Copyright © 2022 by Wendy Waszut-Barrett
In 1919, Moses wrote, “We have lost John Hanny and Otto Schroader [sic.], our two best men. They do not want to stay with Hunt. He is such an awful fault finder.” At the time, all three men were working for David Hunt’s New York Studios. New York Studios was the eastern affiliate of Sosman & Landis, but managed a branch office in Chicago. The Chicago offices for New York Studios was located at 1022 Consumers Building; their home office was 328-332 West 39th St. in New York City.
I have already written about the lives and careers of John Hanny and David Hunt. Here is the link for Hanny, Sosman & Landis employee No. 71: https://drypigment.net2022/01/08/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-71-john-hanny/
Here is the link for Hunt, Sosman & Landis Employee No. 72: https://drypigment.net2022/01/13/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-72-david-h-hunt/
After leaving New York Studios, Hanny briefly returned to Sosman & Landis before breaking out on his own to found Service Studios. In 1920, Hanny and four other Sosman & Landis employees established Services Studios, converting the old Jewel Tea Company barn building. Their firm was short-lived, and eventually purchased by another former Sosman & Landis employee Art Oberbeck.
Otto remained in Chicago for the next two decades, continuing to work as a scenic artist and living just down the street from Moses in Oak Park.
Like many surnames in Moses’ memoirs, Schroader was misspelled; it’s Schroeter. In fact, Otto’s last name was actually Schröter before the family entered the United States through Ellis Island. Otto Schroeter is not to be confused with Otto Schroeder, the Philadelphia scenic artist who died from injuries after falling off scaffolding in 1901.
Here is a little refresher about the Sosman & Landis-New York Studios relationship before I dig into the life of Schroeter. Keep in mind, this was a difficult time for many scenic studios due to the war, pandemic, and new theatre industry expectations. Between the fall of 1918 and the fall of 1920, Moses was not part of the permanent Sosman & Landis staff. In 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.” Both Sosman & Landis have passed away at this point.
Moses may have left a staff position at Sosman & Landis, but he still worked on Sosman & Landis projects; projects subcontracted to New York Studios. Since the founding of New York Studios in 1910, two firms frequently exchanged scenic artists and designs. Therefore, it was impossible for Moses to truly sever any ties with Sosman & Landis, despite his no longer being on payroll. David Hunt, who founded New York Studios, was intimately involved with both firms. Hunt was also integral in founding Chicago Studios, a firm that eventually used the Sosman & Landis main studio address by 1923. So, you have three firms that look very separate on paper, but are intimately linked together by Hunt.
Otto Schroeter was part of a tangled web of American scenic artists who rapidly passed from one project to another, painting for a variety of studios. Schroeter was part of a large labor pool shared by many competitors. As a young scenic artist in the early twentieth century, Schroeter worked for New York Studios, Sosman & Landis, and Toomey & Volland. Later in his life he would work for film and television companies in California.
Here is how Otto Schroeter fits into the American scenic art puzzle…
Schroeter came from a long line of artists. His own father was a painter, trained as a decorative artist in Dresden, Saxony, Germany. After emigrating to the United States, Otto’s father worked throughout Kansas, Missouri, and Illinois. Three of his four sons followed in his footsteps, working on a variety of projects as ornamental painters, scenic artists and easel artists. All of them worked in St. Louis just prior to WWI, with Otto working for the well-known scenic studio of Toomey & Volland.
Remember that the top-ranking American scenic artists were a very close-knit group, with many remaining intimate friends throughout the duration of their careers. In the big picture, Thomas G. Moses (Sosman & Landis) and Patrick “P. J.” Toomey (Toomey & Volland) were extremely close friends. They also shared the skills of their work crews with each other. Whenever Moses was in the St. Louis area, he visited Toomey, or stopped by the Toomey & Volland shop. This was also a way to check in see the new talent.
