Copyright © 2021 by Wendy Waszut-Barrett
William H. Lemle worked as a paperhanger and sign painter in Philadelphia at the turn-of-the-twentieth century. During this time, he also worked as a performer, starting his career as an amateur actor in 1904. Over the next few years his career soared after gaining notoriety for his performance in the touring production “Monte Cristo.” By 1908, the touring production of “Monte Cristo” was presented by the W. H. Lemle Company (Jefferson County Republican, De Soto, Missouri, 3 Jan. 1908, page 5). By 1910, Lemle was presenting the production. Like many of his predecessors, he transitioned from the performance side of theater to management and production. Between 1911 and 1916, Lemle moved from Philadelphia to Chicago, where he worked as a scenic artist, salesman, and manager. In Chicago, he became involved with the Sosman & Landis Co., Allardt Advertising Company, the Hoyland-Lemle Advertising Co. and the Lemle-Barrett Company, Inc.
Lemle was able to adapt his skills as both a performer and artist for many business endeavors, allowing him to passionately communicate an idea and successfully sell a product. This did not mean that any of his ambitions lasted long.
Tracing Lemle’s history is difficult, as he was involved in so many business ventures, and many simultaneously by the 1920s. The world of scenic art and design, however, was likely introduced to him by his brother-in-law William H. Cook. Lemle lived with Cook for several years in Philadelphia. When Lemle’s wife passed away in 1905, his touring with a production offered a much-needed escape during his grieving. Lemle and his two young daughters moved in with the Cooks. Prior to his wife’s passing, Lemle performed with the Criterion Dramatic Association in Philadelphia. Although he initially advertised as a painter, performing became his passion. Lemle toured as an actor from 1905 to 1911 before moving into management and production. For many performers, this was a natural progression, performing and then establishing their own company, often performing as the lead with their company. Many of these companies did not last at the dual responsibilities of performance and administrative duties were overwhelming. During this period of Lemle’s life, his sister likely raised his young daughters. In 1905, they were only 6 and 9 yrs. old. His permanent residence was cited in Philadelphia, at his sister Martha’s home. Martha was five years younger than her brother, born on June 4, 1876.
Martha Christina Lemle married William Harman Cook in 1896. The couple settled in Philadelphia, just up the street from most of the Lemle relations. Cook’s WWI draft registration card in 1918 described his physical appearance as medium height, medium build, black hair and light grey eyes. The draft record also listed Cook’s business address as 1914 Judson St. By 1920, census reports listed both William H. Cook and his son Charles W. Cook working as scenic artists, operating their own business. Their business, Lemle picture studio building, made papers when a telephone pole crashed into the building that year (Philadelphia Inquirer, 3 Nov. 1920, page 19). Previously, Cook and his son worked as scenic artists with the Lubin Motion Picture Co. Lemle was also associated with the Art Film Co., holding one of the first-class licenses issued for operating a motion picture machine.
In regard to Lemle’s transition from performance to management, the shift occurred between 1910 and 1911. In 1909, Lemle was starring in “Moses, the Prince of Egypt,” a biblical romance by Henry Thorn Hum (“The Pemiscot Argus,” Caruthersville, Missouri, 16 Sept. 1909, page 1). His performance was commended in many newspaper articles. The 1910 US Federal Census still listed Lemle as an actor and still living with the Cooks. That same year, Cook working as an artist working in the studio industry. In 1911, the “Indianapolis Star” reported, “William Lemle, manager of ‘Rock of Ages,’ coming to the Park tomorrow, has struck upon a novel idea to add to the many souvenirs that he has gathered while touring the country in the capacity of a theatrical manager, Mr. Lemle is desirous of securing the autograph of the mayor and the chief of police in every city that he visits” (27 Sept. 1911, page 7).
