Month: March 2022

Copyright © 2022 by Wendy Waszut-Barrett

When Art Oberbeck became a full-fledged scenic artist at Sosman & Landis, he received another scenic artist’s palette.  Oberbeck shared the story of his advancement with John Rothgeb in 1973 and Randy Givercer Frank in 1976.  Frank included the story in her B. A. Thesis, “The Sosman & Landis Studio. A Study of Scene Painting, 1900-1924” (University of Texas – Austin, May 1979). On page 78, Frank wrote, “Oberbeck’s chance to prove himself of journeyman status came when it fell to him to paint some draperies. Sosman had a nephew who painted in the studio. The nephew was a drunkard who would start drinking and not show up for two weeks at a time. Once he disappeared, leaving an unfinished pair of tormentors.

“Sosman came to me and says, “Art, we got to get these tormentors out on order. Do you think you can finish them?”

“I’d sure like to try, Mr. Sosman.”

Sosman told Oberbeck to use his nephew’s palette. Oberbeck finished the tormentors in time and Sosman gave him another set to do. From that time on he had his own palette.”

Although Frank did not include the drunken nephew’s name, it was Frederick H. Sosman, Sr.

Fred Sr. worked at his uncle’s scenic studio for almost a decade before moving east. He continued to work as a scenic artist for his entire life.

Here is how Fred Sr. fits into the Sosman family tree, as there is quite a few Fred Sosmans at this time.

Fred H. Sosman was the son of Captain William M. Sosman. Capt. Sosman was Joseph S. Sosman’s older half-brother, from their father’s first marriage.  William was the son of Hiram Sosman (1805-1892) and Eliza Green (1804-1839). The couple celebrated the birth of four children: George William Sosman (1832-1832), Mary Jane Sosman (1834-1916), William M. Sosman (1836-1912), and Maria Sosman (1838-1839). Joseph S. Sosman was the son of Hiram, and his second wife was Rachael Edmond (b. 1817). Hiram and Eliza celebrated the birth of three children: Joseph, Martha Sosman, and an infant son who died shortly after birth.

Hiram and all of his adult sons fought for the Union Army during the American Civil War. William M. Sosman (1837-1912) first enlisted in Co. C. 22^nd Ohio Vol. Infantry, making quite a name for himself. He later enlisted in Co. F, 63^rd Ohio Vol. Infantry, and then accepted a commission as second lieutenant in the 106^th regiment, U.S. colored troops.

His service and family history were published in “The Civil War Token Journal” (Fall 1988, Volume 22 Number 3, page 5-6). I am including the section, “W.M. Sosman Card No. 1601,” in its entirety as it sets the stage for the birth of his son, Frederick H. Sosman, Sr.

“William M. Sosman came from a family long associated with commercial baking in Chillicothe. His father George Sosman started in the bakery business in Chillicothe some time before 1820. It was George Sosman that established the first bread wagon route in the city. The city directory of 1858 lists W.M. Sosman in partnership with Hiram Sosman his brother as owners of the Union Bakery. In 1860 he introduced the first mechanical machine for making crackers. The Union Bakery was located on the west side of Walnut Street, between Water and Second St. Sometime in 1860 William took in a new partner, J.W. Chapman replacing his brother. The business was moved to 86 Paint Street. This partnership was short lived as we find the following advertisement in the Scioto Gazette under date of September 10, 1861: “Bugler Wanted! I wish to engage the services of one good bugler, to serve in Co. A 40th Regiment. Particulars made known by addressing me at Camp Dennison or to Geo. A. Emmett, Chillicothe, Ohio, signed W.M. Sosman. This was in the early days of the war. Regiments were being formed; quotas filled to meet deadlines. Late in 1861 Capt. Wm. Sosman published a Thank You note in the Chillicothe paper thanking the citizens for quilts furnished his boys before departure. The Thank You note was signed Capt. W. M. Sosman, Co. A 54th Reg. Ohio Volunteers.”

I am going to pause right here and add a little to the story. Early in the spring of 1862, Capt. William Sosman married Mathilda McKay. He continued to work as a baker when not serving in the military, remaining extremely active in war-time activities. Both Capt. W. M. Sosman and Hiram Sosman were members of the Union League Association, an organization founded to counteract the influence of secret disloyal societies, such as the Knights of the Golden Circle, or Sons of Liberty. The Union League Association, was organized in Chillicothe on March 21, 1863.

“The Civil War Token Journal” article continues:

“Sept. 30, 1862, W. M. Sosman was advertising for a first-class bread baker as a partner to go to Columbus, Ohio. “One having $250.00 to $300.00 to invest a splendid opportunity to make money without risk.” Evidently the Columbus venture never materialized. November 11, 1862. W.M. Sosman was weekly advertising his Dandelion Coffee. “Which affords the delicious of Java Coffee, at less than one half the expense.” “The only true coffee substitute.” In 1863 many necessities were in short supply. One of Sosman’s advertisements read: “Save your rags! The highest prices paid, for rags, in cash or trade.” Wm. M. Sosman, Walnut Street. There was a “paper famine” at the time (December 1862). The editor of the Scioto Gazette stated in his paper, “Within the last two months printing paper has more than doubled in price.” He was pleading with his readers to save carefully all the cotton and linen rags as the importation of rags for paper stock had been entirely suspended. Also, in 1862 there was a shortage of coin money so necessary to the transaction of business. A news item in the December 9th issue told about Postage Currency— The National Bank Note Company now furnishing the government $100,000.00 a day postage currency. The February 24th issue of the Scioto Gazette (1863) carried this notice “Wood Wanted, I wish to contact for 20 or 30 cords straight-part seasoned-sugar or hickory wood to be delivered during April or May.” Evidently the wood was for fuel in his baking ovens. The call for volunteers was made and on March 15, 1864, we find this article in the Scioto Gazette. “Capt. W.M. Sosman formerly of the 22nd. Ohio Regiment has enlisted as a private in the 63rd Ohio and left for the front last week.” On December 6, 1864, he was back in Chillicothe and gave an oyster supper at Adam Kramer’s on a Saturday night for the veterans of his old 22nd Ohio Regiment who had returned home. (A. S. Kramer issued card 160F). W.M. Sosman lived a varied and interesting life on his second enlistment he was placed in prison for some offense down in Dixie but was released and placed on parole and sent back to Chillicothe in December. His second enlistment was shortly over 9 months. During his two enlistments he developed a taste for adventure. Then on July 3, 1866, he advertised his property for sale at 53 Vine St. and stated in his notice that he was going west.”

The proposed sale of Capt. W. M. Sosman’s property was shortly before the birth of his first son, Frederick H. Sosman (1866-1941). The couple celebrated the birth of two more children over the next four years: George V. Sosman in 1867 and Mary Elizabeth Sosman in 1870. Capt. Sosman’s family remained in Chillicothe, however, never moving west as the newspaper article suggested. The 1870 US Federal Census listed Capt. William Sosman as 33 yrs. old and working as a day laborer. His household at the time included: Mathilda (31 yrs.), Frederick (4 yrs.), George (2 yrs.) and Mary Sosman (1 mth.). Hiram Sosman was also living in Chillicothe, now 64 yrs. old, but still working as a baker. In 1870, Hiram lived with his second wife Rachel Sosman (53 yrs.), daughter Mary J. Sosman (33 yrs.) and Joseph S. Sosman (23 yrs.)  By 1870. Joseph S. Sosman was already working as a painter.

Little is known of the Sosman family’s life in Chillicothe during the 1870s. However, Capt. William Sosman returned to the baking business, and in the 1880 census was again listed as a baker. The household in Chillicothe that year included William M. Sosman (43 yrs.), Mathilda Sosman (40 yrs.), Fred H. Sosman (14 yrs.), George Sosman (12 yrs.) and Mary Sosman (10 yrs.).

I have yet to locate when Fred moved to Chicago or began working for his uncle at Sosman & Landis.  However, he his work at the studio was mentioned in an 1895 wedding announcement for Fred and Ida Robey:

“Mr. and Mrs. J. K. Robey request tour presence at the marriage of their daughter Ida, to Fred H. Sosman, June 17, 1895, at Mt. Sterling, Ohio. 8 p.m. Mr. Sosman is a Chillicothean, the son of Capt. and Mrs. William Sosman, and brother of Mr. George V. Sosman. He is now located at Chicago where he is employed in the famous scenic studio of Sosman & Landis, Mr. Sosman, of the firm being his uncle. Miss Robey is a very charming and of bright intellect and having many personal attractions and Mr. Sosman is, indeed, to be congratulated in winning so fair a bride. After the marriage, Mr. and Mrs. Sosman will come to this city, where they will make a short visit before returning to Chicago, where they will make their home.”

Fred married Ida Jeanette Robey (1872-1950) on June 17, 1895, in Madison County, Ohio. Robey was the daughter of John K. Robey (1833-1906) and Mathilda Stuckey (1839-1906). Ida was one of several children born to the couple. He siblings included: Lora (1862-1863), Flora Alma (1864-1945), Romeo R. (1866-1945), Myrtle (1868-1919), Margaret M. (1871-1955), Josephine T. (1874-1950), Bessie (1877-1955) and Martha (1881-1949). The Robeys remained quite close to the Sosmans over the years, as Fred’s sister, Mary Elizabeth Sosman, married Ida’s brother, Romeo Robey.

On May 7, 1895, Fred and Ida celebrated the birth of their first child, Joseph “Joe” Sosman in Mt. Sterling, Madison County, Ohio. For geographical context, Mt. Sterling is approximately 30 miles northeast of Chillicothe, Ohio. Chillicothe is approximately 50 miles due south of Columbus, Ohio.

The Sosman family grave plot in Mt. Sterling includes gravestones for Mathilda McKay Sosman, Capt. William M. Sosman, George V. Sosman, Frederick H. “Fred” Sosman Sr. and Ida Jeanette Robey Sosman, There are also two children’s graves, presumably Fred and Ida’s: Infant Sosman (May 11, 1896), Joe Sosman (10 Aug 1896). The “Infant Sosman” grave, dated May 11, 1896, indicates that this was Fred and Ida’s second child, likely still born.  The second child’s grave for Joe Sosman, is dated Aug 10, 1896; this was their firstborn son. A third child was born to the couple after the death of their first two children, born on Nov. 6. 1896. Their third child, Joseph Sosman, shared the same name as their first son; a common practice at the time, when a birth followed the death of an older sibling. Sadly, he did not survive to adulthood either.

Although Fred and Ida’s children were born in Ohio, Fred continued to work in Chicago. It just meant that Ida returned home to be with her family when she was expecting. This allowed women the necessary support work after giving birth.

The 1900 US Federal Census reported that Fred an Ida Sosman were living at 244 S. Halsted St, Chicago. No children were listed as part of the household, only Frederick Sosman (34 yrs.) and Ida Sosman (26 yrs.). Fred was employed listed as a scenic artist, certainly working for his uncle as Sosman & Landis during this time.

In 1901, the couple celebrated the birth of their fourth child, Fred H. Sosman, Jr. Fred Jr. ended up being the couple’s only child to reach adulthood. Life was not easy for the Sosman’s in Chicago. Fred struggled with alcoholism, as did his younger brother George V. Sosman. On Feb. 1, 1913, the “Washington Court House Daily Herald” (Ohio) reported, “Penitentiary guard, George V. Sosman, escorted a prisoner to Chillicothe this week, where the convict was to testify in a murder trial, and during his stay in Chillicothe he made the rounds and became very much polluted with liquor, and when he started on his return with the prisoner was still very much under the influence of intoxicants, according to Chillicothe authority. Sosman spent his last penny and tried to borrow enough to continue the spree, but his disgusted friends turned him down” (page 3).

As for Fred H. Sosman Sr., his binge drinking meant that he abandoned incomplete work at the studio. Such was the case when Art Oberbeck completed a pair of partially painted tormentors, originally assigned to Nephew Fred.

So, sometime between 1907 and 1908, Oberbeck inherited Fred Sosman’s palette at Sosman & Landis. This did not mean that Fred’s career as a scenic artist came to a close, it just continued elsewhere. For quite some time, Sosman had been dividing his time between Chicago and Chillicothe. On July 7, 1904, the “Chillicothe Gazette” reported, “Beautiful Work. On display as Doster & Co.’s, is a handsome miniature hand-painted setting for an opera house, done in watercolors, by Fred H. Sosman, a Chillicothe boy in Chicago. Two curtains are also shown, one depicting the view of Paint Valley from Grandview cemetery, and the other a view of Scioto river, with Mt. Logan in the background. The paintings are very beautiful and appropriate.” (page 4). After leaving Chicago, Fred Sr. headed to the southeastern United States.

The 1910-1911 issue of “Julius Cahn’s Official Theatrical Guide” credited Fred H. Sosman as the scenic artist for the Opera House in Blocton, Alabama. The listing noted “Equipped with up-to-date scenery” and a stage measuring 26x50x19. To date, that is the only listing that I have located for Fred Sr. beyond his work at the scenic studios of Sosman & Landis and Tiffin Scenic Studio.

By 1910, Fred Sosman Sr. was living in Atlanta, Georgia. The US Federal census that year listed Sosman living on E Hunter Street as a boarded, still working as an artist in the studio industry. He was boarding with Ophelia Standard (55 yrs.) and her adult children and grandchildren: Annie Belle (31 yrs.), Maggie (27 yrs.), Frank (24 yrs.), Mary (24 yrs.), Francis (3 yrs.), and Lois (2 yrs.). Sosman’s initial connection with the household was likely through Standards’ son, Frank, who was working as a stage manager in the theatre industry. Sosman would remain in the area for at least 14 more years, with his wife and son joining him.

In 1912 Sosman’s father passed away. On Oct. 18, 1912, the “Chillicothe Gazette” reported, Capt. William M. Sosman dies at the home of his daughter, Mrs. R. I. Roby, at Mt. Sterling, Tuesday morning of old age. The deceased, with his wife, moved from this city to Mt. Sterling about six weeks ago and did not long survive. The deceased was a son of the late Hiram Sosman and was a native of this city. He is survived by his wife and three children, Fred Sosman, of Atlanta, Ga., George V. Sosman, of Columbus, and Mrs. Roby, with whom he lived. The deceased was 78 years of age and was a member of Co. F, 63^rd O. V. I. from which he was discharged April 14, 1862, to accept a commission as second lieutenant in the 106^th regiment, U.S. colored troops. The funeral will be held at Mt. Sterling at 10 a.m. Saturday morning Burial at Mt. Sterling” (page 5).

Sosman continued to work as a scenic artist in Atlanta. In 1920, he was again living with his wife and adult son, Fred Jr., at 262 Oakland Avenue. Interestingly, Both Fred Sr. and Ida were listed as scenic painters, with 19-yrs.-old Fred Jr. listed as a drug store salesman. This was likely an error, as this was the first time Ida was listed as working outside of the home.  Until the 1923, the three remain in Atlanta. That year, Fred returned to Ohio and married Mary G. Krout. On Oct. 23, 1923, the “Lancaster Eagle-Gazette” of Lancaster, Ohio, announced the wedding of Krout and Sosman. The announcement read: “Krout-Sosman Wedding.

Only members of the family witnessed the marriage at eight o’clock Saturday evening of Miss Mary Gertrude Krout, daughter of Mr. and Mrs. Geo. W. Krout of S. Champion Ave., Columbus to Mr. Fred H. Sosman of Atlanta, Ga. Rev. P. E. White, pastor of Oakwood Avenue M. E. Church read the service at the home of the bride’s parents. A dinner at the Chittendon Hotel followed the ceremony. Mr. and Mrs. Harold Krout, brother and sister-in-law of the bride were the only attendants. The bride wore an evening gown of cocoa georgette with trimmings of amber beads and wore a corsage of roses and lilies of the valley. After a short motor trip Mr. and Mrs. Sosman will be at home at 544 S. Champion Ave., Columbus. The bride and her parents were former residents of this city and have many relatives here.”

His first marriage did not end well, as Fred not only had an extramarital affair with a 13-yrs.-old girl, but also fathered an illegitimate child. It is an unfortunate series of events that compelled Fred and Ira Sosman to relocate from Atlanta, Georgia, to Tiffin, Ohio.  My guess is that they returned to Ohio to help raise their only granddaughter. Fred Jr. and his wife Mary explained the newborn as an adoption.

On March 17, 1927, Patricia “Patti” Ann Sosman was born in Columbus, Ohio.  Her birth parents were listed as Fred Sosman and Virginia Bogard.  “Bogard” was actually an alias, as her real birth mother’s maiden name was Virginia Valek.  Valek was one of many children born to James John Valek (1887-1966, carpenter) and Bessie M. Stahl (1892-1945).

Virginia married twice in her life after being an unwed mother; her first marriage was to Avrail R. Milhorn (1907-1957) in 1933 and her second marriage was to Harold E. Snelling (1910-1986) in 1974. Virginia Valek Snelling passed away on Dec. 14, 1975, only fifteen years before her daughter, Patti A. Sosman. In death, Patricia Ann Sosman shares a grave with her birth mother, Virginia Valek Snelling.

Patricia’s mother was only 14 yrs. old when she was born, indicating that Fred Sosman Jr. had sex with a 13-yrs.-old girl.

Fred Jr.’s illegitimate daughter was listed as part of his household in the 1930 US Federal Census. At the time, he was still married to Mary. The pretense of claiming Patti as an adopted daughter continued for seven years, even when Mary G. Sosman filed for a divorce in 1934.

My guess is that several factors prompted Mary to leave Fred Jr. On Feb. 19, 1934, the “Sandusky Star Journal” reported, “Tiffin Man Given 90-Days at Marion.” The article continued, “Marion, Feb. 19 (UP) – Fred Sosman, of Tiffin, today began service of a 90-day term imposed by Judge W. R. Martin on charge of reckless operation of a motor vehicle, Sosman was also fined $100, and his driving license revoked for six months. Sosman was arrested by a state highway patrolman after his car collided with another four miles north of Marion on Route 23” (page 1)

On June 5, 1934, the “Morning Republican” of Findlay, Ohio, announced “Applies For Divorce. Charging her husband’s conduct was such that she was forced to leave him and go to her parents. Mrs. Mary G. Sosman applied to common pleas court today for a divorce from Fred H. Sosman Jr. She says they made a separation agreement under which he is to pay her $600 and asks the court to approve that and award her the household goods for alimony. They were married in Columbus, Oct. 20, 1933, and have an adopted child” (page 10). On Sept. 17, 1934, the “Findlay Morning Republican” announced, “Mrs. Mary G. Sosman vs. Fred H. Sosman; divorce granted on grounds of extreme cruelty; maiden name Mary C. Krout restored; alimony and property settlement approved” (page 8).

By 1930, Fred Sr. and Ida Sosman were also living in Tiffin, Ohio, just up the street from Fred Jr., Mary and Patti. The 1930 US Federal census listed Fred H. Sr. and Ida J. Sosman in the Tiffin City Directory. Fred Sr. was employed as a scenic artist at Tiffin Scenic Studios. The couple was living at 135 Ohio Ave. At the time, Fred H. Sosman Jr. was working at the Marmon-Roosevelt and Hupmobile Motor Cars. Located at 206 S. Washington, his family living at 81 Ohio Ave.

