Robert McBride was associated with a Sosman & Landis project in 1928. He was mentioned in a local newspaper article when the firm was working on a project at the Junior College Auditorium in Edinburg, Texas.
The Edinburg Junior College Auditorium project was contracted by the second iteration of Sosman & Landis studio. The first iteration of the company, Sosman & Landis Scene Painting Studio, liquidated all of its assets during 1923. In 1924, Thomas G. Moses and Fred R. Megan purchased the name and “good will” of the firm, opening a second iteration known as the Sosman & Landis Co.
I am going to briefly recap the history of the Sosman & Landis Scene Painting Co. as part of this post, as I have uncovered next to nothing about McBride. The Chicago-based scene painting studio started with a chance meeting between Joseph Sosman & Perry Landis in 1875. They likely met in the opera house in Fairfield, Iowa, where a young Sosman was painting new scenery for the stage. Landis had previously lived in Fairfield and was visiting friends in town at the same time that Sosman was painting scenery. Sosman and Landis formed a fast friendship, soon partnering and completing a variety of painting projects throughout the region. They took whatever work they could find, pooling their resources to open a brick-and-mortar studio. By 1879, the two accumulated enough funds to lease a space in Chicago. They placed ads for mail order scenery across the county, as well as completing projects in Chicago and on site throughout the region. As their project load increased, so did their staff.
One of the first Sosman & Landis employees was Thomas G. Moses. Moses began working for the firm in 1880 and remained associated with the Sosman & Landis for almost five decades. Beginning in the early 1880s, Sosman & Landis continued to expand, dramatically increasing their staff, and opening regional offices all across the country. By the mid-1880s, the managed branches in several cities, including Kansas City, Detroit, and New York. They also had dozens of affiliate studios to support a variety of regional projects.
By 1902, Sosman & Landis advertisements reported that they had delivered scenery to 6000 stages in the United States, Mexico, Canada, Jamaica, and South Africa. Despite Landis’ illness and passing in 1904, the company continued to grow under Sosman’s management. The firm’s period of greatest productivity was from 1908 to 1912.
Unfortunately, the passing of Sosman in 1915 was instrumental in the firm’s eventual demise. When Sosman died, stockholders elected Moses as the new president. However, this shift in leadership meant that there was no one in line to replace Moses at the studio; he just added more administrative tasks to his plate. Moses’ lack of a second-hand man was detrimental to the successful running of the shops. Both quality and productivity began to falter. In the end, Moses was expected to cover his previous responsibilities as well as those once handled by Sosman. It was too much, and he burned out by 1918. He did return to the firm, but not in the same capacity.
In addition to personnel changes at Sosman & Landis, both the entertainment industry and the world were rapidly changing. The onset of WWI crippled many scene painting studios, as other projects took precedence over popular entertainment at home. Many employees enlisted to fight overseas, were drafted, or began working in the government sector. Not all returned to the theatre industry after the war. Sosman & Landis, like many scenic studios in the post-WWI years, never quite recovered or regained their pre-war momentum. The demand for painted scenery continued to decrease. There were new expectations in the world of scenic design and art. Additionally, there was also the emergence of new competitors. Some competing studios were established by former employees, individuals who could underbid Sosman & Landis based on their intimate knowledge of the firm’s process and overhead. What was once a torrent of work soon dwindled to a trickle.
By 1923 the company implemented a plan to close its doors, intending to liquidate all assets and lease out its main studio. Thomas Moses and Fred Megan made plans to purchase the company name and rent the space, but were only successful in securing the name of the firm. Although they opened the Sosman & Landis Co. in 1924, they never recaptured the previous momentum or staff. No more were their legions of arts employed by the firm. Instead, second iteration of the firm relied upon a handful of short-term independent contractors, renting studio spaces, and completing many projects on site. Such was the case in 1928, when Sosman & Landis worked in Edinburg, Texas.
Robert McBride’s participation in the project would have remained unknown, if it weren’t for a mysterious shooting on March 5, 1928. On March 5, 1928, “The Brownsville Herald” reported, “Mysterious Shooting. EDINBURG, March 5.- Police here Monday continued an investigation begun Sunday night into reports of a mysterious shot fired near the junior college auditorium Sunday night. Robert M. McBride and F. R. Megan, workmen, narrowly escaped being hit by the hail of shot.”
The Edinburg Junior College auditorium was built in 1926 to serve the newly founded Edinburg Junior College. This building is still standing, and a Texas historical marker now graces the south-side entrance of the Auditorium. It was designated a Texas Historic Landmark in 1989. Giesecke & Harris designed the Gothic revival-style building. The architectural firm was from Austin, Texas. The theater is now known as the Edinburg Municipal Auditorium. Here is a link for more information about the space and its availability for performances and special events:
Edinburg Junior College Auditorium.Edinburg Junior College Auditorium is now known as the Edinburg Municipal Auditorium.
The auditorium in Edinburg was just one of many projects completed in southern Texas by Sosman & Landis in 1928. That year they also worked in nearby Harlingen, Texas. On Feb 22, 1928, the “Brownsville Herald” reported, “To Get Scenery. HARLINGEN, Feb. 22. – Installation of theatrical scenery in the high school auditorium here is to begin within the near future, according to F. R. Megan, representative of the Sosman & Landis Scenic company of Chicago, who has been awarded the contract for the work” (page 16).
While in the area, the firm also worked on an upcoming Valley display for the national democratic convention scheduled for Houston, Texas. On Feb 25, 1928, the “Brownsville Herald” reported, “Among the exhibits already arranged for a Valley booth at the convention will be three large oil paintings, gifts of the Sosman & Landis Scenic company, of Chicago.” These were likely oil paintings painting by Moses for the exhibit. Moses was known for gifting his easel art to theatre clients upon the completion of many projects.
There are a few obstacles in trying to track down McBride. In the newspaper article, he was just listed as a “workman,” the same as Megan. They could have been working on the same project, or independently, representing separate interests. I cast my research net wide as I began to look for THE Robert McBride. Sometimes using a middle initial (Robert M. McBride) backfires on you, as it unintentionally limits you search. I did ever online research trick that I knew of, sifting through hundreds of historic records.
I tracked entire family histories with individuals named Robert McBride, initially looking in Edinburg and throughout the region. I expanded my search to other areas of the country with Sosman & Landis projects – Pennsylvania, New York, and Illinois. In the end, I located dozens of men named Robert McBride – theatrical managers, color mixers for wallpaper companies, contractors, traveling salesmen for machine shops, publishers, and brick masons. All were plausible candidates, but there remained no certainty that any on particular individual was the correct one.
It becomes almost impossible to identify an individual when I have no idea of his actual profession, affiliation with Sosman & Landis or his permanent residence. So far, I have been very lucky. I watched my dedication transition into a slight fixation, and then full-blown obsession. It is difficult to recognize when your quest or it becomes an obstacle all other research. I had to stop looking.
This is the first time in writing about a Sosman & Landis employee that I am going to give up the chase. There are too many variables, and I cannot even say for certain that he was an employee. McBride may have simply been working on a common project with Sosman & Landis.
Fred R. Megan (1873-1946) was associated with the Sosman & Landis Co. from approximately 1924 until 1930. He was involved with the second iteration of the company, after the original firm, Sosman & Landis Scene Painting Co., was liquidated. In 1923, Megan and Thomas G. Moses (1856-1934) negotiated the purchase of the firm’s name. By 1924, Moses was listed as president of Sosman & Landis, with Megan listed as the secretary and treasurer. From a practical standpoint, Moses handled production, while Megan handled marketing and sales.
In 1926, Thomas G. Moses and Fred R. Megan, representing Sosman & Landis, were recognized for their contribution to the new Varsity Theatre in Evanston, Illinois (Wilmette). Of Moses and Megan, the “Wilmette Life” reported, “Noted Scenic Artist Create Variety Setting.
In keeping with the character of the work demanded by the builders of the Varsity Theatre, much stress was laid upon proper stage settings and scenic work. With this in mind, contract for the work was awarded to the Sosman & Landis Co. This company has been doing business since 1878 and many of its artists and mechanics have practically spent their lives in developing their art. Among the notables connected with this organization are Thomas G. Moses, president, and Fred R. Megan, secretary and treasurer” (Dec., 24, 1926, page 33).
1926 advertisement placed by Thomas G. Moses and Fred R. Megan of Sosman & Landis.Drop curtain by Sosman & Landis when the Varsity Theatre opened in 1926.
Additional information about Megan was included at the end of the article: “Fred R. Megan, secretary and treasurer of the Sosman & Landis Co., spent 30 years as director of art with the Kansas City Scenic Co. He severed this connection at the outbreak of the war and had charge of the building and equipment of the Liberty theaters in all cantonments, in this country.”
Moses and Megan first met during the 1890s, although the exact date and place remain a mystery. Their first meeting possibly occurred when Megan was touring with Barret & Barrett in 1897. By 1900, Megan was working for the Kansas City Scenic Co., a western affiliate of the Chicago-based Sosman & Landis. Since the 1880s, Sosman & Landis had operated several regional offices, as well as maintaining close ties with other strategically-located studios across the country. Affiliate studios subcontracted portions of larger projects to one another, or occasionally entire projects, during especially busy period in the year. For example, in 1902 the Kansas City Scenic Co. subcontracted a portion of a scenery collection destined for Colorado. This was a contract secured by Megan with the Elks Opera House in Leadville Colorado. Keep in mind that the founder of Kansas City Scenic was a former Sosman & Landis employee.
Megan’s early life and career have been incredibly difficult to track down. Much has to do with the separation of Megan’s parents, second marriages, and name changes.
Overall, Megan represents the many men who left midwestern farming communities and a tough living situation to make a name for themselves in the theatre industry. It has been fascinating to follow his journey from Knox County, Illinois, to Kansas City, Chicago and even Washington, D C.
Frederick “Fred” Rishell Megan was born on May 5, 1873 in Galesburg, Knox County, Illinois. For geographical context, Galesburg is about 190 miles southwest of Chicago and 50 miles due south of Moline, Illinois. Fred was the child of Rev. Dr. John W. Megan and Cornelia Wookey. Dr. Wookey was an Irish immigrant who settled in Knox County and married the daughter of a local farmer. It would be Cornelia’s mother and step-father who would raise Fred Megan on the farm in Truro Township. Truro is due east of Galesburg, also in Knox County, Illinois.
As an 8-yrs.-old, Cornelia Wookey emigrated from England and moved to Illinois, growing up in Truro Township. She married John Megan on June 18, 1871, in Knox County, but their marriage did not last long, and soon their son was left at his maternal grandmother’s farm. Both John and Cornelia moved away (in separate directions) and remarried, starting new lives elsewhere. The 1880 US Federal Census listed Fred Megan as the grandson of Hannah (Wookey) Reed and Andrew Reed (Hannah’s second husband). Hannah’s first husband, Stephen Wookey, passed away in 1860. Hannah and Stephen Wookey had celebrated the birth of six children. Although she would have another six children with Reed, all would die in infancy. So by the time Fred was living with his grandparents, Hanna and Rev. Andrew J. Reed, the couple was well-passed child-bearing age.
By 1880 Fred’s father relocated east and remarried. His second wife was Susan Parnally. The two were married in Grand Rapids, Michigan, on Sept. 1, 1879. At the time, Megan was listed as living in Fennville, Michigan, and Susan in Kalamazoo, Michigan. After the two married, they settled in Clyde, Michigan, and celebrated the birth of a daughter, Anna M. Megan, in 1883.
Fred’s mother also remarried by 1881. Just prior to her second marriage, she was going by her maiden name, Cornelia Wookey, and working as a school teacher in North Henderson, Mercer County, Illinois. North Henderson was approximately 20 miles northeast of Truro Township.
On June 1, 1881, Cornelia Wookey married Everett Eugene Markley in West Jersey Township, Stark County, Illinois. The couple would never celebrate the birth of their own biological children, but adopted a son almost two decades after they were wed. The 1910 US Federal Census listed Cornelia and Everett Markley raising their 2-yrs.-old adopted son, David E. Markley, in St. Louis, Missouri. Cornelia spent the remainder of her life in St. Louis, passing away in 1914. Everett Markley remarried and moved and west to Chickasaw, Oklahoma.
Fred’s biological father also moved west, eventually settling in Kansas where he continued to work as a physician. Interestingly, he also spread the gospel, later becoming the Rev. Dr. J. W. Megan. The travels of Dr. Megan, are quite easy to follow over the years. It does not appear that Fred reunited with his father out west until he was an adult.
Like many nineteenth-century physicians, Dr. Megan traveled for work, going from one town to the next, eventually On Feb. 28, 1889, the “Barton County Democrat” of Great Bend, Kansas, reported, “Dr. Megan of Lawton, Michigan, is in town and thinks of locating here” (page 4). Dr. Megan did relocate and was appointed a county physician. On April 18, 1889, the “Barton County Democrat” reported, that Dr J. W. Megan was appointed the physician for the 3rd district at $76” (page 4). He did not last there long. On Sept. 5, 1889, the “Barton County Democrat” reported, “Dr. Megan moved to Little River, Kansas, this week, where he expects to follow his profession” (page 1). By October, 1889, Dr. Megan had left Great Bend. Over the next few years, Megan moved from one town to the next, living in Little River, Pawnee and Olsburg.
1894 became a turning point for Dr. Megan when he moved from Olsburg to Leonardville, Kansas. On October 18, 1894, the “Olsburg News-Letter” reported, “Dr. J. W. Megan expects to move to Leonardville after election and will practice medicine there as well as look after editorial duties of the Monitor.” By 1894, Dr. Megan and his son Frederick were living in Leonardville and running the newly established newspaper. In March 1894, Preston S. Loofbourrow moved his newspaper, “The Monitor” from Clay Center to Leonardville; he had started “The Monitor” in Clay Center Kansas. In March 1884 he shipped all of the newspaper equipment to Leonardville, 15 miles east. Here is a link to Loofbourrow: https://sites.google.com/site/leonardville66449/Home/leonardville—-yesterday/4-newspaper
Lovely article about Loofbourrow and the Leonardville Monitor.Leonardville along the Kansas Central RR.
Loofbourrow published the first edition of the “Leonardville Monitor” on April 3, 1884. I am including an excerpt from an article written by Loofbourrow on Aug. 28, 1884, as gives a glimpse into the Megan’s life in Leonardville:
“Leonardville is situated on the Kansas Central railroad, a little north and west of the center of Riley County. It is nineteen miles east of Clay Center and one hundred and twenty-eight miles west from Leavenworth. There is no town of importance nearer than Clay Center on the west, and Garrison on the east is not likely to interfere in the least with the future growth and development of Leonardville. South, there are no trade centers nearer than Junction City and Manhattan, and north none nearer than Waterville and Blue Rapids. Hence it will be seen that there is a large scope of Country tributary to Leonardville, in which no rival town can successfully compete. The town is beautifully located on the high-rolling prairie, which recedes in graceful undulations as far as the eye can reach in all directions. This grand stretch of magnificent prairie is dotted here and there with artificial groves, with now and then a small stream of water meandering through a belt of timber, giving variety to the landscape as well as furnishing water and shelter for the LARGE HERDS OF STOCK that graze on the prairies, and also furnishing timber in limited quantities for fuel and the various purposes for which timber is indispensable.
“This whole region is under an advanced state of cultivation, and thickly dotted with well improved and highly productive farms that are from year to year yielding abundant crops of rye, wheat, oats and corn, under the tillage of the hardy, energetic farmers who came here twelve or fifteen years ago empty handed, and took possession of the wild domain, and with untiring energy and persistent toil subdued the soil, built up beautiful homes, and surrounded themselves with an abundance of the comforts and luxuries of life. All over these prairies, speckled in all directions, thousands of cattle feed, and thousands of hogs consume thousands upon thousands of bushels of the almost FABULOUS CORN CROP produced from year to year. Large herds of sheep also graze in various localities, and horses of the finest stock in the world, among them several imported stallions, are owned by the enterprising farmers of the surrounding country. The farmers who have subdued this fine region of country and brought it under such a high state of cultivation came here from all parts of the Union, and a large proportion from the other side of the Atlantic – Sweden, Germany, Great Britain, Wales and Ireland. They are all men of grit and courage or they never would have braved the dangers, privations and toil of pioneer life, nor could they ever have gained so signal a victory over the wild waste they have transformed into such a paradise of beauty, grandeur and plenty.
“This being the character of the men who have FOUGHT THEIR WAY UP, from nothing to opulence and plenty, what may we not expect from them in the future? May we not safely assume that the pluck, energy and tact that have brought about such grand results in so short a time from the wild prairies of the frontier, will in the future, from the fertile farms of northern Riley, with railroad facilities and home markets bring about a state of prosperity almost beyond the power of the mind at the present time to grasp. We feel assured that there is scarcely a limit to the possibilities of the future development and prosperity of this fertile and productive region, whose fame has hitherto been permitted to remain unheralded and unknown. Immense crops of rye, wheat, oats and corn will be produced from year to year, thousands and thousands of hogs and cattle will be raised, fatted and sold, and Leonardville will be the COMMERCIAL CENTER where all these vast products will be put upon the market. These products will increase from year to year as the country continues to improve, and the facilities for handling and storing them much increase in a like ratio. Not only will the products of the country increase, but as the facilities for handling them are increased and improved, the radius of tributary territory will be extended, so that in a few years, if the business men of the town are WIDE AWAKE and provide facilities adequate to conveniently receive, store and handle the products of the country, which will without doubt be the case, this live town will have grown to a busy, booming metropolis, with mills, elevators, ware-houses, manufactories, and all the various routine of trades and industries that go into the make-up of a live, progressive western city. This, to some, may seem an overdrawn picture; but it is not. It is all practical, possible and probably; in fact, with ordinary sagacity and business tact in the management of the business interests of the town, it is inevitable.
“LEONARDVILLE TOWNSITE was surveyed and platted in September, 1881. The site comprising a portion of the farms of Lucien Kilbourne, John Ford and Erpelding Bros. Erpelding Bros. and Mr. Kilbourne, donated the right of way through their farms, and each alternate lot; and Mr. Ford gave each alternate lot, to the Railroad company as a consideration for locating the town and surveying and platting the same, and recording the town plat, which they did in September, 1881, as above.”
Leonardville Depot.
The Leonardville Monitor was continuously published from April 1884 until March 1953, when it combined with the “Riley Regent” to become the “Monitor-Regent.” The “Monitor-Regent” later merged with “The Blue Valley News” (formerly the “Randolph Enterprise”), becoming “The Riley Countian,” and is still publishing under that name.
By the fall of 1894, the “Leonardville Monitor” had a new editing team – Dr. Megan and his son Fred R. Megan. On October 18, 1894, “The Leonardville Monitor” reported,
“Greeting.’
