Month: February 2021

Copyright © 2021 by Wendy Rae Waszut-Barrett

On November 17, 1930, Thomas G. Moses was credited with the scenic art for the Scottish Rite Temple in McAlester, Oklahoma.  In  section entitled “Giant Stage Equipment is Feature of New Temple,” the following was written about Moses’ scenic contribution to the project:

“Outstanding among the features of the new Scottish Rite temple are the size of the big stage provided and its equipment. The scenery will long be remembered by the persons who see it in use. This very important part of the equipment was designed and painted by Thomas G. Moses, representing the Wm. Lemle Studios and the National Theatre Supply company, of Chicago.”

The work was contracted two years earlier, with Moses presenting models to the McAlester Scottish Rite representatives. Although it was Moses who landed the project, the McAlester Scottish Rite contracted the National Theatre Supply Co. for the work. The National Theatre Supply Co. then subcontracted the work to the William Lemle studios, who in turn hired Moses, as was the understanding in the contract.

This project did not go according to plan and in the end the McAlester Scottish Rite Masons refused to pay the full amount owed, citing that some of the pieces of scenery were damaged during shipment, even though Moses repaired each of the damaged pieces cited by the Valley. The drawn-out collection process directly affected Moses. As the official supplier and client bickered about who should file a claim with the railroad for damaged goods, Moses was left in a dire financial situation at the onset of the Great Depression, begging to be paid for his work.  

Due to the size of the drops and scope of the project, there were several shipments of scenery in 1929, yet only one was partially damaged. Problems between the theatrical suppliers and McAlester Scottish Rite began well before any damage was cited. The first issues were in the form of delayed payments. On Aug. 2, 1929, Moses wrote directly to the McAlester Scottish Rite Secretary, W. P. Freeman, noting that they had not received the $1,000 July 1^st advance payment, although the project was well underway. Freeman explained that the check had been sent, but it never arrived that fall. By Dec. 3, 1929, McAlester was behind two payments, totaling $2,000. This time, P. Lester Landis of the National Theatre Supply Co. wrote a letter to Freeman at the McAlester Scottish Rite, notifying him of the deficiency. The $2,000 was paid two weeks later.

And then there was a damaged shipment from a leaky rail car. The initial letter citing the damage, sent from the McAlester Scottish Rite representatives to the National Supply Co., was purportedly returned as “undeliverable.” This is after continued correspondence for a year. The McAlester Scottish Rite then sent a second letter, this time directly to Moses at William Lemle’s studio.  Moses immediately responded on Nov. 12, 1929, writing, “We called the representative of the C & E I, who took the shipment, and he assured us that he would communicate immediately with the representative in Tulsa, and that he would come to McAlester, where you can show him the damaged pieces. If this is possible, and I trust it is, and he in turn will notify us and I am sure we can establish the cost of repairing. This of course, will not be done until I come to McAlester next summer, to touch up and match the pieces which you found un-painted…it is almost impossible to do this work without being set up on the stage, which is the same reason some of them were not finished. So whatever damage there has been done to the drops or set pieces in this shipment, will be taken care of at that time, so please do not worry about it.”

Keep in mind that many final touches to scenery occurred after stage machinery was added to each drop for various scenic effects.

Moses also explained, “As long as you have the drops in a dry place that is all that is necessary. I have never known one of the shipments to go out that did not require more or less touching-up when they were installed.” 

I personally think that the damage occurred somewhere between the railway depot and the temple, not necessarily in transit from Illinois to Oklahoma.  All it would take is a rainstorm with a work crew who decided to transport the scenery from the depot to the temple regardless of the weather conditions.

In the meantime, Moses completed the McAlester Scottish Rite scenery and repaired all of the damaged goods. It was not until Nov. 30, 1930, that the damage and completed work, however, was inspected by Lou Lounsberry.  After his visit, the McAlester Scottish Rite wrote to Moses noting that Lounsberry looked over his work and stated, “he is greatly pleased with your work and had many good and nice things to say about you.” There was no mention about any dissatisfaction with Moses’ repair of the damaged scenes – at all.  