Fred. Jr. and Mary’s divorce in 1934 was likely due in part to another extramarital affair. Less than a month after their divorce was finalized, Fred Jr. married a woman from McCutchenville, Ohio. Their affair had likely been going on for some time, as during the fall of 1933, Sosman made headlines when a rock struck his car on the McCutchenville Rd. On Nov. 2, 1933, the “Sandusky Register” reported, “Stone Hits Windshield. Tiffin, Nov. 1 – (Special) Fred Sosman, Tiffin automobile salesman, narrowly escaped injury last night when Hallowe’en pranksters hurled a stone through the windshield of his automobile. Sosman was driving on the McCutchenville road south of the city, when he passed a group of youths. A stone came hurtling from their midst and crashed through the windshield of his car” (page 2). Less than a year later, on October 2, 1934, “The Sandusky Register” announced the marriage license for “Fred H. Sosman Jr., 33, restaurant worker, Tiffin, and Mrs. Regina P. Lorah, 32, McCutchenville” (7). The newlywed’s plans did not include Fred’s illegitimate daughter.

By 1940, Patti was living with her grandparents, Fred Sr. and Ida Sosman. The US Federal Census listed the three Sosmans living at 135 Ohio Ave. in Tiffin, Ohio. Fred H. Sosman Sr. was still listed as an artist in the scenic studio industry. His household included wife Ida J. Sosman (63 yrs.) and granddaughter Patricia A. Sosman (12 yrs.). Fred Sosman Sr. was still listed as a scenic artist and continued to paint at Tiffin Studios until the following year. On August 6, 1941, Fred Sosman Sr. passed away.

On Aug. 7, 1941, “The Sandusky Register” of Sandusky, Ohio, reported, “Tiffin – (Special) – Fred Sosman, 75, Tiffin scenic artist died Wednesday in Mercy Hospital following an illness of several days. He had been associated for 20 years with the Tiffin Scenic Studios. He was a native of Chillicothe. Surviving are his widow, a son, Fred, Jr., and a sister, Mrs. Mary Roby, Mt. Sterling. Funeral Service will be held Friday at 10:30 a.m. in the Myers Funeral Home with the Rev. Alva B. Miller, pastor of the Washington-st Methodist Church, officiating. His body will be taken to Mt. Sterling for burial” (page 7).

His hometown paper carried the sad news. On Aug. 7, 1941, the “Chillicothe Gazette” of reported, “Mr. Fred Sosman, former Chillicothe resident and scenic painter, died Wednesday in Tiffin, according to word received by Mr. Charles Capple. Mr. Sosman, who was about 74 years old, was born in Chillicothe, the son of William and Mathilda Sosman, life-long residents of the city, and resided at 164 West Main street. Surviving are his widow, Ida Roby Sosman, and one sister, Mrs. Romeo Roby, of Mt. Sterling. Burial services for Mr. Sosman, will take place Friday at 2 p.m. in Mt. Sterling (page 2).

He was buried in Mt. Pleasant Cemetery, now named Alkire Cemetery on Era Road (County Rd, Mount Sterling, Ohio 4314). Here is a link to his gravestone in the Sosman family plot: https://www.findagrave.com/memorial/45845495/frederick-h-sosman

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

Art Oberbeck worked at Sosman & Landis from approximately 1902 until 1920.  Of all the scenic artists who I have written about, Oberbeck is unique; I have listened to his voice on a cassette tape.  His recollections were recorded on Nov. 4, 1972, when asked to give a speech at the Southwest Theatre conference in Dallas, Texas.  At the time, Oberbeck was 86 years old and still painting on a vertical frame at Peter Wolf Studios at the Texas State Fair Grounds. A cassette of his 1972 speech was gifted to me by Lance Brockman a few years ago. This meant that I was able to hear Overbeck tell a few of his own stories.

In addition to the cassette tape, a substantial amount of information was gathered from Oberbeck during the 1970s. The combined efforts of Dr. John Rothgeb, Randi Givercer Frank, and Peter Wolf  preserved many of Oberbeck’s memories about his work as a scenic artist in Chicago.  Representing the University of Texas, both Rothgeb and Frank personally interviewed Oberbeck. In later years, Peter Wolf of Peter Wolf and Associates enticed a retired Oberbeck to relocate to Dallas, Texas, and again work as a scenic artist. 

Now they gathered what Oberbeck wanted to remember, and we all know that time tints memories. I will supplement Oberbeck’s recorded recollections with information from historical documents. 

Arthur Walter Oberbeck was born on Feb. 14, 1887, in Chicago, Illinois. His parents were Heinrich “Henry” Oberbeck (1848-1916) and Wilhelmine “Minnie” Ehlert Oberbeck (-1921). At the time of his birth, his father was working in a shoe store at 210 S. Clinton St., just a few doors down from Sosman & Landis at 236-238 S. Clinton.

Art’s father, Heinrich, sailed from Hamburg, Germany, to New York during the fall of 1868. At the age of 19 yrs. old, Heinrich “Henry” was accompanied by his four younger brothers aboard the S.S. Gutenberg: Ludwig “Louis” (17 yrs.), Fredrick (15 yrs.), Charles (12 yrs.) and Ernst Oberbeck (7 yrs.). After their arrival in New York, the Oberbecks continued west, settling in Chicago. By 1871, Heinrich “Henry” Oberbeck married Wilhelmine Ehlert and the two celebrated the birth of their first child, Louise. in 1873. By 1874, Henry Oberbeck was listed as a malster in the Chicago Directory, residing at 358 Church. For context, malsters worked in the beer brewing industry. His brother Frederick C. Oberbeck was also listed in the Chicago Directory, working as a carriage painter and living at 54 Sigel.

In 1880 the US Federal Census listed that Henry Oberbeck’s home was located at 186 Clybourne Pl in Chicago. The Oberbeck’s family home remained at Clybourne Place for the next few decades. In 1880, the Oberbeck household included Henry Oberbeck (31 yrs.), Wihelmine Oberbeck (28 Yrs.), Louis Oberbeck (7 yrs.) and Henry Oberbeck Jr. (5 yrs.). At the time, Henry Sr. worked in a cabinet shop. When Art Oberbeck was born seven years later, his father was working in the boots and shoes business. At this same time, Art’s uncles, Louis and Frederick C. Oberbeck, were operating Oberbeck Bros. at 210 S. Clinton. The Oberbeck Bros. furniture store was located just a few doors down from the newly constructed Sosman & Landis studio at 236-238 S. Clinton St. Sosman & Landis opened their new building in 1886.

Little is known of Art Oberbeck’s early childhood before the age of 12 yrs. old, nor did he elaborate in later years. In some instances, Oberbeck explained that he began working at the age of 12 yrs. old. In other instances, Oberbeck explained that he began working as a paint boy when he was fourteen years old. The 1900 US Federal Census, however, did not list any occupation for the 13-yrs.-old Art.   That year, the Oberbeck home at 199 Clybourne included Henry Oberbeck (50 yrs.), Minnie Oberbeck (48 yrs.), Fred Oberbeck (19 yrs.) and Arthur Oberbeck (13 yrs.).  Only Henry and Fred were listed as employed; Henry was employed as a machinist and Fred was employed as a packer of notions.

Regardless of when Oberbeck began his career in scenic art, he started as a paint boy at Daniels’ Scenic Studio in Chicago and remained there for approximately 18 months. About the time Oberbeck began working for the firm, a WANT AD was published in the “Chicago Tribune.” On Aug 29, 1902, the “Chicago Tribune” published a want ad: Boy – Strong. 16 years old. Daniel’s Scenic Studio, 2321 Wabash-av.” (page 9). For context, Daniel’s Scenic Studio was located on the Chicago Opera House block.

Daniel’s Scenic studios of Chicago was incorporated in 1903 with a starting capital of $40,000; manufacturing and painting scenery and stage accessories; incorporators, Alonzo P. Daniel, Charles J. Tietzel and Edward Beiderman” (3 Jan. 1903, page 9). I was lucky enough to discover a detailed article in “The New York Clipper” about the firm’s founder from 1903.

On Aug. 29, 1903, A. P. Daniels was listed as No. 19 in part of the “New York Clipper” series “Men Who Have Developed Western Amusements” (page 2). Here is the article in its entirety, as it sets the stage for Oberbeck’s scenic art training:

“Numbered among those who developed and extend the vogue of theatrical the scenic artist has rightful place. Of the numerous company of knights of the brush A P. Daniels ranks in prominence with the best artisans in his line. Under his management, and because of his industry, the Daniel’s Scenic Studios of Chicago are known far and wide. Examples of his workmanship and the products of his studios are to be found in theatres in every State in the Union. Mr. Daniels entered theatrical life as a member of Lawrence Barrett’s company, playing boys’ roles, and was with that organization when Mr. Barrett achieved the then remarkable feat of playing two towns in one day – New Orleans and Mobile. In New Orleans, where, in 1858 he was born, he first started to learn the art of scenic painting, working on the paint bridge at La Varieties Theatre, as a paint boy. His first serious essay at theatrical life was in 1885, when he joined J. H Haverly’s forces, in Chicago. After several years with Mr. Haverly he took Robert

 Fulton (now manager of Trocadero, Chicago) upon the road as a boy magician. Later he formed a partnership with James Mass, a clever comedian of his day. Afterward he, for the first time, left the show business and entered the employ of the National Cash Register Co., as their first travelling salesman, and for three years made considerable money. He was thus enabled to form a partnership with Robert Manchester, and put upon the road the Night Owls. During the second year of his partnership with the late James A. Herne, opening the Casino Theatre, Chicago, as a vaudeville house. Later they closed out their interest to Snellbaker & Hopkins, Mr. Daniels arranging to continue with Mr. Herne, He, however, decided to remain in Chicago, and engaged in several theatrical enterprises. Finally he entered into a scenic painting partnership with Ruben Merrifield, which continued until Mr. Merrifield went to New York. The Daniels Scenic Studio was continued as a firm until Jan. 1 last, when it was converted into a corporation, the heads of the various departments being taken into the concern” (page 2).

Although Oberbeck recalled that Daniels’ Scenic Studio was only a small studio and sideline business for its namesake, the firm was much more. In 1904 the Chicago Directory listed only a handful of scenic artists in the business section:

Buhler & Mann (276 Sedgwick)

Cook & Donigan (60, 87 Clark)

Daniels’ Scenic Studios (906 Opera House blk. And 2321-2325 Wabash av.)

Richard A. Green (1046 W. Van Buren)

Guthermann & Goodrich (rear 107-115 Throop)

Shepard & Slipper (86 Locust),

Sosman & Landis (236 and 238 S. Clinton)

Wood, Risser & Bevis (rear 3020 Cottage Grove av.)

Of the firms listed above, only Daniels’ Scenic Studios and Sosman & Landis were printed in large font bold.

In 1905, the Chicago Directory listed only two studios in the Scenic Artists Section: Daniels’ Scenic Studio and Sosman & Landis. The competition between Daniels’ and Sosman & Landis continued in the Chicago Directory continued for the next several years.

Oberbeck’s 18-mths. Stint at Daniels’ Scenic Studio likely lasted between 1902 and 1903. I say that, as Sosman & Landis were very adamant that they would not hire boys younger than 16 yrs. old. Oberbeck explained that he was 15 ½ yrs. old when he began working at Sosman & Landis.  That means that he started at Sosman & Landis during August 1902.

Working backwards, Oberbeck began at Daniels’ Scenic Studio in approximately Feb. 1901 and continued until August 1902. At Daniels’ Scenic Studio, Oberbeck worked a 48-hour-week building scenery and painting. His job as a paint boy not only included tacking the canvas to frames, washing brushes and other menial tasks, but also included some lay-in and lining work. In other words, Oberbeck got to paint at Daniels’ Scenic Studio between the ages of fourteen and fifteen yrs. old. However, the aspiring artists as Daniels’ Scenic Studio were mistreated by a manager that Oberbeck identified as “Mr. Tissell.” He was actually referring to Charles Julius Tietzel (1874-1936)/ Tietzel was well versed in scenic design, painting and stage machinery, having worked in both Chicago and Columbus, Ohio. His 1918 WWI Draft Registration card described him as tall and thin, with red hair and grey eyes. Again, in 1903, Alonzo P. Daniel, Charles J. Tietzel and Edward Beiderman, were listed as incorporators of Daniels’ Scenic Studio in Chicago. This is not when the firm was founded, but incorporated. It was likely founded around 1900, although I have yet to confirm that the unincorporated-firm was in existence at that time.

Oberbeck had a very difficult time at Daniel’s Scenic Studio, and did not leave with fond memories. He did not like Tietzel and shared the following story at the 1972 Southwest Theatre conference in Dallas, Texas, and in an interview with Rand Givercer Frank for her BA Thesis at the University of Texas, entitled “The Sosman & Landis Studio, A Study of Scene Painting in Chicago, 1900-1925.”  Here is an excerpt from Frank’s paper, as she heard it first hand:

“Mr. Tissell [sic.]. the man in charge of the studio, exploited the young boys he hired. He would keep them until midnight for only fifty cents overtime pay. Often they were kept after midnight and would miss the last bus or trolley and have to sleep in the studio, ready to start at eight. As Oberbeck was the oldest [??!!] One night the boys, led by Oberbeck went on strike. They demanded a dollar overtime when they stayed past twelve. Thereafter. On the occasions that they did work late, Tissell [sic.] kept them up all night working.”

In his 1972 speech, Oberbeck elaborated about his early career, stating, “I had a very poor education to start with. I never graduated from a grammar school.” He further explained that his starting salary at Daniels’ Scenic Studio was only $4 a week, and there were eight boys who did all laying in and painting of scenery the best they could, with Tietzl finishing the work. Oberbeck’s stories suggest that Tietzel hired a group of young boys between the ages of 12-15 yrs. old to do the majority of the work, with a journeyman artist adding the finishing touches to the composition. I have to wonder what Daniel’s was doing at this time, as he was also well-known as a scenic artist. Maybe he was focusing on sales.  Between 1903 and 1910, Daniels’ Scenic Studio was credited with some rather large projects. The firm’s projects included scenery for touring productions such as the Orpheum Circuit’s “Ferry, in Ferryland,” Joseph E. Howard’s “Love and Politics” and Billy Kersands’ minstrels, as well as stock scenery collections for stages across the country, including the Hagemeister Park Theater (Green Bay, Wisconsin), the Memorial Building (Dayton, Ohio), Phillips Opera House (Richmond, Indiana). Daniels’ Scenic Studio was also credited with the decorations for Chicago’s Auto Show at the Coliseum and First Regiment Armory in 1907.

Oberbeck’s speech in 1972 also described his transition from Daniels’ Scenic Studio to Sosman & Landis. Oberbeck explained, “My mother insisted I was ruining my health.” She was concerned about his long hours at Daniels’ Scenic Studio, suggesting that he work for Sosman & Landis. Oberbeck detailed that Sosman & Landis was “the biggest scenic studio in the part of the country at that time” and “They offered me $6 a week. I accepted and quit the other place.” Although the pay was better, Oberbeck began at the firm washing palettes; a job he felt was beneath him, by this time.  After the first day, Oberbeck told his mother he wasn’t going backwards.  His mother disagreed, explaining that it was a better opportunity and he should stay.  Oberbeck left home for two weeks, returning to Daniels’ Scenic Studio.  In the end, he returned to Sosman & Landis, and slowly worked his way up the line. He continued washing buckets and completed a variety of other menial tasks at the firm until he was assigned as Fred Scott’s paint boy. It was around this time that Oberbeck began to work beside Scott, copying the older artist on a smaller canvas. After several months, Scott advocated for Oberbeck’s advancement, arguing, “You’re losing money by having this boy wash pots and pans. I want him as my assistant.” In an interview with John Rothgeb in 1973, Oberbeck stated, “Being with [Scott] and helping him and doing him and all his ways and methods have proven today to be of value to me. I used a lot of his judgements and things that he has told me.”

Oberbeck remained at Sosman & Landis for eighteen years, approximately from 1902-1920. It is possibly that Oberbeck’s dates were a bit off, but he likely left the Sosman & Landis during the midst of the mass exodus between 1918 and 1919. Keep in mind that when Sosman passed away in 1915, Thomas G. Moses was elected president. Moses did not last for long and resigned by the fall of 1918. Although Moses returned in 1920, he was boarding a sinking ship.  That years five former Sosman & Landis scenic artists formed Services Studios.

This is where Oberbeck’s memory gets a little sketchy. So far, Oberbeck’s timeline at Sosman & Landis goes from washing buckets during the summer of 1902, to working as Fred Scott’s paint boy by 1904.  In 1905, Oberbeck purportedly became Scott’s Assistant, replacing Victor Higgins, Scott’s previous paint assistant. This means that between 1905 and 1915, Oberbeck went from Scenic artists assistant to a full-fledged scenic artist with his own palette. Similarly, John Hanny was hired by Moses in 1906 as a paint boy, and was still working as an assistant in 1912. Hanny inherited Fred Evans palette at Sosman & Landis when he passed away.

Oberbeck’s big break at Sosman & Landis was when Sosman’s nephew left a partially-completed set of tormentors on the frame. After Oberbeck completed the pair of tormentors, he was given another set and soon inherited his predecessors palette. My gut instinct says that this is around 1910. My rationale is that Oberbeck’s move from scenic art assistant to full-fledged scenic artist came with a slight increase in pay.  The 1910 US Federal Census listed Oberbeck still living at home with his parents and a niece. The household included: Henry Oberbeck (61 yrs.), Minnie Oberbeck (58 yrs.), Arthur Oberbeck (23 years) and Lillian Belke (Henry and Minnie’s 16 granddaughter. Henry was employed as a millwright, Arthur as an artist, and Lillian as a clerk.  On April 16, 1910, Art married Edna W. Trinkhaus (1889-1968) and the two celebrated the birth of their first child, Arthur William Oberbeck, on Jan. 13, 1912.

Oberbeck’s time at Sosman & Landis was summarized very concisely by Frank in her paper:

“Oberbeck was a very versatile painter, painting everything except landscapes. He was considered by his colleagues as one of the fastest painters of his time. His versatility and speed, combined with his aggressiveness and desire to learn from anyone he met, made him one of the best painters in Chicago…He was one of the first artists at Sosman & Landis to earn more than thirty-five dollars a week. He took advantage of the arrival of a man who had come from New York to find painters, by telling Sosman he was interested in the job than when in fact he had no desire to leave. He was interested in more pay. Sosman raised his pay to forty dollars a week, more than even Scott was getting.” This is questionable there was a direct correlation between subject specialty and pay grade at Sosman & Landis. Landscape painters were at the top of the food chain, and Oberbeck did not specialize in landscapes.

Also, Oberbeck surmised that Scott was bitter about the pay discrepancy and therefore refused to give any more advise to the younger artist. Understandable from a variety of standpoints, but also a little questionable. Scott was dealing with a lot of his own problems at this time, as his marriage crumbled and his personal life fell apart.  I have yet to recover a departure date for Scott from the studio or even an obituary, but it was likely around 1911. Here is the link to Scott’s story: https://drypigment.net2021/04/29/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-27-fred-scott/

My previous research suggests that Oberbeck was not the top-paid artist at Sosman & Landis. However, it was very possible that Oberbeck was TOLD he was the highest paid artist on staff, if only to end any foreseeable requests for pay increases and future negotiations. This is one of the reasons that some employers are not always eager for their employees to know the salaries of others. It you think you are making more than everyone else, you typically don’t cause trouble.

Sometime between 1918 and 1920, Oberbeck left Sosman & Landis. For perspective, in 1920, the US Federal Census listed Oberbeck living with his wife Edna and two sons, Arthur (7 yrs.) and Robert (4 weeks) at 4051 Kilbourne in Chicago. At the time he left the firm, Oberbeck was invited to join the five other former Sosman & Landis employees to establish Service Studios. He declined, because he didn’t think it would work. Instead, he secured painting work at Peltz & Carsen.