We appear for the first time upon the pages of the MONITOR, having taken charge of the paper Oct. 1st. We come among you as strangers, but the warm reception in which we have been received by the good people of this city and country assures us that your hearts are with us, and we will try to make the MONITOR a power for good to the city and surrounding country, Having been in different parts of the state we have seen no place which present so many first class businessmen as Leonardville. And as to the farms and farmers in this part of Piley Co. they have no piers. The MONITOR will always be with you in everything that is to the building up of home industry and enterprise. Our motto is ‘To Honor God, Protect home and defend our country.’ F. R. Megan, Editor.”
On October 25, 1894, the “Clay County Star” reported, “’The Leonardville Monitor’ has changed hands, assuming editorial charge, F. R. Megan, and Dr. Megan & Son appear as publisher. From appearances they start in with an excellent patronage and will no doubt keep the paper up to its former high local standing.” By November 8, 1894, their newspaper was advertised as “a spicy 5-column quarto, neatly printed and is Republican in politics.” Father and son did not run the paper together for long. On Feb 28, 1895, “The Leonardville Monitor” reported, “Dissolution of Partnership. Notice is hereby given that the firm of Megan & Son has, by mutual consent, dissolved partnership. All accounts due the MONITOR, to receive proper credit, must be paid to Dr. J. W. Megan” (page 8).
Frederick R. Megan, once editor of the Leonadrville Monitor.
Fred left Leonardville and settled in Peoria, Illinois. The 1895 Peoria Directory listed Frederick R. Megan as an editor, living at McClure av. nr Knoxville rd.”
Back in Leonardville, by the Spring of 1895, Dr. J. W. Megan was listed as the sole Editor and Publisher of “The Monitor” in Leonardville (25 April 1895, page 4). He only lasted another six months though, and on October 3, 1895, “The Leonardville Monitor” reported, “Dr. Megan’s Lease of the Monitor having expired, he retires from the management with best wishes of the proprietors. The Doctor expects to remain in Leonardville in the practice of his profession” (page 8). Dr. Megan turned his sights on preaching. On Nov. 28, 1895, “The Leonardville Monitor” reported, “Dr. Megan preached a very interesting sermon, last Saturday evening, at the Swedish Baptist church” (page 4). His religious interests repeatedly made the local news.
On Feb. 5, 1896, “The Leonardville Monitor” reported, “Dr. Henry Morton moved his household goods to Leonardville Monday, having purchased the practice and good will of Dr. Megan, whom we under-stand has accepted the pastorate of a Baptist church, he being a preacher as well as a doctor. – Correspondent from Green in Clay Center Dispatch. It is true, Dr. H. B. Morton has located and moved his family to our city, but he did not purchase the practice of Dr. Megan, neither had Dr. Megan accepted the pastorate of the Baptist Church” (page 4). On Jan 9, 1896, “The Leonardville Monitor” reported, “Dr. Megan has been chosen as examiner for the K. L. S. to be instituted here soon” (page 6). He also began dabbling in the marketing industry for medicinal products and it is hard not to think of the proverbial “snake oil salesman.”
Dr. J. W. Megan was repeatedly quoted from 1895 -1909 for promoting the Pyramid Drug Co. of Albion, Michigan. On Aug. 22, 1895, (and July 25, 1895) his testimonial was published in “The Leonardville Monitor” – “If you are suffering with the Piles and want a sure relief, send to the Pyramid Drug Co., Albion, Michigan, for a box of Pyramid Pile curs, price 50 cents and $1 a box. I have used a box and can truly say that I have received more benefit than all the medicine I ever used in the past 23 years. Dr. Megan, Editor of the Monitor” (page 1). “Dr. J. W. Megan, Leonardville, KS, I have used a box of Pyramid Pile Curs and received more benefit and relief that from any remedy I have used in the past twenty-two years.(article entitled the Surgeon’s Knife. Once believed to be the only cure for Piles and Rectal Diseases. Fort Wayne Sentinel 11 Jan 1896 p 2). This was also published in 1895 (in Fort Wayne, IN, and Xenia Daily Gazette, of Xenia, Ohio). In 1899 it was still published (Indianapolis Sun 18 Nov 1899). Ads all over the country, Iowa, Indiana, Ohio, Illinois, Penn., Wisconsin, Mass., Minn, California, Washington, D. C. It looks like he became a Rev. Dr. J. W. Megan, as he was still promoting this remedy in 1908 (Word and Way, Kansas City, MO, 4 Nov 1909, page 11). He was noted as “Now Pastor Baptiste Church, Neodesha, KS” and that spring of 1909 “Pastor Baptist Church, Unionville, MO.”
By 1896, Fred Megan set out on his own and relocated to Kansas City (“The Topeka Daily Capital,” 9 April 1896, page 8). It is unclear what prompted the move and resulted in his career in theatre. The 1896 Kansas City Directory listed “Frederick R. Megan trav rms 1021 McGee”
The 1896 Kansas City Directory listed Megan as a traveling salesman, rooming at 1021 McGee. He was mentioned in local newspapers the following year, and associated with the opera house. On March 10, 1897, “The Kansas City Journal” reported “A Theatre Usher in Trouble. F. R. Megan, an usher at the Ninth Street opera house, was arraigned before Justice Walls yesterday, charged with obtaining money under false pretenses. He was at one time collector for the Travelers’ Accident and Sick Benefit Society, but was discharged. The company charges him with collecting weekly dues from persons who are insured with it and representing himself to be still in the employ of the company. He was arrested Monday night at the theater” (page 6). On March 12, 1897, “The Kansas City Times” reported, “Fred R. Megan Not Guilty. Justice Walls yesterday released Fred R. Megan, charged with fraudulently collecting money due an insurance company. The cashier of the company testified that Megan was authorized to make collections, though it was on complaint of the company’s superintendent that he had been arrested. Megan states he will bring suit for malicious prosecution. Megan is not, as was reported at the time of his arrest, ticket taker at the Ninth Street theater” (page 3).
Megan continued to be associated with the theater. On December 2, 1897, the “Leonardville Monitor” reported, “F. R. Megan who is well known here dropped in on the evening train on Thanksgiving. He is now traveling for the Barrett & Barrett Co., with headquarters in Kansas City. He informs us he will make this territory every sixty days” (page 8).
The 1898 Kansas City Directory listed “Frederick R. Megan trav b 1101 Wyandotte.” His permanent address was listed as Kansas City, but he continued to journey from one town to the next. On Feb 12, 1898, “The St. Joseph Herald” of St. Joseph, MO, reported, “Mrs. E. E. Markley of Peoria, Illinois writes to Mayor Vories for information regarding he son, Fred R. Megan, to whom she claims to have sent $5 by telegraph to St. Joseph, at his request. Megan is not known here” (page 5). This was Cornelia Jones Wookey Markley, Fred’s mom. To date, this is the only connection between Megan and his mother after he entered adulthood.
Megan married Thenia F. Jones (1874-1967), in Jackson, Missouri, on April 14, 1898, likely while Megan was touring. Their marriage license listed that they were united in wedlock by Pastor John W. Hancher at the Grand Avenue Methodist Episcopal Church in Kansas City, Missouri. Their marriage license was announced on April 15, 1898, in “The Kansas City Star” with their ages listed as 24 and 23 (page 8). Here is a little information about Megan’s wife and family.
Thenia was born on April 16, 1874 in Carrollton, Carroll County, Arkansas. She was the daughter of Milford H. Jones (b. 1839-1913) and Sarah H. Britton (b. 1844-1917); Thenia’s parents were married on Sept. 18, 1959 in Sparta, Monroe, WI. On July 3, 1913, the “Kansas City Star” reported, “Mayflower Descendent Dies Here. Milford Henry Jones, 74 years old, died at 6:10 o’clock last night at his home, 1514 Anderson Ave. He is survived by his widow, Mrs. Sarah Jones, and these daughters”: Mrs. Frederick Megan and Mrs. Alice Johnson, both of this city; Mrs. Jefferson Collins of Independence and Mrs. H. R. Stannard and Mrs. William Raymond, both of Springfield, Mo…Mr. Jones was born in Stockton, Chautauqua County, NY. He was a representative of old colonial families, being related to the Ames, Mallorys, Paynes and Putnams, and is a descendant of Thomas Rogers, who came over in the Mayflower.” Thenia Jones Megan is listed in the North America, Family Histories, 1500-2000, Daughters of the American Revolution. Lineage Book of the Charter Members of the DAR Vol 068 (#67204). She is listed as a descendant of Gideon Richmond, Stephen Scovel and Ebenezer Britton.
The couple remained in Kansas City. The 1899 Kansas City Directory listed “Frederick R. Megan sales r 807 Main.” In 1900, the Megans celebrated the birth of their only daughter, Anabel Thenia Megan. She was born on July 19, 1900, in Kansas City. The census that year, listed the small family of three renting a house on Cypress, with Fred continuing to travel the region as a salesman.
By 1901, Megan became actively associated with the Kansas City Scenic Co., and was listed in a series of articles about the firm. By now, he was listed in the Kansas City Directory as “Fred R Megan trav r 728 Cypress.
On Jun 13, 1901, the “Atchison Daily Globe” reported “Fred R. Megan [sic.] of the Kansas City Scenic company, was in town yesterday, with a view of getting the job of retouching the old scenery for the Atchison theatre.” On June 27, 1901, the “Downs Times” reported, “F. R. Megan, representing the Kansas City Scenic Co., was in town Monday and Mr. John Wolfert contracted with him for a complete scenic outfit for the opera house. The room will be refitted and put in fine condition, the whole, costing in the neighborhood of $500.”
On June 27, 1901, the “Rooks County Journal” of Stockton, Kansas, reported, “F. R. Megan, of Kansas City, spent Saturday in the city soliciting advertising to place on the new drop curtain which he will place in the opera house. We were told he sold Mr. Bigge about $300 worth of theatre supplies of various kinds.”
By August of that year, Megan supervised the scenic installation at the new opera house in Waxahachie, Texas. On August 24, 1901, the Waxahachie Daily Light reported, “Putting up the Scenery. The new opera house will be equipped with the most elegant line of stage scenery to be seen in this part of the state. The scenery was painted by the Kansas City Scenic Company, and every piece shows the artistic touch of a master’s brush. This part of the stage equipment will include nearly every set of scenery used in the production of any attraction coming to this section. There are twelve sets, including parlor, prison, kitchen, forest and palace scenes. Mr. F. R. Megan, representing the Kansas City Scenic Company, is here this week putting the scenery together and setting it up.”
Still representing the Kansas City Scenic Co. in 1902, Megan sold scenery to theaters in Fort Scott, Everest, and Columbus, Kansas. On March 13, 1902, the “Everest Enterprise” reported, “Fred R. Megan, representing the Kansas City Scenic Co., was in the city the first of the week and perfected arrangements for the placing of the scenery in the new opera house.” Megan was also in charge of the scenery installation at the Davidson Theatre in Fort Scott, Kansas. On October 2, 1902, the “Fort Scott Weekly Tribune” reported, “F. R. Megan, representing the Kansas City Scenic Co., was here and superintended the putting in of the scenery last night. His company installed the new equipment. There are fifteen different settings, eight interior and seven exterior settings…Of the different settings the Gothic interior and the exterior rocky pass and the woods and garden are considered the prettiest and present the most perfect effect. The trees stand out well and there is much about the scenery that is to be admired.”
He travelled across the country with an electrified model theatre. He brought the studio display room to potential clients; clients who were unable to make the journey to a large metropolitan studio. For those who could afford the journey, studios offered display rooms with miniature theaters and cabinets filled with scenic designs.
On June 4, 1902, Megan transported his miniature stage to clients in Fort Scott, Kansas. The Fort Daily Tribune reported, “Mr. Megan, representing the Kansas City Scenic Co., was in the city last week displaying his samples of scenery to Harry C. Ernich of the Davidson, with a view of getting the contract to refit the theatre. He carried a nice line in miniature form and from it he built a small stage, showing the comparative size of the various settings.”
On June 5, 1902, “The Fort Scott Republican” described the model in detail in an article entitled “New Scenery for the Davidson:”
“F. R. Megan, representing the Kansas City Scenic Co, was in the city on Tuesday evening and was in consultation with Manager Harry C. Enrich of the Davidson theater, Mr. Megan had with him and for the benefit of Mr. Enrich, exhibited a miniature theater brilliantly lighted with electric lights, furnished by wires in the opera house. The little theater represented an entire opera house, including stage, wings and a full set of scenery and the balcony, the dress circle and gallery. It was one of the neatest models of a big thing ever exhibited in Fort Scott, and was highly appreciated by Mr. Enrich. Mr. Enrich will go to Kansas City next week for the purpose of
engaging a full set of scenery for the Davidson, and the samples which he saw the other evening give him a full idea of just what he wants.”
A few days after exhibiting his miniature stage in Fort Scott, Megan journeyed to Columbus, Kansas. In Columbus, he again set up the electrified model for opera house representatives. In regard to his visit, the Columbus Courier reported, “Fred R. Megan, representing the Kansas City Scenic Co., is in the city today with a full line of sample scenery. He sold a good-sized order to the LaRue Investment Co., for the opera house.”
On July 18, 1902, “The Herald Democrat” of Leadville, Colorado, announced “Contracts for Theatre. Elks Opera House to be rebuilt and refurnished at Once.” The article reported, “The first sixty feet extending from the front towards the rear will be rearranged for store rooms on the first floor and an elegant new plate glass front will be put on. Over this, the second floor will be the new club rooms to be occupied by the Elks and which are to be finished and improved in the very latest style and thoroughly modern. On the next floor, third, will be an immense lodge room which will be built expressly for lodge purposes and consequently will be right up to date, introducing many innovations which will be the most acceptable to lodge members. The furnishings of both the lodge and club rooms will be taken up at a later date and will mean an additional expense to that already named and the board announces that they will be fixed in a style that will credit not only to the Elks but to the city of Leadville. But it is the theatre part of the building where interest will center among the general public and here the plans show an improvement that seems like jumping from the dark into fairyland. A spacious theatre with stage large enough to hold the most massive scenery carried by any of the traveling companies. Starting from the wall crossing the center at sixty feet the theatre will be extended back to the alley a further distance of thirty-two feet, giving the theatre a depth of all told about 100 feet with a width of sixty feet. The stage will be built entirely new and will be thirty-four feet deep, sixty feet wide and fifty feet high. The curtain opening will be thirty-two feet wide and twenty-four feet high. The present height of the old stage is only twenty-four feet all told. The parquet and dress circle will be on the ground floor and above will be the balcony which will be divided so that the rear portion will be used as the gallery portion. The theatre will comfortably seat a thousand people. It will be entirely refurnished throughout. Just as great care has been exercised by the directors in securing the new scenery and new curtain for the theatre. Mr. F. R. Megan of the Kansas City Scenic company, spent the past two days in showing the board the newest effects in scenery and last evening he was given an order for $2,000 worth of new scenery including a very handsome drop curtain, an India scene that is most charming to the eye. The new drop scenes include a parlor, horizon, woods, garden, rocky pass, street, bed chamber, kitchen and prison scenes. The floor to be used for the stage will be one that can be used for dancing purposes and when the stage is cleared it will be large enough to hold hundreds of dancers. The news that the Elks are going ahead with their opera house goes to show that their faith in the stability of Leadville has never wavered and is certainly a most creditable stroke of enterprise by this well known organization” (page 8).
His visit to Colorado that year was fortuitous, as the studio completed multiple contracts in the western region over the next decade, including West’s Theatre in Trinidad, Colorado. Megan’s association with the Kansas City Scenic Co. was listed in the “Kansas City Directory” in 1903, two full years after he became associated with the firm. Other contracts secured by Megan for the Kansas City Scenic Co., included the Walters Hall in Robinson, Kansas; the Opera House in Perry, Iowa; and the Baker Grand in Natchez, Mississippi.
On August 26, 1903, the “Perry Daily Chief” of Perry, Iowa, reported, “Opera House will have fine drop curtain. Mr. F. R. Megan, of Kansas City was in Perry this week representing the Kansas City Scenic Co., which concern will paint the scenery for the new opera house. The directors selected the richest design of drop curtain that he had to offer, and it is indeed a beauty. They also selected about eleven hundred dollars’ worth of scenery all told, including interiors, wood, garden, landscape, street scenes, etc. When the choice of the scenery was made it was found that there was a deficit of four hundred dollars in the appropriation that had been set apart for the item of scenery and in order to procure the full amount that had been chosen, it was decided to put on an ad curtain and sell a limited number of ads. The main house curtain will be raised when the orchestra begins its overture and display this curtain in seven hours time $375 worth of space on the ad curtain was sold by Monday. $25 worth have been sold since and there are yet three spaces which can be taken by any parties who have not been sold to. It is probable that there will be no spaces for sale in a day or two. There are eighteen men at work now on the building and the work is progressing rapidly. The front rooms on the main floor are plastered and the plasters are now at work in the front rooms upstairs. It looks now as though the building will be complete even before the contract time, Oct. 15th” (page 3).
Megan continued to travel with his model, and successfully land scenery contracts. On April 1, 1904, “Greensburg Daily News” of Greensburg, Indiana, reported, “First Exhibition of Grover Theatre. A Miniature Theatre with drop curtains, scenery and all stage paraphernalia, was on exhibition in Grover & Bonner’s store today. It showed in inches what a theatre should show in feet, but in every respect was perfect. The display was in charge of F. R. Megan, agent for the Kansas City Scenic Company and had all stage setting, drop curtains and plans of working as in a real theatre. It was a unique and splendid way of showing their wares. This same company has made a map of the U.S. for exhibition at St. Louis fair, that is forty by sixty feet in size” (page 2).
1906 projects attributed to Megan and the Kansas City Scenic Co., included opera houses in Mankato, Kansas and Lead, South Dakota. On October 8, 1906, the “Lead Daily Call” reported “Fred R. Megan, who has the work of painting the scenery and the decorations was an arrival on the Burlington last evening. He comes from Kansas City, and is an artist in his line, one of the best in the country. He will begin just so soon as the carpenters give him room, which will be in a day or so, to erect his staging and make other preparations for doing the work of adornment.”
On June 20, 1907, “The Weekly Herald” of Amarillo, Texas, mentioned Megan in an article entitled, “New Opera House Scenery.” The article continued, “Deal Completed for Stage Equipment and Curtain. Through the representative, F. R. Megan, Manager Henry Elliott, of the Amarillo Opera House company yesterday completed a contract with the Kansas City Scenic company for the curtains and stage equipment for Amarillo’s new opera house. According to Mr. Megan, the equipment ordered for the new opera house will be better than that of many houses in larger cities of the Southwest and will compare favorably with the equipment in any theater in the state. A big asbestos safety curtain will be swung on automatic rollers so as to completely cover the stage opening. This curtain will be arranged to be dropped in an instant at any time so as to effectually stop the progress of fire from either side. The asbestos curtain will. Be finished in high class scenic work and will be free from advertising of any kind. The drop curtain for use during the performance will be immediately behind the asbestos curtain. Of the scenery there are a number of complete sets all arranged to be operated from the fly loft above the stage. Settings and properties accompanying the scenes will be operated from the wings. The contract for the company calls for fall delivery and the equipment will be ready for installation as soon as the builders leave the stage part of the building” (page 7).
