). This was the same year that Earle married Rhoda Beatrice Snell in Brooklyn (1877-1953). His brother Philip also married his first wife Margaret in 1897.
Earle and Rhonda celebrated the birth of their son Robert on August 28, 1898 in Brooklyn, NY, the same year Philip and Margaret celebrated the birth of their daughter Emma. The two couples lived in Brooklyn, each man trying to succeed in the theatre business. The brothers sporadically worked together over the years, eventually forming Ackerman Bros. Scenic Studios by 1914. Unfortunately, the partnership never lasted long.
When they did work together, Earle functioned as a scenic artist and Philip as the supervising designer. It was Philip’s career that really took off by, with “P. Dodd Ackerman” appearing in one newspaper article after another. This may have prompted the two brothers to part ways; very little was published about the younger Ackerman’s scenic art and designs.
In 1909, however, the “Brooklyn Citizen” reported that E. Van Ackerman prepared twenty floats for the big Mardi Gras Carnival on Coney Island. Ackerman was working with Llewellyn J. Bruce on the project, and the carnival procession was estimated to be over a mile long, with 250 horses pulling floats and over ten thousand electric lights (Brooklyn Citizen, 25 Aug 1909, page 6). The 1910 US Federal Census listed Ackerman’s occupation as “artist” in “studio” as his industry. He was living with his, wife, son and a boarder, John J. Redmond, who listed as a thirty-six yrs. old musician.
I wrote about Earle V.B. Ackerman in a past post while exploring the studio fire at Harley Merry’s old space in January 1912. The incident had prompted me to track down a little information about Earle, the final renter of the studio space. His brother P. Dodd Ackerman had been on my radar for a while, but Earle was new to me. In 1911 Earle Ackerman partnered with J. Katser, also listed as Kapher and Kopher in newspaper articles. The two were renting Harley Merry’s old studio. Harley Merry was the scenic artist alias for British actor Ebenezer J. Britton. “The Brooklyn Citizen” reported “The Harley Merry Studios had been located on Franklin avenue for more than forty years. Harley Merry was an old-time actor and built scenery for Booth, Barrett and other well-known old-timers. Six months ago, Merry died and the business has since been carried on by E. Van Ackerman and J. Kopher” 9 Jan. 1912, page 12).
Here is a recap on the studio fire:
On January 9, 1912, the “Brooklyn Daily Eagle” reported, “The Harley Merry scenic studio in Franklin avenue, near Malbone street, in which the scenery for many of the greatest dramatic productions was painted, was destroyed by fire today. The entire contents of the building, including the completed scenery for one production and the partly finished scenery for another play, was lost. The building loss is estimated at $3,000, while the loss of the contents will amount to $10,000. The building and contents were uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27 Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the building at the time. Stabile was in the cellar under the studio when he heard a noise which sounded like the drop of a heavy weight. He ran up to the second floor, and as he opened the door leading to the stairway a cloud of smoke burst into his face. He called for help and a policeman sent in an alarm. Battalion Chief O’Hare, who was in charge of the fire engine companies to arrive, feared that the fire would spread to the adjoining building, which are all of frame construction, and to the Consumers Brewery across the street, and he sent in a second alarm. Six engines and two truck companies were soon on the scene, but the fire was beyond control and their efforts were devoted to saving surrounding property. The roof fell an hour after the fire was discovered. Ten foremen were in the building when the roof tottered and were warned by the call of Deputy Chief O’Hara. All escaped before the roof collapsed. The flammable nature of the contents and the high wind are given as causes for the building’s rapid destruction. The building was originally used as a scenic studio by E. J. Britton, retired actor and scenic artist, who painted under the name of Harley Merry. After his death last September, the building passed into the hands of his daughter Mrs. George Kennington. It has recently been rented as a studio to E. Van Ackerman and J. Katser.”