At this time, Oberbeck explained that he worked for both Herman Peltz (1869-1919) and Robert Carsen (1876-1958) at Peltz & Carsen. This means that he left Sosman & Landis pre-1919, as that was the year that Peltz passed away. Oberbeck also explained that he remained with Peltz and Carsen for about a year, before establishing his own studio. Of the new studio, Oberbeck described that after the death of Peltz, Carsen shared that he couldn’t make money on painting projects, only construction.  Every time he hired a scenic artist he went over budget. Oberbeck proposed the following: “If you Give me the use of your studio, I’ll by my own paint. I’ll do the work for cost you take your profit off of the job before I do if. But I said, “Don’t expect me to do a two-day job for one-day pay…That’s the way I started in the business. I was still making profit in his cost, turning it out fast. I was there for about three years.” This means that Oberbeck worked at Peltz & Carsen from about 1919 until 1922. This coincides with the first appearances of scenery produced by Acme Scenic Studios in the newspaper.

Of the name, Oberbeck recalled that the name ACME was suggested by his father-in-law because of its meaning: the top. As defined in the dictionary, acme is the point at which someone, or something, is the best, perfect, or most successful. Oberbeck aspired to be the acme of scenery. It was also a strategic choice as the name ACME Scenic Studio placed it first in any list or directory. The earliest mention of the studio that I have located to date is from 1922. On Nov. 28, 1922, “The Democratic Banner” of Mount Vernon, Ohio, reported that the stage settings for the three-act comedy “Hello Algy” were designed and painted by the Acme Artists Scenic Studio of Chicago (page 4).

By 1926, Service Studios sold out to ACME. That year, Oberbeck moved ACME Studios from 36 West Randolph Street to the Service Studios space at Van Buren and Sacramento Street (2919 W. Van Buren). Of the acquisition, Oberbeck explained, “I bought them out for $6,000.” He purchased the renovated stables from the old Jewel Tea Company. In 1920, Service Studios had invested $11,000 to renovate the old barn.

The 1920s were an incredibly successful time for Oberbeck and ACME, despite the decline in demand for painted scenery. On Aug. 22, 1926, the “Detroit Free Press” announced: “Acme Scenic Productions Specified in the New Michigan Theater.” The announcement continued, “It was only natural that in seeking the very best in equipment for the great new Michigan Theater, its sponsors should select Acme Scenic effects, found in many of the country’s largest theaters. All of Acme’s scenic work is personally supervised by a scenic artist of international reputation, and its productions are universally recognized to be quite without equals anywhere. Theater managers everywhere understand that scenic work entrusted to the Acme Studios will command their sincerest approbation and respect. We are equipped to handle the largest and the smallest contracts”  (page 87). The studio’s address was listed as 2919-23 W. Van Buren Street.

Oberbeck recalled 1927 as the firm’s biggest year, completing $187,000 of work and gaining $54,000 in profits. That year his studio was also pictured on a page in the First Annual Scenic Artists Ball in Chicago. The entire ACME Scenic Studios staff was also listed: Acme’s scenic art department included Peter Darges, William A. Smart, Louis Huebner and Louis Zingarelli; the Fabric Department included Anna Klumpp, Fred Oberbeck, Mrs. Daniels, Mrs. Dillinger, and Nick Koffmann; the Carpenter Department included Herman Peltz Jr.; and the Office Staff included Mr. Bishop and Mr. Olsen. W. G. Sherfese, W. A. Anderson and Ann Silverstein.

On April 8, 1928, the “Indianapolis Star” included an advertisement about ACME Studios, noting, “Handling the largest amount of scenic work in Chicago and the United States, the ACME Studios products must necessarily reflect quality and completeness. The advertisement added, “Startling effects in color, design and execution have been achieved by the Acme Scenic Studio on the stage dressings of the new Granada Theatre. You’ve perhaps heard of the Acme Scenic Studios before, because the quality of workmanship and thoroughness of detail have made an enviable name for the Acme Company. Handling the largest amount of scenic work in Chicago and the United States, the Acme Studios’ products must necessarily reflect quality and completeness. The scenic work don for the U. I. Theatre Circuit Inc., theatres is the best ever executed scenic company. The highest standard is maintained at Acme, both in coloring, tone and technique. All work is personally supervised by A. W. Oberbeck, himself a scenic artist of ability who has spent more than twenty years in the profession. The firm delivered ‘stage dressings’ for the new Granada Theatre of the U. I. Theatre Circuit, Inc.” The Acme Studios have been in existence in Chicago for many years, and the name is synonymous with quality scenery and draperies. They execute the stage scenery and draperies for the U. I. Theatre Circuit, Inc., and they furnish stage settings and draperies for numerous other large photoplay and legitimate theatres, such as Balaban & Katz, marks Bros., and others. The name of the Acme Studios has spread out over the entire United States, and theatre owners well know that their scenic and draper problems placed in the hands of the Acme Studios, will be highly satisfactory. Their new and most modernly equipped studio is located at 2919-23 West Van Buren, Chicago. Ill.” (page 74).

In 1972, Oberbeck shared a story with the audience at the Southwest Theatre Conference, noting that it would have probably been against the law at the time. This ties neatly into the tale of Leo A. Star, art director for Balaban & Katz, as well as previous Sosman & Landis employee No. 82.

Here is his tale…

Oberbeck was bidding out a project for the Oriental Theatre, competing against Becker Bros. and Eugene Cox. Each was provided with a list, and each submitted a price.  After some discussion behind closed doors, Leo A, Stahr came out and said, “Boys we want you to itemize all these items.” Oberbeck leaned over to Becker and said, “Ray, they’re going to pull something. If you want to stick with me, I won’t cut my price. I won’t itemize it. Because what you think is high, I may think is easy and go low, but as an average we come out the same.” Ray retorted, “We can’t do that, we’ll have to itemize.” And they did.

Oberbeck explained that Stahr took the cheapest item from each bid, effectively cutting the overall price in half. This would have been bad enough, but the stagehands had a good laugh and chided Oberbeck about it.  That was the mistake.

Oberbeck then held a meeting with Becker and Cox, proposing a new approach to all future bids. He said that these big jobs typically run $1000 to $3000 each and the Client would never miss $300. That amount would be split three ways, giving each $100. Oberbeck surmised that Acme,  Becker Bros., and Cox, each made $5,000 over the course of the next five years; the client never was the wiser.

Not commenting.

Oberbeck’s success, however, came at a cost, as he gradually withdrew from painting and solely focused on the management of the studio. At the end of his career, Oberbeck explained, “[there was] so much busines that I couldn’t work, I didn’t paint scenery for about 30-35 years. I had about seven of the best artists that I could get in the west. Just directing the thing.”

In 1930, the Oberbeck’s were living at 3435 Harding Ave. in Chicago. The Oberbeck household included Arthur (43 yrs.), Edna (41 yrs.), Arthur Jr. (18 yrs.) and Robert (10 yrs.). Despite an economic depression, ACME Studios plugged along. Not everything was rosy as the country struggled through the Great Depression. On June 14, 1930, the “Chicago Tribune” reported, “Bandits Trail Manager of Studio; Seize Pay Roll. Trailed from the Cosmopolitan State bank, Clark street and Chicago avenue, to the Acme Scenic studios, by two Negroes in a green sedan, R. H. Morrison, manager of the studios, was held up and robbed of an $841 pay roll as he alighted from his own car” (page 14).  

And this is where it gets a bit odd, there is a second set of Oberbecks in Missouri. Arthur W. and Edna Oberbeck are listed in the St. Louis Directory during the early 1930s. In 1932, Oberbeck is working for Goodwill Industries and living at 4404 N. 20^th., The next year Art W. Oberbeck is working for Volunteers of American, now living at 3837 Washington Blvd. They remain in Missouri for the remainder of the decade. It is likely that their relocation had to do with aging parents and siblings. I realized that this was a different couple, when the obituary for Arthur W. Oberbeck’s father, Henry W. Oberbeck, was published in the “St. Louis Post-Dispatch” on May 30, 1937: “Henry W. Oberbeck of 4138 Pleasant St., entered into rest Sun., May 30, 1937, 8:15 a.m., beloved husband of Minnie Oberbeck (nee Brockfield), dear father of Arthur W. Oberbeck…” Art’s parents had passed away years ago.

By 1942, Art Oberbeck’s WWII draft card listed his home address as 2919 W. Van Buren; that was the ACME business address, not his home address. Oberbeck listed his employer as “Scenic Artist,” listing his place of employment as 2919 W. Van Buren. At the time, Oberbeck was described as 5’-7 ½”, 160 lbs., with gray hair and light complexion. I have uncovered very little about the Oberbeck’s during the 1930s and 1940s.

Thirty years later, Oberbeck explained he retired when they tore the studio down for the Eisenhower highway. He added that although his young son was interested in art there was no desire to take over the business. Therefore Oberbeck sold out and retired. On March 14, 1950, “The Pantagraph” of Bloomington, Illinois, reported, “Allyn Purchases Part of Stage Setting Firm. Oliver Allyn, 611 East Walnut street, said Monday he is one of four dramatic students who have purchased the Acme Studios in Chicago, a firm which makes stage sets. Mr. Allyn has attended Illinois Wesleyan university and the Goodman Dramatics school in Chicago. He is joining three other students of the Goodman school in the venture” (page 15). On May 4, 1950, the “Oak Park Leaves” announced, “CAL. NO. 9-50-Z. “I” Business District Applicant Acme Scenic Studio: Owner, Wm. H. Bromann; premises affected Southeast corner South Boulevard and Marion Street, Oak Park, Illinois, Subject; Application under the Zoning Ordinance to permit the first floor of premises to be used as display studio and workshop” (page 11).

Oberbeck only retired for twelve years. During that time, he moved to Canada, built a log cabin, and purchased a motor boat. I think that he quickly grew bored too. In 1952, at the age of 65 years old, he began flying airplanes and logged about 2600 hours in the air over the next nine years.

In the midst of retirement Oberbeck was contacted by Ray Becker. Becker had quit Becker Bros. moved south to Texas where he began working for Peter Wolf and Associates. Becker asked Oberbeck to paint for a few weeks on the summer musical.  For the next two years, Oberbeck painted scenery for 4 to 5 weeks every summer. Oberbeck was an immediate success and soon Wolf suggested that Art relocate Texas. That was he could work whenever he felt like it.

By 1964, Oberbeck was living in apt. 206, 1021 Knob Oak Dr. He remained at that address for the next several years.

On June 10, 1966, the “Fort Worth Star-Telegram” reported, “Retired 18 Years Ago. At 80, He’s Active Painting Scenery” (page 56). The article continued, “Peter Wolf said it: When Art Oberbeck quits painting stage scenery, it’ll be the end of an era. The Chicago native who will be 80 years old Feb. 14, 1967, ‘retired’ from the stage designing business 18 years ago.

But to a man of Oberbecks vitality, ‘retirement’ is a dirty word. Staying active as a scenic artist is his way of ‘keeping alive:”

“It keeps me active and in pretty good health,” he said recently in Dallas, setting aside for a moment his paint brush and characteristic cigar for a Star-Telegram interview. Oberbeck who took up flying at the age of 65, is the most respected employee of Peter Wolf Associates, Inc. He was one of many Wolf employees who helped put together Fort Worth’s Heritage Hall, the ‘Living Museum of the Old West.”

Oberbeck has been in the set designing business more than 40 years when he ‘retired.’

After retiring, he came to Dallas for three consecutive summers to work as scenic artist for the State Fair Musicals. About four years ago, Wolf asked Oberbeck to consider settling in Dallas and working for Wolf. The veteran craftsman didn’t have to think it over for too long before taking Wolf up on his offer.

When you’ve been in the business as long as Oberbeck, to stop working is to stop living. The scenery paint gets into your blood.

In one instance, it has proven hereditary, you might say:

One of Oberbeck’s two sons – Robert, 47 – is a scenic designed for the movie industry in Hollywood, where he was associated with Metro Goldwyn – Mayer Studios for a long time, his father said.

The other son – Maj. Gen Arthur W. Oberbeck, Jr., 53 – held on graduation from West Point in 1937 a grade average second only to that of Douglas MacArthur, who achieved the highest in academy history. General Oberbeck, who now resides in Paris, France, is three years away from retirement, his father noted.

Wolf thinks highly of his eldest employee: “He has a real sharp mind. He’s a valuable asset to us.”

How much of an asset can be demonstrated by the lengths to which Wolf has gone to make working comfortable for the elder-statesman scenic artist:

Most scenery painting is done, because of the huge size of backdrops to be painted in a kneeling or bending-over position with the canvas on the floor.

A bad back, however, won’t allow Oberbeck to bend as other scenic artists do.

So Wolf built for Oberbeck a sort of mobile scaffold that moves back and forth, up and down, so the veteran artist can reach an ‘hidden corner of the upright backdrop.”

Younger men in the craft conceded there is little Oberbeck hasn’t learned in more than half century of scenery painting. At one time, he handled all the work for Balaban & Katz theaters in Chicago.

“But at 62 I didn’t care to re-establish in another location,” he said,” so I retired.” He built a log cabin in Canada so he could hunt and fish more easily.

Through a friend who owned a lodge in Canada, Oberbeck met a Chicago flying instructor who invited him to take a plane ride.

Oberbeck, looking the instructor squarely in the eye said, “Give me a lesson.”

After 4 ½ hours of instruction, he made his first solo flight – at the age of 65.

“I’ve driven a car over 55 years and I feel safer in my plane,” said Oberbeck.

He noted that a flyer has to have a physical every two years.

“My doctor told me I’ll be flying when I’m 90.” Oberbeck said with a grin.

And painting backdrops, hopes Wolf” (page 56).

In his 1972 speech, Oberbeck credited Wolf as the “most wonderful man that ever lived.” Oberbeck’s adoration for Wolf should be of little surprise: Wolf gave Oberbeck purpose again.

Oberbeck passed away on Dec. 24, 1978, in Dallas, Texas, yet his legacy lived on.

Examples of Oberbeck’s scenic art were shared by designer George L. Pettit, in a booklet entitled “Art Oberbeck, Samples of the Art of Scene Painting.” The small twenty-one-page handout was published by Cortec Corrugated Cardboard Technology for the Theatre, It included twenty-one examples of scenic art techniques, painted by Oberbeck on 3’x3’ squares of heavy-weight muslin. The caption below each scenic art example on the following pages included a picture of Pettit showing him holding the samples alongside the caption: “I acquired them in the bankruptcy sale around 1978. At the time, Art was in his later 80’s or early 90’s.

The cover page depicted a tree trunk painted by Oberbeck with the caption, “Art painted these 3’x3’ examples on heavy muslin while working at Peter Wolf Associates, Dallas, TX, in the 1970s. Painted for the USITT conference in Dallas [1971], they were painted on a vertical paint frame when he was, I believe, in his late 80s.”

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

In 1920, Thomas G. Moses wrote, “Arrived in Chicago early Monday ready for a hustle. Mr. Hunt sent Mr. Leo Stahr on from New York to take my place and while he tried to be very nice about it, there was something about his attitude that didn’t ring true.” For context, in 1920, Hunt was in charge or two scenic studios: Sosman & Landis and New York Studios. The two firms were considered affiliates, with each maintaining offices in both Chicago and New York. By 1923, Hunt was involved with the establishment of the Chicago Studios, a new studio that operated out of the original Sosman & Landis space.

In regard to Leo Stahr, he was a well-known art director for Balaban & Katz by the 1920s. Like many former Sosman & Landis employees, Stahr is the perfect example of “once important, now forgotten.” Here is his tale…

Leopold “Leo” Alexander Stahr was born on Dec. 12, 1882, in New York. He was the youngest son of Gustave “Adolph” Stahr and Ida “Anna” Sengewein. Both of Leo’s parents went by their middle names, Adolph and Anna. The tradition extended to their children and complicated matters even more. Leo’s mother, Ida Anna Stahr, and his sister, Anna Ida Stahr, both went by their middle name. This made research quite challenging.

Leo came from a family of artists, including his father. Gustave “Adolph” Stahr was born in July 1845 and emigrated from Bavaria in 1864. Various historic records list Adolph’s birthplace as Bavaria, Germany, Poland and Prussia; it all depends on the timing. After arriving in America, Adolph Stahr settled in Stapleton, New York. Stapleton is located on the east side of Staten Island. The borough of Staten Island became home to the entire extended Stahr family. On October 20, 1868, Stahr became a naturalized citizen of the United States, renouncing his former allegiance to the King of Prussia.  At the time, he listed his home address was in Manhattan, as 123 E. Houston St. Stahr consistently worked as either a painter or artist, frequently listed in New York City directories. Both of Adolph Stahr’s sons followed in his footsteps.

In regard to the matriarch of the Stahr family, Ida “Anna” Sengewein was also of European descent.  Born in Hannover, she emigrated to the United States in 1871 at the age of 20 yrs. old.  Four years later, she married Adolph Stahr in Manhattan. Their wedding ceremony took place on May 8, 1875. The Stahrs remained in Manhattan until 1870 when they moved to Staten Island.

Between 1876 and 1883, the Stahrs welcomed six children into their home:  Frederick Charles Stahr (1876), Elizabeth B. Stahr (1877), Anna “Ida” Stahr (1879), Marie “Mary” M. Stahr (1881), Leopold Alexander Stahr (1883), and Theodora Stahr (1884). Little is known of Leo Stahr’s early childhood or artistic training. The family moved from However, by 1900, Leo Stahr was listed as an apprentice in the US Federal Census, still living with his family on Staten Island. At the time Leo was eight years old and the Stahr household included Gustave A. Stahr, A. Ida Stahr, Elizabeth B. Stahr, Ida A. Stahr, Mary M. Stahr, Leo Stahr and Theodora Star. Leo’s older brother, Frederick “Fred’ Stahr had already moved out by this time and was studying art. It is important to understand the artistic precedent set by Leo’s older brother to see what was at play during the early twentieth century. Fred C. Stahr began his artistic studies at the National Academy of Design, where he won the Lazarus Prize in 1911. The Jacob H. Lazarus Scholarship for the study of mural paintings was established in by Mrs. Amelia B Lazarus and Emilie Lazarus through the gift to the Metropolitan Museum of Art. The holder of the scholarship made their headquarters in Rome under the supervision of the Director of the American Academy at Rome. While overseas, Fred also studied at the Royal Academy of Rome and the Royal Academy of Bavaria in Munich.  While abroad, Fred C. Stahr was also awarded the Prix de Rome, a three-year term studying Italian Masters of Art at the Vatican, where he also completed a Master’s Degree. Stahr eventually taught at Columbia University, as well as assisting at the National Academy of Design.  accepted a In later years, he completed a WPA project for Borough Hall in Staten Island. It was a project that he first proposed in 1904 at the time of construction. Finally in 1936, Stahr painted thirteen murals (6’-6”w x 13’-0”h) on the first floor. His paintings depicted the history of Staten Island from Giovanni Da Verrazano’s discovery in 1524 to the 1907 fire at the Hotel Castleton. Here are two links to his Borough Hall murals: https://www.statenislandusa.com/borough-hall.html and  https://www.statenislandusa.com/uploads/8/9/8/7/89877849/bhall_murals-2_1.pdf

Leo followed in his famous older brother’s footsteps, also beginning his artistic studies at the National Academy of Design, although I have yet to determine when he first started as a student. In 1904, Leo Stahr was listed as a student and prize winner there. On May 15, 1904, “The New York Times” published an article entitled, “Schools of the Academy. Prize Winners and Medaled Boys and Girls at the Exhibition” (page 5). The article reported, “The work of the past season by the pupils of the free art schools of the National Academy of Design is now to be seen in the classrooms on West End Avenue, corner of One Hundred and Ninth Street. The best paintings and crayons from the life classes adorn the walls with an iteration that is somewhat hard on the picture lover, but fills the breasts of proud parents and instructors with joy…The Academy schools adhere to the old way of giving out a subject for the composition class, with the avowed purpose of exhibiting best results and awarding a prize to one of the chosen pictures. The subject this time does not err on the side of modesty; it is the scene of Belshazzar’s feast and the writing on the wall. Out of the competitors eight have had the honor of exhibiting their designs. Last night prizes were awarded, and the First Hallgarten went to Frank Dawson, the second to Leo Stahr.”