In 1908, Megan represented the Kansas City Scenic Company in Gasden, Alabama. He secured the scenery contract for the Hayden-Pake Theatre. On March 31, 1908, “The Gasden Times” reported, “W. H. Megan, representing the Kansas City Scenic Co, will arrive in Gasden tomorrow at noon and tomorrow night at the library auditorium he will place on exhibit models of scenery for the opera house. Mr. Megan comes here at the instance of the Hayden-Park Theatre company, who are building the new opera house. They desire that he public have some say in the matter of selecting the scenery to be used in Gasden and will appreciate any suggestions made. A miniature stage with drawings and models will be on display and all the people of Gasden are invited” (page 1). On April 2, 1908, “The Gasden Times” reported, “Exquisite scenery for Opera House. A small but thoroughly representative number of men and women gathered at the library auditorium last night and selected the principal scenery to be used n the new opera house. E. R. Meegan, representing the Kansas City Scenic Co., conducted an exhibit of scenes by using a miniature theater which was completely equipped with stage appliances. Numerous models and designs were shown, and selection was made by an expression of approval from the majority. There was never a wide difference of opinion and as a result the new theatre will have some of the most exquisite scenery to be found in any playhouse in the south. The drop, the advertising and the asbestos curtains were shown. Street scenes, gardens, parlors and woodlands were selected from a large number of models shown and it was really a treat to see the beautiful specimens of scenic art which Mr. Meegan had on exhibition. One thing certain, the patrons of Gasden’s opera house will not have to look at any hideous or inappropriate scenery. Indeed, every bit of the interior will be restful and pleasing to the eye. The color scheme is red, but there are harmonious decorations which make the whole an exquisite bit of art.”
Although the articles mentioned W. H. Megan and E. R. Meegan, it was really F. R. Megan whom they were referring to at the time. On Sept. 26, 1908, the “Gasden Times” reported, “F. R. Megan, representing the Kansas City Scenic Co., arrived this morning to hang scenery at the Hayden Park theatre. Mr. Megan thinks he will complete the work by midnights tonight.”
Megan was also responsible for scenery delivered to the Busby Theatre in McAlester, Oklahoma, during the first part of 1908. On Feb. 10, 1908, the “McAlester Daily News” reported, “Putting in Theatre Scenery. F. R. Megan of the Kansas City Scenic company arrived Sunday and has a force of eight men at work putting in the scenery at the Busby theatre. The scenery is rich and high class in every respect and the interior of the theatre will be a thing of beauty.” On Feb. 12, 1908, the “McAlester Daily News” reported, “The theater has the very finest and most complete set of scenery made by the Kansas City Scenic Co. The large asbestos curtain, which runs in steel frames, contains as a center piece a beautiful farm scene. This curtain, with counterweights, weighs 1,600 pounds. The drop curtain is a very fine piece of work, Roy Busby, seated upon Colonel William Busby’s thoroughbred Kentucky saddle horse, both natural as life, are shown in the center of the curtain. Among the drop curtains are street scene, olio, full palace setting, wood scene, garden, horizon, parlor setting, fancy interior, plain chamber, kitchen, prison and numerous set pieces, such as trees, balustrades, mantels, houses, rocks and borders. All of the pieces are quickly and easily moved by accurately balanced counterweights.” (page 1).
Megan continued to represent the Kansas City Scenic Co., with his name popping up in newspapers across the country. On July 6, 1909, the “Washington Citizen” of Washington, Missouri, reported, “Fred Megan of Kansas City was in Washington and secured he contract to paint the scenery on the Calving Theatre curtain for $250.” On Nov. 16, 1911, the “Hutchinson News” of Hutchinson, Kansas, reported, “May Buy Stage Fittings. Representative Conferring with Purchasing Committee. F. R. Megan, representing the Kansas City Scenic furnishings company, is at the high school this afternoon with the purchasing committee of the board of education and it is more than likely some action will be taken by the committee in regard to buying stage fittings for the high school auditorium stage before the afternoon is over. The committee was given power to act at the last meeting of the board.”
In 1915, Megan was still listed in the “Kansas City Directory” as a salesman at the “K C Scenic Co,” living at 306 Gladstone Blvd. On July 15, 1915, the “Kansas City Times” reported, “Mrs. Frederick Megan and daughter, Miss Anabel Megan, 306 Gladstone Boulevard, are in St. Louis, guests of Mrs. James Francis Murphy, 5339 Maple Ave. Mr. and Mrs. Murphy were formerly of Kansas City” (page 18). This was one year after Megan’s mother passed away in that same city.
Interestingly, the 1916 Kansas City Directory listed “Frederick R. Megan (Interstate Chemical Co) 2709 E 15th r 4136 Warwick boul.” Megan was branching out and dabbling in other industry products. However, he was still working with the Kansas City Scenic Co.
On May 23, 1916, the “Galveston Daily News” reported, “Scenery for Auditorium will soon be installed. F. R. Megan low bidder, is here to close contract. Will include interior and exterior, woods and castle scene and an asbestos curtain. F. R. Megan of the Kansas City Scenic Company, Kansas City, the successful bidder for the scenery for Galveston’s new city auditorium arrived yesterday and is at the Galvez. Mr. Megan’s firm was the low bidder for the work, submitting an estimate of approximately $4,000. The bids are in the hands of the committee for tabulation and report, and city commissioner H. O. Sappington said the contract with Mr. Megan’s firm probably will be signed within a day or so. ‘Our bid is for a full set of modern scenery,’ said Mr. Megan last night. ‘It will include an interior and exterior, a wood scene and a palace, both fully fitted. The asbestos curtain we propose to place measures 39×55 feet, covering the entire width of the 36×52 stage. It is the third largest curtain in the United States, the largest being the Hippodrome, New York. The curtain is the one that has been approved by the national boards of underwriters and is composed of 98 per cent pure asbestos. It will be hung on a ball-bearing shaft, known as the Sheaves patent, a ball-bearing cable track that will allow the lowering of the curtain with the slightest pressure. It can be handled easily with a thumb and finger. According to the present plans, the curtain will form the background for the picture that will be very characteristic of Galveston, a picture of the pirate, LaFetie, with one of the prizes that be brought to Treasure Island in the early days. Mr. Megan said that the scenery would just about fill a good-sized freight car, and that he hopes to get started on the installation within a short time. ‘The scenery should be installed by July 3,’ said City Commissioner Sappington last night, ‘and I am much in favor of holding some kind of formal opening during the Cotton Carnival and Exposition to show the people of the state what we have here in the way of a municipal building.’ Mr. Megan said he is much impressed with the new city auditorium. ‘I have inspected municipal buildings in all parts of the country,’ he said last night, ‘and I would not know where to turn to find a finer building than the Galveston Auditorium” (page 10).
The 1917 Kansas City Directory again listed Frederick R. Megan as “salesman K C Scenic Co r 4136 Warwick boul.” That same year, the Kansas City Scenic Co. offices moved from Grand Avenue to Harrison Avenue in Kansas City. On April 19, 1917, the Olathe Mirror reported, “Ben Dunn of Kansas City was here Thursday visiting old timers. Ben is not so old himself but was born and raised in this county and knows all the old timers. He and John Bronaugh, formerly of the county are the proprietors of the Kansas City Scenic Company. They recently sold their 76 feet at Twenty-fourth and Grand for $76,000 – $1,000 per foot. The property cost them $5,000 several years ago. They have moved their plant to Twenty-fourth and Harrison. Other Johnson County people employed with them are Geo. Bronaugh and Fred Hunt – both are in the cabinet department. Until Fred’s eyesight failed, he was one of their best painters. Leo Miloan studied with them but is now working elsewhere. It is said he has great talent.”
Megan continued to work for the Kansas City Scenic Co. in the capacity of scenic artist, installation supervisor and salesman, representing the Kansas City Scenic Co. until 1918. That year, the Kansas City Directory listed “Fredk R. Megan” as sales for K C Scenic Co., living at 4136 Warwick Blvd. The last record of his involvement with the firm is listed in his WWI draft registration card. The card still listed Megan’s occupation as a traveling salesman for the Kansas City Scenic Co., located at 24th and Harrison Streets in Kansas City, Missouri. His physical appearance was listed as tall with medium build, blue eyes and grey hair; he was 45 yrs. old.
By the end of 1918, Megan began working for the United States Government in their Liberty Theater Division. He was appointed to the Liberty Theatre office in Washington as Supervisor of Maintenance and Construction. On Dec. 22, 1918, the “Oakland Tribune” reported, “Mr. Allen Minnix, who has been in charge of the construction and maintenance work of the Liberty Theater Division has resigned, effective December 1. Minnix is a construction engineer and is building large numbers of residences and apartment properties in Washington. F. R. Megan takes over Mr. Minnix’ work in the Liberty Theater Division” (page 43). Keep in mind that many scenic artists began working for the government on painting projects during WWI, especially at Liberty Theaters and in the newly established camouflage trade. Many theatre technicians, artists and salesmen continued their government service in the post-war years, finding greater job security that in the private sector. The 1920 US Federal Census listed Megan as Government Supervisor in Washington D. C. Megan, his wife, and daughter were living at 3321 16th street in Washington, D.C. This was their second residence, as they still kept a second home in Kansas City, Missouri.
Between 1921 and 1922, Megan relocated to Baltimore Maryland. In 1922, Megan was listed in the Baltimore, MD, City Directory as the president of the Liberty Amusement Co, residing at 1800 N. Charles in Baltimore, MD. With his wife, Thenia F. Megan. It was at this time that Megan and Thomas G. Moses began negotiating the purchase of the Sosman & Landis name. Megan moved to Chicago. By the end of 1923, Moses wrote: “On December 26th, Megan and I met Sosman and Landis Company at Richard’s office and paid our first installment for the name and good will of Sosman and Landis Company, which we now own and will operate, but for a while we will have to use our names of Moses and Megan, until the old company can liquidate. We will then get a new charter.”
Megan drummed up business in 1923 while he and Moses waited to officially claim the name of Sosman & Landis. Although Moses made a name for himself over the decades, his designs and painting were integrally linked to the Sosman & Landis brand. It is not surprising that Moses believed that he needed the Sosman & Landis name to continue.
While Megan was on the road, Moses made models for new projects and painted scenery. This is how Sosman & Landis started and had successfully operated from 1877 until Landis’ passing in 1905; Landis was on the road and Sosman in the studio. This is also how Kansas City Scenic Co. functioned, with J. V. Bronaugh on the road and B. F. Dunn painting scenery.
Moses & Megan initially leased the old Fabric Studio in Chicago then moved their offices to 6715 Sheridan Road. By 1924, Megan continued work as a traveling salesman, representing Sosman & Landis, while being listed as vice-president and treasurer for the company. Moses and Megan continued to work together on projects for the next few years, including the Scottish Rite Temple theatre in Oakland, California. As project loads increased for each studio, additional staff members were added, with more salesmen on the road and more scenic artists painting projects. Moses and Megan continued working together throughout the 1920s. However, the large staff of artists associated with the earlier iteration of Sosman & Moses never returned. Moses and a few assistants completed contracts secured by Megan. In a pinch, Megan would don his overalls and pick up a brush to complete the project. By 1924, Moses wrote, “Megan on the road most of the time makes the studio work so much harder for me, especially when I want to paint more.”
When Megan relocated to Chicago in 1923, his daughter stayed behind in Baltimore for a year. The 1923 Baltimore Directory only listed Anabel Megan. At the time, she was a student, living in the Walbert apartments. On August 19, 1923, “The Kansas Star” reported, “Mr. and Mrs. Frederic Rishell Megan announce the marriage of their daughter, Anabel, to Mr. Edmund Rivers Harris, jr., Saturday, August 4, at Christ Episcopal church in Baltimore. Mr. and Mrs. Harris will be at home after September 15 at 716 East North Avenue, Baltimore. The wedding never took place. On October 1, 1925, “The Kansas City Times” announced, Miss Anabel Megan, daughter of Mr. and Mrs. Fred Megan of Chicago, formerly of Kansas City, is visiting her aunt, Mrs. Alice M. Johnson” (page 3). Anabel later married John F. Randolph, a gasoline station owner in Chicago, Illinois. On Feb. 25, 1926, the “”Chicago Tribune” included a picture of Anabel with the caption “Mrs. John Francis Randolph, noting “Mr. and Mrs. Frederick Rischell Megan, formerly Kansas City, Mo., and Washington, D. C., announce the marriage of their daughter Anabel Thenia, to John Francis Randolph, of Chicago. Mr. and Mrs. Randolph are at home at 7301 Sheridan Rd.” This was the same year that Moses and Megan delivered scenery to the Varsity Theatre.
Fred R. Megan’s daughter, Anabel.
Megan continued to work for Sosman & Landis. However, his name appeared less frequently in headlines. On Feb 22, 1928, the “Brownsville Herald” of Brownsville, Texas, reported, “To Get Scenery. HARLINGEN. Feb. 22. – Installation of theatrical scenery in the high school auditorium here is to begin within the near future, according to F. R. Megan, representative of the Sosman & Landis Scenic company of Chicago, who has been awarded the contract for the work” (page 16). On March 5, 1928, “The Brownsville Herald” reported, “Mysterious Shooting. EDINBURG, March 5.- Police here Monday continued an investigation begun Sunday night into reports of a mysterious shot fired near the junior college auditorium Sunday night. Robert McBridge and F. R. Megan, workmen, narrowly escaped being hit by the hail of shot.”
Fred R. Megan listed as Secretary and Treasure of Sosman & Landis Co., 1927.
Even after Moses sold his shares of Sosman & Landis, effectively ending his relationship with the firm, Megan plugged continued as a salesman and artist. However, he also became associated with other firm’s too. On September 25, 1930, the “Altoona Mirror” described the interesting features of Jaffa temple’s beautiful new mosque for the Shriners in Altoona. It was a 1500-seat hall. The article reported, “The Gable Company supplied the equipment for the big stage of the auditorium, and it was installed under the direction of the firm’s special artist, Frederick Meagan [sic.]. One of the features of the equipment is the big asbestos drop curtain, weighing 900 pounds. It bears a painting that is in keeping with the organization and entitled “The City of Jaffa” and is very artistically done. It and the other furnishings were supplied through the Sosman & Landis company of Chicago and include stage sets, drops, lights and everything necessary to the modern stage. Mr. Meagan [sic.] directed the furnishing of the stages in the Shriner’s mosques in Cleveland, Chicago and other cities” (page 348).
In 1933, Megan was still listed as the Sosman & Landis branch manager (in Chicago), residing at 819 Dobson in the Evanston, Illinois, Directory. Moses passed away the following year at the age of seventy-eight years old. At the time Megan was only sixty-one years old. This did not stop Megan, but his projects continued to dwindle in the 1930s.
Megan eventually relocated to Altoona, Pennsylvania, where he continued to secure a variety of painting projects. Megan was still associated with the last iteration of Sosman & Landis in 1943. On May 6, 1943, the “Connellsville Daily Courier” reported the winning bid for maintenance work on the school buildings during the summer (page 3). The article reported, “Bids were received for maintenance work, including roof repair, caulking on windows, plastering and painting. The contract for all went to the Sosman & Landis Company, F. R. Megan owner, Johnstown.” On June 16, 1943, the “Connellsville Daily Courier” of Connellsville, Pennsylvania, reported, “A contract for painting the fire escape of Second Ward School was awarded to F. R. Megan” (page 3). The last mention that I have located about Megan was his presence at the Bellwood Lion’s Club in Altoona on Feb. 22, 1945 (Altoona Mirror, 24 Feb 1945, p 10).
Megan passed away only three years later, on April 16, 1946. At the time, his occupation was listed as that of “paint contractor.” The immediate cause of death was listed as coronary artery heart due to disease.
David H. Hunt was associated with Sosman & Landis from approximately 1894 until 1923. He encouraged the firm’s founders, Joseph Sosman and Perry Landis, to diversify their interests, expanding into the field of theatrical management in the 1890s. By 1894 he was managing Sosman, Landis & Hunt. Later in 1910, Hunt moved to New York to establish New York Studios, an eastern affiliate of Sosman & Landis. Hunt is quite an elusive character. I have tracked his life in both historical records and newspaper accounts, but am still left with many more questions than answers. His story is complex, and a little shady at times. As with other Sosman & Landis employees, I am going to start with his parents, Patrick and Anna Ella Hunt.
David H. Hunt, pictured in 1903.
Patrick Hunt was born in March 1851 in Ireland. He purportedly emigrated to the United States as a child during the 1860s, likely between 1861 and 1863. By 1869 he was living in Detroit, Michigan, and married a woman named Anna (b. 1848). I have yet to locate any official immigration records or marriage certificate for the couple. This means, I have no idea what Anna’s maiden name was or when she traveled from Ireland to America in 1863, marrying Patrick five years later.
In September 1869, the young couple celebrated the birth of their first child, David Henry Hunt. Anna would go on to have eight more pregnancies, with three children surviving to adulthood by 1900. The couple’s only surviving children were David Henry Hunt (b. 1869), James Joseph Hunt (b. 1881), and Francis John Hunt (b. 1886). The Hunt Family lived in Detroit from 1870-1900.
The 1870 US Federal Census listed Patrick, “Annie”, and their infant son, David, as living in Detroit. At the time, Patrick’s occupation was simply listed as “laborer.” He would later secure employment with the railroad in Detroit as a switchman. The 1900 Census listed Patrick, Anna, and their three adult sons all living at home, their residence listed as 151 18th Street in Detroit. They had lived at this address since the mid-1880s. Between 1900 and 1910, all of the boys moved out, leaving Anna and Patrick alone, still residing at the same address, now known as 151 Porter Street.
I have yet to discover how David H. Hunt became involved in the theatre business, or exactly when he was introduced to Sosman and Landis. 1886 Detroit Directory listed David H. Hunt as a cashier at W. P. Rend & Co., boarding at 151 18th. [W. P. Rend & Co. is the name of a coal company located west of Benton about five miles.] The 1887 Detroit Directory again listed David H. Hunt as a clerk at W. P. Rend & Co., boarding at his parents’ home at 151 18th. Between 1888-1889 I have yet to locate any information about Hunt, but in 1890 and 1891 Hunt was working as a clerk at Fletcher, Jenks & Co., again boarding at 151 18th. [Fletcher, Jenks & Co. was a gun and rifle manufacturer].