Interestingly, two weeks prior to the letter, Lounsberry was mentioned in an article about the new stage. The article reported, “The scenic equipment was given to Lou Lounsberry, former McAlester resident and prominent worker in the Scottish Rite for years, to plan, as he had some big effects in mind and had investigated several large temples, the last two which were at Fort Scott, Kansas, and Oakland, California [both Moses installations]. Constantly getting closer to his idea of big effects, Thomas Moses was called to Los Angeles to consult with Lounsberry. After several meetings and the showing of a number of miniature sets, Mr. Moses was instructed to proceed with models and these were brought to McAlester.” If there were any deficiencies with the repaired scenery by November 1930, it was not mentioned in their letter to Moses. That being said, the dissatisfaction may have originated from a new source. From the beginning of the project to the final payment, there was a changing of the guard at the McAlester Scottish Rite in the form of a new secretary.  When a new secretary of SGIG becomes involved with an existing project, it can change everything, including fair dealings; I know, as I have encountered this a few times.

On September 11, 1930, Moses wrote to the McAlester Scottish Rite Bodies, “I trust that you realize that we have a great deal more in this contract than has been advanced to us. Of course, we expected this to a certain extent, but work has been much more expensive than we estimated and we are cramped for ready means.” Part of the problem was size; you can only store so much scenery that measures 40’ high by 56’ wide while waiting for a payment. Moses tried to remedy these continued delays for the collection of the final payment.  By this time, Moses had implemented a practice of not leaving a Masonic job until final payment was collected.

The final amount for the scenery was to be paid directly to Moses upon his arrival to McAlester for the final installation. On September 26, the National Supply Co. even sent a letter to the new McAlester Scottish Rite Secretary, Lawton Beasley, confirming that final payment should be handed to Moses on site and not mailed to the company. Again, this step was requested by Moses, and likely because the McAlester Scottish Rite had established a pattern of delayed payments to the National Theatre Supply Co. The McAlester Scottish Rite did issue a final payment before Moses’ departure, one that was handed to Moses directly. Unfortunately, it was for less for than the amount owed.

In the end, the McAlester Scottish Rite decided to not file for damaged goods with the railroad company and decided to just deduct that amount from their final payment, citing, “Under the contract these curtains were to be installed by your company in perfect condition.” They acknowledge that the National Theatre Supply Co. paid Moses $120 to repair the damage as well as possible, and then simply deducted the $120 fee for Moses from the final damage estimate. This meant that they chose not to pay the remaining $807.00 of the contractual agreement. In effect they breached the contract. That is today’s equivalent of $12,640.52 – no small amount.

The McAlester Scottish Rite even took the time to draw up an agreement justifying this reduced amount and stated that the National theatre Supply Co. would collect the remaining funds from the railway for damaged goods.  The McAlester Scottish Rite then took the time to write a second letter to Moses, sending it via. William Lemle studio. They reiterated that Moses did the best he could with all of the repairs, but the scenery was still not in “perfect condition,” and therefore, they should not have to pay full price. In the end, it was the William Lemle Co., that took the time to file the claim with the railroad and collect the payment for scenery damage in caused during transit.

In regard to the McAlester Scottish Rite’s citing that Moses’ repairs left the Valley with scenery in less than “perfect condition,” I have a few comments. When considering the caliber of Moses’ work and his experience, leaving any scene in a bad state directly reflected in HIS reputation.  As Moses had several more upcoming Scottish Rite projects, leaving any example of poor work would jeopardize future Masonic projects.