Stahr was again recognized for his achievements the following year. His name was included in the list of those receiving prizes and notable mentions. On April, 13, 1905, the “New York Times” reported, “Students of the schools of the National Academy of Design received the annual award of prizes last evening at the rooms of the Architectural League, 215 West Fifty-seventh Street. One of the pleasant features was the distribution of awards” (page 9).

After completing his studies at the National Academy of Design, Stahr studied abroad. On Feb. 1, 1907, he received a certificate from the American Consulate in Munich, noting his travel for the purpose of study.  The expiration date on the certificate was March 24, 1909. However, Stahr returned to New York by 1908, sailing aboard the S. S. Grosser Kurfurst from Cherbourg, France. He arrived in New York on Aug. 11, 1908.

In 1909, Stahr was working still working as an artist.  That year he married Clarissa Holmes Williams (1885-1955) on June 6, 1909, at 717 Washington St. in Hudson, Hoboken, New Jersey. Williams was one of six children born to Robert Francis Williams Sr. (1841-1924) and Elizabeth Jane Merril (1850-1942). United Methodist Church Records list that at the time of their wedding Stahr lived in Newark, New Jersey, and Williams lived in New Brunswick, New Jersey. Hoboken and New Brunswick are approximately 34 miles apart.

Two years later, the Stahrs celebrated the birth of their first child, Leonora Clarissa Stahr on June 18, 1911. Their second daughter, Ida A. Stahr, was born the next year on June 11, 1912.  Little is known of Stahr’s artistic career during this time. However, in 1914 Stahr was mentioned in “The Metal Industry.” In the “Printed Matter” section, there was an announcement that Leo Stahr’s painting, “In the North Woods,” was being included in the George S. Young’s 1914 calendar (page 141). At this time, the young couple had returned to Jackson St. on Staten Island.

The 1915 New York State Census listed the Stahr home at 27 Jackson St. That year the household included Leo (33 yrs.), Clarrisa (30 yrs.), and Ida (3 yrs.).  They were living just a few does down from his mother. In 1915 Clarissa Stahr was 65 years old and her household included Fred C. Stahr (38 yrs.), Marie L. Stahr (29 yrs.), Theodora M. Stahr (28 yrs.) and boarders K. P. and Marie Garrett. Both Fred C. Stahr and Leo A. Stahr were listed as artists in the 1915 census. The Stahr Studio was located at 31 Jackson St.

In 1917, Leo and Clarissa Stahr were still living at 27 Jackson St., just down the street from his mother and brother’s family.  Stahr’s WWI Draft registration card  listed that he was working for Broadway designer, John H. Young. Young’s studio was listed as 536 West 29^th St, in New York City. Stahr’s description at this time was noted as medium height, slender build, brown hair and brown eyes.

On April 7, 1918, the Stahr’s celebrated the birth of their third daughter, Elizabeth Alexandria Stahr. The 1920 US Federal Census listed that the Stahr household on Jackson St. including Leo (36 yrs.), Clarissa (34 yrs.), Leonora (8 yrs.), Ida (7 yrs.) and Elizabeth (1 yr.). It was at this time that Moses mentioned David H. Hunt sending for Stahr. 

Stahr remained in the New York area until after his mother’s death. Ida Anna Stahr lost her battle with pancreatic cancer on June 25, 1923. She was buried at Woodlawn Cemetery. Her passing marked the end of an era and signaled a period of transition for many of her children. Fred remained on Staten Island, continuing the management of the family studio at 31 Jackson St. and teaching art lessons at Columbia University. Fred continued to specialize in mural work , completing dozens of projects in the 1920s.  Leo and his family moved west, settling in Chicago at 2820 Sheridan road.

In Chicago, Leo became the artistic director for Balaban & Katz (B & K). For historical context, the earliest iteration of the B & K firm appeared in Chicago around 1916, established by Barney Balaban, A. J. Balaban, Sam Katz and Morris Katz. Today, B & K is primarily known for their chain of opulent motion picture theaters. However, B & K also produced full-scale musical stage productions for their venues.  Stahr headed their production department. His move to Chicago was a game changer for his career, placing him in the right place at the right time.

The 1920s is an interestingly time in the world of scenic art. As the demand for painted scenery declines, many master scenic artists adopt the title of artistic director. This title marks a period of transition in the live entertainment industry. Art directors are set apart from those whole solely paint scenery.  Prior to WWI, the title of “scenic artist” meant much more than painting; it signified a scenic visionary who thoroughly understood and participation all aspects of the production, including design, engineering, construction, painting and various lighting systems.  Up until WWI, many scenic artists were considered backstage visionaries, with an intimate understanding scenic art, stage machinery and lighting systems.

By 1924 Leo and his family relocated to Chicago. Interestingly, I located a picture of Stahr from 1925, noting his work as an art director. On Jan. 25, 1925, Leo’ Stahr was pictured in the “Chicago Tribune” in a section entitled  “The Inquiring Reporter.” The article posed the question, “What does the annual automobile show pose to you?” asked at the corner of State and Randolph Streets. The question was posed to  stage manager Adolph. W. Dietz, stage manager Grant L. Johnson, organ builder Arthur Nelson, and art director Leo A. Stahr.  The question was posed by Alex M. Tough, 3899 Fullerton Avenue, who received $5.00 for the “Chicago tribune” as his question was accepted for publication. “Leo A, Stahr, 640 Arlington place, art director – The show usually means about $2,000 out of my pockets because when I go down with the crush of fans and see all of the new models for the new year, I nearly always fall for one of them and have to start trading and dickering to buy it.”

In the Dec. 25, 1926, issue of “Exhibitors Herald” Leo Stahr was credited with the design and painting of “The Doll Shop,” “Pirate Days” and “The Waif’s Dream,” all Balaban & Katz shows  under the direction of Will J. Harris. The article reported, “Thirty-five  actors,  including  twenty children,  with  the  Loomis  Twins,  are  to give  “The Doll  Shop”  in  two  scenes,  and many  curtain  specialties  at  the  Uptown. Some  of  the  dolls are  alive,  and  Ray Conklin,  ventriloquist,  will  help  keep  the audience  mystified.  Eighteen singers, including  a male  chorus,  will  give  “Pirate Days.”  All  these  productions,  including the  four-scene  “The  Waif’s  Dream,”  at the  Michigan  in  Detroit,  have  scenes painted  by Leo  Stahr  and  special  costumes and  lighting  effects  by  Vincent Minelli.” Minelli and Stahr worked for B&K at the same time. I was surprised to find mention of Stahr in Emanuel Levy’s book “Vincent Minelli, Hollywood’s Dark Dreamer. Levy wrote, “Minnelli socialized with Leo Stahr, a jolly German who designed sets, and his wife, who invited him for dinner” (page 25). Yes, Vincent is Liza Minelli’s father.

Fred C. Stahr also ventured to Chicago for projects on several occasions. In 1927, Fred was credited with painting decorative panels for the First Annual Scenic Artists Ball in held in Chicago. That same year, Leo Stahr traveled to Havana with his wife Clarrisa and their two daughters Ida (14 yrs.) and Leonora (12 yrs.) The four returned to the United States aboard the Ship Shawnee on Jan. 28, 1928, docking in Miami, Florida.

In 1929, Stahr’s portrait was published in “Variety” Magazine. On Wednesday, Feb. 27, 1929, “Variety” devoted an entire issue to the career of A. J. Balaban, who had retired from business and relocated to Europe (page 20).  A full page plate was included, picturing members of the Balaban & Katz live entertainment production department. Shown as a tree with the banner “In Appreciation to A. J. Balaban. The roots pictured Frank Cambria, Pioneer-Director of Productions; Leo H. Stahr, Art Director on the trunk; and in the branches were: Vincent C. Minnelli, creation of costumes; Arthur L. Kretlow, Kretlow’s Ballet; William Jackson, scenic designer; Herb J. Franksen, electrical technician; Louis R. Lipstone, gen. musical director; Morris S. Silver, general booking manager; and Victor Young, musical arrangements.

The 1930 US Federal Census listed the Stahr family as living at 2335 Commonwealth. This was part of a massive apartment complex building at 2333-2341 Commonwealth Ave. Stahr was listed as an artist in theatre. The Stahr household included: Leo A., Clarrisa W., Leonore, Ida Anne, and Elizabeth. That year, Stahr contracted work with Chicago’s Robert P. Carsen Studio, well-known as “constructors and painters of theatrical scenery.  Business records indicate that for the week of August 15, 1930, Carsen completed scenery for the Oriental Theatre, “as per drawings of Mr. Leo Stahr.”

On Dec. 25, 1931, Chicago’s “The Daily Herald” published an article entitled, “Secret of Exhibition Hall at Southtown Theater Revealed” (page 7). “The secret of the much-heralded Exhibition Hall at the Southern theater is at last revealed. The mezzanine floor lobby in this new Publix-Balaban & Katz theater at 63^rd and Halsted street contained a series of illuminated niches and coves in which an interesting and educational exhibit has been promised.  This lobby has been officially named “The Century of Progress Promenade.” Leopold A. Stahr, chief scenic artist of the Balaban & Katz Corporation is completing a set of models of famous Chicago events, designed like stage settings and using lighting effects for motion. The ambitious setting will be that famous Court of Honor of the old World’s Fair showing the imposing buildings. The great lagoon and states that made it so unforgettable. This display will be set at the head of the main lobby. The other displays included such scenes as the Chicago Fire, Old Fort Dearborn, the Loop in 1865, the corner of 63^rd and Halsted street 30 years ago and the South side steel mills as a symbol of Chicago’s industries” (page 7).

In addition to lobby displays, Stahr continued to be credited as scenic designer for several B & K productions in the 1930s. His work was mention in the October 1935 issue of “Variety” (page 20).  The review of “Villa Venice Revue” by B & K reported, “ “Leo Stahr also rates a bow for his scenic work. Stahr this week uses a single set piece to give an entire and complete stage picture, full of life and color. [Fred] Evans, [Francis] Pallester and Stahr manage to turn out a sustained high level of excellence week after week, despite obvious curtailment of the B&K product budget.” For context, Evans was the dance director and Pallester the costumer for the production.

On Jan. 23, 1937, “Billboard” reviewed another B & K show featuring a stage setting by Stahr. for “Chicago, Chicago” (page 17). The article reported, “Leo Stahr, scenic designer for Balaban & Katz, has furnished a novel idea for the opening number of this week’s show and production department has executed it with nice effect. Show opens with a cloud film projects on a wide screen, behind which is seen a giant air liner with moving propeller. As the lights come up and the scrim is raised, the aeroplane set piece is lowered from the flies and makes a landing on the stage as the illusion is furthered by set pieces of buildings being moved onto the stage. The Evans Girls, attired in summer resort frocks, make their entrances from the plane and go into a neat routine.”

In 1940s, Stahr was still designing for Balaban & Katz theaters. The 1940 US Federal Census listed that Stahr was employed as an art director, living with his wife and mother-in-law at 2820 Sheridan Rd. His 1942 WWII draft card listed his employer as Balaban & Katz Theatres, 175 N. State St., Chicago. He was still living with Clarissa at 2820 Sheridan Road.  Meanwhile, his bother Fred C. Stahr continued to work as an artist in New York, living with his sisters, Theodora and Marie at 31 Jackson St. on Staten Island.

In the 1940s, Stahr also worked for the Chicago Theater. His role as stage manager for the venue was mentioned in an article published in the “Chicago Tribune” on April 14, 1949. In the section, “Front Views & Profiles,”  Lucy Key Miller wrote an article entitled “No Business Like…” It provides an interesting snapshot of the entertainment industry and Stahr’s colleagues.  I am including the article in its entirety, as I found it fascinating.

Miller wrote, “In a theater as tremendous as Chicago, with six performances a day, show business is big business, too, and the tempo is fast and furious. When a show closes Thursday night a new one opens Friday morning, with only one rehearsal – on stage –  at the ghastly hour of 7 a.m.

Six shows for a day is grueling work for anyone, but it took Jack Benny to break all records by adding a seventh when there was still a line at the box office at 1 a.m., Fame for a person like that isn’t earned by an accident; it’s well earned,’ said Nate Platt production director in his office where all Chicago theater shows are born.

It is his job to book acts that will fit in with the movies and to time the whole production. He said that sometimes it is harder to get an actor stricken with applause fever off the stage than one, and he has to be very strict about limiting the acts in order to keep on a schedule.

Once the show is organized, it is put in the hands of Leo Stahr, who has been the Chicago’s stage manager for many years. He likes to talk about the old days when he produced elaborately costumed affairs with scenery, choruses, and music in the pit. “Now it’s just curtains and lighting effects and a bandstand that moves back and forth across stage on a trolled,” he said wistfully. But to the uninitiated, backstage is still a complex maze of rope pulleys, draperies, light switches, and sound control equipment.

In a small basement room, Hoagy Carmichael was rehearsing his numbers for the new show scheduled to open the next day, with a few musicians from Louis Basil’s orchestra. Hoagy made changed in the arrangements of his own tunes as he went along, but the musicians are used to things like that. They repeatedly have to adapt their style and tempi to the vagaries of singers, dancers, and song writers.’ Cheerily they now altered their scores, shifted their beat to the tom-tom rhythms evoked by Hoagy Carmichael’s first ventures into bebop, and produced a fine, pulsing accompaniment to the piano’s melody.

Leo Stahr was there, and Bob Burns, the ‘poet of the P. A. system.’ ‘I was in the navy for five years,’ said the latter, ‘but I couldn’t wait to get back into show business. If everyone else was interested in their work as stage people are, there wouldn’t be any trouble.”

The stage doorman, George Lucas, feels the same way. He started inn show busines sin 1890, before the days of vaudeville, and insists that he has done everything except grand opera. He has been in medicine shows, minstrel shows, variety, vaudeville, and circuses, has worked with magicians and hypnotists, and had his own act, with his wife, brother, and sister-in0law called the Four Lucases. Lucas claims to have met every president since Grover Cleveland.

“Woodrow Wilson was a great vaudeville fan,” he said. “I have a program Wilson autographed from the last show he saw before his death.”

Even when he returned, George Lucas couldn’t stay away from the theater. Now he’s back keeping bobbysoxers out of the entrance and getting the actors on stage for their cues. His call board looks like a railroad time table. But he has rarely any trouble.

“Once a marimba player went to sleep in the wrong dressing room,” he recalled, “and I couldn’t find him at all. Sometimes the actors don’t know I mean NOW when I say so and ae later for their cues. But it doesn’t happen very often.

“I retired when they went from two shows a day to four or more. I was too old to take it. But O like working with show people. We speak the same language” (page 28).

Leo’s older brother, Fred Stahr, passed away in 1946. Fred’s obituary sheds a little more light on the Stahr legacy.  On March 11, 1946, “The New York Times” published, “Frederick C. Stahr, well-known muralist and art instructor, died on Saturday of a heart ailment in his home at 31 Jackson Street, Stapleton, Staten Island., after a brief illness. His age was 68. Born in Manhattan, Mr. Stahr was taken to Staten Island by his parents at the age of 2 and had lived there ever since. He began his study of art at the National Academy of Design, where he won the Lazarus Prize, a four-year continued course in arts at the American Academy of Design in Rome. He also studied at the Royal Academy of Rome and at Munich in 1910-11. He later taught art classes at Columbia University and also taught privately in his home. Mr. Stahr specialized in murals in public buildings. Examples of his work are in the courthouses in Baltimore, Chicago and Boston. Shortly after the first World War he painted the history of Staten Island on the walls of the Borough Hall at St. George, S.I. He was a fellow of the American Academy of Design and the National Academy of Design. He leaves three sisters, the Misses Marie and Theodora Stahr and Mrs. J.A.C. Fitchmueller, and a brother, Leo Stahr, all of Staten Island.” Stahr’s mural commissions included a ceiling mural at the United States Treasury, the “Court Scene” for Newark Court House, the “History of Manhattan: in the Hotel Manhattan, portions of the ceiling at the Metropolitan Opera House and murals in the Ottawa railroad station. The Staten Island Institute of Arts and Sciences has five paintings by: a portrait of Mrs. McClain by Fred C. Stahr in 1952 (given by Mrs. Chester A. McClain). The four other paintings Stahr included a large view of the Parthenon, a large view of the Erechtheum, and two small still life paintings.

Leo Stahr retired as an art director sometime during the early 1950s. However, his retirement was short lived. Both Clarrisa and Leo Stahr passed away in 1955. On Feb. 10, 1955, the “Chicago Tribune” reported, “Mrs. Leo Stahr. Clarrisa Holmes Stahr, 69, of 2820 Sheridan rd., died yesterday in Edgewater hospital. She was the wife of Leo, art director for the Balaban and Katz Theater corporation. Also surviving are three daughters, Mrs. Elizabeth Henke, Mrs. Leonore Bauby, and Ida; a brother, and a sister. Services will be held at 3 p.m. tomorrow in the chapel at 2907 N. Clark St.” (page 30).

Her husband passed away only five months later, on July 30, 1955. On August 1, 1955, the “Chicago Tribune” announced, “ Leo A. Stahr. Services for Leo A. Stahr, 72, of 2820 Sheridan rd., stage art director for Balaban & Katz theaters, who died Saturday, will be held at 3 p.m. today in the chapel at 2907. N. Clark St. He leaves three daughters, Mrs. Lenore Bauby, Mrs. Elizabeth Henke, and Mrs. Ida Curry, and two sisters. A second obituary notice published in the “Chicago Tribune” that day reported, “STAHR – Leo A. Stahr of 2820 Sheridan road, beloved husband of the later Clarrisa, nee Williams; fond father of Leonora, Ida and Elizabeth; brother of Anna and Marie. Resting in funeral home, 2907 N. Clark street, at Surf. Services Monday evening 8 o’clock, Interment Staten Island, NY.”

The August issue of “Motion Picture Exhibitor” simply reported, “Leo  A.  Stahr,  67,  Balaban

and  Katz  art  director  for  many  years  until his  retirement,  died  leaving  three  daughters  and  two  sisters.”

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

In 1920, Thomas G. Moses wrote, “I interceded for Parker, formerly of Sosman and Landis with Mr. Hunt, and I think he will engage him to go to New York City.” At the time. Moses was working for David H. Hunt at New York Studios. He was referring to the scenic artist Seymour D. Parker (1849-1921).

Parker’s father was the well-known comedian Joseph Parker. His parents traversed the country as performers, settling briefly in Detroit, Michigan, where Seymour D. Parker was born in 1849.

The 1850 US Federal Census listed the Parker Household in Detroit as including actor Joseph Parker (37 yrs.), his wife Susana (40), daughter Josephine (13 yrs.), daughter Louiza [Julia] (5 yrs.), and son Seymour (1 yr.).  In addition to his immediate family, Joseph’s household also included actor Seymour D. Shaw (32 yrs.), Joseph Shaw (57 yrs.), Patrice Shaw (40 yrs.), Bridgett Dwyre (18 yrs.) and Bridgett Campbell (36 yrs.).