In the spring of 1919, Moses wrote, “The Madam and I started for a river trip down into Alabama by way of St. Louis…We had a nice time in St. Louis as Kirke Moses’ home, and at P. J. Toomey’s new home. We arrived July 1st, rested until the 4th.” Two years earlier, Schroeter was listed as a scenic artist at Toomey & Volland on his WWI draft registration card. So Schroeter was shifting from one shop to the next, painting for Toomey & Volland, New York Studios and Sosman & Landis. It was not until after Toomey’s passing in 1922 that the dynamic between the Toomey & Volland and Sosman & Landis shifted. After Volland’s passing in fall 1921 and Toomey’s passing in Spring 1922, the relationship between the two firms radically changed; the old guard was gone. Volland’s sons did not run the studio like their father and competition became cutthroat with Sosman & Landis in the 1920s. Previous affiliations and alliances were abandoned as studios struggled to secure work.
Otto Felix Schroeter is recognized for his easel art, especially from his time spent in California during the 1950s and 1960s. Many of the online sites post the same information. Here is what is currently published at askART.com: “Otto Felix Schroeter was born around 1880 in Germany. He moved to Illinois when he was approximately 14. He worked for a calendar company out of Illinois. He worked for a major motion picture studio which brought him to California. He died in Los Angeles, California around 1965” (https://www.askart.com/artist/Otto_Felix_Schroeter/11298783/Otto_Felix_Schroeter.aspx).
There is so much more to Schroeter’s story.
Schroeter emigrated with his family to the United States when he was only twelve years old. His father, Richard Schroeter was listed as a painter on the ship’s manifest. He was recorded as the head of a large family emigrating from Germany to Kansas. The Schroeters were relocating from Dresden to Kansas, planning to live with cousins named “Koslan,” although I am a little unsure of the spelling as the handwriting is almost illegible.
Otto Schröter’s paternal grandparents also lived in Dresden. They were Eduard Leberecht Schröter and Maxine Seidler. Richard Schröter, was one of many children born to the couple, arriving on March 17, 1846. In Dresden, Richard Schröter (1846-1937) met his future wife, Christiane Sophie Marie Mildner (1850-1940). The couple was married in Dresden on July 30, 1871, welcoming their first child a year later. Otto was the ninth of eleven children born to the couple in Dresden before the family emigrated to the United States in 1901. Otto’s nine siblings were Fanny Ida Schröter (1872), Max Hugo Schröter (1874), Annie Schröter (1875), Paul Kurt Schröter (1879), George Reinholt Schröter (1881), Frieda C. Schröter (1885), and Louisa W. Schröter (1887), Alfred Schröter (1890) and Tuda Schröter (1892) . Otto was born on Mary 17, 1888. Ida, Annie, Paul and George, were not listed on the ship’s manifest in 1901 when the family sailed to America. It is possible that they were already living in the United States at the time, or later followed them. All four were later listed in their mother’s obituary: Ida Marsh, Annie Kaiser, Paul Schroeter and George Schroeter.
It must have been both a terrifying and exciting experience for Otto when he left home in 1901. I can only imagine what his travel was like to the United States, boarding a ship to cross the Atlantic, leaving childhood friends and saying goodbye to everything familiar to him.
In 1901, the Schröter family boarded the passenger ship Amsterdam in Rotterdam, Netherlands, and sailed to New York, arriving in Ellis Island on May 21. At the time, the Schröter children ranged in age from 9 yrs. old to 27 yrs. old.
The family initially settled in Kansas, but soon moved to Illinois. Art historians purport that at the age of 14 yrs. old, Otto began working for a calendar company in the state. It is possible that Otto began his artistic career in the printing industry, working with lithographers. However, he most likely began his artistic career as an assistant to his father. Regardless, Otto quickly transitioned to the painting trade, likely around the age of 16 yrs. in 1904. old. It remains unclear if Schroeter’s scenic art career began in either Chicago or St. Louis. In 1908, Otto was listed a painter in the St. Louis City Directory. In fact, that year Richard Schroeter, Max Schroeter, Paul Schroeter and Otto Schroeter were all painting in St. Louis. The 1908 St. Louis Directory listed the Schroeter family as living at 1748 Dolman. Max was not part of the household at this time, but lived just up the street at 1809A Dolman.
Richard and his two sons (Otto and Paul) were listed as painters, with Max as an artist. The Schroeter family briefly located the following year. In 1909, the only Schroeter family member listed in the St. Louis Directory was Max, still living at 1809A Dolman.