Furthermore, I evaluated the McAlester Scottish Rite scenery collection in 2010 and  encountered no existing damage that would have substantiated their claim and decision for a reduced payment. It was in far better shape than most Scottish Rite scenery collections and absent of areas indicating massive water-damage. The painting was still beautiful and in great shape. If anything, the biggest issue was some dusting, repairs from constant used and failed netting; a standard deterioration after eighty years of use. Here are a few of the McAlester Scottish Rite Scenes.

For more information about Scottish Rite degree productions, scenery and stage machinery, visit www.drypigment.net and keyword search “Scottish Rite.”

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 8^th 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…

Happy Valentines Day!

As I continue to explore the life and times of Thomas G. Moses in 1923, I am sharing “Valentine’s Manual of Old New York” for the same year today. Here is the link: http://www.columbia.edu/cu/lweb/digital/collections/cul/texts/ldpd_6274889_000/

There are some lovely illustrations, including a lithograph of Union Square with a border composed of famous theatre personalities. Enjoy!

Copyright © 2021 by Wendy Rae Waszut-Barrett

Scenery by Thomas G. Moses (1856-1934).

In 1929, Moses represented William Lemle, Inc., when he painted the scenery installation for the Scottish Rite Theatre in McAlester, Oklahoma, 1929. The drops measure 40′-0″ high by 56′-0″ wide. I restored most of the scenery collection between 2009 and 2010, including this wood scene.

Here is a link for more information about William Lemle, Inc., as I am currently exploring Lemle’s career in “Tales of a Scenic Artist and Scholar” – https://drypigment.net2021/02/13/tales-from-a-scenic-artist-and-scholar-part-1161-william-lemle-inc/

Here is my post from today about William H. Lemle’s early life as an actor:
https://drypigment.net2021/02/13/tales-from-a-scenic-artist-and-scholar-part-1162-william-h-lemle-the-early-years/

For more posts about Scottish Rite scenery, use the keyword search function.

Copyright © 2021 by Wendy Waszut-Barrett

Tales from a Scenic Artist and Scholar. Copyright © 2021 by Wendy Waszut-BarrettFor additional installments, go to www.drypigment.net

William Henry Lemle (1871-1950) was an actor, theater proprietor, scenic artist, studio founder and designer. He was associated with the Hoyland-Lemle Co. in 1922, William Lemle, Inc. in 1927, and the National Theatre Supply Co. by the late 1920s. Lemle had an abundance of talent and ambition that ranged from adapting stories for the stage to creating novel decorations for business expositions. In the line of painting, his career included sign painting for glass windows, lamp shade decorations and massive panoramas. It was his brother-in-law, however, who redirected Lemle into the scenic art profession.

Lemle was born in Philadelphia on July 29, 1871, one of four children born to Francis P. Lemle and Margaret A. Wooley. His siblings were Francis E., David J., and Martha A. His father was employed in a variety of occupations, but most frequently worked as a salesman.By 1893, the Lemle family was residing at 1826 Judson St. in Philadelphia. At the time, the City Directory listed William Lemle as a salesman. Most of the Lemle family resided on Judson street over the years. The Lemles appear to have had no connection to the theatre, or any connection to a theatrical trade, until Martha A. Lemle married William Cook.

In the early 1890s, Lemle was working as a traveling salesman. This was possibly how he met his future wife. In 1893, he married Elizabeth C. Cushing in New Jersey. Cushing was 21 yrs. old at the time, only a year younger than her husband. The couple settled in Philadelphia and celebrated the birth two daughters, Ethel and Louise. Elizabeth went by both “Beth” and “Bessie.”In 1894 and 1895, the young couple was living with extended family at 1826 Judson. At the time, Lemle was working as a shade maker, painting scenes on roller shades for windows. Late nineteenth century window shades were often constructed of thick cotton or linen, and either glazed or decorated with painted scenes and ornament. This is likely when Lemle’s career as an artist commenced.