It is very difficult to track any family that toured with theater productions. Seldom did they appear in census reports, being on the road for much of their lives.  In most cases, I have to link snippets of information extracted from newspaper articles, directory listings, marriage records, birth certificates, and obituaries. Many of the Parker children remained connected with the theater throughout their lives, working as painters and performers.  I was able to glean a little more information about Seymour’s father from his sister’s obituary. Julia Parker was a few years older than Seymour, married actor J. B. Polk in 1867. It was her obituary published in “The Baltimore Sun” on June 22, 1900:

“Mrs. Julia A. Polk, wife of J. B. Polk, the well-known actor, died Wednesday of apoplexy at the family residence, Charles and Hamilton streets. The funeral will be held today.

Mrs. Polk was the youngest daughter of Joseph Parker, a comedian well remembered in Baltimore. She was also a half-sister of Mrs. Charles B. Bishop. Mr. and Mrs. Polk were married in this city in 1867 while the bride was playing in Ford’s Street Theatre. For many years the clever couple won favors in this country and Australia” (page 7).

Charles Burke Bishop (1833-1889) also performed as a comedian and was quite well known in the Baltimore area. For context, the pall bearers at his funeral included many theatrical greats, including Daniel Frohman and E. H. Sothern. Bishop played comic roles with the Sothern company and died during a performance of “Lord Chumley.” He exited the stage, was laughing merrily, and then died a few moments later of a heart attack. His wife Josephine was with him when he died; her stage name was Jennie Parker. Her obituary commented that she first appeared at Ford’s Theater, Baltimore, and later was a members of Edwin Forrest’s company (“New York Herald, 29 May 1918, page 7). Josephine “Jennie Parker” Bishop was the daughter of Joseph Parker and his first wife; she was Seymour D. Parker’s half-sister. I have yet to discover the name of Joseph’s first wife.  However, Seymour D. Parker’s mother was Susana, Joseph Parker’s second wife.

After the Civil War, Joseph, Susana and the extended Parker family moved from Detroit to Baltimore. The Parker family resided at174 N. Exeter.  By this time, Josephine had left home and was working as an actress in California, starring with the Stockton Theatre.  

Seymour moved to New York and worked for to Henry E. Hoyt. Parker described his early career in a 1913 article about Parker that was published in Rochester’s “Democrat and Chronical” (New York, 8 July 1913, page 24). The article detailed, “Mr. Parker was a pupil of Henry E. Hoyt the noted scenic artist of New York city, who painted all of the bigger and more important scenic effects for the presentation in the Metropolitan Grand Opera House. For three years Mr. Parker himself held this position of responsibility. For eight years he was the scenic artist in the Montauk and Park theaters in Brooklyn, and for four years he held a similar position in the National Theatre, Montreal.”

By 1870, the US Federal Census listed Seymour’s father as an artist. At that time, the household included Joseph Parker (56 yrs.), Susana Parker (40 yrs.), Julia (21 yrs.), Seymour D. Parker (19 yrs.). Willard Parker (17 yrs.). Charles Parker (14 yrs.), Clarke Parker (10 yrs.), John Parker (7 yrs.), and both a domestic servant and boarder. Over the years Joseph Parker had also worked as a scenic artist over the years between performances. It was even mentioned in his obituary. On Jan. 1, 1872, the “New York Herald” reported, Joseph Parker, a veteran actor and scenic artist, died in Baltimore on Saturday night, the 30^th. Mr. Parker had many friends, professional and otherwise, and ‘retires’ from the busy stage life amid their regrets” (page 5). Years later, the “St. Joseph News Press” in Missouri, remembered, “Mr. Parker’s father, the late Joseph Parker, was a comedian of the old school and a scenic artist as well. He was associated with the late John T. Ford in the old Ford Stock Company in the Holiday Street Theater in Baltimore” (12 Feb 1913, page 6).

After the passing of his father, Parker moved to New York. By 1874, Seymour D. Parker was listed as a painter in the New York City directory, living at 40 Johnson in Brooklyn. This is likely when he was working as an apprentice to Hoyt.  The following year he married Sibyl Voughan in Manhattan. By 1878, Parker was working as a scenic artist in Boston, boarding a 359 Tremont. However, this does not mean that Parker was solely working at Boston Theaters. Parker was continued to make a name for himself throughout the region and work on a variety of projects.

By 1885, Parker returned to New York, listing his permanent residence in Brooklyn, located at 171 Adelphi in both 1885 and 1886. By 1887, he was living at 126 Jefferson in Brooklyn and working at the Criterion Theatre. On August 3, 1887, the “Plainfield Daily Press” reported, “Mr. Seymour D. Parker, the well-known scene painter from the “Criterion Theatre,’ Brooklyn, will begin operation, it is expected, to-day on the scenery in Music Hall” (page 1). As most scenic artists at the time, Parker delivered painted illusion for a variety of entertainments. His skills extended beyond skillful painting. He was well-versed in scenic illusion and the stage machinery that facilitated successful spectacles.

On May 31, 1888, the “Buffalo Commercial” credited Parker as the visionary for the Niagara attraction at Coney Island (page 2). The article reported, “What promises to be one of the most unusual and beautiful combinations of art and mechanism that has ever been exhibited in this, and possibly in any other country, is now being constructed and painted in the Sea Beach Palace, at Coney Island, by Mr. Seymour D. Parker, the well-known scenic artist of Brooklyn, whose brain first conceived the idea.” The article continued, “This is the handsome manner which a Brooklyn paper begins a description of the ‘marvelous’ reproduction of ‘Niagara by the Sea.’ (By the way, between ourselves, we can bear to think of Niagara reproduced at Coney Island; it will be the harmony with the colossal cow, the white elephant and other wonders of that resort. But think of Coney Island reproduced at Niagara! That is what might have been and just what the state purchase saved us from.) The Coney Island Niagara will occupy a space measuring 150 feet by 90 in the Sea Beach Palace. ‘I the foreground is a huge tank, 70×59 feet and 3 feet in depth, into which the water from the falls is to pour from smaller tanks concealed from views on top of the huge bulk of papier mâché, twenty feet in height, which forms the vast curves of rock so well known to the tourists who have visited Niagara.’ The ‘skeleton’ of the Falls is wood with papier mâché background and a rubber-lined ‘brink’ – which will be ‘shellacked,’ we are told, so as it gives a fine realistic effect.’ The canvas in which the sky is arranged’ is transparent, to admit of sun and moon effects, and will also allow of the reproduction of a thunder shower with the usual accompaniment of lightning flashes.’ The water will not fall in any great abundance, but the painting of the rocks and the lights to be used will make it, to all appearances, resemble the volumes and force of the real body from which it has been copied. The cloud of spray which always hovers over Niagara Falls will be introduced. The candor and modesty of this prospectus are to be commended at least. The water will not be as ‘abundant’ as it is at the real cataract, but we dare say it is at the real cataract, but we dare say it will hold out much linger that it does at those ‘falls’ in the Catskills where they hold back the water by the dam and let it dribble five minutes for twenty-five cents.”

As a scenic artist, Parker painted the drop curtain for the Stillman Music Hall in Bridgewater, New Jersey. On June 7, 1888, “The Courier News” announced, “The proposed curtain was described in THE NEWS of Sept. 2d, 1887. It will be an elaborate affair, superbly painted by Seymour D. parker, scenic artist of the Criterion Theatre, Brooklyn. It will be gorgeous with colors which will represent the appearance of real lace, velvet and satin. And the centre will be a beautiful representation of an ancient Grecian theatre in ruins” (page 1).

The end of summer Parker secured a staff position at the Park Theatre. The venue was now under new management, although the venue was commencing its fifteenth season. The New Park Theatre was managed by Col. William E. Sinn and Mr. Walter L. Sinn. On Aug 18, 1888. Brooklyn’s “Times Union” announced, “Mr. Seymour D. Parker has been appointed scenic artist of Col. Sinn’s Park Theatre” in the Greenroom Gossip section (page 2). Parker remained at the Park Theatre for the next few years.

In 1889 the Parker family suffered the loss of Josephine “Jennie Parke” Bishop’s husband. On Oct. 18, 1889, the “Brooklyn Daily Eagle” announced the passing of Parke’s brother-in-law; Josephine’s husband, Charles Bishop (page 11). The article reported, “Charles B. Bishop was very well known to Brooklyn theatergoers. He played his last engagement here at the Park Theater, November 31, 1888, in the same part in which he appeared for one scene last week – Adam Butterworth in ‘Lord Chumley.’ Mrs. Bishop is a  sister of Seymour D. Parker, the scene painter at Park Theater. Speaking of Bishop’s life Mr. Parker said to-day that the actor was born in Boston, and that he started South with Wilkes Booth near the time of the breaking out of the war. He was quite as red hot a Secessionist as Booth and his desire was to reach the side of the Southern States where his side of the controversy had the most eager champions. He was stopped, however, at Baltimore and began there his career in an engagement with John T. Ford.”

On Aug. 21, 1890, the “Brooklyn Daily Eagle” announced, “Manager Sinn’s Theater a Thing of Beauty…New Park Theatre- it has been entirely rebuilt” (page 2).  The article continued, “The stage, under the guidance of J. H. Thompson, has been entirely reconstructed, enlarged and furnished withal modern machinery and appliances, which will enable the management to present any production which can be placed on any stage.” Part of the renovation included new scenery painted by Parker. The article detailed, “The new asbestos curtain, painted by Seymour D. Parker, is considered the finest painted asbestos curtain in the country. And this is given no small praise to Mr. Parker when the difficulty of painting on asbestos is taken into consideration.”

Parker remained associated with the Park Theater as the venue’s scenic artist, but began to take on other projects.

By the summer of 1891, Parker’s his name was linked with Frederick Warde and Louis James. On Aug. 9, 1891, “The Brooklyn Daily Eagle” reported, “Fredrick Warde, the tragedian, has returned from White Lake, where he has been spending the summer, and will begin active preparations for his opening, which occurs on August 24 at Detroit. Mr. Warde had added a prologue to ‘The Lion’s Mouth,’ and Seymour D. Parker, scenic artist of the Park Theater, has just finished the scenery for it. The scene of the play is laid in Venice” (page 11).

Meanwhile, Parker was painting a variety of other projects. On April 24, 1891, “The Springfield Democrat” published an advertisement that mentioned Parker’s scenic art (page 8). The advertisement announced, “Mr. J. Z. Little in the greatest of all successes, ‘The World!” showing the grand panoramic view, and the wonderful raft scene ‘The Golden Nugget!” In a grand new romantic drama of American Adventure and life in the wonderful mining camps of the rocky mountains. Ove $10,000 in scenery carried by this company, painted by the celebrated Scenic Artist Seymour D. Parker, Machinery and effects by Joseph T. Thompson, of Park Theatre, Brooklyn, N. Y.”

On Dec. 4, 1891, “The Brooklyn Citizen” announced that Seymour D. Parker painted “A summer View of Glen Island to Be Seen in Winter,” for Wechsler & Brother’s Display (page 2). The article reported, “The scene occupies the large window of the left of the main entrance…the scenery in the background is an essential part of the display. It was executed by Seymour D. Parker, a local scenic artist, and is well done.”

Life was looking good and opportunities abounded for Parker. By 1892, Parker left the confines of New York and began to travel with the Warde and James production company. On Nov. 6, 1892, the “St. Louis Post-Dispatch” reported, “Mr. D. Seymour, the scenic artist, travels with the organization and gives personal attention to the stage effects” (page 34). The Warde and James tour included “Julius Caesar” and “The Lion’s Mouth.” On Dec. 2, 1892, Cincinnati’s “Commercial Gazette” reported, “Entirely new scenery, of the most elaborate nature, has been prepared for ‘Julius Caesar’ by the well-known scenic artist, Mr. Seymour D. Parker, who travels with the company, and personally superintends the stage effects” (page 8). On April 4, 1893, “The Standard” in Ogden, Utah described, “The most important dramatic engagement of the present season will be the appearance on Thursday, April 6^th, at the Grand Opera house, of the celebrated tragedians, Fredrick Warde and Louis James, supported by their grand company of thirty actors. Shakespeare’s noble tragedy, ‘Julius Caesar,’ will be the play, and the most sumptuous production is promised. All the armors, weapons, and stage furniture were prepared especially for the tragedy, and the entire scenery was painted by Mr. Seymour D. Parker, the well-known scenic artist who travels with the company and gives personal attention to the settings.” On Feb. 8, 1894, “The Daily Review” in Decatur, Illinois, announced that the much anticipated production of Shakespeare’s historical tragedy, “Julius Caesar,” included painted scenes of “unusual splendor.” The article elaborated, “The scenery has been painted especially for the play by Seymour D. Parker, the New York scenic artist. As the curtain rises a view is given of the famed hills of Rome, with its architectural splendor. The stage is filled with massive buildings and crowds of Romans going to the sports of Rome.” Parker remained with the touring company until the fall of 1894 when a new opportunity presented itself back home.

On Nov. 4, 1894, “The Brooklyn Daily Eagle” published an article about the new Montauk Theatre on Fulton street, mentioning Parker. The article reported, “We have engaged first class scenic artists, who will be under the direction of Seymour D. Parker, and who will begin work upon the scenery within a month. The arrangement will not interfere with our management of the Park [Theatre].”

Parker returned from the road to Brooklyn. On Sept. 8, 1895, the “Brooklyn Daily Eagle” reported, “The [Montauk] stage is one of the best in America, and it will be impossible to find one better equipped. The painting of scenery for it has been progressing under the brush of Seymour D. Parker for the last eight months. Mr. Parker’s contract with Mr. Sinn does not end with the completion of the Montauk, but will continue for years more, and additionally to the stock of fine scenery will be continually made. All the canvas used in making this scenery is first treated to a process that makes it proof against fire” (page 18). Interestingly, Arthur D. Peck was the mechanical stage engineer for the project and credited with building the stage for the Metropolitan Opera House in New York City. Parker remained at the Montauk for the next few years. Gradually his name began to disappear from the news. Newspapers seldom mentioned his projects in the late 1890s.

On brief mention of his scenic art appeared in The “Washington Times” on April 3, 1898 (page 15). An article about “Alone in London,” starring Cora Tanner briefly mentioned Parker’s scenic contribution: “The scenery is all new, from the studio of Seymour D. Parker, who has surpassed his efforts in the original production.”

Parker was still living in Brooklyn in 1900. The US Federal Census listed Parker, now age 50, living with Josephine Parker.  This is where human error enters into census reports. Both Seymour D. and Josephine Parker share the exact same information: same birth month, birth year and birth location. It also reported that they were married for twenty years. That would be five years after Parker married his first wife Sibyl in 1875. Josephine was Parker’s second wife and the two were married in 1880. I have yet to locate any other information about Josephine.

In 1902, Parker finally resurfaces, making the news again. He is listed with several scenic artists who are credited with scenery for Frederick Warde Co., productions. His fellow scenic artists included George Heinman, Charles Porteus, Harley Merry, Ernest Albert and others.  The article published on March 9, 1902, in the “Dubuque Enterprise” simply shows that Parker was still active in 1902.

In 1905, the New York State census listed Parker living in Manhattan with Augusta Parker, aged 57. He is listed as a scenic artist, but there is no information to show whether Augusta was a wife, sibling, or distant relative. I have to wonder if this was when Parker worked for Sosman & Landis at their New York Branch. It would make sense, as the firm’s scenic artists at this time seldom made news, unless they were on the road and a local newspaper mentioned them.

By 1910, Parker becomes associated with the Avenue Theatre and the Avenue Amusement Stock Co.  This marks the beginning of Parker being known as “Avenue’s scenic artist.” Parker’s scenic contribution for the company was describe in “The News Journal” of Wilmington, Delaware, on Nov. 22, 1910 (page 8): “From a scenic standpoint, the production excelled anything hitherto given at the Avenue. While all the sets were attractive and most appropriate, the church scene in the third act with a figure of Jesus on a window of the edifice was exceptionally commendable. It was a further illustration of the capability of Seymour D. Parker, the scenic artist. Elaborate scenic effects and the ability of the Avenue Company to correctly interpret any play ever written, make a combination that will win-win in any theatre.”

On March 9, 1911, the “Wilmington Evening Journal,” mentioned Parker’s contribution for “The White Sister,” reporting, “The Avenue’s artist, Seymour D. Parker, has painted the handsomest effects ever seen on the stage of this popular playhouse” (page 13

On March 23, 1911, “ The News Journal” reported, “The bill at the Avenue Amusement Stock Company next week will be the noted drama ‘Lost Paradise,” by Henry C. DeMille. This will be the scenic event of the season…In the second act there will be a representation of a rolling mill in full operation. The Avenue’s scenic artist Seymour D. Parker, is now engaged in painting the massive scenery” (page 4).

1913, is a turning point for Parker and he really begins to make news again. On Feb. 12, 1913, he is mentioned in the “St. Joseph News-Press (page 6). The Missouri article announced “Schuberts Bend Players from New York to Occupy Local Playhouse – Tootle to be home of a stock company.” The stock company featured Miss Emma Bunting. Frank Phelps, the former local manager of the Schubert Theatre in Omaha was appointed general traveling representative for the theatrical firm. The article further reported, “Seymour D. Parker, a scenic artist of note, who will paint all the scenery used in the production here.” So in 1913, Parker traveled to St. Joseph, Missouri to paint scenery.  By the summer, Parker traveled to the Lyceum Theatre in Rochester, New York. On July 8, 1913, the “Democrat and Chronicle” published a lengthy article about Parker:

Lyceum Scenery all Made Here.

Artist Paints it Aloft as Actors Perform Below.

‘Sets’ are very effective.

Seymour D. Parker, the Scenic Artist, Labors Unceasingly in Order to Have Scenery Prepared for Opening of Each New Play.

Few of the many persons who see the performances of the Manhattan Players in the Lyceum Theater realize, perhaps, that during the actual progress of the play, work on the production for the next week is going on, and upon the same stage, so to speak. This, however, is a fact, and it is Seymour D. Parker, the scenic artist of the Manhattan Players, who does this work. Perched away up on the ‘paint frame’ of the Lyceum, some forty or fifty feet above the stage and heads of the audience, Mr. Parker goes silently but swiftly and surely ahead with his work of manufacturing drawing room, forest, the boudoir of milady, some dive of the underworld or whatever other scenic settings are required to give realism and picturesqueness to the forthcoming play.

Aside from the splendid acting of the members of the Manhattan Players, the wisdom displayed in the section of the pays and the staging of them by Edgar J. MacGregor, it has been a matter of much comment that the scenic investiture of each play has come near the standard of Broadway productions. It is interesting to know that these handsome sets have been made to a considerable extent while the performances at the Lyceum have been going on.

Each production of this company is new and complete in detail. The handsome ‘interior’ sets used in ‘What it Means to a Woman’ would not suffice in any respect for the Clyde Fitch comedy ‘Girls,’ which is the bill for this week. Each Monday evening sees entirely new scenic investiture, and one may readily see that Mr. Parker has little enough time in which to prepare the new sets. Thus it is that for six days of the week, Mr. Parker is required to be ‘on the job’ from early morning until long after the performance has ended at night. Sunday is his day of rest; so he devotes it to laying out the production for the following week, making his sketches and seeing that his canvas, paints, etc. are ready for early on Monday morning.

There is no man in America more skilled and experienced in his work, it is said, than Seymour D. Parker. He had given practically his entire life to the profession and has held some of the highest positions in scenic artistry. Mr. Parker was a pupil of Henry E. Hoyt the noted scenic artist of New York city, who painted all of the bigger and more important scenic effects for the presentation in the Metropolitan Grand Opera House. For three years Mr. Parker himself held this position of responsibility. For eight years he was the scenic artist in the Montauk and Park theaters in Brooklyn, and for four years he held a similar position in the National Theatre, Montreal.

Mr. Parker is an artist on a more pretentious scale. He had done much work in oil, and two of his paintings exhibited not long ago by the Montreal Art Society won much praise for him.  They were landscape views from nature sketches and were entitled ‘The Canadian Rockies; and ‘A Brook in the Lorencian Mountains.” He has painted many portraits.