1891 catalogue recently posted for sale on eBay. 1891 Fletcher, Jenks & Co. envelope recently posted for sale on eBay.
This means that sometime between 1891 and 1893, Hunt became associated with Sosman & Landis. It is during this same period that Sosman & Landis begin diversify and invest in other business endeavors. The mid 1890s were a time of transition for Sosman & Landis, and the began setting their sights beyond the theatre supply industry. By 1893, Sosman & Landis were listed as theatrical managers for two electric scenic theatres on the rooftop of the Masonic Temple. That same year, Hunt was visiting Chicago and associated with the theatre industry. On June 4, 1893, the “Detroit Free Press,” reported that Hunt was managing a benefit performance, “Caste” at the St. Boniface and Jesuit churches new auditorium (page 15). On June 20, 1893, the “Detroit Free Press” reported that the production featured Harry C. Barton of the Warde-James combination, Una Abel of the Rhea Company, Henry Wilkinson, Mrs. T Kennedy and W. H. Powers Jr. of the Nora Machree Company, and both Adelaide Cushman and John P. Barrett of the Glen-da-Lough Company. This was not a show that simply featured local amateurs. The article also commented on Hunt’s managerial role, stating “Manager David H. Hunt has returned from Chicago where he made arrangements for special scenery to be used throughout, and promises excellent staging.” Within the next year, Hunt convinced Sosman & Landis to invest in a new theatrical management form – Sosman, Landis & Hunt, and takes charge of the Pike Opera House in Cincinnati, Ohio. Thus was a well-respected venue with long history.
Over the course of three years, Hunt transitioned from a clerk at Fletcher, Jenks & Co. in Detroit, to a theatre manager in Cincinnati, Ohio. Keep in mind, that at this time Sosman and Landis also helped found the American Reflector & Lighting Company, each becoming an officer at the new firm. By 1894, their scenic studio had also delivered painted settings to 4000 stages across the country and their catalogues featured American Reflector & Lighting Company equipment. Their hands were full. Maybe this meant they let their guard down and started taking too many risks. Yet, I am still amazed that a young clerk from Detroit could convince two successful businessmen from Chicago to invest in a theatrical management firm, especially one run by an individual with virtually no experience in the theatre industry. By the age of twenty-five, Hunt was managing the Pike Opera House and would soon also manage the Grand Opera House in Indianapolis, Indiana.
Back of 1894 Sosman & Landis catalogue.
Sosman, Landis & Hunt primarily managed big vaudeville theaters, while also establishing touring stock companies. In addition to large houses, and touring shows, the firm also leased four summer theaters, located in both Atlantic City and Asbury Park.
During this time, Hunt continued to list his permanent residence in Detroit with his parents. The 1896 Detroit Directory listed David H. Hunt as a manager, still boarding at 151 18th. By the late 1890s, Hunt began keeping a separate room in Cincinnati.
Although he worked in Cincinnati, the 1897 the Detroit Directory listed David H. Hunt as a “travel agent,” still living with his parents. 1897 was a year of transition for Hunt, he became increasingly associated with Cincinnati’s Pike Opera House. That year he led the remodeling and redecorating the Pike Theater in Cincinnati, representing an early project for Sosman, Landis & Hunt. The firm hired Chicago theatric architect Sidney R. Lovell for the renovation. Lovell was J. M. Wood’s business partner (Link to my post on Wood & Lowell: https://drypigment.net2019/01/09/tales-from-a-scenic-artist-and-scholar-part-610-theatre-architects-col-j-w-wood-and-sidney-lovell/). The Pike Opera House project was just prior to Wood’s work on the Temple Theatre in Detroit, another Sosman & Landis project.
On Dec. 13, 1897, the “Cincinnati Enquirer” reported, “Combination. The Pike to Have Both Legitimate and Vaudeville.” (page 7). The article continued, “It has been definitely determined by the management of the Pike to make a partial change to the characters of its entertainments an to install a stock company for the production of standard plays in connection with first-class vaudeville.
“Yes, it is true,” said Manager D. H. Hunt. Then approached in regard to the subject last night by an Enquirer representative. “Negotiations have been completed, and the contracts will be signed on Monday or Tuesday. I do not exactly know the date upon which the company will give its initial performance, but that also will be settled within a few days. It must not be supposed that vaudeville will be abandoned entirely. The management believes that there is a large number of theatre-goers in Cincinnati who will never tire of more refined type of vaudeville, and not to overlook the class of pleasure-seekers altogether, we will continue to have a number of first-class vaudeville acts each week in connection with the stock company’s productions.”
“It is true that Mrs. John D. Hopkins, of Chicago, will manage the company?” was asked. “No,” Mr. Hunt said, “that is a mistake. Mr. Hopkins will not be interested in stock company or the theatre in any way whatever. The leading man and manager of the stock company will be James Neil, a well-known and capable actor, and previous to that with William H. Crane. He will bring with him practically the same company that he had in St. Paul and Minneapolis last summer, and I do not hesitate to say that as a stock company it has no superior in the country. The character of the plays will be such standard productions as “The Charity Ball,” “held by the Enemy,” “Aristocracy,” “Diplomacy,” “Jim the Penman,” and other social and melodramatic play of that class, and, although this will be an expensive innovation, you may say that the management will not advance. The process of admission, but, in some sections of the house, may find it possible to lower them.” This move of the management of the Pike was foreshadowed some weeks since. Connected with it were rumors that the house would be remodeled, but this Mr. Hunt denies. The truth is that vaudeville has been overdone in Cincinnati. There is not enough so-called high-class or star materials to keep the Pike supplied. The syndicates are in a measure responsible for this condition of affairs, to say nothing of the return of many of the stars to the legitimate. This new arrangement will give the management the desired opportunity to weed out the light-weight materials”
On September 18, 1898, “The Cincinnati Enquirer” reported, “Manager D. H. Hunt of the Pike Opera House, is expected to arrive here tom-morrow to look after the advance work and pave the way for the regular opening of that theatre next Sunday with the popular Neill Stock Company in “Mr. Barnes of New York.” The members of the company are expected to arrive about Wednesday or Thursday of this week and several rehearsals of the play have been called, although they are almost unnecessary, owning to the play having been produced this summer by the company during the Minneapolis engagement. Sosman & Landis, the Chicago firm that controls the Pike, will also put a stock company in at the Grand Opera House, Indianapolis, to be managed by Mr. J. J. Murdock, formerly stage manager at the Pike. This enterprising firm has surrendered its lease upon the Masonic Temple Roof Garden, in Chicago, which it has operated successfully for the past several seasons, and contemplates building a new theatre in the Windy City which can be operated as a summer roof garden and then be enclosed as a perfect music hall for vaudeville performances. The promoters have not selected a site, but they announce that when completed the new theatre will be the finest of its kind in the West” (page 17).
In 1899, the “Chicago Inter Ocean” reported, “David H. Hunt of Cincinnati, a member of the firm of Sosman, Landis & Hunt, the well-known theatrical managers, says: “Chicago can’t compare with New York as a theatrical town” (16 July 1899, page 14). Another article, entitled “How the Stock System Pays” was published in the “Los Angeles Herald” that year. It provided a little more insight into Hunt’s roll at Sosman, Landis & Hunt. Hunt was interviewed and explained the success of the stock company. He was quoted:
“The growth of the stock company idea in the west would surprise you easterners,” said David H. Hunt, of Sosman, Landis & Hunt, the other day. “I have charge of the Pike opera house In Cincinnati, and we are making more money with a stock company than we did when the house was given over to vaudeville and variety was the society fad. A haphazard stock venture will not succeed, but properly managed the scheme is a huge success, and the companies are now so plentiful that it has become a matter of difficulty to obtain players who are not only willing but capable of doing leading stock work. The lesser people are not hard to get hold of, for there will always be an excess of players, but to get good names to head the company is constantly becoming more difficult because of the advance of the idea. We have a big company, and not only get good plays, but we try to give for seventy-five cents as good a production as is provided by a visiting company for double the money. We have two scene painters and two assistants always at work, and we never use a rag of scenery for more than one play.”
The two scene painter were Thomas G. Moses and Fred McGreer, both Sosman & Landis employees at the time. McGreer is Sosman & Landis Employee No. 13. Here is the link: https://drypigment.net2021/04/10/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-13-fred-mcgreer/] Although Moses moved onto other projects, eventually leaving Sosman & Landis in 1900 to found Moses & Hamilton, McGreer remained on site as the scenic artist at the Pike Opera House until 1900.
The 1899 “Los Angeles Herald” article continued, “We give the property man money enough to hire really good furniture and we have as good a stage manager as we can get, for we very early awoke to the fact that we could save money on this department of the work. A competent man will get all there is that is good in an actor, while an incompetent one will spoil a good player. Then we have found that we must spend a little money in royalties. It is a nice thing to have the old plays to fall back on, but a season which lists a succession of ‘East Lynne’ and ‘A Celebrated Case,’ with ‘Leah’ and similar plays to follow, will not be a remunerative one in the west, and we find that by laying out four or five hundred dollars for the use for one week of a play like ‘The Prisoner of Zenda,’ we cannot only get back the money we pay out, but enough more to make it worth our while to get the best. Of course, there is the constant study to be urged against the stock system, but to offset this, there is the avoidance of the discomforts of travel and to be able to settle down in a flat for a season instead of alternating between the one night stands and the sleeping cars, is a sufficient attraction too many to offset the fact that they will have to get up a new play each week instead of one or two for the season.”
Manager D. H. Hunt was also associated with the Grand Opera House in Indianapolis at this time. On September 9, 1899, “The Indianapolis News” published an article entitled, “The Grand Stock Company” (page 32). Here is the article in its entirety as it provides some context for the scope of production produced by the stock company at this time:
“From now until the opening of the Grand Stock Company’s season, Monday, September 18, the members of that organization will be kept busy rehearsing ‘Jim, the Penman,’ the play with which the season begins. Manager D. H. Hunt and the entire company have arrived from New York, where they have already had some days of rehearsal under the direction of the new stage manager. Mr. Waiter Jewett Craven. Mr. Hunt, in a letter a few days ago, said that the company, was already well up in the play, so that the coming week will be devoted to the work of putting the final polish to the various parts. Miss Shannon will, of course, be seen again as Mrs. Ralston, wife of the skillful forger; the other parts are not yet fully announced though it is pretty certain Geoffrey Stein, the successor to the parts played last year by Mr. Sheldon, will play Baron Hardfelt. Geoffrey Stein, who is to do the character work this season, is a capable actor. He has been a member of the Frawley Stock Company, the Schubert Stock Company, and other good companies of this character. Before settling down to stock work he was with Marie Wainwright one season; was in the original New York production of Joseph Arthur’s ‘The Cherry Pickers,’ and played other important engagements. It can be seen how his acting impressed the critics from the following quotation form the Rochester Standard’s review of “Sweet Lavender,” when played by the Schubert Stock Company: ‘Geoffrey Stein, as Richard Phenyl, the bibulous barrister, easily carried off the honors of the production. The impersonation of the lovable old vagabond was in his hands quaintly forcible. He fully conceived the tenderness which underlies its drollery and made a teardrop follow the ripple of laughter. While in Washington with the Frawley Stock Company, the Washington Capitol, referring to Mr. Stein’s appearance in “The Wife,’ said: ‘Geoffrey Stein, as Silas Truman, scored another hit, You must watch this young actor’s career. He has great talent, and moreover. Is a hard student. I predict great things for him.” Numerous other newspaper notices of his work give him high praise.
Among the plays to be produced by the stock company during the present season are ‘The Dancing Girl,’ ‘Men and Women,’ ‘Lord Chumley,’ ‘Alabama,’ ‘Held by the Enemy,’ ‘The Crust of Society,’ ‘Brother John,’ ‘His Wife’s Father,’ ‘Sweet Lavender,’ ‘Saints and Sinners,’ ‘ Young Mrs. Winthrop,’ ‘The Butterflies’ and other successes. A few of the most popular plays seen last season may be given again.”
On Nov. 6, 1899, “The Indianapolis Journal,” reported, “Manager D. H. Hunt, of the Pike and the Grand Stock companies, is back from a trip to New York, and will arrive here this afternoon to see the opening production of “The Charity Ball,” to-night, While in New York, he secured some strong plays for the Grand Stock company, among them “Madam sans Gene” and “The Masqueraders” (page 3). In 1899, Hunt was certainly a mover and shaker, zipping from one town to the next. It was this same year that a young actress named Angela Dolores was part of the Pike’s stock company. Both Dolores and Hunt were lodging at the Burnet House in Cincinnati. Hunt had been a fixture at the boarding house since 1897, when it was first listed as his residence in the Cincinnati Directory. Both would continue to live at the boarding house util their marriage.
Despite a positive outlook, Hunt soon made a misstep that would cause the eventual closure of Sosman, Landis and Hunt. On April 6, 1900, the “New York Times” reported that Manager David H. Hunt was one of the gentlemen interested in the production of the Jeanette Gilder’s version of “Quo Vadis” (page 2). In New York, “Sosman, Landis & Hunt” later produced Gilder’s “Quo Vadis,” but ignored a few of the contractual stipulations. On Nov. 19, 1902, the “New York Times” published and article entitled, “Miss Gilder Goes to Law” (page 1). The problem was that Sosman, Landis & Hunt failed to produce Gilder’s version of ” Quo Vadis ” for five weeks each in two years at their various theatres, including the Pike Theatre Opera House. A series of lawsuits were filed against Sosman, Landis & Hunt around this time. Hunt didn’t quite follow the rules laid out in various contracts, and both actors and authors contended that the firm violated agreements and took their cases to court. To date, this was the only negative press that I have ever uncovered about Sosman & Landis, and it must have been quite embarrassing. The immediate solution was to remove their association with the theatrical management and solely credit Hunt. “David H. Hunt’s Pike Theater company” is soon advertised in the papers. Sosman and Landis may have remained investors, but their names were no longer linked to the Pike. It was as if Sosman, Landis & Hunt never existed. Interestingly, in 1901, various newspaper articles indicated that Hunt’s stock company had been in existence for nearly seven years, during which time it had played over 250 different plays and had appeared in almost 2,400 performances. Sosman & Landis were not mentioned at all.
On April 15, 1901, the “Detroit Free Press” described Manager David H. Hunt in an article about the Pike Stock Company’s production of “Charity Ball.” The article reported, “The organizer and manager of this enterprise is David H. Hunt, a young man whose ideals are high and whose mental attitude toward the theater is not merely sordid. By this it is not meant that his work is entirely altruistic. There is a necessary commercial side of art, and Mr. Hunt knows that in order to continue along the lines he has followed since the beginning of his managerial career the support that comes only through the box office is essential. But he also knows that while he is a frankly confessed merchant of theatrical wares, it behooves him to offer the best, and to present them in an attractive manner. The public is well enough acquainted with his way of doing business to feel justified in expecting another season of honorable achievement on his part. It is quite within the limits of conservatism to say that the re-advent of his company is a distinct public gain, for it may fairly be assured that what is known as the popular-price theater can boast no better balanced combination of players than the cast that Mr. Hunt gave us last evening.”
On March 30, 1902, the “Cincinnati Commercial” reported, “The Pike Theatre Company’s season in Cincinnati will close next Saturday evening. On the following day, the organization will open in Detroit for the summer. During its engagement the company will put on its most successful productions, four car-loads of scenery, for which will be carried North with it. Those who will be included in the organization will be Messrs. Douglas, Farren, Waldron, Maher, Everham, Reynolds, Hall, Hackett and Witte, Misses Collier, Dolores, Melville, McCaul and Roland, Manager David H. Hunt, Business Manager A. C. Robinson, Scenic Artist Slipper, Master Carpenter Eckert and several assistants” (page 46).
The Pike Opera Company also began to travel with its own scenic artist. Hunt’s marketing of the company was quite something. Just as McGreer’s work for the Pike had made headlines from 1898-1900,his replacement did the same.
On May 26, 1901, the “Detroit Free Press” published an article entitled, “The Illusion of Scenery” (page 44). The article interviewed the Pike Stock Company scenic artist, a man known as Mr. Slipper. The article reported:
“People are just commencing to realize that good plays are frequently as dependent upon good scenery as good actors,” said Scenic Artist Slipper, of the Pike Company, “and it is certainly true that a play without the embellishment of scenery even though it be of the most meager and unpretentious sort, would be a burlesque upon the modern methods of management. We are told that Shakespeare’s plays were first produced without scenery, but we are not informed they were great success, except as lectures or monologues of rare literary merit. The success of the drama depends upon the illusion it creates; acting is an illusion – that, is, it excites the auditor to tears over a situation which does not exist, or moves to mirth with an incident that is purely imaginary. So, too, is scenery an illusion. We show you a landscape in a production at the Lyceum which seems to the spectator in front to stretch away for miles, whereas it is but a few rods distance from the eye and perhaps no more than three feet away from the house, or the shrubbery, or the forest which seems so near you. Thus, if the actor deceives your ear with a cry which seems to have it in tones all the attributes of heart-felt sorrow and tragedy, the artist deceives the eye by producing an impression simply by a few touches of the brush and the proper combination of colors something akin to that produced by the hand of nature herself, as revealed in the far-stretching landscape, or as is shown in the more artificial work of the man as applied to the architecture and the furnishing of apartments.”
1902 was not without tragedy, however. The newspaper article about Slipper may have been strategically released to distract local audiences from the fire at the Pike. On March 30, 1902, Hunt made news when there was a fire started in the basement and destroyed much of the auditorium. At the time, the Pike stock company was playing its closing week in Cincinnati. The story made news across the country, yet Hunt managed to feature himself in a positive light, despite the tragedy.
On April 1, 1902,Racine, Wisconsin’s “Racine Journal” reported on the fire at the Pike Opera House on March 30 (page 8). The article reported, “The matinee performance was in progress before a crowd that filled all the seats and most of the standing room when flames were discovered. The fire started in the basement. The theater is on the second floor, with two stairways leading to the fourth. There is also a stairway from the stage leading to Backer alley in the rear. The curtain had been raised for the first act of “Sag Harbor” by the Pike Stock company and the play had been in progress about ten minutes, when the portieres between the corridors and the north aisle were seen to be ablaze. With great presence of mind Manager D. H. Hunt addressed the crowd in an effort to quiet their fears, and his staff, quickly taking positions about the auditorium began to direct the general movement toward the exits. The burning portieres were snatched from their hangings and quickly trampled underfoot. This prevented the immediate spread of the fire withing the theater, but did not materially lessen the danger, for the smoke by this time was pouring up from the lower floor, where the flames had gained great headway…(there is much more, page 8).” The “Democrat and Chronicle” of Rochester, on March 31, 1902, (page 1) reported, “The only thing burned in the auditorium was a portier. Scenery stored in the lower part of the building was damaged to the extent of $10,000. Members of the company saved all their costumes and baggage…Thirty six years ago the Pike building of the same site was destroyed by fire. The damage to-day was between $20,000 and $60,000” (page 1). Despite the loss, plans for the company to begin its summer season in Detroit continued (“Inter Ocean,” 31 March 1902, page 3).