In the fire, Ackerman and Katzer lost scenery for an upcoming production of “The Real Girl.” The article reported, “The [studio] contents included the completed scenery for the production of ‘The Real Girl,” a musical comedy which is to be produced on Broadway within a few weeks, and also the partly finished canvas for the farcical comedy, “Class,” which also has a Broadway booking…The loss of these two sets is estimated between $6,000 and $7,000.” It was possible that this heavy loss without the safety net of insurance ended the Ackerman and Katser [Kapher/Kopher] partnership.
By 1913, Earle was working with his brother again, a likely result from financial devastation. They partnered to deliver scenery for “The Privateer” at the Star Theatre. Then Earle branched out again on his own, designing “Mlle. Modiste,” at the Globe Theatre. There was also a 1913 that advertisement that announced, “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.” This suggests a split, or the temporary departure of his brother. Yet his advertisement listed an address at 1576-1578-1580 Bushwick Avenue; his brother’s studio.
The 1913 advertisement also noted that the Earle’s studio was established in 1890. This date is extremely doubtful based on the ages of the brothers in 1890; they would have been 15 and 13 years old. In fact, in 1890, Earle V.B. Ackerman was working as an office boy for Kiser & Sparks while boarding at 242 Whitehall in Atlanta, Georgia. Keep in mind that attaching an earlier establishment date was not uncommon for scenic studios. Sosman & Landis and Volland Studio also added a few years to their establishment dates over the years, boosting the levels of their experience and longevity.
By 1914, “Ackerman Bros. Scenic Studio” is advertised in “Gus Hill’s Theatrical Directory.” The new firm is at the same location on Bushwick Avenue in Brooklyn. The advertisement offers, “Scenery Painted and Constructed, Productions, and Motion Picture Theatre Settings.” Their partnership did not last long, and soon Earle was on his own again, partnering with other scenic artists to compete projects. On Oct. 19, 1916, “The Vermont Tribune” reported, “Two scenic artists from Brooklyn, N. Y., E. Van Buren Ackerman and Henry Schmidt, are boarding at W. D. Livingston’s.” (19 Oct. 1916, page 8). About this time, both Ackerman brother’s encountered marital problems, each separating from their wives. Earle never remarried.
Earle’s WWI draft registration card listed his physical appearance as similar to his older brother’s, fair hair, blue eyes, medium height and medium build. At the time, his occupation was noted as theatrical scenery and his employer H. Robert Law, at 502 W. 38th in New York. Little is known of Ackerman’s life or career or personal life in the post-WWI years. Very seldom did his name appear in print; this was a marked departure from his older brother’s very public persona.
By the late 1920s Earle is working as a designer. In 1927 Earle designed the setting for “Tia Juana,” a melodrama at the Schubert Playhouse. On November 5, 1927, the “Morning News” reported, “The Company is capable, the scenery elaborate, and there are no dull moments” (Wilmington, DE, page 13). Ackerman’s design was built by the Vail Scenic Construction Company. Then he disappears again until the mid-1930s. By 1939, Earle only made headlines after a car collision. The “Courier-News” reported, “Car driven by Isador Gelbard, 43, of Davidson Ave., Franklin Township, was in collision with a car driven by Earle Van B. Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in front of the Brooks Theater Saturday afternoon. No one was hurt and no complaints have been made. Mrs. Isador Gelbard was in the car with her husband” (Bridgewater, CT, page 4).
In 1940, Earle was living in Franklin, New Jersey; lodging with another scenic artist and one-time studio owner, George W. Korb. Ackerman listed that he had been at the same residence since 1935, with his marital status still listed as divorced. The Korbs, however, became Ackerman’s new family and he would live with them for years.
In the end Earle outlived them all, his wife, son, brother ad both Korbs. Earle Ackerman passed away on April 29, 1970, in Phillipsburg, New Jersey. Ackerman shares a grave stone with George W. (1889-1957) and Theresa E. (1893-1947) Korb.
To be continued…