Mr. Parker’s father, the late Joseph Parker, was a comedian of the old school and a scenic artist as well. He was associated with the late John T. Ford in the old Ford Stock Company in the Holiday Street Theater in Baltimore.”

A few years later, a similar article is published when Parker becomes associated with the Bonstelle Stock Company. On April 18, 1915, “Buffalo Morning Express” reported,

“Celebrated Scenic Artists with Bonstelle Stock Company.

Seymour D. Parker, the scenic artist with the Bonstelle company at the Star theater is one of the few theatrical artists who have had their paintings hung in art exhibitions. Several of his landscapes were at the academy exhibition in Montreal. As a scenic artist, Mr. Parker has few equals. He has painted in all the big studios in New York and in most of the first-class stock companies in the country. He was for three years in Montreal, and spent last season in Northampton.

The attention given of late years to the scenic investiture of a play has resulted in uplifting the scene painter’s art. A man must now be master of his technique, he must have artistic appreciation and ability, and, above all, he must have the subtle power of suggesting atmosphere. Granville Barker call the result of the scene painter’s effort the decoration, and the man who designs and arranges it is mentioned immediately after the producer’s name on the programme now in use at Wallacks theater, New York. Norman Wilkinson, a new discovery of Mr. Barker, an American, is receiving an acknowledgement for his decorations for A Midsummer Night’s Dream and part of The Doctor’s Dilemma, which would have seemed possible a score of years ago. The work of Gordon Craig, of Reinhardt and all other foreign scenic specialists, has proved to the theatergoer that it lies within the power of the painter and designer of scenery to present a work of art in the theater as well as on canvas.”

That summer, Parker repeatedly makes news for his scenic contribution in “Too Many Cooks.” On June 9, 1915, the “ Buffalo Evening News” announced,  “Seymour D. Parker, the scenic artist has designed a charming setting in which the little home of the heroine is shown in various stages of completion” (page 8). On June 10, 1915, “The Buffalo Times” adds, “The production scenically is a fine one. Seymour D. Parker, the scenic artist, has arranged an attractive location for the little home which is shown in various stages of construction during the three acts” (page 9).

Parker remained with the company for a few years. In 1917 Parker delivered scenery for the Bonstelle Company’s production of “The Cinderella Man” and “The Professor’s Love Story.” Parker’s scenery was mention on Sept. 1, 1917 in the “Buffalo Evening News: “The three acts are laid in the Professor’s London home and in a Scotch village. The second act takes place in a wheat field, termed corn, English fashion and gives a fine opportunity to the scenic artist, Seymour D. Parker, who has made a lovely picture, from designs by the technical director, Adams T. Rice” (page 4).

Sometime after 1917, Parker became associate with New York Studios and again fell off of the radar, his name lost in studio projects. Managed by David Hunt, the firm was recognized as the eastern affiliate of Sosman & Landis, of Chicago. The Midwestern firm shared designs, labor and materials with their eastern counterpart. Parker was working for New York Studios at the same time as Thomas G. Moses. Again, Parker was mention in Moses’ memoirs in 1920. Here is the entry written by Moses:

“Binghamton, New York, work came in during February and proved to be a good contract.  Mr. Hunt arrived from New York and remained for a few days, then left for California where he will remain several weeks.  I interceded for Parker, formerly of Sosman and Landis, with Mr. Hunt, and I think he will engage him to go to New York City.  One cold day at the studio sent us all home.  Too bad that we have to lose any time on account of a cold work room.”

In 1920, the US Federal Census listed Seymour and Josephine Parker living at 145 41^st Street in Manhattan. Seymour was working as an artist in the theatre industry. Again, I have yet to find any other information about his second wife.  I have only located Parker’s 1875 marriage certificate to Sibyl Voughan in Manhattan, New York. This was not Seymour’s sister, as Josephine Parker Bishop died in 1918.  

The final time that Parker made papers was in 1921. He was working at Keith’s Theatre in Columbus, Ohio. On June 5, 1921, the “Chronical Telegram” of Elyria, Ohio, reported, “Gotham Scenic Artist Stricken at Columbus. (International News Service) Columbus, June 4, – Seymour D. Parker, New York scenic artist, lies seriously ill at Protestant hospital tonight. He suffered a sudden stroke of paralysis today while sitting in front of the hotel Southern where he roomed. He is the artist for the stock company at Keith’s theater here. He was serving in a similar capacity here a year ago when his wife died as a result of paralytic stroke.” This suggests that Josephine was his second wife. Her listing in the 1905 and 1920 census suggests that the two were married in 1880, five years after his marriage to Sybil.

On June 8, 1921, “The Marion Daily Star” in Ohio, included and article entitled, “To Take Body East.” The article continued,  “Columbus, June 8.- John Parker of New York City, is here, today, arranging for the shipment to New York, of the body of his brother, Seymour D. Parker, fifty-eight, prominent scenic artist, whose death, due to paralysis, occurred at Grant hospital, here, last night. Funeral and burial services will take place at New York, City.”

Parker was 63 years old when he passed away and is buried at Woodlawn Cemetery, Bronx, New York.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

In 1901, Grace Wishaar made headlines as a scenic artist. In an interview, Wishaar stated that she worked with “Sousman and Landes of Chicago.”  This was the Sosman & Landis Scene Painting Studio. Before I delve into the fascinating career of Wishaar, I must clarify that she was not the first female scenic artist in America. Many women scenic artists paved the way for Wishaar to enjoy a warm welcome from the press at the turn of the twentieth century.

Regardless of her predecessors, 1901 newspapers announced that Wishaar was the “Only Woman who can claim the Title.” Not quite, but it likely made her presence more palatable for many men across the country. For some, it seems like less of a threat when we talk about “the only one.”

Here is the article about Wishaar in its entirety as it was first published in the “Buffalo Express” on April 4, 1901 (page 3):

“She is a Scenic Artist.

Only Woman Who Can Claim the Title.

Young Westerner’s Work.

Miss Grace Wishaar went from Seattle to New York with a determination to succeed.
Fifty-two feet up in the flies of the Manhattan Theater stands all day long a slip of a girl painting purple parrots and green glades. Her name is Grace Wishaar; she is 22 years old and herself a picture, and she is the only woman in scenic art in the United States, says the New York World.

She is a little Western girl, fresh from her coming out party, and not many years away from her graduation gown. Her home is in Seattle. She has been in New York only since the middle of January, yet in that time she has not only established herself as a member of the staff of Frank Dodge, undertaking with five men to produce the entire scenery for ‘The Casino Girl’ and ‘The Prima Donna,’ but she has done this: She had proved what the scenic artist of the Metropolitan Opera House and the Lyceum Theater in turn laugh at her for trying. That a woman can do their work as well as a man.

She has a girlish face, with deep eyes and dark hair, to match, which ripples up to a high pompadour. She is not tall; her hands are delicate and expressive.

‘I am convinced that I am a curiosity,’ she said yesterday.

She was standing on the platform, 52 feet high, with not even a handrail between her and the dim stage, where some ne ‘Uncle Tom’s Cabin’ people were rehearsing. A great movable frame was before her, half covered with a tropical scene from ‘The Casino Girl.’ The blazing parrots for the same scene were piled before her. She was covered with a great denim apron; a dozen huge bowls of paints stood in an old sink, called by her courtesy the ‘pailette,’ and as many brushed lay in as many mixtures on the zinc. On a narrow bridge below, five new scene painters were working on a garden drop.

‘People catch sight of my skirts,’ said Miss Wishaar, both here and at the Herald Square, where I sometimes work and they stop rehearsal and bet on what I am and call up to me to find out. I guess I am a curiosity.

“it was like this,’ she said simply, ‘I left school out in Seattle and went into society. But my sister cared for music and I cared for art, and we tired of other things and decided to study.

‘She began training her voice for grand opera. I fitted up a studio – a beautiful room it was, 80 feet long, in Seattle business block – I kept at portrait work. My mother writes – she lately copyrighted a play on the Philippine war – so she understood how we felt.

‘Then one day two years ago the Seattle Theater needed a drop. My father, E. B. Wishaar, is dramatic editor of the Post-Intelligencer, and he heard about it and mentioned it to me. I thought I could do the drop. Mr. Russell the manager laughed at me, but he let me try it.

‘I painted the scene and they said it was just what they wanted.

‘After that I had all I could do for the Seattle and Corday theaters and for two years I worked as a professional. I did the work for Katie Putnam, with Sousman and Landes of Chicago, scenic artist. Then I decided I would come East.

‘I came here a year ago last fall and studied a year and went to Chase Art School. Then I went home for the summer, and then I can back to New York in January, perfectly sure that I could do this with success.’

The story of the attempts of this shy-eyed girl to ‘make something of herself’ begins about like anybody’s, in its discouragement – only hers did not last. She went from one New York scenic painter to another, asking only to do one piece, and they were everyone amused.

‘A girl up in the flies’ they said, ‘absurd! Why she’d have to wear bloomers!’

Mis Wishaar insisted that she would not have to, and when they told her that a scenic painter was made, not born, and that he grew up out if the stage paint pots, rubbing his nose against the scenery, she simply went off and found another manage.

He was Frank Dodge, and he told her indulgently a woman could doubtless do very nice work on the tiny paper models that have to be painted first. But he let her try one drop for ‘The Prima Donna.’

That nearly settled it. She was taken for a week on trial, and hat did it. Now she is on the staff of scenic artists.

Every morning at 9 o’clock she appears with the men, either at the Manhattan or the Herald Square, and she works all day on the bridge or on her solitary high platform. What she paints looks like robin’s-egg blue leaves and magenta trunk, until the colors dry and reveal greens and browns. She works with water colors, in what is known as distemper.

Miss Wishaar has a good many curious visitors. People come panting up the steep steps that lead to her workshop mainly to ask her how she came to do it, and they stay to watch her work. Volumes of invitations from people about the theaters come to her to go to supper and to see the pieces whose scenes she is doing. But she is the despair of all such, because she accepts absolutely no invitations.

‘I am here to work,’ she said spreading out her paint-covered denim apron. ‘I confess I don’t like the theaters and the cafes very well, and if I wanted society, I should have stayed in Seattle for that. I love my work. I love it! There is no place in the world, you know, where it is taught. I have been lucky enough to be born able to do a little, and I won’t share my time with anything else.

It’s a wise decision, no doubt, only she is so very pretty! Even in her denim apron, with 40 kinds of paint on it, she is pretty.

‘They told me at half of the theaters in town that a woman couldn’t do it,’ she said. ‘Anyway, I have proved one woman can.’

Wishaar was 25 years old when the reporter interviewed her that year. She had already married, but given birth to a son. She continued to work under her maiden name. As mentioned in the article, she ca­­me from a fairly progressive home; one that encouraged their children to follow their dreams. I have written many posts about Wishaar in the past, but this is her complete story.

Grace Norton Wishaar was born on October 26, 1876, in Beverly, New Jersey. She was the eldest of six children born to Emile Bernard Wishaar (1859-1918) and Marie Ida Smith (1849-1920). Her father was from France, and her mother from New York.  The two married in 1874. In 1885, the New York State Census listed the Wishaar household as including: Emile B. Ida, Grace, Harry, Daisy, John and a servant, named Annie Lannan.

The full names of Wishaar’s younger siblings were Henry Gwinner Wishaar (b. 1878, New Jersey), Jenny “Daisy” McGraw Wishaar (b. 1880, New York), John Herman Wishaar (b. 1882, New Jersey), William Pitts Wishaar (b. 1886, at sea) and Louis Beauchamp Wishaar (b. 1888, California).

The Wishaar’s sailed from New York to California in 1886, where William Wishaar was born at sea. They remained in California until May 1888, when Lou Wishaar was born. The Wishaars then head north and were counted in the Washington State Census for 1892. The Wishaar family moved around a lot and eventually settled in Seattle, Washington where her mother became a playwright and her father was dramatic editor for a newspaper.   Both Grace and her sister were encouraged to develop their talents. As mentioned in her 1901 interview, Grace studied art, while Daisy studied music.  

Wishaar’s career as an artist began at the San José Art School in California.  Interestingly, her first drawing instructor was the well-known scenic artist– Lee Lash (1864-1935).  The Lee Lash Studio was founded in 1891 and continued operations until approximately the mid-1940s. A variety of artists filtered through his New York studio over the years.

When her family moved north California for Washington, Wishaar continued with her artistic studies.  In 1894 she completed her first scene painting project at Cordray’s Theatre in Seattle, Washington. On Nov. 30, 1894, the “Washington Standard” reported, “Seattle has a young lady scenic painter, in Miss Grace Wishaar.  A new drop curtain, at Cordray’s which is universally admired, is from her brush” (page 2).  At the time, Wishaar had just turned eighteen years old.

In 1895, Wishaar activities continued to make the local news. Both her artistic accomplishments and travels were closely monitored, possibly with the assistance of a proud parent. On March 10, 1895, the “Seattle Post-Intelligencer” reported, Miss Grace Norton Wishaar returned yesterday from a six-week visit to her uncle Dr. James McNulty, in Santa Barbara, California” (page 9). Back in Seattle, Wishaar remained active in society. She and her sister Daisy were members of Seattle’s Progressive Literary Society. The two performed as part of the Nov. 8 in 1895. On Nov. 10, 1895, the “Seattle Post-Intelligencer” published the programme that was held in the school rooms of the business college (page 9). Grace not only read a paper, but also performed. She and Daisy played mandolin and guitar as the final act. Grace also performed with her sister for the Seattle Union Veteran Club’s seventh annual camp fire at the G. A. R. Hall. For the evening program, Grace and Daisy Wishaar performed “The Wilderness” (“Seattle Post-Intelligencer,” 8 Dec, 1895, page 10).

In Seattle, Wishaar’s parents both belonged to the Masonic Fraternity. Her mother was a member of Lorraine Chapter. No. 6, Order of the Eastern Star. On March 25, 1895, the “Seattle Post-Intelligencer” reported that Marie “Ida” Wishaar presented papers after degree work, both written by herself and others written by Maj. W. J. Rinehart (page 6). The next month, Wishaar read another paper after a special convocation (Seattle Post-Intelligencer, 22 April, 1895, page 5).

Her father, E. B. Wishaar, became the publisher of “Pacific Mason” in 1895. On August 1, 1895, the “Seattle  Post-Intelligencer” announced, “New Masonic Monthly” (page 5). The article continued, “No. 1, volume 1, of the Pacific Mason is out. This monthly magazine, published by E. B. Wishaar, is devoted entirely to the interests of the Masonic fraternity. Mr. Wishaar, the publisher, is an old newspaper man, as well as a Mason, and if anyone could make a success of the venture he should. The frontispiece of the new magazine is a very good likeness of Prof. J. M. Taylor, P. G. M., and enthusiastic Free Mason. Pictures are also given of T. M. Reed, grand secretary, and Mary A. Amos, P.G.M. of the Order of the Eastern Star. The department of this order is conducted by Mrs. Wishaar and is creditably gotten up. Altogether, with the large field to be covered, including, Alaska, Washington, Oregon, British Columbia, Idaho and Nevada, and the ability and experience of its published, the magazine should be a success.” I have to wonder if his daughter was the one creating the Masonic portraits for publication. On October 7, 1895, the “Seattle Post-Intelligencer” reported, “The portraits and biographical sketches of prominent Masons appearing in the Pacific Mason from month to month will constitute that periodical a valuable repository of Masonic history (page 3).

Grace continued to make a name for herself in local newspapers as an artist. On Jan. 5, 1896, the “Seattle Post-Intelligencer” reported, “There will be placed on exhibition today in the window of the Globe art store a painting with a rather remarkable history. It is from the brush of a young artist whose work has already attracted considerable attention, Miss Grace Wishaar. Without the advantage of technical instruction in her chosen art, she has done some pieces that have drawn cordial praise from competent critics. The painting, which will be seen by the public for the first time today is an ideal head. The first suggestion of it came into the artist’s mind from the face of a little foreign boy, whom she met by chance at a fruit stand in the city several months ago. With one sitting of half an hour she made a rough sketch, but grew dissatisfied with her work and turned the unfinished face to the wall. On New Year’s morning, rambling through her studio, she turned suddenly with fresh inspiration to her abandoned task, and worked almost incessantly until she had put on canvas the idealized face of a Hungarian patriot. Of the extent to which she has succeeded in communicating her own conception to the cold canvas, of breathing fire into the eyes and giving the lines around the mouth their silent testimony of firmness and loyalty, the public must be left to judge for itself” (page 11). By the summer, Wishaar was known as “Seattle’s talented young artist.” The newspaper continued to post announcements about her portraiture projects. By Dec. 20, 1896, the  “Post-Intelligencer” reported, “Miss Grace Wishaar, the talented young artist, whose portrait paintings have been greatly admired by art connoisseurs of Seattle and Portland, has just finished a portrait in oil of Prof. Gettus, which shows wonderful color and artistic merit” (page 9).

Wishaar’s reputation continued to grow and caught the attention of Chicago’s “Inland Printer” magazine. On July 11, 1897, the “Seattle’s Post-Intelligencer” reported, “Miss Grace N. Wishaar, a young artist of this city, whose talent is well appreciated by those who have seen products of her dainty hand, has attracted sufficient attention in the East to have the Inland Printer, a magazine of high art standing published in Chicago, devote considerable space to a reproduction of some of her pen pictures, giving at the same time a highly complimentary mention of the young artist. After speaking of Western art in general, the Inland Printer said:

‘Among others, Miss Grace N. Wishaar of Seattle, Wash., is a young pen-and-ink sketch artist whose work deserves a word of appreciation. Portraiture is her forte. In this she exhibits a winsome touch, a kind of feminine delicacy that does not impair the truthfulness of outline and shading. A ‘study head’ by her is a very attractive bit of drawing. Her other portraits show painstaking and skillful work with the pen. Miss Wishaar does not confine herself to line drawing. She has recently finished portraits in oil that, when placed on exhibition in Portland, received general commendation. Although not possessed of a technical education in her chosen art, Miss Wishaar has availed herself every opportunity to perfect herself in it, and her present success gives assurance of a promising career” (page 5). Wishaar continued to land work as an illustrator.

On September 13, 1897, Wishaar married her first husband, Whitney Irving Eisler (1873-1936) in Seattle. Although the marriage did not last, Eisler was quite an interesting fellow in his own right. Eisler’s obituary was published in the “Times Union” of Brooklyn, New York, and provides a little information after he separated from Wishaar: “A native of New York, Capt. Eisler had been in China since 1905, most of the time in Shanghai, He was an ensign in the Navy during the Spanish-American War, and served as captain in Naval Intelligence at Shanghai in the World War. At various times he was United States Shipping Board Representative and vice president of the American Chamber of Commerce.” At the time of Eisler’s passing, he was a senior partner of Eisler, Reeves & Murphy, marine surveyors. Eisler joined the Fraternity after leaving Wishaar and Seattle. In 1903, he was initiated, passed and raised a Mason in Shakespeare No. 750 Lodge, New York, New York. He was also affiliated with lodges in China and Shanghai. He eventually remarried, wedding Beatrice F. Leonard on Oct. 2, 1907, Manhattan, NY.

After marrying her first husband, Wishaar continued to work as an artist. On Dec. 19, 1897, the “Seattle Post-Intelligencer” reported that the title page for a new set of meta waltzes, composed by Harry Sherman Sharp and published by Winter & Harp, was designed by Grace N. Wishaar (page 8). The advertisement noted that Wishaar’s design was “a very artistic piece of work.”