Hunt continued to make headlines despite the tragedy, toting his past successes in a series of article aimed at building up his own reputation. On 13 Sept. 1902, “The Evening Star” of Washington, D. C. reported, “Stock was a new thing when Mr. David H. Hunt decided that vaudeville was not a success at his Cincinnati theater, and installed the first stock company there since the famous old days when Davenport, McCullough and other old-time stars had appeared with the ante-bellum stock companies in the smoky city. Mr. Hunt was a young man, his company contained players who were themselves little known, and with the development that followed hard work and success the organization was brought to a standard of perfection. Mr. Hunt early decided that pecuniary success would only result from artistic success. He set about obtaining good plays and good players, with the result that people in Cincinnati accord the Pike Theater Company both consideration and affection. For several years the company played entirely in Cincinnati, then tried Minneapolis and St. Paul for spring engagements, next added Detroit to their list of cities and now adds Washington, New York and Baltimore” (page 22).
Despite the law suits and fire, Hunt continued to make good press for himself. In 1903, Hunt married Miss Angela Dolores, an actress with the Pike Theatre Co. That year, his birthplace was listed as Pennsylvania, her father Spanish, and her mother Irish.
Article picturing Manager David H. Hunt and Miss Angela Dolores, 1903.
Their relationship and impending marriage were published on May 21, in the “Detroit Free Press” (page 12). In 1903, Hunt was known as “ D. H. Hunt, manager of the Pike Theatre Company…a well-known theatrical gentleman from Detroit.” On March 21, 1902, the “Detroit Free Press” described Hunt as “a Detroit man and widely known in the theatrical profession of the middle west as a hustling manager” (page 12). The last line of the article noted, “In line with this announcement is another which concerns a former member of the Pike stock company. This is Miss Angela McCaull, who was leading ingenue last year. She is the daughter of the late Co. McCaull and is to be married to Lionel Barrymore, now making a hit in the character part with his uncle John Drew in ‘The Mummy and the Humming Bird.’ Miss McCaull also very popular in Detroit.”
[image of couple}
The article noted that their romance sprung up while she was under his management, with her forte being dramatic roles. It also suggested that Dolores had been living with a sister in New York for quite some time, with Hunt trying to keep their relationship secret. Not quite, as both Hunt and Dolores had been listed in the Cincinnati Directory from 1899-1902 as living in the Burnet House. On March 21, 1902, the “Detroit Free Press” described Hunt as “a Detroit man and widely known for his theatrical profession of the middle west as a hustling manager” (“Detroit Free Press,” 21 May 1903, page 12). Dolores continued to perform under her maiden name.
In 1905, the couple celebrated the birth of their daughter, Anna. It is around this time that the Hunts move Chicago and Hunt resumes his position at the Sosman & Landis scenic studio. In 1905, Thomas G. Moses wrote, “Went to Baraboo to see Ringling Bros. Hunt went with me. I don’t know why, as I had to do all the talking and make the sketching for ‘The Field of the Cloth of Gold.’ We got the contract for $3,500.00.” Hunt remains in the Windy City and soon lands the management position at the Grand Opera House. Of this endeavor, “Inter Ocean,” reported, “David H. Hunt who has considerable experience in this particular branch of amusement business, will assume active management, and he has made definite arrangements with important Eastern managers whereby he will offer their successes at popular prices” (19 August 1906, page 26).
On Aug. 26, 1906, the “Decatur Daily Review” announced “Chicago to Have Stock Company” (page 20). The article continued, “For the past few months persistent rumors have connected the Chicago Opera House with stock company organizations. No statement was ever made by the management until the past week, when an authorized announcement proclaims that a dramatic stock company will take possession on Sept. 9. David H. Hunt, who has had a world-wide experience in this line of entertainment will assume active management of the new policy. He has completed some arrangements with large eastern producers whereby Chicago will receive the benefit of all the important dramatic offerings at popular prices. Mr. Hunt when seen at the opera house stated, ‘It is our purpose to assemble an organization of dramatic stars at the Chicago Opera House with a view to presenting standard offerings at popular prices. There is a great demand for a stock company of strength in the loop district, and we aim to provide one unequaled anywhere. The original scenic and costume display will be used with the original manuscript, and I will put on a new offering every Sunday evening. We shall play seven evening performances and present bargain matinees on Sunday, Tuesday, Thursday and Saturday afternoons, charging prices ranging up to 50 cents for the best seats. I am not ready to announce any more plans in detail relating to the company or the list of attractions. I expect to offer Mrs. Leffingwell’s Boots for the initial play.”
In 1907, Hunt was again at the scene of another fire, this time at the Chicago Grand Opera House. On June 29, 1907, the “Chicago Tribune” reported that there was a small fire after a projector exploded (page 3). The article interviewed Hunt who again minimized the danger and damager: “There was no panic except a slight alarm among those in the gallery,” said Manager D. H. Hunt. “The lights were turned on at once after the explosion. This is a standing order for our employees, for the fuses often blow out and if the theatre were left in darkness at such times alarm would develop and alarm would develop among the audience. The operator was burned slightly on his right hand, but no one else was hurt” (page 3). And this pretty much ended his association with the opera by 1908.
On April 12, 1908, the Minneapolis “Star Tribune” announced, “Variety prints a statement to the effect that D. H. Hunt has been engaged to head the producing department to be inaugurated by the Orpheum Circuit company. Mr. Hunt, who is now manager of the Chicago Opera House, is not unknown in Minneapolis, where he managed the Pike Stock company through three summer season, a fact recalled by the engagement of his wife, Angeles Dolores, at the Orpheum last week” (page 25).
And yet this endeavor didn’t quite pan out either. His wife returned to the stage and Hunt began functioning as her manager. The touring production included William Duvre and Harry English (“Cincinnati Enquirer,” 30 August 1908, page 26). For the next few years, newspaper article repeatedly report that her tour remained under the personal direction of Hunt, promoting his wife as the “best known stock leading lady” (“Fort Wayne Daily News,” 16 Feb 1911, page 5). Despite his interest in theatrical management, Hunt remains associated with the Sosman & Landis studio. The 1910 Census listed a David H. Hunt’s occupation as a “manager” in the “studio” industry. At the time, his household included his 30 yrs. old wife and 6 yrs. old daughter, all living at 1128 E 43rd Street. He was managing the Sosman & Landis studio, primarily working in the office.
In 1910, tensions were high between Moses and Hunt, a feud that escalated to a peak when Sosman left on a 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio. Hunt was the company secretary and treasurer, whereas Moses was responsible for the design, construction and installation of all projects. Of this time, Moses wrote, “Mr. Hunt was secretary and treasurer, and expected to run the business, but I wouldn’t allow it. Mr. Hunt kept on the road most of the time.” After Sosman returned and assessed the studio’s state of affairs, Moses wrote, “I heard some reports as to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled.” Moses took a little time of and then returned to the studio, writing, “I arrived June 25th. Sosman had his doubts as to my coming back.” About this same time, Hunt sets his sights on the eastern seaboard and another business venture, again partially funded by Sosman. Smart move, as it was beginning to appear that Chicago was not big enough for both Moses and Hunt.
New York Studios listed Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the following directors: Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company.
To establish the New York Studios in 1910, Hunt relocated his family to New York. This move also instigated a name change for his wife. Her stage name was Angela Dolores, but “Angela” was her middle name. Adelaide was her first name. By 1919, Adelaide A. Hunt was listed as president of New York Studios, with Edward Morange as Vice-President and David H. Hunt as treasurer, still supplying theatrical goods. Office locations varied between 29th, 39th and 95th Streets. This meant a large pool for artists to draw upon for any project that came along. Many Sosman & Landis scenic artists had worked for New York Studios over the years, including John H. Young, William F. Hamilton, Victor Higgins, William Smart, Art Rider, Al Dutheridge, John Hanny, and Otto Schroeder, just to name a few. Hunt’s establishment of New York Studios is the beginning to the eventual demise of Sosman & Landis. Keep in mind that Sosman was a scenic artist; Hunt was not. Based on Moses’ description of Hunt and newspaper articles. Hunt reminds me a bit of a salesman selling any pyramid scheme, hoping for maximum returns with minimal investments; it is all based on the underlings beneath him doing the work. Hunt relied heavily on the main studio in Chicago as a support network for both labor and materials.
Between 1910 and 1912, Hunt and New York Studios were repeatedly mentioned in newspaper articles across the country. One particular article concerned an electrical apparatus that enabled a single individual to handle sixty-five drops. Hunt was part of a group interviewed about the stage innovation. At the time of the interview, Hunt was chumming around with Martin Beck (manager of the Orpheum Theatre), A. C. Carson (manager of the Denver Orpheum), and Fred W. Vincent (New York booking offices). Hunt was a genius at social networking and always falling in with the right crowd. I am including an excerpt from the interview. On Dec. 18, 1910, the “Lincoln Star” quoted Beck, “‘I have just inspected the invention of Seth Bailey, stage manager of the Orpheum in Denver,’ said Mr. Beck. ‘He has devised an electrical appliance which makes it possible for one man to handle sixty-five drops. It operates everything from the stage curtain to the back, gives absolute fire protection and does the work of an average of twenty stagehands. One man can operate it. It looks good to me, and if further tests prove it as successful as the indications are here, we will install in all the Orpheum Theatres. ‘The apparatus for handling drops, consisting of ropes and counterweights, has been the same for 200 years,’ said A. C. Carson, manager of the Denver Orpheum house. ‘Mr. Bailey has perfected, the first invention, bringing the stage mechanism up to date. It has been a field neglected by inventors.’ To add a little context, on Feb 18, 1911, the “Wilkes-Barre Times Leader,” reported, “Theatrical men and others in Denver have organized a $500,000 corporation to manufacture a mechanical device, which, it claimed, will reduce the number of stage hands needed in a theatre by three-fourths, at least. The new corporation is called the Bailey Fly Rail Machine Company. It is incorporated under the laws of Colorado. Seth Bailey, stage carpenter at the Denver Orpheum, is the inventor of the device. He worked on it several years before he announced that it was successful. About two months ago Martin Beck, M. Meyerfeld Jr., John W. Considine and other vaudeville managers, met in Denver and saw a demonstration of the apparatus. They appeared to be highly pleased with it. The names of A. C. Carson, manager of the Denver Orpheum; Fred W. Feldwich and Frank Bancroft appear at the prime movers in the matter of incorporation. Mr. Bancroft is an attorney. The device is operated by electricity (page 11). Other than patents, the stage carpenter and company seem to have vanished into thin air, as did Hunt’s association with the endeavor. However, the two article add credence to the previously-mentioned Minneapolis “Star Tribune” from 1908 that reported, “Variety prints a statement to the effect that D. H. Hunt has been engaged to head the producing department to be inaugurated by the Orpheum Circuit company” (page 25). Throughout the durations of his career, Hunt continued to juggle a series of projects.
From 1912-1914, David H. Hunt was listed as a manager in the New York City Directory, working at 1001 Times building. His was still splitting his time between Chicago and New York. In 1912, Thomas G. Moses wrote, “Sosman left for the south on a vacation. My work doubles. We are doing a lot of work for the New York Studios – not much profit in it for us, as Hunt seems to think we should be satisfied with a small profit. I have made a number of designs for him which I am pleased to do as long as we get the work.”
By 1915, David H. Hunt was listed in the New York City Directory was listed as the manager of New York Studios, while lodging at the Great Northern Hotel. It was this same year that Joseph Sosman passed away and the Sosman & Landis Board of Directors elected Thomas G. Moses president of the Co. Moses’ role as president for the firm effectively changing the dynamic with New York Studios. No more were special arrangements in terms of regional jurisdictions and non-compete agreements.
By 1917, the New York Studios was incorporated, and the New York City Directory listed the business location as 1475 Broadway. Hunt was still listed as manager of the firm. It was a difficult time, the a world war raging and the demand for painted theatre scenery declining.
Unfortunately, on September 1, 1918, Moses resigned as president at Sosman & Landis and began working for Hunt at New York Studios. Unfortunately, his brief departure provided and opening for Hunt at Sosman & Landis. Moses really should have known better by this point in his career. By this point in his career. Moses really should have known better. Leaving was a mistake, and by the end of 1918, Moses wrote, “I am afraid that I will not be satisfied with my new deal.” Part of the problem was Moses’ trying to secure a suitable studio space. Nothing was satisfactory, so Moses began looking for other work in warmer climates.
During the fall of 1918 Moses hoped to line up a few projects in California and possibly move there, writing, “If I could only get a financial settlement with Sosman and Landis Company, we would go to California this winter.” Needless to say, he remained in Chicago for the winter. His New York Studios projects ended up being built and painted in the Peltz & Carsen shops. Of the experience, Moses wrote, “…rather hard to do in the Peltz and Carsen Studio on account of the low ceilings, being obliged to paint one part on the upper floor and the balance on the lower floor. The studio was always warm and dry; in fact, too warm at times, which was almost as bad as not being warm enough.” Yet, Moses continued to look for a better space that spring, writing, “We looked at several buildings for a studio, but none seemed right to fill the bill. The only way to get one and have it right is to build one.”
By summertime 1919, Moses wrote, “A new contract was entered into between the Chicago Studios [Sosman & Landis main studio in Chicago] and myself for one year. I hope it will prove to be a paying one in which I participate in the profits and a raise in salary, which means my old salary of $100.00 and a bonus.” Moses had returned to Sosman & Landis, but now Hunt was solely in charge and Moses was working on contract. Over the years, Hunt caused many of Moses co-workers and friend’s to leave the studio, starting with John H. Young. There was not even a brief honeymoon period after Moses return and soon he wrote, “We have lost John Hanny and Otto Schroeder, our two best men. They do not want to stay with Hunt. He is such an awful fault finder. Larson quit us on October 24th, and Hunt insisted on my doing everything…”
The exodus of scenic artists from Sosman & Landis including five men who left to open a completing firm known as Service Studios. With competitors who intimately new the bidding and manufacture of scenery, it soon became apparent that Sosman & Landis would fold. Talk of closure began and a liquidation of assets was planned. However, issues began when both Moses and Hunt considered themselves “heir apparent” to the Sosman & Landis legacy.
Here is where it starts to get interesting, although a little bit complicated. In 1923, Sosman & Landis began to close its doors and liquidate all assets. The liquidation would continue into the beginning of 1924. Although Moses continued to paint for the firm during 1923, he also partnered with Fred R. Megan. The two planned to purchase the Sosman & Landis name and start a second iteration of the company. Until Sosman & Landis was completely liquidated, however, Moses and Megan could not officially begin their new business venture under the Sosman & Landis name. Therefore, they temporarily conducted business as “Moses & Megan.”
While waiting to secure the Sosman & Landis name, Moses recorded that they leased the “old Fabric Studio,” adding that they plenty of work in sight, but intended to “hustle for more.” This meant that they rented the fabric studio in the Sosman & Landis shop on S. Clinton street. They were simply biding their time until the liquidation process was completed. Other plans were brewing with Hunt as he silently backed the establishment of a new firm called The Chicago Studios. By 1922, officers of The Chicago Studio on file with the State of Illinois were A. A. Hunt of 328 N. 39th St, New York, New York, and Frank Cain of 139 N. Clark St., Chicago. A. A. Hunt was Hunt’s wife, Adelaide Angela Dolores Hunt. In 1922, Chicago Studios was located at 15 W. 20th St. Cain stared as a paint foreman, paint manager, and moved to sales by 1920.
So in 1924, after Sosman & Landis was completely closed, Chicago Studios moved into the old Sosman & Landis building at 417-419 South Clinton St. During the liquidation of Sosman & Landis assets, studio contents were purchased by Charles L. Hoyland and William Lemle of the Hoyland-Lemle Company. This made sense, as Hoyland-Lemle had leased the South Clinton space for over a year.
During 1923, Moses also mentioned trying to get Hoyland and Lemle “out” as he and Megan wanted to rent the space, continuing the second iteration of Sosman & Landis at the same address. There was also a third entity wanting to rent the space – The Chicago Studios. At the time, Moses wrote “D.S. Hunt is also bobbing about for the lease of the studio.” This is not surprising. Keep in mind that Hunt was part of the negotiations that requested Moses wait until the company was liquidated before he officially started working under the Sosman & Landis name. He also tried to get Moses on board with his own endeavor; asking him to stay in the studio.
Moses wrote, “Hunt wants me to remain in the studio, but I can’t see it.” In hindsight, this meant that Hunt wanted Moses to work for Chicago Studios and not pursue purchasing the Sosman & Landis name. If Moses and Megan opened a new “Sosman & Landis Company” they would directly compete with Chicago Studios. Otherwise, Hunt retained control over both Chicago and New York.
In short, Moses and Hunt were seeking to acquire the Sosman & Landis legacy. Each was planning to use their institutional memory of the company to succeed in landing future projects. It was never a fair contest. By the fall of 1923, The Chicago Studios began advertising that they were continuing Sosman & Landis under a new name. The Chicago Studios sent out letters and estimates, courting past Sosman & Landis clients, well in advance of the studio final liquidation. This made the announcement of any new iteration of Sosman & Landis appear fraudulent and weak.
Moses & Megan immediately disputed the information circulated by The Chicago Studios, sending out letters of their own, but it was too late. Moses’ letters tried to explain that firm had not closed, just moved to a new, and better, location.
On November 13, 1923, Moses and Megan sent out a series of letters. One still existed in the office archives at the Salina Scottish Rite in 2010. There was a stamp at the top of the Sosman & Landis letterhead in red ink: “MOVED Executive Offices. Now located at 6751 Sheridan Road.”
One of the many letters sent out by Moses in 1923.
In the letter, Moses and Megan wrote:
“Dear Sir:
It has recently some to our attention that a certain studio is advertising our old customers that they have bought the Sosman & Landis Company and are now operating same, combining it with their original company. We wish to assure you this is not a fact and that our original organization is intact, but our studio has been moved to better quarters.”
This was likely the beginning to every client, before taking on something personal. For the Salina Scottish Rite, the letter continued:
“Mr. Thomas G. Moses, our Art Director would like the opportunity of meeting with your scenery committee to submit our designs and specifications covering your requirements. You will perhaps recall that we were favored with your original scenery order, working through the M. C. Lilley Co, and therefore, it is not necessary for us to give you any reference to our ability and quality of our workmanship.”