By 1898 William was working as a paperhanger.The 1900 US Federal Census listed the couple as living in their own home at 1221 Ridge Ave. with their two daughters Ethel M. (b. Jan. 1896) and Louise F (b. Aug. 1899). Lemle was listed as a window frame manufacturer that year, returning to the window shade profession the following year. Between 1901 and 1904, Lemle focused on another aspect of the window trade – decorative advertising. This was another step, that brought him closer to the scenic art profession. By 1904, he advertised in the “White Letters” section of the Philadelphia Directory. Interestingly, Lemle’s name was listed just below that of scenic artist Otto Armbruster, son of the famous scenic artist Mathias Armbruster of Columbus, Ohio. Otto worked for Thomas G. Moses in New York just prior to working in Philadelphia at this time. Lemle was actually listed twice below Armbruster, and his advertisement noted:

“Sign Letters of all kinds. Enameled, Gold, Wood, &c. Sole agent for Stamped Aluminum Letters, Wholesale and Retail. Agents wanted. Phone PO La8 2487 0 1221 Ridge Ave.”

In the midst of transitioning into the painting trade, Lemle suffered great loss. Between 1903 and 1906 he would lose his brother, mother, and wife. On Nov. 20, 1903, the “Philadelphia Inquirer” reported, “On the 19th last, David J. Lemle, son of Francis P. and Martha A. Lemle, in his 39th year. Due notice of the funeral will be given, from his late residence, 1847 North Judson street” (page 7).

The loss of his brother may have prompted a self-evaluation of his own life and accomplishments to date. By the next year, both William Lemle and his wife were performing with an amateur theatre group. At the time, they were both in their early 30s. Lemle’s association with Philadelphia’s Criterion Dramatic Association, was that as an actor and business manager. The group seems to have been a step up from a community theatre, with some participants going on to enjoy professional careers on the stage; Lemle would be one of them. On April 10, 1904, the “Philadelphia Inquirer” reported, “The Criterion Dramatic Association is one of the oldest and most widely known amateur dramatic associations in Philadelphia. The Criterion was founded several years ago by a few young people merely to satisfy their ambition in ways of amusement.” The group performed their productions at the New Mercantile Hall. That spring Lemle played the role of Col. Bonham in “Arizona.” In May, Lemle’s wife “Bessie” was also listed as one of the principal players for the company (Philadelphia Inquirer, 8 May 1904, page 36).

Their life on the stage was not meant to last, as Bessie passed away by the fall. On Sept. 4, 1905, the “Philadelphia Inquirer” announced, “BETH C. wife of William H. Lemle (nee Cushing). Relatives and friends are invited to attend the funeral services, at her late residence, 1221 Ridge Ave on Tuesday, at 2PM, Interment private at Greenwood Knights of Pythias Cemetery.”

During this time, Lemle continued to work as a painter. His advertisements were listed in the “Philadelphia Inquirer” that fall. An advertisement published two weeks after his wife’s passing stated: WINDOW SIGN LETTERS. ALL KINDS White, gold, etc.; cheap; postal; we call anywhere. Lemle, 1221 Ridge Ave” (18 Sept 1905, page 13). Whether he needed escape from the memories of his dead wife, or an opportunity simple presented itself, Lemle became a member of Fred Conrad’s touring troupe in 1906. After appearing as a lead comic role in “Not Like Other Girls,” he toured with Fred C. Conrad’s “Monte Cristo” production (Daily Republican, 8 Jan. 1907, page 1).

By the fall of 1907, Lemle was mentioned in newspapers across the country for his contributions to the popularly received production. When the company performed at the Opera House in Paris, Kentucky, the “Bourbon News” reported “Mr. Conrad has had unlimited experience in producing ‘Monte Cristo’ and his especial care is shown in his use of Wm. Lemle’s arrangement of the play. Mr. Lemle will be remembered by most people interested in the drama, as one of the most talented and scholarly actors on the American stage. In his thoroughness and high ideals, he belongs virtually to the old school, and it was in this way of thinking and doing that he prepared and starred in ‘Monte Cristo’ under Mr. Conrad’s management. When we go to the theatre to see this famous character, we want to see him in the play as prepared by Mr. Lemle and presented by Mr. Conrad’s Company, we can expect to see him step from the pages of romance to the footlights in the full power and dignity of his personality.”