Something happened between 1908 and 1910 that caused Richard and Marie Schroeter to separate and live in different homes. I have yet to locate any divorce records though. The children remained with Marie Schroeter, who was listed as head of the household in the 1910 US Federal Census. That year, Marie was living with five of her eight children: Frieda (24 yrs., no employment), Louisa (23 yrs., hairdresser), Paul (30 yrs., fresco painter), George (28 yrs., show cutter) and Otto (21 yrs., scenic painter). Otto’s oldest brother Max was living in Chicago by 1909, possibly working with his father there.
Otto continued to work as a scenic artist throughout the region, continuing to cast his net wider and wider for projects. In 1913, he was residing in Onondaga, New York. There he met and married Miriam Stewart Huband (1891-1979). Miriam was born in Mobile, Alabama on August 23, 1891, the daughter of Ernest Huband (b. 1863) and Martha Hawes (b. abt. 1869). Her parents married in 1890. The couple celebrated the birth of a second daughter, Edith, in 1898.
In 1910 Miriam and Edith were still living with their parents in Mobile. I have yet to locate any record that explain why Miriam moved from Mobile, to Syracuse, new York by 1913. In 1913, Miriam’s father and sister were still residing in Alabama. Her father was listed as the proprietor of Mobile’s Panama Hotel & Café. He was living at the Panama hotel with Edith.
On June 12, 1913, Rozelle James Phillips was the officiating minister who married Otto and Miriam at All Saint’s Church. The marriage certificate listed both the bride and groom’s residence as 170 W. Brighton Ave. in Syracuse. Two of Otto’s siblings (Frieda and Paul Schroeter) were listed as witnesses. This also suggests that some of the Schroeters had relocated east.
By 1914, Otto and Miriam Schroeter were living in Gary, Indiana, where they celebrated the birth of their first child, Edythe (Edith) Marie Schroeter. Their daughter was named after Miriam’s sister (Edith Huband) and Otto’s mother (Marie Schroeter). That same year brother Max was living in St. Louis, listed as an artist at 3531A S. Grand Ave. Interestingly, there were no other Schroeters in the 1913 St. Louis Directory. Two years later, however, all of the Schroeters returned to St. Louis, again congregated near one another.
The 1916 St. Louis City Directory listed Otto Schroeter as an artist, living in his mother’s home at 4660 Tyrolean Ave. His parents were still separated, and his father was listed as was a decorator, living at 1511 Menard. He would remain at this address for the next few years, living with a man named Julius Keiling. In 1917, Keiling was listed in the directory as a “helper.” I have yet to be successful in tracking down any other information about Keiling.
The 1917 St. Louis City Directory listed Otto and Paul as painters. Otto was still listed as living in his mother’s home at 4660A Tyrolean Ave. His older sister, Frieda, was also listed as part of the household. Meanwhile, brother Paul lived next door at 4658 A Tyrolean Ave. As before, brother Max was still on his own, listed as an artist, and living at 3444A Tennessee Ave. However, this same year, Max registered for the draft in Chicago.
WWI Draft Registration cards provide additional information for the Schroeter sons. Otto was working as a scenic artist at Toomey & Volland Co., located at 2312 Market St. His physical appearance was described as tall and slender, with black hair and brown eyes. Paul Schroeter was working as a decorator at Marx & Junes in St. Louis. Max Schroeter was working as a painter and decorator in Chicago. Max’s residence in Chicago meant that Otto had a place to stay if he ever traveled north for work. His father-in-law Ernest Huband was also living in Chicago at this time.
The 1918 St. Louis Directory still listed Otto and Paul Schroeter living at the family house on Tyrolean Avenue, between Salzburger Ave. and Gravois Ave. Between 1918 and 1919, Otto permanently relocated to Chicago. The 1920 Census listed Otto as an artist in Chicago, living with his wife and daughter at his father-in-law’s home (Ernest Huband). Miriam’s aunt, Mary Huband, was also listed as part of the household.