In the end it was impossible to make the address change look good. Keep in mind that the main studio on Clinton Street had remained the official Sosman & Landis address for over thirty years. It’s reputation as being the best scenic studio in North America had been toted for years. This created a very awkward situation, as there is no way to state leaving the Sosman & Landis “home” to a better location. The studio was well known as one of the best in the country. It cast a negative light on all potential business dealings. In short, it looked like they were downsizing due to lack of work. Moses never stood a chance to win in the long run.
Now let’s backtrack to the Hunts in New York and the beginning of the 1920s. The 1920 census listed that David, Angela and Anna Hunt were still living in Chicago, now at Oakwood Blvd. Hunt was listed as a commercial salesman in the Scenic Studio industry. And yet, there was an identical Hunt family listed in New York directories at the time, suggesting that they were keeping two residences. By 1922, A. A. Hunt was listed as an officer for The Chicago Studio, with her residence at 328 N. 39th St., New York, NY.
In 1924, Moses purchases the Sosman & Landis name. Meanwhile, David H. Hunt ran both New York Studios and Chicago Studios; it just doesn’t appear that way on paper. The Hunts permanent residence remained in New York, and by 1925, the Hunts were living in Plandome, Nassau County, New York. And this is where everything gets a little weird. At this point, Adelaide A. Hunt’s birth year is listed as 1891. At age fifteen, Anna has moved out, and the household now includes their 4-yrs. old daughter Patricia. A son, David H. Hunt Hr., is born the following year, and by 1930, the Hunt household in Plendome includes David, Adelaide, Patricia and David Jr. By now, the family also has a live-in servant named Jennie Crosswell who is 23 yrs. old.
In regard to New York Studios, the firm was still placing advertisements in 1927. That year, one ad in the “Scenic Artist” still listed the firm as the eastern affiliate of Sosman & Landis. It was as if Moses and Hunt were connected as magnets and realized that the firms were stronger when associated with one another despite their differences. I often things of the statement, “keep your friends close and your enemies closer” when considering the long-term association of Moses and Hunt.
1927 Ads for New York Studios.
Moses passed away in 1934, with Hunt following only two years later. On Feb. 4, 1936, “The Miami Herald” reported, “David Hunt, 67, interior decorator, died in his home, 1515 Pennsylvania avenue, Miami Beach. He was a visitor from Long Island and leaves the widow, Mrs. Adelaide Hunt. His body was sent yesterday by the W. H. Combs Funeral Home to Brooklyn, N. Y.” (page 29).
John Hanny was a scenic artist at Sosman & Landis from 1906 until 1919. In 1920, Hanny and four other former Sosman & Landis employees formed Service Studios. Before his passing in 1984, Hanny shared some of his memories about Sosman & Landis with Dr. John R. Rothgeb, a professor at the University of Texas, Austin. The University considers Dr. Rothgeb a founding faculty member of the scene design program at the University of Texas Department of Theatre and Dance. He was also an inaugural member of U.S.I.T.T. (United States Institute for Theatre Technology). Unfortunately, Dr. Rothgeb passed away on Dec. 3, 1986, and never had the opportunity to share his conversations or written correspondence with Hanny. Much of his research formed the John R. Rothgeb papers in the Harry Ransom Center.
I planned a visit to the Harry Ransom center during the fall of 2016. On October 27, I slowly sifted through materials sent from John Hanny in the late 1970s and early 1980s. One letter penned by Hanny on October 8, 1979, was in response to a request for a biography. Although Hanny wrote many letters and sent a variety of materials, this one was special. I am including as much of Hanny’s original letter when possible, filling out his details along the way. I want to honor Hanny’s legacy as best I can. After all, I feel like he left a trail of bread crumbs about Sosman & Landis for me to follow; it’s the least that I can do. I’ll start with the opening paragraph of the five-page letter:
“Dear John,
Thank you for being so patient! Your request for a bit of biography surprised and stunned me. My first thought was – what can I contribute to a biography? That only applies to someone of distinction, etc. However on second thought it is only a record of one’s activities, life style, saint or sinner, accomplishments, if any, important or not. With this thought in mind I will submit the following facts. If there is anything of merit you can use, please feel free to do so. On separate sheets I have listed the variety of work in which I have been involved – but handled by contractors.”
At the bottom of the first page, Hanny wrote, “I like music – especially orchestral. I like painting both oils and water colors. I enjoy subtle humor, good mystery stories and western movies. I enjoy good friends.” Dr. Rothgeb had become a friend. The two visited in person, by telephone and written correspondence until Hanny’s passing in 1984.
Of his personal life, Hanny wrote very little, but his story started:
“1890 Place and date of birth – Fort Madison, Iowa, Dec. 31, 1890.”
Hanny left a gap from his birth until 1906, when he was 16 yrs. old and started at Sosman & Landis. To date, I have located dozens of genealogical records about his relatives, all littered with misspellings and incorrect dates. Hopefully this post will help several family trees connect with one another. His family history needs to be posted somewhere, especially as he left this world without any direct descendants to tell his story.
As with past biographies, I am going to start with Hanny’s family history and early life, sharing the stories of his parents and grandparents. This information helps set the stage for Hanny’s later life and career.
John Hanny was the only son of William Rudolph Hanny (1861-1900) and Catharine Reichert (1867-1964). Both William Rudolph Hanny and his father, Heinrich Rudolph Hanny, went by their middle name – Rudolph. I am going to start with John Hanny’s grandfather, Heinrich Rudolph Hanny, a German immigrant who came to America at the age of 20. Heinrich was born in Karlsruhe, Baden, Deutschland, in 1834. After emigrating to the United States in 1854 he married Philomena Willem (1840-1868) on June 8, 1857 at St. John’s Church in Burlington, Iowa (This is the Church of St. John the Baptist Catholic Church). Much of the following information was taken from the Willem family bible as submitted to ancestry.com by a descendant. However, everything they entered correlates with other historic records. Philomena’s parents were listed as Ignatius Fay Willem (1792-1875) and Marianna Dietrich (1798-1878). Her parents and many siblings were born in Alsace, France. In later census reports, Philomena’s birthplace was also listed as France. Keep in mind that the areas of Alsace and Lorraine are on the French/German border, and depending upon the decade census reports reflect whether individuals listed their birthplace as France or Germany.
It remains unclear as to when the Willem’s family emigrated to the United States, but it was during the 1840s. Philomena’s older brother, Matthias Willem, was the first to arrive in Iowa, approximately 1844. The rest of the Willem family followed five years later in 1849. The 1856 Iowa State census listed all of the Willem’s living at the home of Matthias Willem (1829-1901), who was employed at a “bar house” in Burlington, a profession that her husband (William Rudolph Hanny) would also go into. At the time, Philomena was 16 yrs. old; she would marry William Rudolph Hanny the following year.
In 1858, the William Rudolph and Philomena Hanny celebrated the birth of their first child, Mary A. Hanny in Burlington. Mary A. was named after her maternal grandmother, Mary A Willem. The young couple remained in the Burlington area for at least two years. The 1860 Census reported the couple living in Burlington, Iowa, with their 2 yrs. old daughter Mary. At the time, Heinrich listed as a saloon keeper.
Sometime between 1860 and 1861, the Hannys moved from Burlington, Iowa, to Beardstown, Illinois, where they celebrated the birth of their second child, William “Rudolph” Hanny (John Hanny’s father). Then there is seven-year gap where I have yet to discover the family’s whereabouts. Philomena passed away on May 9, 1868, and was buried at St. John the Baptist Church in Burlington on May 11, possibly in or near the Willem family plot. She was only 28 years old at the time, leaving a 10-yrs.-old daughter and 7 yrs. old son. It is very likely that the Hanny’s returned to Burlington, where the extended Willem family helped care for the children.
Mary A. Hanny was married in Burlington, Iowa. On Feb. 6, 1877, she married John Herman Ebbesmeier at St. John the Baptist Church in Burlington. By 1880 Mary and her husband were living in West Point, Lee County, Iowa, where Ebbesmeier worked as a section boss for the railroad. By 1885, the Iowa State Census listed Rudolph Hanny living with the Ebbesmeiers at 6th street in Fort Madison, Iowa. They were all living in the home Catherine Ebbesmeier. The household also included Herman and Mary’s children: Kate Ebbesmeier (5), William Ebbesmeier (3) and Philomena Ebbesmeier (1).
By 1889, William Rudolph was living on his own and had moved to Quincy, Illinois. There he boarded at Fletcher’s Tremont House and worked in the saloon next door, known as “The Cabinet.” The Cabinet was two years old, having first had opened in 1887. On Dec. 13, 1887, “The News” reported, “Messrs. E. G. Bauer & Co. opened their new place, ‘The Cabinet,’ to-day, on Hampshire street. One door east of the Tremont House. It is one of the most handsomely fitted up places in the city and they are popular with all. Stop this. Evening and see their new place” (page 4). By 1891, the Quincy Directory listed “Rudolph Hanny” as the proprietor of The Cabinet Sample Room, and living at 210 N. 4th Street.
Between his arrival in Quincy and his lease of The Cabinet, William “Rudolph” Hanny married Catherine “Kate” Reichert. The two celebrated the birth of John Hanny on Dec. 31, 1890. However, John was not born in Quincy, he was born in Fort Madison, Iowa, that year; likely at the Ebbesmeier’s home. For geographical context, Fort Madison was just up the Mississippi River from Quincy.
John’s maternal family, the Reicherts, were living in Beardstown, Illinois; the same town where William Rudolph Hanny was born and buried. Kate Hanny’s parents were Fred J. Reichert (1836-1924) and Catherine Anna Derohn/Rohn (1840-1911). The Reichert’s haled from Darmstadt, Germany; a city near Frankfurt. Her father emigrated to the United States as a young man, between 1852-1854. Her mother emigrated to the United States in 1841 as an infant. Her parents were married in Cass County, Illinois, on April 4, 1860, and farmed near Beardstown. Kate was named after her mother, and one of seven children born to the couple. Her siblings were Mary A. Reichert, Louisa H. Reichert, Anna M. Reichert, Matilda “Tillie” Reichert, Fred Reichert and Nellie Reichert.
Life was looking good in 1891 for the Hanny’s as they settled into life along the Mississippi. Rudolph was elected Financial Secretary of the Quincy Liquor Dealers’ Association and began planning for Quincy to host annual meeting of the Illinois State Liquor Dealers’ Protective association. The convention, planned for the summer of 1892” was anticipated to bring over 1,000 members to Quincy for 4-5 days.”
Business was looking up, and on July 24, 1892, the “Quincy Daily Herald” reported, “Harry Pool has accepted a position with Rudolph Hanny, at the Cabinet” (page 5).
At the beginning of 1893, the “Quincy Daily Herald” announced that Rudolph was elected financial secretary for Saloon Keepers Protective and Benevolent association (Feb 4, 1893, page 5).
Then tragedy struck when his sister became gravely ill. On March 31, 1893, the “Quincy Daily Herald” reported, “Rudolph Hanny left for Rock Island on Wednesday on telegraph information that his sister was not expected to live” (page 5). On April 14, 1893, the “Quincy Daily Herald” reported, “Mrs. Rudolph Hanny is expected sometime to-day or to-morrow, accompanied by her husband’s sister, Mrs., Ebbesmeier, who has been seriously sick. She is recovering and will convalesce in Quincy.” (page 5). A few days later the two arrived in Quincy. On April 19, 1893, the “Quincy Daily Journal” reported, “Mrs. Rudolph Hanny and her sister-in-law, Mrs. Ebbesmeier, arrived from Ft. Madison last evening. Mrs. Ebbesmeier has been very sick and still is weak, but with change of scene down here will doubtless soon pick up and be herself again” (page 4). This was Mary A. Hanny Ebbesmeier (1858-1893). [ancestry.com shows that a Catherine “Katie” Ebbesmeier was the daughter of John Herman Ebbesmeier (1854-?)and Mary A. Hanny (1858-1893). In 1880 she was living in West Point, Lee, Iowa and her brother William Rudolph Ebbesmeier (1882-1967) was born in West Point two years later; Katie Ebbesmeier (daughter, Rudolph’s niece) lived in Ft. Madison in 1895; Katie lived in Burlington, Iowa in 1897 where she passed away on Jan. 18.
Mary A. Ebbesmeier died on April 29, 1893.
On April 30, 1893, the “Quincy Daily Herald” reported:
“MORTUARY.
Several Deaths Reported in the City Yesterday.
Mary A., wife of Herman Ebbesmeier, of Fort Madison, died at the home of her brother, Mr. Rudolph Hanny, No. 715 North Seventh street, at 1 o’clock yesterday morning of consumption, after an illness of fifteen weeks. She was born at Burlington and there spent her girlhood days and the days of her young womanhood and married Mr. Ebbesmeier. Afterwards, she removed with her husband to Fort Madison, and that city was her home until three weeks ago, when she came to Quincy in hope that at the home of her only brother, she might find improvement of health. At her death she was 35 years and 1 month of age and leaves besides her husband five bright children to mourn the loss of the best of wives and dearest of mothers. The children are Katie, William, Philomena, Joseph and John. Her mother’s sister, Mrs. C. Work, of Burlington, has been here during Mrs. Ebbesmeier’s sickness attending her. Those who knew her here and her friends at Burlington and Fort Madison sincerely mourn the death of this estimable lady.” (page 2). Mary was buried at Saint Boniface Cemetery in Quincy, Adams County, Illinois.
By that fall, an announcement in the “Quincy Daily Herald” on Sept. 16, 1893, gave a little more background about Rudolph’s youth in Fort Madison. “Frank Helling, the leading grocer and saloon keeper of Ft. Madison, was here yesterday, visiting his friend Rudolph Hanny. Sixteen years ago Hanny and Helling, boys then, clerked together in the store of Helling’s uncle and they have been fast friends ever since” (page 5).
Rudolph’s father had worked as a successful saloon keeper. Rudolph’s close friend Frank Helling worked as a saloon keeper. The luck did not last for Rudolph in Quincy. On March 17, 1894, the “Quincy Daily Herald” reported, “The Cabinet Closes. The Saloon shut tight under a mortgage for $739. Late yesterday afternoon Mrs. Mary Hagenbuch, mother of Will Hagenbuch, the cigarmaker, closed Rudolph Hanny’s Cabinet Saloon, 517 Hampshire, foreclosing a mortgage on the fixtures for $732.90. The Wahl Brewing Co. have an attachment against stock for $610, but neither they nor Mrs. Hagenbuch will realize the value of their claims” (page 4). On March 28, 1894, the “Quincy Morning Whig” announced, “Sold at Auction. The stock and fixtures of the Cabinet saloon, located just east of the Tremont house, was sold at auction yesterday under a chattel mortgage given by Rudolph Hanny to Mary A. Hangenbruch [sic.]. The outfit was sold to John Ryan on his bid of $725.” (page 3). Two weeks later Rudolph resigned as the financial secretary of the Saloonkeeper’s Association. By November of 1894, Rudolph was sued by Wahl Brewing Co. and lost.
By 1897, the Hanny Family relocated to Chicago where Rudolph was listed as a painter in the City Directory, living at 170 Townsend. In 1898, Rudolph was listed as a trunk maker, now living at 405 N. Wells. He would remain at this address until 1900. That year, the census listed that the Hanny’s were living at the same address on Wells. Their household included Tillie Schukraft (b. 1869), Louise Schukraft (b. 1899), Nellie Sage (25, b. 1874) and Henry Dackerman (30, b. 1870). Nellie Sage was actually Nellie Reichert Sage (later Nellie Duker), Kate’s youngest sister.
“Tillie” Schukraft was actually Mathilda Reichert Schukraft, Catharine Reichert Hanny’s sister. Both Tillie and Nellie worked at a laundry while their sister Kate watched the kids at home. She was recently married when the census was taken, having married John F. Schukraft on June 15, 1900. Tillie had met the Schukrafts in Quincy, before she moved to Springfield, and later Chicago. On Aug. 22, 1894, the “Quincy Daily Herald,” reported “A surprise and farewell party was given in honor of Miss Tillie Reichert at the residence of H. G. Schukraft [sic. this is John G. Schukraft, her future father-in-law], 615 Oak street, last evening…Miss Reichert leaves for Springfield in a few days to accept the position of a forelady in a laundry. She has been a resident of Quincy for two years and has become a very popular lady” (page 1). On June 15, 1898, Mathilda “Tillie” Reichert (1869-1943) married John F. Schukraft (1869-1908) in the church study at Holy Trinity Evangelical Church in Chicago; they were issued a marriage license on the same day (The Inter Ocean, 16 June, 1898, page 10). They two had already celebrated the birth of their daughter Louise in March 1899.
This was the living situation in 1900 when John Hanny’s father passed away. He was attending school and living with his two aunts, a young cousin, and a boarder. His parents had been married for ten years and he was nine years old. Withing then next six years his life would drastically change, yet he would continue living in Chicago. His mother remarried, his step father adopted him, and he begin working at Sosman & Landis as a paint boy. On Jan. 10, 1905, Kate Hanny married John Roedder in Chicago. Like the rest of Hanny’s family, Roedder was a German who emigrated to the United States (1881). Roedeer was a shoe salesman.
In Hanny’s 1979 letter to Dr. Rothgeb, he wrote:
“1906. Hired by Tom Moses (Sosman & Landis – age 16 years at $6 a week. Attended night classes Art Institute two nights a week under Albert Fleury.” Hanny was following the pattern as most of the boys who worked at Sosman & Landis. When he wasn’t working in the studio, he was taking art classes or going on sketching trips; anything to improve his skill set.Albert François Fleury was a French emigrant from Le Havre who settled in Chicago by 1888 where he was commissioned to decorate Chicago’s new Auditorium Building. By 1907, Fleury was one of the founders to establish the Chicago Water Color Club. There is a lovely post about Fleury at Chicagology (https://chicagology.com/goldenage/albertfleury/). It includes an article written by Fleury for “Brush and Pencil,” Vol. 6, No. 6 (September 1900) and an article written about Fleury by Maude I. G. Oliver. By the way, I have written about Oliver in the past, here is a link to my post: https://drypigment.net2020/01/01/tales-from-a-scenic-artist-and-scholar-part-888-palette-chisel-club-1914/
In 1904, Oliver wrote, “It is with unusual pride that Chicago alludes to her resident French artist, Mr. Albert Fleury, who finds his inspiration in the city’s apparent ugliness, and who, through the medium of an exceptionally sensitive touch, has happily recorded beauties and even poetry itself, which native artists have failed to discover. Mr. Fleury is preeminently the painter of Chicago; but it is Chicago idealized which animates his brush. He knows just how to appropriate a telling composition from amongst some bits of smoke begrimed architecture or mud-besmeared streets, to select an effective arrangement of an imposing- looking warehouse, held as a firm, skillful note in juxtaposition with the proverbially “dirty Chicago River.” The commercial life of the river, showing its airy drawbridges, its solid embankments, its busy little tugboats, together with its groups of sailing craft, enhanced, as they are, by the commanding dignity of their fine old masts, is a favorite theme for this appreciative artist. He loves also to employ the material of a crowded thoroughfare, depicting its surging, teeming, metropolitan spirit by well- considered masses of restless humanity, cleverly balanced by the unique feature of the notorious Chicago ‘skyscraper.’”