Less that a year later, Wishaar became a mother. On October 30, 1898, she celebrated the birth of a son, Carrol Earl Beauchamp Peeke Eisler. The babay’s father, however, was not her husband Whitney Eisler. Carroll’s father was Oscar Graham Peeke. Later in life, Carroll dropped the adopted name of Eisler, and solely went by Carrol Earl Beauchamp Peeke for passport applications, social security applications and other official documents.

Wishaar remained married to Eisler for a few years, a period in which he primarily remained at sea.  In1899 the Seattle City Directory listed Grace N. Eisler, boarding at the southeast corner of 12^th Avenue and East Mercer. This was her father’s home at the time. Despite the directory listing, Wishaar returned to using her maiden name in professional settings. She soon left Seattle and studied at the Chase Art School during the fall of 1899. Keep in mind that her son is less than a year old at this point. This move took guts. Wishaar ventured east to continue her artistic training at the William M. Chase School of Art and attempt a scenic art career in New York. One of the first individuals that she sought out was her first instructor – Lee Lash. However, Lash he was not supportive of his former pupil entering as a competitor in the field of scenic art.  A 1903 interview with Wishaar reported that he “coolly turned her down” and said that “scene painting was no work for a woman; that her sex would make her unwelcome among the workmen, and that women were too ‘finicky’ for work that demands broad effects” (“San Francisco Call,” October 13, 1904, page 6). Fortunately, Wishaar persisted and eventually secured a position with Dodge.

In 1900, she, Eisler, and son Carroll, were included as part of the Wishaar home in Grace House, located on the northwest corner of Summit and East Union in Seattle. The Wishaar household included: Emile Wishaar, Marie I Wishaar, Henry G. Wishaar, William P. Wishaar, Lou B. Wishaar, Daisy Wishaar, John H. Wishaar, Grace Wishaar Eisler, Whitney Eisler, Carrol E. Eisler. In the census, Grace Eisler’s occupation was listed as a portrait artist and Whitney Eisler’s occupation was listed as 2^nd Officer USS Patterson. In all likelihood, after the birth of Carroll, Eisler returned to the sea and Wishaar moved East. Carroll likely stayed in Seattle where he was raised by Marie “Ida” Wishaar and extended family members.

By January 1901, the newspaper article about Wishaar made papers across the country as the only woman scenic artist. Obviously, Wishaar continued to return to Seattle. On March 2, 1902, she married Carroll’s father, Oscar Graham Lester Peeke, in Seattle. The two were married at the Seattle Theatre, the ceremony witnessed by Daisy Wishaar and Ralph Stewart. Although Peeke was frequently listed as “English,” he was actually born in Dublin, Ireland, emigrating to the United States in 1892.  After marrying Peeke, Wishaar did not remain in Seattle and soon returned to New York where she continued to paint for Dodge.

Wishaar’s second marriage lasted a bit longer than the first, but not by much. Despite society’s traditional expectations concerning wives and mothers, Wishaar continued to excel as a scenic artist. I wonder if her first two marriages failed because she was expected leave her career after marrying.  That certainly fell into line with societal expectations that remained in play for many throughout the twentieth century.

A 1905 newspaper article entitled “A Lady Scene Painter,” provided a little more information about Wishaar’s scenic art career.  In an interview, Wishaar explained that not all of her work was confined to New York City.  Wishaar detailed that she traveled “at Mr. Dodge’s request, to all parts of the country.” She also further explained the scenic artistic process at Dodge’s studio:  “When we receive an order for an important production, a consultation is held with the author of the play, and if the scenes are laid in another State, either I or Mr. Dodge take a journey to the particular locality and make sketches.  If the scene is laid abroad, we have to read up on it, and when the play is English we get many a useful hints from the beautiful production, ‘Country Life.’” She was not just a worker bee under Dodge, but also a designer who gathered source material.

This is exactly what the process implemented at many other scenic artists across the country. Although the rise of the studio system confined some scenic artists to a single location, there were still many completed on site after a series of sketches were completed on location. What I find fascinating is that as a female, she wasn’t being hidden inside a scenic studio with her work attributed to male colleagues. Wishaar actively represented the studio of Frank D. Dodge in 1905.

An article in “Success Magazine” from 1906 featured Wishaar in the segment “Life Sketches of Ambitious Young Men and Women” (page 32).  The article started with “What Miss Grace N. Wishaar Has Accomplished in a Field in Which She Seemed Totally Unfitted.”  It reported, “pluck, enthusiasm, and conscientious work have enabled Miss Grace N. Wishaar to become the only woman scenic artist in the United States.” 

Her history with Dodge was expanding a bit, differing from previous recounts of the story. In this telling of the tale, Wishaar initially wrote to Frank D. Dodge in New York.  After receiving no response, she appeared at his studio to make a personal plea.

The article continued:

“Mr. Dodge looked at her smilingly.  He liked the enthusiasm she displayed, although he felt he had no use for women in his studio.  The idea of women painting huge pieces of scenery on a bridge away up under the roof of the theatre struck him as being somewhat amusing.

‘I don’t see what I can do for you,’ he said. ‘Women are not adapted to this work.  Besides, my men would certainly go on strike if I should put you among them on a bridge.’

‘I don’t believe they would at all,’ replied Miss Wishaar, ‘and so far as lack of adaptability for the work is concerned, I intend to show that I am adapted for it; I’ll disguise myself as a boy, – if I find that nobody will give me a chance as a woman.’

‘Well,’ he finally said, ‘come back to-morrow, and I’ll take the matter up again.’ The next morning, Miss Wishaar appeared with a satchel in hand holding her artist’s painting dress.  She was ready to go to work.  “This business-like method strengthened the good impression she had made on Mr. Dodge, and without further delay he put her to work in the model room, and a few days later gave her an opportunity to do real scenic painting on the bridge.”  His artists protested, but were told they must give the young woman fair play.  Within a week she had won their good will, chiefly because she asked no favors and had shown that as a craftsman she could “hold up her end” with any of them.”

Within a year and a half after arriving in New York [January 1901], Wishaar described that she became the director of scene painting at “an important theatre,” one that remained unnamed in the article.  However, we know that when she was working for Dodge, the scenic art staff painted at the Fifth Avenue Theatre, Herald Square Theatre and the Manhattan Theatre.  Wishaar must have been quite talented, in order to rise that quickly in the ranks. It took many scenic artists years to make the jump from staff painter to director. 

A 1903 newspaper article written by Marilla Weaver provides a small glimpse into the extreme hardships encountered by Wishaar while searching for work in New York.  Weaver reported, “There was success for her, but not till after a struggle so hard and bitter that it ought to make American men bow their heads and a dull red flush of shame dye their cheeks when they remember the mothers that gave them life.  It was the old struggle against sex prejudice.  Here was this slender, gifted, graceful girl, a skillful scenic artist, a stranger, away from her parents, seeking honorable employment at work she could do as well as the best.  Men who should have welcomed her turned from her with ominous muttering and black scowls. Sex jealousy!” 

So let’s look at the men who were painting in New York at this time…

Scenic artists active in New York at the turn of the century included Frank Dodge, Ernest Albert, Charles Basing, Wilfred Buckland, Joseph Clare, Homer F. Emens, Frank E. Gates, George Gros, J.M. and T.M. Hewlett, Lee Lash, H. Robert Law, St. John Lewis, W.H. Lippincott, John Mazzonovich, P. J. MacDonold, E. A. Morange, Thomas G. Moses, Joseph Physioc, Hugh Logan Reid, Edward G. Unitt, Charles G. Witham, Joseph Wickes, and John H. Young. A significant number of this crowd resented Wishaar and did not offer to help.  Fortunately, Wishaar’s drive and talent caused her to excel in a world primarily dominated by men. Wishaar became so successful that she soon went into business for herself after returning to the West Coast.

An article in 1904 reported “Miss Wishaar’s talent sweeps over a wide range.  Not only is she adept with a broad brush and tricky ‘distemper’ of the scene painter, but she is even more skillful with the tiny ‘camel’s hair’ and oil of the miniature artist.”  In the article, Wishaar was quoted saying, “I love my work.  It is progressive, there is room for originality, and results are quick.  I do wish you would say something about the medium I use.  People generally think that scenery is painted with a whitewash brush and that some kind of wash is used.  But the distemper with which I work is an opaque watercolor.  It is delightfully effective, but plays some tricks sometimes on those unfamiliar with its vagaries.  The first trick it played on me was with a garden drop.  I fairly reveled in the delicious greens that paled and deepened under my brush, but when it dried! I wish you could have seen it.” Wishaar was noted as laughing heartily when she remembered the “dull picture” into which her work had faded. In an earlier article Wishaar commented, “Distemper is a really beautiful medium.  You can produce such fine effects with it! But it’s very tricky unless you know just how to handle it.” This article appeared throughout the country, including the “Topeka State Journal” (May 25, 1903, page 8), the “Racine Journal-Time” (Wisconsin, 27 July 1903, page 7), the “Wilkes-Barre Record” (Pennsylvania, 7 May 1903, page 2), the “Wichita Daily Eagle” (Kansas, 3 May 1903, page 22), the Richmond Item (Indiana, 2 May 1903, page 10), the “Marion Star” (Ohio, 2 May 1903, page 10), the “Decatur Herald” (Illinois, 14 June 1903, page 19), the “Lincoln Star” (Nebraska, 5 May 1903, page 9), and many others publications that are not digitally available to date.  When news was published about Wishaar it appeared all across the country.

Wishaar described that her return to Seattle in 1904 was prompted by a large order for painted scenery contracted by Mr. Dodge.  As this was Wishaar’s home city, the idea of returning as “a successful worker in her chosen field” appealed to her.  Arrangements were made for Wishaar to travel west. She never returned, but continued painting scenery along the Pacific Coast. She worked as a scenic artist at theaters in Portland, Seattle, Tacoma, San Francisco and Oakland. That year, Wishaar was listed as the scenic artist at Harry W. Bishop’s Ye Liberty Playhouse in Oakland when it opened to the public. For context, this was ten years after her scenic art career began and forty years before she would win the Ladies World Championship for chess. By 1904, Wishaar’s scenic art career was soaring. Ye Liberty Playhouse was located at 1424 Broadway in a portion of the Realty Syndicate Building. “Henry’s Official Western Theatre Guide” (1907-1908) listed the seating capacity for the venue as 1,980.  It was a sizable house for Oakland and the space was illuminated with both gas and electric lights.  The proscenium opening measured 36’ wide by 36’ high. The depth of the stage was 80’ with a 75’ revolve conceived by Harry W. Bishop. The height to the gridiron was 65’-0.” Ye Liberty was also considered to possess an extremely fine stock company and present remarkable productions.

For a little historical context, Harry W. Bishop (1872-1928) opened Ye Liberty Playhouse in 1904. It purportedly included the first revolving stage in the western United States. I want to take a moment to comment on the man who offered Wishaar a scenic art position as Ye Liberty Playhouse in 1904. Bishop was the adopted son of Walter M “Bishop” (1849-1901), otherwise known as Walter Morosco, the proprietor of Morosco’s Royal Russian Circus. Harry W. Bishop’s obituary reported that he “began his career as a showman in San Francisco and ended it brokenhearted and poor as a sometime real estate operator.” But the story wasn’t that simple.  Oliver Morosco adopted Walter and Leslie Mitchell, orphaned sons of Sir John Mitchell and Dora Esmea Montrose of Utah. Some sources reported that Walter ran away from home at the age of 17 to join the circus as an acrobat. After Walter left his circus career, he took over the Howard Street Theatre in San Francisco and started his new venture as a producer and manager.  He later took over the Burbank Theatre in Oakland, as well as the Union Hall and the Grand Opera House in San Francisco.  It was at the opera house that Harry W. Bishop began his career and Oliver Morosco was the treasurer.

By 1905, Bishop managed Ye Liberty Theatre, San Francisco’s Majestic Theatre, Central Theatre, the American Theatre and Bell Theatre.    His obituary reported that “he won a reputation as a star-maker and while his productions, both dramatic and stock, concert and musical were famous, he was not in the commercial way.  Throughout his career he remained a dreamer and his sole use for money was to return it to the theatre in the way of more lavish productions and finer casts until the profit was reduced to a minimum.” Bishop was ahead of his time, not only offering Wishaar the opportunity to paint at his theaters, but also offering other women positions as ushers and ticket takers. There was another aspect to Bishop that I find fascinating as it would have greatly affected the venue where Wishaar worked.  Bishop was also an inventor, filing for various patents that related to theatre design and stage construction.

Wishaar was with Bishop from the very beginning of Ye Liberty Theatre. Some of Wishaar’s 1904 productions there included “Frou Frou,” “Hamlet,” “A Gentleman of France,” “Merchant of Venice,” “Pudd’nhead Wilson” and “Held the Enemy.” Newspaper articles mentioned the combined efforts of the scenic artist Miss Grace Wishaar and Ye Liberty’s stage carpenter, Walter Woerner. Woerner was also in charge of the mechanical department and later worked at the Fulton Theatre. On May 16, 1904, the “Oakland Tribune” announced, “James Neill in New Play.” “A Gentleman From France,” was featured at Ye Liberty Playhouse. The article reported, “Miss Grace Wishaar has painted an entire new set of scenery and the costumers have made new clothes and dresses for everybody.”

In 1905, Wishaar painted scenery at Ye Liberty for “Juanita of San Juan” and “The Light Eternal.”  That year, Wishaar also made headlines in the article “Clever Woman Invades Scene Painting Field” (“Albuquerque Citizen,” 21 July 1905, page 3). The article was published in newspapers across the country and reported “A woman sitting on a bridge at a dizzying height in the rear of the stage in an Oakland theatre, painting in with bold strokes skies and trees and castles, proves the ability of her sex to keep pace with the masculine gender in the following of any profession. While Miss Wishaar has gained fame and a good living from her scene painting, she is devoting herself to a branch of art that no doubt in time will bring her fame of the highest type.  Her miniature painting shows the most exquisite appreciation of the value of colors.  A rare skill in catching her subjects likeness, combined with a most subtle blending of tones make her miniature work worthy of the praise of the most critical of critics.”

In addition to her scenic art, Wishaar continued as a portraitist. Some of her more notable fine art projects were miniatures of Jack London’s young daughters. London (1876-1916) was an American novelist, journalist, and social activist. He was considered to be a pioneer in the world of commercial magazine fiction, becoming quite a celebrity in his day.  Wishaar’s relationship with London and other California socialites provided a variety of opportunities. I keep thinking back to her statement from the 1901 interview – “I am convinced that I am a curiosity.” She somehow managed to capitalize on that; people were immediately drawn to her. As in New York, she remained a curiosity to many who met her, captivating people with both her talent and intelligence. Wishaar exhibited and won awards many art exhibitions during this time, even chairing a variety of artistic clubs.

In 1906, Wishaar was again featured in the “Oakland Tribune” with a lovely illustration of her straddling a beam and painting scenery in bloomers – ironically, attire that was not her painting outfit. Another article in “Success Magazine” that year featured Wishaar in the section entitled “Life Sketches of Ambitious Young Men and Women” (page 32).  The article started with “What Miss Grace N. Wishaar Has Accomplished in a Field in Which She Seemed Totally Unfitted.”  It was followed with the statement, “pluck, enthusiasm, and conscientious work have enabled Miss Grace N. Wishaar to become the only woman scenic artist in the United States.” Again, not the only woman scenic artist at the time, just the most promoted.

On August 14, 1906, Wishaar married her third husband, John Bruce Adams. Sadly, this marriage was also very short lived. On July 17, 1907, the “Oakland Tribune” reported, “Mrs. Grace Wishaar Adams is in Matrimonial Trouble.” The article continued, “According to a dispatch received from Los Angeles, Bruce Adams, the handsome husband of Grace Wishaar Adams the well-known scenic painter, is contemplating securing a divorce from his wife. He is now said to be in Los Angeles. Mrs. Adams, who paints all the scenery at Ye Liberty Theater and Idora Park, and who is well known in literary and art circles, said today that she had no idea where her husband is, that he positively has no grounds on which to obtain divorce, but that she has plenty of charges against him, but, nevertheless, would not seek a separation, and should fights against him to a finish if he should attempt to do so. Mrs. Adams charges that her husband has deserted her, and that he has contracted a lot of debts in her name, and that he has concealed his present place of residence to her. Mrs. Wishaar, mother of Mrs. Adams said this morning: ‘If Mr. Adams intends suing for a divorce, it is my opinion that my daughter will fight him to the bitter end. I know nothing of my daughter’s intensions at this time, not having discussed the matter with her. One thing I do know is that my daughter’s matrimonial venture has proved an utter failure. As for Adams, he is hardly able to take care of himself, much less a wife.” 

I have a good friend who repeatedly says, “No one loves you like your mom.” Such was the case with Wishaar. Ida continually supported and defended her daughter over the decades; she was always there to help.

When Wishaar’s third marriage ended, she was still painting all of the scenery at Ye Liberty Playhouse, Idora Park, San Francisco’s Majestic Theatre, and few other performance venues in San José. A few shows painted by Wishaar in 1907 include the elaborate scenery for “Cleopatra” at Ye Liberty and “The Toy Maker” at the Idora Park Opera House. Both received rave reviews. For “Cleopatra,” an article described her stage settings in detail: “The play opened with the meeting of the beautiful queen of Egypt and the Roman conqueror at Tarsus.  This scene was gorgeously set.  Cleopatra entered in her brilliantly decorated barge seated beneath a canopy of gold. But this first scene was no more splendid than the other five that followed” (“San Francisco Call,” 31 December 1907, page 4). Wishaar’s career continued to soar in California, with the public recognizing her artistic achievements in both theaters and fine art galleries. 

Wishaar continued to make headlines throughout 1907-1909. On March 29, 1907, “The Elgin Chief” of Elgin, Oklahoma, reported, “Only Woman Scene Painter. Miss Grace N. Wishaar, of San Jose, Cal., is the only woman theatrical scene painter in the United States, She was educated in Paris and painted the scenery for three New York theaters – the Fifth Avenue, Manhattan and Herald Square” (page 7). In 1908, Wishaar delivered scenery for Isabella Fletcher’s performance of “Nell Gwynne.” On March 24, 1908, the “Oakland Tribune” reported, “Grace N. Wishaar gives the play an atmosphere which puts the drama in a high class”

And then tragedy struck the Wishaar home. On July 3, 1909, “The San Francisco Call” reported that Miss Grace Wishaar “narrowly escaped death” when home at Folkers and Lake Shore Avenue burned to the ground (page 12). At the time. Piedmont Heights had no fire protection, so the Oakland fire department was called to battle the blaze. Tragically, the Oakland fire department was already responding to a small fire at the Empire foundry on Third and Broadway. Wishaar lived in the same neighborhood as Harry W. Bishop. Wishaar’s fire was attributed to a defective grate, but she lost everything: her home valued at $5,000, all of her furniture and prized collection of paintings.  Inhabitants of the Wishaar home at the time were listed as Grace’s mother Mrs. M. I. Wishaar, her brother Louis Wishaar, and her son Carroll Peeke.

Despite the tragedy, Wishaar persisted with work for a variety of venues. On October 16, 1909, the “Oakland Tribune” reported that Grace Wishaar is painting the scenery for Cupid and the Cow Punch.: The article commented that Wishaar was “truly a most wonderful artist, and the book has been splendidly dramatized” (page 9).  In addition to painting scenery, Wishaar also designed the parade float, “Where Rail and Water Meet,” to represent Oakland in the grand Portola pageant in San Francisco that fall.  The float was 27 feet long by 14 feet wide and 9 feet tall, drawn by six dapple-gray horses in white harnesses. 