When the production appeared in Huntington, Indiana, the “Daily News-Democrat” reported, “the production which is to be seen at the New Theatre has the authority of one of the most thoroughly trained and accomplished leading actors on the American stage, William Lemle who through presentations of the play in all the leading cities and during several entire seasons has brought his part of Dantes and the play to a finely complete and finished condition. Wm. Lemle who is a scholar as well as an actor and stage director, has provided a production of ‘Monte Cristo’ which may well be expected to reveal the full power that made it famous at the New theatre Monday night.”

Another article in the “Daily News-Democrat” described “A Famous Duel,” going onto state:“The memorable duel scene in ‘Monte Cristo,’ as well as such climaxes as ‘The World is Mine’ will be irresistible magnets for the coming engagement of the play at the new theatre September 16. The duel scene in this production was introduced by William Lemle, who presented the play with great success in all the leading cities and it is as exact a reproduction as possible of the most thrilling combat that ever took place on a field of honor, the ‘meeting’ of Del Frenchi and Chateau Renaud in the Fountainbleau Forest, near Paris. It is a deadly duel with all the details closely following the historical combat described by Benjamin D’Isreali.”

The 1910 US Federal Census listed William H. Lemle working as an actor in the theatre industry. He was still living in Philadelphia. At the time, Lemle and his young daughters were living with his sister’s family. The household included Lemle’s sister (Martha Cook), his brother-in-law (William Cook), their son (Charles Cook), and his father (Francis P. Lemle). William and his son Charles were both scenic artists who founded a studio. More about Lemle tomorrow.

To be continued…

Copyright © 2021 by Wendy Waszut-BarrettCo.

The Hoyland-Lemlewas established in 1922, named after Charles L. Hoyland and William H. Lemle. The firm was first mentioned by Thomas G. Moses when they rented the Sosman & Landis main studio their first year. The Hoyland-Lemle Co. ended in 1926, with two new firms emerging as competitors. By 1927, there was William Lemle Inc. and Charles L. Hoyland Co. Over the next three years, Hoyland, Lemle and Moses were still associated with the old studio, working at 417 S. Clinton St.Lemle became associated with the National Theatre Supply Co., as did Moses by the late 1920s.

In 1927, Moses wrote, “Another rumor that the National Theatre Supply Co. will take over our old Studio. Lemle is interested and wants me to come with him.” It would take a year of cajoling, but Lemle eventually got Moses on board. By June 1928, Moses wrote, “I have agreed to join Lemle at our old Studio, which will pay me from $8,000 to $10,000 a year.” This did not mean that Moses was solely working for Lemle or the National Theatre Supply Co., this was just a side gig. Moses continued to represent Sosman & Landis until 1931. In short, work was scarce and the firm was struggling, like many others were at this time. Their work was varied, ranging from small motion picture screens ($95.00 each for the Raub and Roosevelt buildings in Allentown, PA) to a massive stock scenery collections ($36,000 for the Oakland Scottish Rite). After 1931, Moses was associated with both William H. Lemle and Walter Armstrong. It was Lemle, however, who bought the remaining Sosman & Landis stock.

In 1931, Moses wrote, “Have sold my Sosman and Landis Company stock to Lemle, which will be paid to me monthly. I am at last free from that trouble. Landis has also sold his to Lemle.” It was a sad end to his 51-yrs. relationship with the old firm. His $6,000 in Sosman & Landis stock was sold for only $1,000. This meant that the last remnants of Sosman & Landis were absorbed by the William Lemle Inc. However, the firm was still operating in 1940, six years after Moses’ passing. 1940 is the last mention of Sosman & Landis installations that I have located in newspapers to date.The scenic studio shuffle in the 1920s becomes more interesting when you consider the three men working at 417 S. Clinton St.– Moses, Lemle and Hoyland.