Lemle continued to work as a touring manager until 1916 when he encountered financial difficulties. In 1916, William Lemle and Daniel L. Martin were managers of the “September Morn” musical comedy company. Their business endeavor did not go so well when they failed to pay the necessary royalties. The box receipts of their company were seized in Larned, Kansas. The “Hutchinson Gazette” reported, “an attachment on their property for $781.98, claimed to be due for royalty on the play” (27 Feb. 1916, page 9). Half of the box office receipts were collected for payment due to the corporation that owned the copyright. This seems to be a definitive moment when Lemle left the road and began diversifying his business interests. He became an officer in multiple organizations by 1922. Between 1920, Lemle was intimately involved with the Allardt Advertising Co., the Hoyland-Lemle Advertising Co., the Lemle-Barrett Company, and the Lemle Company.
I’ll start with the Allardt venture. In Feb. 19, 1920, the number of directors for the Allardt Advertising Co. increased from 3 to 4. The four directors included William Lemle, Mabel Shearer, Charles L. Hoyland and Carrie Hoyland. By March 1922, Allardt Advertising Company increased capital stock from $5,000.00 to $50,000.00. The same month, the name of the firm also changed from the Allardt Advertising Company to the Hoyland-Lemle Company, and by April moved offices to from 56 West Randolph Street to 417 South Clinton Street, Chicago, Illinois.
When the firm’s name was changed additional information was added to the company’s objective, and now stated:
“To engage and carry on a general advertising business by the circulation and distribution of display cards, signs, posters, dodgers, handbills, programs, banners and flags, to be placed in and on railroad cars, street cars, steamboats, cabs, hacks, omnibuses, stage, and all kinds of conveyances used for passengers or any other purpose. To display stationary or movable or changeable signs, cards, pictures, designs, mottoes, etc., operated by clockwork, electricity or any other power, to use, place and display the same in theatres, depots, hotels, halls and other public places. To make contracts with individuals and corporations for the exclusive use of their rights, easements and contracts, and to have all the rights, powers and privileges and franchises incident to and granted to corporations organized by virtue of the law of Illinois. To carry on the business of advertising contractors and agents and any other business which may be usually carried on in connection with such businesses; to lease property and real estate for the purpose of exhibiting advertising signs; to make, manufacture and display advertising curtains in theatre, halls and other places of amusement; to carry on the business of originating, composing and devising forms of advertising matter for others and publishing and securing the publication of the same and all other matters thereto pertaining. To manufacture, but, sell, import, export and deal in advertising novelties and devices of every kind and description, including raw materials used in the manufacture thereof, and to conduct the business of printing, stamping, lithographing, engraving and binding in connection therewith. To act as agent or representative of corporations, forms and individuals and as such to develop and extend the business interests of firms, corporations and individuals.”
The same year that Lemle and Hoyland established the Hoyland-Lemle Co., Lemle partnered with John P. Barrett. Barrett was the manager of Chicago’s National Theatre. The Lemle-Barrett Company, Inc. was a corporation established to manage movie houses in 1922. That same year, Lemle Inc. was also incorporated. Lemle capitalized on all of his talents and diversified his business interests, establishing advertising, production and management firms. In many ways, he reminds me of Joseph Sosman of Sosman & Landis who always seemed to have a few more irons in the fire than he could adequately handle.
The new company of was formed manage to moving picture venues, or “picture theaters” (“Moving Picture World, Nov-Dec 1922). The offices for the Lemle-Barrett Company, Inc. were located at 6219 S. Halsted St. This is the same address for the National Theatre and future National Theatre Supply Co. The primary focus of the business was motion picture production. The new company was listed in the New Corporations section from the Oct. 26, 1922, issue of “Manufacturer’s News.
“Lemle-Barrett Company, Inc. at 6219 S. Halsted St. William Lemle, John P. Barrett, M. Schearer; $5,000, motion pictures. Cor.; Hoyland-Lemle Co., 417 S. Clinton St.” Lemle invested in the motion picture industry shortly after his brother-in-law William H. Cook did the same in Philadelphia. Keep in mind that motion picture theaters not only purchased equipment, but also painted settings that framed a projection surface and necessary draperies. Many scenic artists began specializing in cinema stages. Sadly, Lemle-Barrett did not last and soon filed for bankruptcy, leaving Lemle with the Hoyland-Lemle Co. until 1926.