John Hanny could not have picked a better individual to study with, especially one who was so well connected with the scene painters in Chicago. By 1910, he was still living with his mother and step-father. The 1910 census listed Hanny as a scenic artist working on his own account, boarding with John Roedder and Catherine Hanny Roedder. In his 1979 letter to Dr. Rothgeb, Hanny wrote:
“1912. In six years my salary increased from $6 a week to Journeyman pay – $35. Came up the line by painting tormentors and grand drapery borders, AD curtains – lettering excepted, surroundings for Front Curtains, Streets, and Olios, etc. Later completed Front Curtains surroundings and picture – figures excepted.” For a little financial perspective, $6 in 1906 is the monetary equivalent of $185 in 2022. $35 in 1912 is the monetary equivalent of approximately $1000 in 2022. This is a substantial pay increase for a young man, providing the much-needed discretionary income for artistic study.
Although Hanny continued to work at Sosman & Landis, he also began picking up work at other studios. By 1917, he listed Peltz-Carsen as his employer on his WWI Draft Registration card. At the time, Peltz-Carsen was located at 1507 N. Clark Street in Chicago, with Hanny was living at 920 Buena Ave. I have written about Herman M. Peltz and Robert Carsen in the past; here is a link to one of the posts: https://drypigment.net2020/05/31/tales-from-a-scenic-artist-and-scholar-part-1007-peltz-and-carsen-studio-1918/
In 1918, Sosman & Landis subcontracted some construction work for frames to Peltz and Carsen Studio. It would make sense that Peltz and Carsen, in turn, hired some of the scenic artists at Sosman & Landis for other projects. Hanny was also working for David H. Hunt, head of Sosman & Landis’ eastern affiliate New York Studios. My guess is that Hanny’s work outside fueled any dissatisfaction that he had with Sosman & Landis at the time. There was trouble brewing at Sosman & Landis, with many of the employees not particularly happy with their work situation. Troubles began when Thomas G. Moses resigned as President of Sosman & Landis to work for New York Studios during the fall of 1918. He wrote, “September 1st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service. I joined the New York Studios and expect to get a studio and an office to do business.” This must have signaled the end for his fellow scenic artists at the firm.
Advertisement from “The Player,” Feb. 23, 1912.
In 1919, Moses wrote, “We have lost John Hanny and Otto Schroeder, our two best men. They do not want to stay with Hunt. He is such an awful fault finder.”
The 1920 Census listed John Hanny as still living with his parents, noted as the adopted son of John Roedder. They were still living on Buena Ave. Roedder was listed as a commercial salesman in the shoe industry, and Hanny as an artist in the scenic studio industry. However, on Jan. 16, 1920, John married Ella May Tillou (1891-1958) in Chicago. He began a new life and started a new business the same year.
In Hanny’s 1979 letter to Dr. Rothgeb, Hanny wrote:
“I stayed with Sosman & Landis until 1920 when four other men and myself decided to go it on our own and formed Service Studios. We remolded – with borrowed money, a Jewel Tea Co. barn of 18 horse stalls into a Studio of five 24’x48’ – and one 24’ x 38’ paint frames, plus floor space of 50’x50’- This was the best equipped studio in Chicago – Sosman & Landis excepted. We rented several frames to Hoylund and Lemle company on which to paint their Ad curtains.
Back of a rendering showing John Hanny Stamp and Service Studios stamp.Back of photograph in sales book, showing both Service Studios and Acme Studios stamps. Private Collection.
Service Studios was initially located at the corner of State and 20th street in Chicago in a building that was previously known as the Marshall Field Store. The firm soon moved to 2919 W. Van Buren and set up an impressive space after when the Marshall Field estate sold the building. On June 26, 1921, the “Chicago Tribune” reported: “Old Time Marshall Field Store Building is Sold. The Marshall Field estate has sold the southwest corner of State and 20th. 155×120, to L. R. Warshawsky, for $75,000. After the Chicago Fire Marshal Field & Co., then Field, Leiter & Co., used part of the property for their retail store for some time. Later they used it for wholesale purposes. It is now used for a scenic studio by the Chicago Service Studios. The property is improved with a four story building contains eight stores and eighteen flats with a two story building on the rear. Mr. Warshawsky intends to make extensive alterations and will use a portion for his automobile accessory business. S. C. Iverson of Hubbard, Porter & Brother, represented both parties” (June 26, 1921, page 26). The scenic studio in the old Marshall Field Store, must have been a temporary situation as the new studio was prepared in 1920.
In 1924, the Hoyland-Lemle business address was listed as 6751 Sheridan Road in Chicago, the address as William Lemle’s residence (certified List of Domestic and Foreign Corporations for the year 1924). Hoyland and Lemle would continue to rent frames after Service Studios closed in 1926.
In his 1979 letter to Dr. Rothgeb, Hanny wrote:
“When we sold out to Art Oberbeck in 1926, he agreed to continue renting frames to Hoylund & Lemle Co. I mention this because after my trip to Oklahoma City – my record show that I was on the Hoylund-Lemle staff as third man 48 weeks during the following two years when extra help was needed.” By 1926, the demand for painted scenery was beginning to wane and the firm was struggling. Service Studios sold out to Art Oberbeck of ACME Studios. Oberbeck had also started as a young artist at Sosman & Landis, two years before Hanny in 1904. In 1926 Oberbeck moved ACME Studios from 36 West Randolph Street to the Service Studios at Van Buren and Sacramento Street (2919 W. Van Buren).
Hanny had gone to work for Oklahoma City Scenic Co. after selling Service Studios. Aldo known as Oklahoma Scenic Co., the firm had been around for quite some time. Already in 1903,the firm was being managed by a Mr. Patterson, who was also construction theaters for the Southwestern Circuit (Daily Democrat, Anadarko, OK, 7 Feb 1903, page 4). Times were changing and scenic artists began to scramble for work by the mid-1920s. Of this change, Hanny wrote, “About this time it was becoming evident that scene painting, as such, was on its way out. Almost every artist automatically was becoming a free lancer, picking up odd jobs perhaps a day or two here and there – “touch ups” and the like.”
In an undated letter to Dr. Rothgeb, Hanny wrote:
“After the Depression of 1929 which lasted about five years, conditions were extremely bad. Studios disappeared, many artists had to find other kinds of jobs. I was not spared in this but was very fortunate to get on staff of the Ravinia Park Grand Opera. They put operas during the summer month with stars form the New York Metropolitan Opera Company. During the summers of 1928-29-30-31 I put in some 50 weeks. With open time on my hands I became interested in oil painting. I joined a sketch class led by Mr. Frank Peyraud and also took some private instruction from him from time to time. Mr. Peyraud was referred to as the Dean of Landscape painters of Illinois and as lived near Ravinia Park and got much of his subject materials in and around Skokie he took his classes there to sketch. Skokie was at that that time natural open country and beautiful trees.”
Frank Peyraud in 1946. Here is the link to the image: https://paletteandchisel.wordpress.com/2012/02/03/frank-peyraud-1858-1948/
In an undated later letter written to John Rothgeb, Hanny wrote, “The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musicals, etc., if any, were being produced in New York and Hollywood. At this point all of the studios disappeared but the scene painters just couldn’t disappear and had to become free lancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay. Most of the following years were really tough and 1929 proved to be a big change in our business. In purpose, in design, paint and other materials.” The 1930 Census listed John and Ella Hanny living at 901 Cornelia in Chicago. He listed his occupation as a scenic artist in the “Scenery” industry. Ella was still working for the telephone company.
As with many scenic artists at this time, the poured a lot of energy into their easel art. By the mid-1930s, Hanny was associated with several fine art groups and exhibiting throughout the area. In 1936, Hanny exhibited an oil painting with the Business Men’s Art Club of Chicago. On Feb, 27, 1936, the “Chicago Tribune” reported, “’Late Summer,’ by John Hanny is rich in color with a suggestion of Peyraud in its composition and quality” (page 15). At another Business Men’s Art Club event entitled the “Art for Art’s Sake Exhibition” Hanny’s “At Ease” was mentioned as a picture of merit (“Chicago Tribune,” 10 Mar 1937, page 19). That same year, Hanny’s oil painting “Drying the Nets” was featured at the third formal opening and tea of Northwest Art League, Inc. The exhibition was held at the Edgewater Beach Hotel (“Chicago Tribune,” 21 Nov 1937, page 32).
For some, their financial situation improved as the economy slowly crept back. In an undated letter to Dr. Rothgeb, Hanny wrote:
“As the economy improved – work was to be had on industrial exhibits, Home shows and Auto shows, etc. These were contracted for by such firms as Bromels Detroit, Dramaturgy Cleveland, Wildings Chicago and a few others. These were not scenic studios but rather combinations of carpenters and machine shops equipped to turn out booths, revolving turn tables, electrical effects and so on. The biggest change to us painters was our paints, Luminal Casein was pretty well established as a very practical and useful medium so, it, and show card color was the norm. So – no more ‘dry’ colors – no more soup bowls or hot size and of course no more paint frames. Drops, if any, were painted on the floor. The house painter’s sash brushes came into use and many of the former ‘tools’ such as snappers, and center-poles and others were no longer needed. The folding 2 ft. brass bound rule gave way to the yards stick.”
Just as life began to improve for the Hanny family, another disaster struck. Hanny’s step-father passed away at the beginning of 1938, three days shy of his thirty-third wedding anniversary. Roedder’s obituary published in the “Chicago Tribune” on Jan. 8, 1938, announced, “ROEDDER – John Roedder, Jan. 7, of 3000 Sheridan road, beloved husband of Kate, father of John. Services at Rosehill chapel Monday at 2:30 p.m. Remains at chapel, 3419 N. Clark street” (page 14). Hanny’s mother, Kate Reichert Hanny Roedder, went to love with her sister Louis Reichert Thomas at North Sheridan Rd, In Chicago. His mother would live for another two decades.
Hanny continued to work in his easel art between scenic jobs. On May 5, 1940, the “Chicago Tribune” reported, “Nine north side artists are among those exhibiting this month at the Club Women’s Bureau at Mandel Brother’s department store”; Hanny was one of them (page 126). He also began to share his artistic knowledge with other aspiring fine artists.
On June 2, 1940, the “Chicago Tribune” reported, “North Shore Art Guild. Members will meet at 1:15 o’clock this afternoon in the Webster hotel, 2159 Lincoln Park West. John Hanny, artist, will demonstrate the art of landscape painting” (page 37).
By the fall of 1940, Hanny was finally beginning to win awards and advance in fine art organizations. On Nov. 20, 1940, the “Chicago Tribune” reported, “The gold medal for the best work in oil was given to ‘Wet Snow, Michigan Avenue,’ by John Hanny” at The All-Illinois Society of the Fine Arts exhibit in the Stevens Hotel. That same year, Hanny was listed as the second vice president of the North Shore Art Guild in 1940 (“Chicago Tribune,” 8 Dec 1940, page 120). The next year he was the first president of the Guild (“Chicago Tribune,” 2 Nov. 1941, page 21).
In 1941, Hanny exhibited with the “Spare Time Painters Open Loop Exhibit.” On March 16, 1941, the “Chicago Tribune” described the group as “A little cluster of men who’d rather spend spare time setting down tranquil sunsets, smiling faces, and the vibrant sea on canvas than playing poker, golfing, or gulping highballs had their big day yesterday, Fourteen of them, members of the Business Men’s Art club, opened an exhibit in the club of women’s bureau at Mandel Brothers of water colors and oils which they created after office hours” (page 21). The article noted that John Hanny was a scenic designer.
Hanny’s WWII Draft Registration Card from 1942 listed his address as 901 Cornelia, Chicago, Illinois. His mother, Mrs. Kate Roedder of 2550 Leland, Chicago, was listed as the person who would always know where he lived. Odd that he did not list his wife Ella.
During the war, Hanny continued to exhibit his easel art. On April 25, 1943, the “Chicago Tribune” mentioned Hanny as one of the artists whose work was exhibited with the North Shore Art guild in the club women’s bureau: “A clever work is seen in ‘Victory Tableau’ by John Hanny” (page 67). In addition to fine art, Hanny made a name for himself as a mural painter in the region. In 1947, Hanny painted the murals in the new Terrace Roo of the Italian Village, designed by George Bonaguide, in Madison, Wisconsin (Wisconsin State Journal, 24 Jan. 1947, page 8). John Hanny was described as a “well-known mural painter” who “came from Chicago to do the walls.” Hanny painted a series of Italian murals. The article described, “At one end is a panorama of the city of Florence, while on the sides are views of the Villa Carlotta at Lago di Como, Pallanza from Isola Bella Lago Maggiore, and the front entrance to the Pallanza.” For historical context, The Italian Village restaurant was started in 1947 at 651 State St. by Mateo Lombardino, who immigrated from Sicily in 1921. When Dean Martin and Frank Sinatra would perform in Madison, they often ate at Italian Village, as did other well-known singers such as Vic Damone and Liza Minnelli. Here is a fun article about the restaurant:
After the war ended, Hanny became associated with the Amphitheatre of Louisville, Kentucky, where he worked with Technical Director Rollo Wayne. On July 8, 1949, “The Courier-Journal” of Louisville, mentioned Hanny’s work at the Amphitheatre in Louisville (page 54). It reported, “One of his crew is painter John Hanny who worked on the original “Song of Norway” set in Los Angeles. Hanny explained that ‘Norway’ was one of four productions put out every spring by the Curan studio, playing for two weeks in San Francisco and two weeks in Los Angeles, “Nobody had any idea we had such a terrific hit on our hands at that time,” Hanny said, over a table of paint cans at the Stanford studio-hangar yesterday. “But Lee Schubert came out to California and took the show to New York. Then it really made history. Handy said that the Louisville sets resemble quite closely the Hollywood originals. He has been an Amphitheatre painter for the past four seasons. He was working with technical director Rollo Wayne. The article noted, “Wayne used the first revolving stage ever seen in America when in 1926 he designed sets for Lee Schubert’s “Pinafore”. At the Amphitheatre, Wayne uses revolving stages which he explains, “give a chance for greater originality and speed up scene shifts.”
Hanny remained with the venue for quite some time. In 1955, Hanny was the scene designer for the Louisville Park Theatrical Association’s production of “South Pacific” at the Iroquois Amphitheatre in Louisville (Courier-Journal, 9 Aug 1955, page 15). On June 19, 1955, Hanny was mentioned in an article about the scenery for the Amphitheatre published in Louisville’s “Courier-Journal.” The article was entitled “Green Does Scenery Job,” with Hanny being noted as the scenic artist who “creates the design of the whole structure.” Dexter Green was also noted as having been associated with the Amphitheatre since 1838 – “In fact, scenery has been the trade of the Green family since 1887. The business has been handed down over the years and has become the special profession of Dexter Green, local craftsman who resides at 731 Harrison Ave, Clarksville, Ind.” I only included this information about Rollo Peters and Dexter Green, as hopefully this will assist someone else’s research. Many of Hanny’s sketches, technical drawings, and photographs from his Amphitheatre days are now part of the John Rothgeb papers at the Harry Ransom Center, University of Texas, Austin. Hanny sent a variety of his work to Rothgeb before his passing in 1984.
Some of John Hanny’s work in the Rothgeb Papers at the Harry Ransom Center.
By 1958, Hanny suffered the loss of his wife. On March 18, 1958, the “Chicago Tribune” published Ella’s obituary: “HANNY – Ella May Hanny, 901 Cornelia avenue, March 16, 1958, beloved wife of John Hanny; sister of Carl; W. Tillou and Marion E. Walker. At chapel, 2121 W. 95th street, where services will be held Wednesday, March 19 at 1 p.m. Interment Rosehill, Member of Telephone Pioneers of America” (page 22). His mother died six years later, on Nov. 2, 1964.
During this time, Hanny continued to work for a variety of television stations. In his 1979 letter to Dr. Rothgeb, Hanny wrote:
“I answered some 15 of these calls between 1934 and 1965. In between, filling in at the T.V. studios – ABC – NBC – CBS and Mutual part time until 1957 when I was employed steady at CBS for three years, Due to company policy regarding age at 65 retirement and pension considerations, I was taken off permanent payroll and retired- (fired) in 1960 at the age of 70. However I put in a lot of time there after that being called when a second man was needed and always to take over while #1 man was on vacation. With the above work and what I did for General Exhibits I was kept in the ring until 1972. By that time I was 82 years old and my last salary check came from General Exhibits in 1972.
1972. I had to get all the above data from a notebook in which I listed all my earnings for income tax purpose, and I must say I found jobs I had long forgotten and am amazed at the number of projects I got involved with. There are even more. I do hope I haven’t bored you with so much detail but in relating my activities I found it difficult to separate then from the history of the business itself. Perhaps some of this will serve to round out your own research.
1979. As we take note of how scene painting has contributed and maintained the aesthetic quality of the Drama through the years, we should regret that it must lean so heavily on the commercial for survival. As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful. No doubt you have finished your shows by now. I hope they have come out the way you wanted. Will be glad to hear.
Most sincerely, John Hanny October 24, 1979”
On May 14, 1984, the “Chicago Tribune” published Hanny’s obituary: “John Hanny. Services for John Hanny, 93, a retired scenic artist, will be at 10 a.m. Monday in chapel at 430 E. Roosevelt Rd., Wheaton. Mr. Hanny of Wheaton died Thursday in a nursing home in the suburb. There were no immediate survivors” (page 29).
It was very brief and gave no inkling of his theatrical contributions. I have to wonder who wrote it, if it was his nephew Bruce William Walker, a retired naval officer, who cared for him later in life. The last correspondence between Dr. Rothgeb and John Hanny was managed by Walker. Unfortunately, Walker passed away a decade ago. Here is a link to Hanny’s nephew’s obituary: https://www.legacy.com/us/obituaries/dailyherald/name/william-walker-obituary?id=25627526
I am going to end this post with one last undated letter written by Hanny to Dr. Rothgeb:
“Dear John,
As usual I must say ‘sorry to be late,’ but I am slowing up somewhat and I hope you will be patient with me. Your inquiries of your last letter of Nov. 1 are important and related to the great change in the painting and production of stage scenery from the early 1900s to the early 1930s. This era has gone forever and as most of the old timers have passed on, it may just be possible that I am the only one around to record it.”