Thomas G. Moses was drawn to the theatre industry as an artist. William H. Lemle entered the profession as an actor. There is something to be said for those who experience the performance side before working on the production end or running a studio. Although neither Lemle nor Moses came from theatre families, the profession offered an enjoyable opportunity to escape ad profit. Charles L. Hoyland did not start and an artist or performer. He went from box office to management without every performing or working backstage. He represents a third group of those from non-theatrical families who were drawn to theater. Hoyland saw theater as an opportunity for profit, a businessman and not an artist; it was a numbers game. This is not meant to say that any one desire is less than the other when individuals entered the theatre industry. However, it does shape that individual’s perspective and approach to a theatre production or project.

A studio owner without any experience on stage or behind the scenes may not fully understand the intricacies of design, production and installation. The underlying motive may be solely profit and not a professional product. I think that this is one of the reasons that Hoyland and Lemle went their separate ways by 1927, and Moses stuck with Lemle.

To be continued…

Copyright © 2021 by Wendy Rae Waszut-Barrett

Design and scenery by Thomas G. Moses (1856-1934). In 1929, Moses was representing William Lemle, Inc., when he painted the scenery installation for the Scottish Rite Theatre in McAlester, Oklahoma, 1929. The scenes measured 40′-0″ high by 56′-0″ wide.

For more posts about the McAlester Scottish Rite and other Masonic scenery collections use the keyword search function.

Copyright © 2021 by Wendy Waszut-Barrett

The original front curtain by the Twin City Scenic Co. for the Brown Grand Theatre in Concordia, Kansas, 1907.

The painted replica, also delivered by the Twin City Scenic Co.

For more scenes from the venue, keyword search “Brown Grand.”

Copyright © 2021 by Wendy Waszut-Barrett

This is the second of two posts about Charles L. Hoyland.

In 1927 the Hoyland-Lemle Company split into two new firms – the Charles L. Hoyland Co. and William Lemle, Inc. That year, Thomas G. Moses wrote, “Another rumor that the National Theatre Supply Co. will take over our old Studio.  Lemle is interested and wants me to come with him.” Although they were both struggling for work, each knew the risks of working for others and not personally securing each contract.

The firm of William Lemle Inc. was featured by the National Theatre Supply Co. in 1927, after having leased the old Sosman & Landis studio at 417 S. Clinton St. By 1931, the Chas. L. Hoyland Co. also listed 417 Clinton Street as their address too (“Chicago Tribune,” 3 June 1931, page 1). In 1930, Lester Landis (Perry’s son) was the manager of the scenery and drapery department at the National Theatre Supply Co. By the end of the decade, Moses was not only painting for Lemle, but also making models for the National Theatre Supply Co. Moses represented both the William Lemle and National Theatre Supply Co. in 1930.

A lot happened between 1927 and 1931 for many studios; it was a turning point in the theatre industry and many businesses closed their doors. The golden days of scenic art and more work than you can handle ended for many artists. Hoyland’s luck never really returned and he floundered around for the remainder his life. He seems to have encountered one obstacle after another after 1927. Even before the Great Depression, the 1920s were difficult, with many scenic firms struggling to land contracts and get paid for their work. The newspapers are filled with legal announcements, studios were constantly going to court for non-payment.

…and then there were those tragic things events just seemed to happen…

On Jan. 20, 1928, a notice appeared in the “Kenosha News” stating:

ENVELOPE LOST – Contains three checks made out to the Chas. L. Hoyland Co. and $32 cash. Finder, please return to Berry’s Store. 6828 Sheridan Rd., or phone 4139; reward” (page 30). This is just sad, as the firm was struggling already. I was reminded of the scene when Uncle Billy erroneously gives the $5,000 to Mr. Potter in a folded-up newspaper at the bank. Losing any amount of money is always unfortunate, especially when one considered the upcoming economic uncertainty. It was a difficult time to lose money, or collect money owed. Sadly, life would not improve for the Hoylands, and the next decade would prove even more difficult. The Charles L. Hoyland Co. would continue plugging along, but never be free of their financial problems.