On Sept 29, 1922 the “Englewood Times” ”reported, “National Theatre is to reopen Oct. 1. The National Theatre in the south side, has been leased by John P. Barrett and William H. Lemle, for a term of years and will open its season on Sunday, October first with “Why Wives Go Wrong.” A phenomenal hit, that is fairly coining money for its producers, Ralph Ketterling and C.S. Primrose. The company presenting the play at the National has been especially organized and will tour the vicinity surround Chicago, while the company which has been playing the piece on the road will start eastward with Boston for the Thanksgiving destination. While the opening of the National will be given to this road show, it is the intention of Mr. Barrett, who has been manager of this theatre for the past twelve years, to install a high class and dramatic stock company which will begin its season immediately following the termination of the engagement of “Why Wives Go Wrong” (page 7). By 1923 the Lemle-Barrett Company, Inc., was located at 1539 Milwaukee Ave. in Chicago, and did not last long after that.
The Hoyland-Lemle Co. also failed, with mentions in newspapers greatly diminishing by 1925. The following year both Hoyland and Lemle begin to seek other opportunities, each establishing their own firms. In 1926, the William Lemle Co., Inc. was incorporated. By 1929, the firm’s name changed to Lemle Studios, Inc. Again, the name change was shortly before the company dissolved. There seems to be a pattern. When a firm began to fail, the name was changed so that a new iteration of the company could immediately reopen. It was almost a seamless process. That same year that the William Lemle Co. in Illinois changed its name to Lemle Studios, a William Lemle Co., Inc. was registered in Delaware.
All during this time, the Hoyland-Lemle company was still open, just primarily lying dormant. By 1927 “National Pink Sheet” announced a new scenery and drape department was formed for the National Theatre Supply Co., with P. Lester Landis in charge (June 10, 1927, page 2). This was the son of Sosman & Landis founder Perry Landis. The article mentioned that Lester was “quite well known to the trade, having been member of the original Sosman & Landis Company in Chicago. With 12 years experience in all branches of scenery production and stagecraft.” The article reported, “Arrangements have been made to distribute the entire output of the Wm. Lemle, inc. Studios, located in Chicago. This company, with one of the finest and best equipped scenic studios in existence, and in charge of Wm. Lemle, also a former associate of Mr. Landis in the original Sosman & Landis studios, will produce all of the stage curtains, both fabric and painted, house draperies and novelty stage settings of every description of the new scenic department of National’s Midwest Division.
In 1928 the capital stock of Hoyland-Lemle was reduced from $50,000, consisting of 500 shares of the par value of $100 each to $5,000 consisting of 500 chares of the par value of $10.00 each.
In 1930, both W. H. Cook and his son Charles were listed as proprietors in the US Federal ccenus. Each was listed as a proprietor in the “artist and sculpting” industry. Ten years later they were still painting, but now working as artists in the decorative painting industry in 1940. A little information is gleaned from Cook’s obituary.
In 1953 the “Philadelphia Inquirer” reported, “Services for William H. Cook, a scenic artist with the old Lubin Motion Picture Co., were held yesterday at Mulligan’s funeral home, 1119 W. Lehigh Ave. Burial was in Greenwood Cemetery. Mr. Cook, who was 77 lived at 548 E. Dupont St. He died Tuesday. He was employed by the movie company at 8th and Market Sts. And later became associated with the Art Film Co. He also held one of the first-class licenses issued for operating a motion picture machine. Surviving are his wife, Martha A.; a son, Charles W., and two grandchildren” (The Philadelphia Inquirer, 27 Oct. 1953, page 8).
To be continued…