Hanny’s contribution is priceless, as he left far more than just a few written memories. He left sketches, technical drawings, photographs and detailed accounts of scenic art practices the Sosman & Landis studio from 1906-1919. We have Dr. Rothgeb to thank for his persistence in helping Hanny reminisce about his early career in Chicago. Of particular interest are Hanny’s drawings of scenic tools and palette arrangement. Both Hanny and Rothgeb left a theatrical legacy that will be valued for generations to come. Here is a lovely article about John R. Rothgeb published in ENCORE Fall 2013 (The University of Texas at Austin Department of Theatre and Dance Alumni Newsletter): https://issuu.com/uttad/docs/encore_fall2013_v6
Here are some of Hanny’s drawings, sent to Dr. Rothgeb before his passing.
Sketch by John Hanny showing scenic art tools at Sosman & Landis.Sketch by John Hanny showing scenic art tools at Sosman & Landis.Sketch by John Hanny showing a scenic artist’s palette at Sosman & Landis Studio.Painting by John Hanny, gifted to Dr. John Rothgeb and now at the Harry Ransom Center.Painted detail. Painting by John Hanny, gifted to Dr. John Rothgeb and now at the Harry Ransom Center.
In 1888, Thomas G. Moses wrote, “My assistant was Jack Taylor and a good hustler.” Both Moses and Taylor were working for Sosman & Landis at the time. Two of their projects included the Grand Opera House in Los Angeles and the Los Angeles Theater.
I am going to start with the year 1888, before I get into the life and career of Jack Taylor . That year Moses returned to Sosman & Landis after a failed partnership with Walter Burridge and J. D. Louderback. It was Perry Landis who convinced Moses to return to the firm that spring. They accidentally met in Altoona, Pennsylvania, each going after the same project at the Mountain City Theatre. Of the encounter, Moses wrote, “Mr. Landis also showed up after the same job. After our meeting, we went to the hotel and sat up long after midnight, talking over business. Sosman and Landis wanted me to come back with them, and I agreed to do so as soon as I could finish my work. I was to receive my old salary of $50.00 per week, and a chance to do contract work, which would increase my salary to $4000.00 per year.” Because of this deal, Sosman & Landis won the contract, as Mr. Plack want Moses to paint the scenery for his Mountain City Theater. By June, Moses was painting scenery for Sosman & Landis in California. When he arrived at the Grand Opera House in Los Angeles, the paint frame was still being completed. This is when he mentioned his assistant Taylor. Moses’ comment that Taylor was a “good hustler,” meant that his assistant worked fast. They painted together all June and into July.
On July 8, 1888, the “Los Angeles Herald” published an article entitled “The Grand” describing the “great transformation” as the venue underwent a renovation (page 2). Moses’ work for the Grand Opera House, located on S. Main, was mentioned in the article. Here is the article in its entirety:
“The remodeled Grand Opera House will be thrown open to the public tomorrow night, and those who attend will scarcely believe that in so short a time so great a change could have been made. From the entrance on Main street to the back of the stage there is scarcely a feature which will remind the visitors in the least of the appearance of the house as it was six weeks ago. The lobby has been so changed by mural and stucco work that it presents an entirely different appearance. The box office wherein Frank W. Conant, the popular Treasurer, has held forth for many seasons, has been entirely remodeled and enlarged. It is now ” the model box office of the Coast, and with its plate and stained glass is an ornament which greatly relieves and makes inviting the entrance to the theater. As elsewhere in the theater, the tone of the work is terra-cotta and bronze, and must be seen to be appreciated. The entrance to the lower portion of the house has also been entirely changed and passing through the portals as now arranged the visitor will gaze upon one of the prettiest interiors in the country. The upholstering of blue plush harmonizes with the bronze and terracotta of the walls and proscenium, and the brass rails around the ledge and proscenium boxes add to the general appearance in such a manner as to give the impression that a master-hand has had the arrangement of the work. The seats on the main floor are new, and are upholstered in blue plush. They have the latest attachments designed for the comfort of the audience. The center aisle has been taken out and two side aisles run from the back to the stage. Just below the dress circle are six lodge boxes, each holding four seats. These are upholstered in blue, and are surrounded by highly polished brass rails. At each rail are four proscenium boxes so arranged that each has an unobstructed view of the stage. The decorations of these are in perfect keeping with the rest of the house. The proscenium arch is a marvel of beauty and attracts immediate attention. The prevailing tone here is bronze and terracotta, with which the drapery of the boxes harmonizes. The former gallery has been turned into a family circle, in which the chairs formerly in the parquet and dress circle have been placed. The entrance to this part of the house is by two flights of stairs starting at each side of the lobby. Above this is the gallery, from every part of which the stage is in plain view. This gallery increases the seating capacity of the Opera House by about 500. The new drop curtain is one of the prettiest ever seen on this Coast, and besides this there are eight new sets of scenery which will replace those of which the public is somewhat tired. Manager H. C. Wyatt is responsible for this change for the better in the Grand Opera House, and it was through his efforts that the architect, Mr. Woods, was engaged. The sale of seats for Denman Thompson will be at the new box office to-morrow morning.”
The Grand Opera House in Los Angeles. Photograph posted to https://losangelestheatres.blogspot.com/2019/04/grand-opera-house.html
In California, Moses also painted scenery for the new Los Angeles Theatre, located on Spring Street between Second and Third. It is likely that Taylor stayed in California to assist him. On Dec. 16, 1888, “The Los Angeles Times” reported, “The proscenium arch is 30×28, and the drop curtains slide up and down, without having to be rolled. The drop curtain proper is a gorgeous affair, representing foliage and drapery. The entré-act curtain gives a picturesque scene in Jerusalem, set in handsome frame, and with the words ‘Nadjy Daud’ underneath. This was reported to be the name of the artist of the picture, which T. G. Moses of Chicago has copied on his curtain” (page 2).
It remains unclear as to how long Taylor assisted Moses. In addition to the Grand and Los Angeles Theater, Moses worked on a variety of other Sosman & Landis projects that year, including the New California Theatre (San Francisco, CA), and two other venues in South Bethlehem, Pennsylvania, and La Crosse, Wisconsin. In 1888, Sosman & Landis was inundated with work, having successfully secured projects across the country. Work included: scenery for Benedict’s touring production of “Monte Cristo”; Power’s new Grand Opera House in Decatur, Illinois; the new opera house in Owensboro, Kentucky; and the Turn Hall in Fremont, Nebraska, to name a few. They also delivered scenery for several social events that year, including the Carnival of Nations for the Young Women’s Association at the Exposition Building in Chicago and a Grand Ball at the Elms in Leavenworth, Kansas. Sosman & Landis managed several teams of scenic artists, stage carpenters, and their assistants all over the nation, rapidly contracting and completing a variety of projects that year.
The other factor to consider is Moses’ describing Taylor as an “assistant.” At Sosman & Landis, the position of scenic art assistant was a step up from “paint boy,” or “pot boy.” Paint boy was the starting point for most aspiring scenic artists at Sosman & Landis, a young individual responsible for a myriad of menial tasks at the studio. Paint boys were also referred to as pot boys during this time. Pot boy was a reference to one of their tasks, filling pots with color (dry pigment paste) on an artist’s palette.
There was no guarantee that any paint boy transitioned to the role of assistant. In many cases, paint boys never left the position, so simply departed from the studio in either disgrace or disgust. John Hanny, who began as a paint boy at Sosman & Landis in 1906, later recalled the life of a paint boy in a letters written to Dr. John Rothgeb late in life. Hanny wrote, “When the artist wanted his palette cleaned, he called for a ‘swipe-up’ which included having his palette washed with a sponge, brushes cleaned, clean hot size, pail of clean water and straight edges wiped clean.” Paint boys were responsible for “swipe-ups.”
Hanny even wrote a brief definition of “Paint Boys”:
“PAINT-BOYS. A mis-leading compound word. As there was no apprentice-ship policy at Sosman & Landis. The word paint had no significance relating to the duties they were expected to perform. The word BOYS meant young lads who were not old enough to know better, but were strong and hefty enough for heavy work and needed a job…the Paint-Boys did all of the heavy work around the Studio. They prepared the Palettes for the Artists in the morning, filling the bowls with color, hot size, clean water, clean straight edges, etc. During the day they washed up the Palettes whenever the Artist wanted. Other jobs were handling all the sets and drops off the paint frames and stacking them….then the other jobs – priming drops and wings, cutting the muslin, sweeping the floor, running errands, loading wagons, etc. If capable, were allowed to pick pounces, cut and shellac stencils. The word Paint-Boys really meant cheap labor. Only a lad who could endure this program and still have the ‘yen’ and urge strong enough could qualify as a proper scene painter.”
However, there were some stalwart individuals who advanced and became scenic artist assistants. Their chores then transitioned from menial tasks to scene painting. Individual assistants were assigned to journeyman scenic artists at Sosman & Landis, providing a unique opportunity for a young artist to study with an older and more experienced scenic artists. If they proved worthy, the scenic artist assistant would eventually earn his own palette. Then, these young artists would work their way up the line. Hanny described that this ascent began with first painting tormentors and grand drapery borders. After a young artist showed proficiency in these compositions, they moved onto advertising drops (but not lettering), surrounds for drop curtains (but not the center composition), street scenes and olio drops (but not figure painting). Eventually, an aspiring artist earned his own palette at Sosman & Landis. However, the promotion was never guaranteed and many left for other studios or decorative firms.
Keep in mind that Taylor was already working as a scenic artist assistant at Sosman & Landis in June 1888 when Moses returned to work at the firm. He was also a fairly proficient assistant, or Taylor would not have been sent to California to assist the firm’s star artist. It is possibly that Taylor had been with the firm for a few years, starting as early as 1886. However, it remains unclear as to where Taylor permanently resided, or if he always on the road. Keep in mind that by 1888, Sosman & Landis managed three regional branches: Chicago, New York and Kansas City. Taylor could have been associated with Chicago, New York, Kansas City, or all three as a “floater,” drifting from one job to the next. It is also possible that Moses brought Taylor with him from New York. Whenever Moses returned to Sosman & Landis after a striking out on his own, he returned with those he was already working with at the time. Taylor may have been an assistant to Moses at Moses & Hamilton in New York.
Tracking down Jack Taylor was extremely difficult, especially since “Jack” was a nickname. After trailing many false leads and cross-referencing dozens of historical records, I think that I managed to successfully track down the assistant mentioned by Moses in 1888. Taylor was from New York.
John W. “Jack” Taylor was born on April 4, 1873. He was the only son of Lafayette Taylor (b. 1847) and Maria Amanda North (b. 1851). His father was the son of Edward Randolph Taylor (1801-1884) and Martha Taylor (1809-1880). The 1860 US Federal Census listed his father, then aged 13 yrs. old, as an inmate at an Asylum for the Poor with the rest of the Taylor family, Edward Taylor (54 yrs.) and Martha Taylor (51 yrs.), Henry Taylor (23 yrs., farm hand), George Taylor (22 yrs., mariner), Edward Taylor Jr. (14 yrs., farm hand), and Isaac M. Taylor (10).
Lafayette Taylor transitioned from pauper to private, enlisting in the Union Army when he was 15 yrs. old. He joined the 23rd New Jersey Volunteer Infantry on August 28, 1862, after the Civil War started. He was mustered in as a Private in Company K on September 13, 1862. Lafayette served in the December 1862 Fredericksburg Campaign and the May 1863 Chancellorsville Campaign. He was honorably mustered out as on June 27, 1863, at Beverly, New Jersey. This provides a little insight into Jack Taylor’s father, who would die when he was only 8 yrs. old.
The Lafayette Taylor and his wife Maria A. “Mary” North is a little unclear. The 1870 US Federal Census listed Lafayette and Mary A. Taylor as part of the Aaron H. North Household in Camden Middle Ward, Camden County, New Jersey. At the time, Lafayette was listed as a 25 yrs. old carpenter and Mary as a 27 yrs. old domestic. Aaron North was a 39-yrs.-old grocer, and head of the household. Other members of the North household included Aaron’s wife Emma (32 yrs.) and children Clara (10 yrs. old) and Wilbert (5 yrs. old). And yet, Maria did not marry Lafayette until 1871. New Jersey marriage records list the date of Lafayette and Maria’s marriage as Jan. 18, 1871 in Chews Landing. Chews Landing was an unincorporated community in Gloucester Township of Camden County, New Jersey. The two would later be buried the nearby town of Blackwood, New Jersey. Like Chews Landing, Blackwood was an unincorporated community within Gloucester Township, Camden County, New Jersey. The couple remained in the area, celebrating the birth of their only son in Camden County, the spring of 1873.
By 1878, Lafayette Taylor was listed as a stair builder in the Camden Directory, living at 616 north Sixth St. The 1880 US Federal Census reported that the Taylor family was still living in Chews Landing. The household only included Lafayette, Maria and John at the time. At the time, Lafayette was working as a carpenter and John was only thirteen years old. Sadly, both John and his father were listed as sick, with Lafayette suffering from consumption and John ailing from Catarrh. Taylor’s father passed away on June 18, 1881, and was buried at Blackwood Methodist Cemetery in Blackwood, New Jersey. I was shocked, when I located the gravestone of Lafayette Taylor in Blackwood.
Gravestone of Lafayette Taylor, John W. Taylor’s father.
I have yet to locate any information about Taylor or his mother in the year’s immediately following his father’s passing. However, in 1887, Maria A. Taylor received a permit to build a home in Brooklyn, New York. Her was one of 83 building permits issued by Commissioner Platt at the time. On October 8, 1887, “The Brooklyn Daily Eagle” reported “On the south west corner of Railroad avenue and Hill street, in the Twenty-sixth Ward, Miss Maria A. Taylor is about to erect a two-story frame residence, 14×30 for one family, cost $500.” (page 1). Taylor would live with his mother in her home on Railroad avenue from 1896 until his passing in 1938. John W. Taylor was repeatedly listed as an artist at that residence in the “Brooklyn Directory” over the years.
The 1910 Census listed Taylor as a sign painter, working for an advertising company. That year, the Taylor household included his uncle Richard Paddow (74) and his aunt Mary E. Paddow (69). At the time, Taylor was 37 yrs. old and single. Ten years later, the 1920 Census listed Taylor and his mother still living at 438 Railroad Ave. in Brooklyn. He was listed as an artist in the “Paintings” industry. His mother, now 68 yrs. old was working as a music teacher. The two continued to live together for another decade and the 1930 census listed Taylor and his mother still living in Brooklyn, but now 420 Autumn Ave. The report listed that neither was working; both unemployed, likely a result of the market crash of 1929.
Maria Amanda Taylor died at the age of 84 in 1936. Her obituary was published in the Brooklyn Times Union on March 30, 1936. Her obituary published in the Brooklyn Times Union on March 30, 1936, page 20. “Maria Amanda Taylor, 84, widow of Lafayette Taylor and a prominent member of the Goodsell Memorial M. E. Church, will be buried tomorrow at Blackwood, N. J. Funeral services will be conducted in the church tonight at 8 o’clock by the Rev. Dr. Ralph Welles, the pastor. Mrs. Taylor died on Saturday in her home, 432 Autumn Ave. She was one of the 13 founders of the Goodsell Memorial Church, and played organ in its early days. For 25 years, she was superintendent of the primary department of the Sunday School. A son, John W. Taylor, survives.” Maria’s obituary was also published in ”The Brooklyn Daily Eagle” the same day, announcing: “Services Tonight for Maria Taylor. Funeral services will be held tonight at 8 p.m. at the Goodsell Memorial M. E. Church for Mrs. Maria Amanda Taylor, 84, widow of Lafayette Taylor, one of the 13 original founders of the church, who died Saturday at her home, 432 Autumn Ave. She was for many years the only teacher of piano in the section. Mrs. Goodsell [sic] played the organ during the early days of the Goodsell Memorial Church, and was superintendent of the Sunday School for 25 years. A son, John, survives. The services will be conducted by the Rev. Dr. Ralph Welles Keeler, pastor of the church. Burial will be in Blackwood, N. J.” (page 15).
John W. Taylor died on April 3, 1938 at Kings County Hospital (451 Clarkson Avenue) from Pulmonary Tuberculosis. He was buried April 7, 1938 in Black Wood Cemetery, Black Wood, NJ. Death records for John W. Taylor report show that he was still working as a sign painter when he passed, still living at 432 Autumn Ave. His death certificate listed that the informant was his brother, also noted as an executor of his estate – Lafayette Taylor. To date, I have yet to locate any historic record suggesting that Taylor had any other sibling.
Interestingly, John W. Taylor and Maria A. Taylor made newspapers in 1942. On Feb. 23, 1942, “The Brooklyn Citizen” announced:
“ SUPREME COURT OF THE STATE OF NEW YORK, COUNTY OF KINGS – HOME OWNERS’ LOAN CORPORATION, plaintiff vs. GEORGE E. RHODEBECK, heirs-at-law, next-of-kin, devisees, distributes, grantees, assignees, creditors, lienors, trustees, executors, administrators and successors in the interest of MARIA A. TAYLOR and JOHN W. TAYLOR, her son, both deceased, if they be living, and if any of the foregoing be dead, their respective heirs-at-law, next-of-kin, devisees, distributes, grantees, assignees, creditors, lienors, trustees, executors, administrators and successors in interest of the aforesaid classes of persons and all persons who by purchase, marriage, succession or otherwise have or claim an interest on or lien upon the premises described in the complaint, derived through or from any of the aforesaid identities and whereabouts of all of the foregoing being unknown to plaintiff, et. Al., defendants.
SUMMONS AND NOTICE.
TO THE ABOVE NAMED DEFENDANTS: You are hereby summoned to answer the complaint in this action and to swerve a copy of your answer, or if the complaint is not served with the summons, to serve a notice of appearance on the plaintiff’s attorney withing twenty (20) days after the service of this summons exclusive of the day of service and in case of your failure to appear or answer judgement will be taken against you by default for the relief demanded in the complaint.
Dated, New York, Jan. 17, 1942.
SIDNEY SCHNEIDERMAN,
Attorney for Plaintiff,
Office and Post Office Address, 36 West 44th Street, Borough of Manhattan, City of New York.
TO THE ABOVE NAMED DEFENDANTS IN THIS ACTION:
The foregoing summons is served upon you by publication pursuant to an order of Hon. EDWIN L. GARVIN, a Justice of the Supreme Court, Kings County, dated January 14, 1942, and filed with the complaint in the office of the Clerk of Kings County. The object of this action is to reform and foreclose a mortgage held by the plaintiff, made by MARIA A. TAYLOR., dated March 29, 1934, and recorded in the Kings, County Registers office on March 29, 1934, in Liber 7889 of Mortgages, page 205, covering premises situated on the corner formed by the intersection of the southerly side of Hill street with the westerly side of Autumn Avenue, being 25 feet front and rear and 100 feet in depth on each side, less any land lying in the bed of Autumn Avenue as a result of the shifting lines of said street, and more particularly described in said mortgage, and known as 423 Autumn Avenue, Brooklyn, New York.