In 1930, Hoyland brought suit against C. J. Dalby, near Millgrove, in Blackford Circuit Court, asking $260 on contract (The Star Press, 4 April 1930, page 11). This likely a misprint, as the suit resulted in a $28,000 payment: today’s equivalent of approximately $430,000. It was not until 1932, the Charles L. Hoyland Co. won the case against J. C. Dalby for a total of $28015 (Muncie Evening Press, 26 March 1932, page 2). It remains unknown if Hoyland ever received the money.

1931 was a particularly challenging year for Hoylands. That summer, the Hoylands were robbed after attending a theatre performance. On June 3, 1931, the experience was described in a “Chicago Tribune” article. The headline read, “Couple Trailed from Theater; Robbed of Gems.” The article described, “Four bandits, three of them armed, last night held up and robbed Mr. and Mrs. Charles L. Hoyland of cash and jewelry valued at $2,500 as the couple drove to their home at 1133 Farwell avenue. Mr. Hoyland is head of an advertising company bearing his name at 417 Clinton Street.”  At the end of 1931, Hoyland’s mother also passed away. She had lived with him since 1910, after his parents divorced in 1910. So much can happen in a year.

By 1934, Hoyland was again drawn into a scandal; this time involving a friend and theatre manager from his hometown, Jack P. Moore. Moore was the manager of the Springfield Fox theaters. he disappeared from Springfield with his wife, son, and daughter after cashing a $2,500 check on the Fox company. He soon sought out Hoyland’s help. On Aug. 25, 1934, the “Emporia Gazette” reported, “The letter stated in part, that Moore had explained to Hoyland the complications into which he had gotten himself, but that nonetheless, he (Hoyland) was giving Moore employment selling advertising service to theaters. Hoyland, who is a longtime friend of the Moore family, assured Mr. Diemer that he had the utmost faith in Moore’s integrity and that he would do all in his power to help him straighten his present difficulties. Diemer recently went to Kansas City, armed with a large sheaf of letters from outstanding Springfield businessmen, to call on a representative of the bonding company. It is his hope that arrangement  can be made whereby Moore may be allowed to pay back losses incurred by the bonding company” (page 2).

Little is published about the Charles L. Hoyland Co. during the 1930s, other than it was still operating. Most studios were desperate for any kind of work and took every project that came their way, no atter how risky. On a personal front, the Hoylands split their time between Illinois, California and Arizona. Most newspaper articles note their social activities, but not any professional endeavors. The year before his passing, Hoyland was living in Westwood Hills, Los Angeles, California. Like most of his friends and colleagues, he hoped to tap into work related to the film industry.

On Jan. 1, 1939, the “Los Angeles Times” reported that Mr. and Mrs. Charles L. Hoyland. attended and New Year’s Eve Fete at the Lawrence K. French’s home in Brentwood  (page 52). They attended the party with and Mr. and Mrs. Arthur W. Jonas, also of Chicago. This was the last record that I have located about Hoyland in the newspapers to date.

Hoyland passed away on August 4, 1939. At the time, he was only 54 years old.

To be continued…

Advertisement Curtain (Ad Drop) in the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota.

Here is a link to more Ad Drop designs in the scenery collection database: https://umedia.lib.umn.edu/search?utf8=%E2%9C%93&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections&sort=&q=ad+drop

A few years ago, I wrote about Lee Lash and the origin of the advertising curtain. It seems to be an appropriate time to include the link: https://drypigment.net…/tales-from-a-scenic-artist-and…/