This is the same year that Moses returned to work at Sosman & Landis. By the end of September, Moses wrote, “It took me a few days before I was I the harness again, and working just the same as I did before I left two years ago. Landis and I got out after business within a few days after my arrival and succeeded in landing a few good ones. I started to do some painting, but it did not last long, as I had too much other business to do. I found the conditions altogether different from what I supposed them to be – too much overhead. It will be awfully hard to keep up the output to balance it all…I am pretty well satisfied with the result of this year’s work and I feel that changing back to Clinton Street was the best thing for me to do, as I really belong there, as my money will always be there unless the business is sold.”
In 1921, Otto and Miriam Schroeter celebrated the birth of a son, Ernest Schroeter. The small family soon relocated to the western suburb of Oak Park. The western suburb was not only home to not only Moses, but also several other former Sosman & Landis employees. In fact, the Schroeter family home was due south of the Moses family home, only a short walk away. The Schroeter’s remained in the area for the next two decades, watching both of their children go through the public school system. 1930 Census listed Otto F. Schroeter as an artist in theater industry, living in Oak Park with his wife Miriam, and children Edith M. (15 yrs.), and Ernest (9 yrs.). They were all living at 1174 S. Clarence.
Ernest followed in his father’s footsteps, and was recognized for his artistic abilities at a young age. By high school was receiving awards for his artwork, making a name for himself in local newspapers, He was described as a talented youth with an abundance of artistic potential. On October 22, 1936, “The Oak Park Leaves” published an article about Ernest Schroeter entitled “Young Villager’s Hobby – Automobile Designing.” It was the first in a series of articles on hobbies of Oak Park and River Forest boys and girls of high school age and under. Ernest’s creative talents had been featured in the paper before, but this time his automobile drawings took center stage. A picture of Ernest was included with the article, stoically holding two sketches.
Ernest’s sketches of original automobiles were featured during “automobile week” in the windows at 11 South LaSalle St. “The Oak Leaves” article detailed that his artworks were also featured in the Illinois Automobile club local office and that he had recently won second prize in the American Legion Poppy Day poster contest. At the time the article was published, Ernest was competing in the New York World’s Fair Poster contest and a scholarship contest at the Chicago Academy of Fine Arts. Of his future plans, Ernest’s stated that he wanted “to study at the Art Institute.”
Both Otto and Max Schroeter were also mentioned in the article about Ernest:
“His father, a scenic artist by profession, has painted much scenery and many backdrops for stage productions. His uncle Max Schroeter of Ravenswood, who is now doing portrait and figure work, has created scenery for the Chicago Civic Grand Opera productions.” So, both Otto and Max were well-known as scenic artists in Chicago during the early twentieth century.
Ernest graduated from Oak Park High School in 1938 (“Oak Park Leaves,” June 30, 1938, page 13). Two year later, he was working as a commercial artist for an advertising agency in Chicago. The 1940 Census listed that he was still living with his father and mother in the family home on South Clarence Avenue. His father was still listed as a “scenic artist” in the “theatrical studios” industry.
In 1942, Otto’s WWII Draft Registration card listed him as a mural artist, still living at the same address in Oak Park. At some point between 1942 and 1952, Ernest moved out and Otto and moved to California. The California Register of Voters for 1952 listed Otto Felix Schroeter’s address as 2330 Greenfield Av., Los Angeles, California.
Fine art sites with biographies for Otto Felix Schroeter purport that he was employed by a motion picture studio in California. This isn’t surprising, as many of the veteran scenic artists in Chicago felt the warm pull of California scenery and temperate weather. In 1955 and 1956, Otto F. Schroeter was listed in the Westwood, California, City Directory as a scenic artist at NBC TV, living at 2330 Greenfield Ave.
What I find interesting is that both Hanny and Schroeter were working for NBC at the same time. In Hanny’s 1979 letter to Dr. Rothgeb at the University of Texas, he 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.”
Schroeter passed away in 1965, a full five years before Hanny’s forced retirement from NBC. His obituary was published in “The Los Angeles Times” on Feb. 24, 1965 (page 28). It was very brief, giving no indication of his extensive artistic career. It simply announced, “Otto Felix Schroeter, Beloved Husband of Miriam Schroeter, father of Mrs. Edith Schroeter and Ernest Schroeter. Memorial services 2 p.m. Thursday at Westwood Memorial Park. Westwood Village Mortuary, directors.”
To be continued…