Regardless of abundant work, debt from both fire and her third husband’s spending spree, began to take a toll on Wishaar. On Nov. 6, 1909, the “San Francisco Call” reported that Wishaar collapsed from overwork and was compelled to take a “rest cure” (page 9). Her doctor advised a “rest trip” for treatment. For the upper classes, rest trips were prescribed as a cure. They were intended to offer respite from all of life’s demands and worries.

I am sure that there are many of us who would appreciate this type of medical treatment right now.

Enter California socialite, Marian Smith Oliver, the former ward of F. M. Smith, a multimillionaire known as the Borax King.

Under the advice of a physician, Oliver had already left for Australia during August 1909. She was not gone for long after learning of Wishaar’s series of unfortunate events. Oliver returned to California and planned an extended trip around the world with Wishaar. In 1910, Wishaar and Oliver journeyed to the South Sea Islands, New Zealand, Australia, the Orient, Mediterranean countries, and elsewhere. They ended up in Paris.

Marian was the wife of Roland Oliver, manager of the Leona chemical company. Leona Chemical Co. was one of F. M. Smith’s properties. One-time miner, Mr. Oliver stumbled upon the wealth of chemicals in Death Valley where he staked out the wonderful borax deposits. This paved the way for an immense fortune and the hand of Marian. In Oakland., Mr. Oliver developed a scheme known as the Realty Syndicate, a plan that issued certificates carrying guaranteed interest against the enormous realty holdings the syndicate acquired with high finance. Most importantly, the Realty Syndicate building housed Ye Liberty Playhouse. Wishaar painted at the Ye Liberty Playhouse and eventually became friends with Mrs. Marian Oliver.

Marian was a prize catch; one of several wards raised and educated by Mrs. F. M. Smith. She received $250,000 worth of jewels and a few articles of her costly and famous wardrobe. When Marian married Roland Oliver, F. M. Smith also gave her an independent fortune in securities and realty holdings. In the end, the Smiths ensured Marian’s financial independence from her husband. It was this financial independence that funded her world trip with Wishaar in 1909.

Two women on a rest trip seemed like a perfect escape until the rumors started flying about. On October 16, 1910, “The San Francisco Call” reported “Wife’s Long Stay Abroad Gives Rise to Gossip” (page 31). While away, Mrs. Oliver decided to remain abroad to study music and performance. Oliver continued to study music in Paris, with Wishaar setting up an art studio, well into 1911. Newspaper articles conveyed bits of information concerning  Mrs. Oliver’s improved health and her life upon the stage. On April 6, 1911, the “Oakland Tribune” even reported that Mrs. Oliver was enjoying her “career before the footlights” (page 1). The article explained, “Her fascination for the stage led her to spend time among theatrical folk, and it was partly in this way that her friendship with Miss Grace Wishaar, the long time the scenic artist at Ye Liberty theatre formed.” By August 1911, Mrs. Oliver returned to the United States. Wishaar remained in abroad.

On April 5, 1914, the “Oakland Tribune” mentioned Wishaar’s extended absence under the heading, “Oakland Artist Gains Triumph” (page 29). The article reported that Wishaar was exhibiting three portraits at the Salon des Beaux Arts in the Grand Palais, beginning on April 12, a goal for which most artists strive.  Two of her portraits featured Giralamo Savonarola and Countess Walewska. The article reported, “Miss Wishaar may be considered in every sense to have definitely arrived.” This marked the end of her scenic art career.  

Wishaar was lucky in many things, but certainly not in marriage. I have to wonder if her husbands never quite matched her intellect. She married her fourth husband in Ceylon. Archibald C. Freeman was a dual British-American citizen. It was her marriage to Freeman that granted Wishaar British citizenship. After Freeman, Wishaar married her sixth husband, Henry James Bromley. Not much is known of their relationship, other than it was disclosed on her last marriage certificate. Wishaar’s seventh husband was Alexander Alekhine (1892-1946), the world chess champion.

Alekhine was born in Moscow.  He grew up in an aristocratic and very wealthy family, learning to play chess at the age of six.  He first encountered simultaneous blindfold chess games when he was nine years old and became enthralled with a visiting champion who competed in twenty-two games. Alekhine would eventually become one of the greatest blindfold players in history.  He joined the Moscow Chess Club and won the All-Russian Amateur Tournament by 1909. In 1914 he emerged on the worldwide state, being one of the top five.  That same year, Alekhine was retained in Germany with ten other Russian chess players when war erupted. Fortunately, he escaped and returned to Russia.  After the war, he began to travel again and compete all over the world, landing on US soil in 1923.  While in the States he participated in 24 exhibitions, even competing in one blindfold simultaneous game against twenty-one other players.

Ten years later, he met Grace Wishaar in Tokyo. 

Wishaar was also competing in the Tokyo chess tournament, playing against Alexander Alekhine in a simultaneous exhibition.  For her participation, she received one of Alekhine’s books and asked him to autograph her copy.  Although sixteen years older than Alekhine, he was captivated with Wishaar and they married the following year. 

Wishaar had been playing chess for quite some time. The game was a popular paint break activity early in her career. On October 13, 1904, “The San Francisco Call” reported, “To complete the versatility of this remarkable young woman, [Wishaar] is an excellent musician and a clever chess player.  When her eyes grow weary of color and the brush becomes a heavy weight she turns to chess for recreation.”

On March 26, 1934, their wedding ceremony took place at Villefranche-sur-Mer in France. This is about 6 miles southwest of Monaco. They lived in a magnificent chateau (La Chatellenie Saint-Aubin-le-Cauf was near Normandy), with Wishaar keeping an art studio in Paris.

They traveled extensively for chess championships around the world. Both competed at the Hastings International Chess Congress in 1936/37 where Alekhine won the Premier. He won this same tournament in previous years (1922, 1925/6, 1933/4). Wishaar won 3rd prize in the 3rd Class Morning A class competition. By 1938, a civic reception was held in their honor at the Golden Jubilee Chess Congress in Plymouth.

Life wasn’t without challenges or struggles, however, as reports continued to depict Alekhine’s excessive drinking during competitions.  Yet he continued to win, game after game, and excelled in blindfold simultaneous chess challenges.

During World War II, the Nazis took over their chateau and looted its contents. Alekhine was allowed to freely travel under Nazi occupation, but no exit visa was allowed for Wishaar. After the war, Wishaar sold the chateau and spent the last five years of her life in her Paris studio.  She passed away on February 21, 1956 and is buried next to Alexander in the Cimetière du Montparnasse in Paris.

Her only son remained in the United States. Lt. Col. Carroll Peeke fought in WWI, and graduated from University California at Berkley.  He followed in his grandfather’s footsteps and went into the newspaper business. Peeke joined the “San Francisco Call-Bulletin” in 1922 and later worked as city and diplomatic editor for “The Times Herald” in Washington, D.C.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

In 1915, the J. M. Deeds Scenic Studio of Spokane contracted with the Hub Theatre in Okanogan, Washington, to produce two 60-feet-long murals for the venue.  Recently uncovered, these two murals shed a little light on the history of theatre manufacturers in the Pacific Northwest during the early twentieth century.  When Deeds secured the Okanogan contract, his firm had already painted scenery and decorated auditoriums at Chelan’s Ruby Theatre and the Wenatchee Theatre. Prior to establishing his scenic studio in Spokane, Deeds was well known for his scenic art and advertising curtains in California and Oregon.

James Marion Deeds was born in Windsor, California, on October 27, 1877. For geographical context, Windsor is located in Sonoma County, due west of Sacramento and just north of Santa Rosa. He was the son of James B. Deeds and Millie Grey. By the age of three, the Deeds family moved north to Red Bluff, California, approximately 125 miles north of Sacramento.  The 1880 US Federal Census listed that the Deeds household included James Sr. (b. 1858), Millie (b. 1862), James Jr. (3) and Lillie (8 months.). At the time, James Sr. was working as a farmer. By 1887, the Deeds family moved south to Woodland, California, where James B. Deeds continued to work as a farmer. On Sept. 10, 1887, the “Sacramento Daily Record” reported that grain was being “cut and thrashed by James Deeds, of Woodland” for county exhibits at the state fair that year (page 5). Woodland is approximately 20 miles due west of Sacramento.

By the age of seventeen, James M. Deeds was living in the San Francisco area, and going by the name “J. M. Deeds.” In 1894, he was competing as an athlete, representing the Young Men’s Christian Association (YMCA).  On April 29, 1894, the “San Francisco Call” listed that YMCA member, J. M. Deeds, competed in a one-mile race in the Midwinter Fairgrounds as part of the Olympic Club Contests (page 7). At the time, he was competing for a cash prize. On May 2, 1894, the “San Francisco Call” announced that Deeds participated in the one-mile handicap run Games in Recreation Park, also part of the Olympic Club Games (page 9).

Over the next few years, Deeds athletic achievements frequently made the news. On May 29, 1895, J. M. Deeds was listed as a participant in the Caledonia Games, held during the Caledonia Club picnic. Deeds participated in both the 300-yard handicap run and 500-yard handicap run.  Later than summer, Deeds traveled with a group from the Oakland YMCA to Bryant’s ranch. The young men were identified as “lovers of pedestrianism and healthful recreation,” (“San Francisco Call,” 13 July 1895, page 8). During the summer of 1895 Deeds tied for third in the standing wide jump during the Scots Picnic in Sacramento. On July 3, 1895, the “Stockton Record” reported that J. M. Deeds, representing the YMCA of Oakland, participated in the running high jump and standing broad jump in the Field Day Games in Stockton.”

On June 22, 1896, the “San Francisco Call” reported that J. M. Deeds participated in an event at the Shell Mound shooting range as part of the contest for class medals by the Red Men’s Shooting Section (page 5). On July 5, 1896, the “San Francisco Call” noted that J. M. Deeds of the Reliance Athletic Club placed second in the running high jump at the Stockton Carnival of Sport (page 6).

On 7 July 1896 the “San Francisco Chronicle” reported, “Oakland, July 6 – The Reliance Club has lost a star member of its athletic team, and at the same time the Stockton Athletic Club has gathered in a man who will be expected to make new records for it. Oakland’s loss has been Stockton’s gain and the members of the local organization feel much chagrined over the turn affairs have taken. James M. Deed was regarded as a pillar of the Reliance Club. He held the Coast record for high jumping for many years. On the Fourth of July he went to Stockton to spend the day and before nightfall he had signed with the Stockton Athletic Club. His resignation as a member of the Oakland Club was mailed, and to-day it came to President Fitzgerald at the club headquarters. Deeds was a man of great promise, and it was expected that he would gain many honors for the Reliance Club in coming contests. Mush astonishment is expressed by the local athletes at Deed’s sudden break from the ranks of the Reliance Club will be developed and an effort will be made to hold the records which he established in this city” (page 14).

It was in 1897 that Deeds became involved with the theatre industry, working as an advance man for the Unique Entertainment Company. On Dec. 8, 1897, the “Marysville Evening Democrat” of Marysville, CA, reported, “James M. Deeds, advance agent of the Unique Entertainment Company, was in town to-day” (page 4). On Feb. 12, 1898, the “Free Press” of Redding, California, announced, “James M. Deeds and M. Aspden of San Francisco arrived here Thursday morning. They are giving exhibitions of Edison’s projectoscope and are now en route to Trinity county” (page 4). Their production was advertised as “Electrical entertainment” (“Daily Evening News, Modesto, California, 9 Nov. 1897, page 1). M. Aspden was actually, Martha Aspden, a music teacher and vocalist. She provided the musical entertainment during each projectoscope exhibition.

The Unique Entertainment Company was run by M. Aspden and Arthur Troibert.  Many of the advertisements sadly misspelled Troibert’s last name as Trolbert – consistently. On September 28, 1897, the “Santa Cruz Sentinel” of Santa Cruz, California, published an advertisement for Troibert & Aspden’s Unique Entertainment Company, entitled “The Projectoscope, Edison’s latest improved moving picture machine scenes. Natural as life” (page 2).

On Nov. 8, 1897, “The Modesto Bee” published a detailed description of the Unique Entertainment Co. production. The article reported, “Armory Opera House. On Next Friday and Saturday evenings, November 12^th and 13^th, the people of this city will be given another rare treat in the line of entertainment and amusement by Troibert & Aspden’s Unique Entertainment Company who come highly praised by the press of other cities in which they have played. Their program consists of Edison’s Projectoscope, the latest improved moving picture machine which throws a series of foreign and domestic animated scenes on a large screen with a clear, distinct and steadiness that cannot be claimed for previously invented moving picture machines. There also exhibit the stereopticon views of the Klondike which attracted such wide-spread attention at the Chutes in San Francisco recently. These are the original views which were taken by the Canadian government surveyors and the lecture which is very interesting and instructive is officially correct. Those who contemplate a trip to the northern gold fields next spring should not miss the opportunity of seeing these views as they convey a very good idea of the hardships of the journey. Miss Martha Aspden is a soprano of remarkable wide range and softness of voice, who sings favorite selection from famous operas and plays her own accompaniment on the violin. She is highly spoken of by the daily press of San Francisco and other cities. Troibert the merry wizard comes with flashing newspaper notices and will give some of the best and latest illusions in sleight-of-hand and modern magic. As many of our citizens have enjoyed and evening with him before, he will no doubt be greeted with crowded houses each night. They give and entire change of program each evening and everyone should go prepared to laugh, roar and scream. The general admission is 25 cents, children 15 cents. Seats can be reserved without extra charge at the Moss Rose” (page 3).

On Dec. 17, 1897, the “Chico Weekly” included an advertisement entitled, “Edison’s Projectoscope” (page 1). The article continued, “Troibert and Aspden’s Unique entertainment company will hold forth at Armory Opera House for three nights beginning Thursday, December 16. Their program consists of some very attractive features. The Edison Projectoscope is the very latest improved moving picture machine, showing animated scenes (life size) with a clear distinctiveness that puts all previously invented machines in the shade. The Spanish Bull Fight (taken in Spain) is one of the views shown. The views of Klondyke are copies of the originals which were taken by the Canadian Government Surveyors, and exhibited at the Chutes, San Francisco” (page 1).

In addition to his entertainment and sports activities, Deeds enlisted in the National Guard on Nov. 21, 1895. He served until 1898 when he enlisted in the Spanish-American War. Both Deeds and his father served in the military at this time.

Deeds enlisted as a private in the California Infantry on June 28, 1898. On July 1, 1898, Deeds was listed as part of Company A, Eighth Regiment, when the left Chico for Camp Barrett that summer. On July 5, 1898, an article in the “Woodland Daily Democrat” listed James Deeds as a member of the Chico company of Eighth Regiment at Camp Barrett, Deeds was listed as a one-time resident of Woodland (page 4). On January 14, 1899, the “San Jose Herald” announced, “J. M. Deeds, first lieutenant of Company A. of the English regiment, spent Saturday and Sunday with Mrs. Montgomery and family on Santa Cruz avenue.” Deeds fought in the Spanish-American War until his discharge on Feb 6, 1899.

It remains unclear as to where Deeds settled or what he did between the spring of 1899 and the spring of 1901, yet he likely spent is significant amount of time in Pomona, where he met Nellie Jennie Dappen (1881-1958). By 1901, the young couple was engaged. On April 2, 1901, the “Pomona Progress” reported, “J. M. Deeds and Miss Jennie Dappen will be married next Monday at Keller’s hotel. Mr. Deeds is now in San Luis Obispo compiling a city directory, and the couple will leave for that place after the wedding” (page 3).  Interestingly, Deeds completed the directory that fall, and on Sept. 23, 1901, the “San Luis Obispo Telegram” reported, “The first San Luis Obispo city and county directory ever published has just been issued by J. M. Deeds.” On April 3, 1901, “The Los Angeles Times” announced their marriage license: “James M. Deeds, aged 23, a native of California, and Nellie J. Dappen, aged 19, a native of Missouri; both residents of Pomona (page 12) – Marriage License. On April 8, 1901, “The Pomona Progress” reported, “The Marriage of James M. Dees and Miss Nellie J. Dappen was celebrated at Keller’s hotel at 2:30 o’clock Sunday afternoon, Rev. W. G. Clatworthy officiating. The groom has spent most of the past two months in Pomona and the bride came here about a year ago from Colorado. They took the afternoon train for Los Angeles, and after a few days there will go to San Luis Obispo, where Mr. Deeds is engaged in the publication of a city and county directory” (page 1).

By the next year, Deeds was working for a new entertainment firm. On, Jan. 18, 1902, “The Californian” of Salinas, California, reported, “Messrs. P. Young and J. M. Deeds representing the Pacific Coast Advertising Company are looking after business interests in Salinas.” A day earlier, “The Californian” reported, “Will Place a New Curtain. The Pacific Coast Advertising Company of Oakland has secured the advertising curtain in the opera house for a period of fourteen months. The new curtain will arrive in a few days and promises to be a work of art” (page 3). This is the first mention that I have located regarding Deeds work with advertising curtains.

Over the next few years, the couple celebrated the birth of three children: Woodson Crittendon Deeds (1903), Cecille Thelma Deeds (1905) and Maxwell A. Deeds (1907). In between supporting his growing family and managing various projects, Deeds was able to enjoy a little leisure time. On July 31, 1901, the “San Luis Obispo Telegram” announced, “J. M. Deeds caught eleven trout while fishing yesterday in San Luis creek.”

By 1903, the Deeds family moved to Sacramento.  In “The Fresno Morning Republican” Deeds was identified as a Sacramento businessman. In Sacramento, Deeds continued in the advertising curtain industry; this time with a new partner, William Henry Funk (1875-1940). The two established the scenic studio named Deeds & Funk, a company that specialized in advertising curtains for theaters. Immediately they became known as “the Ad Men.” On Nov. 7, 1903, the “Woodland Daily Democrat” of Woodland, California, reported, “J.M. Deeds of the firm of Deeds & Funk, the ‘Ad’ men, is in this city today” (page 1).  W. H. Funk was born in Bloomington, Illinois, Funk moved to California in 1901 and married Alice V. Montgomery (1883-1936). Remember that while on leave from the military in 1899, Deeds visited the home of Mrs. Montgomery and family on Santa Cruz avenue.” Same family. In later newspaper reports the relationship was clarified: “Mrs. Funk, who is the sister of Mr. Deeds, is also in Medford, and on Wednesday evening Mrs. Deeds and son arrived from San Francisco.” I have yet to pinpoint the exact relationship and wonder if Alice was affectionately referred to as a “sister,” maybe a close childhood friend.

Although Deeds was a skilled painter, Funk was the much more-experienced artist. They both painted scenery, but Funk took the lead as the artistic head of the firm, hiring local assistants when necessary. Various newspaper accounts paint Deeds as a quite charming; the consummate salesman who could talk you into anything. Deeds landed the majority of work and Funk guided the designs. Deeds & Funk took an interesting approach to the marketing of advertising curtains, making it as an economically-wise choice: “Because the rates are lower in proportion than any other advertising.  It reaches more people than any other ad you can place.” 

However, it was a bit of a bumpy start. In the beginning as they clashed with the local Painters’ and Sign Writers’ Union over the ACME Theatre curtain in Sacramento, California. On Jan. 21, 1904, the “Sacramento Bee” published a letter to the Editor that condemned the actions of Deeds & Funk (page 5). The letter written by A. A. Killen on Jan. 25, 1904, and entitled, “Now Let the Curtain Be Rung Down.”

“To the Editor of The Bee – Sir:

I presume you feel like Mercutio and would say: “A curse o’ both your houses” – but never having replied to the anonymous article. “A Reply to Killen,” and now being further attacked by parties signing themselves “Deeds & Funk,” I crave your indulgence and ask space for a few words.

The sun does shine, notwithstanding the fact that all do not see it. The labor among local sign painters has been used considerably in advance of the curtain episode.  It was only at that time that Mr. Green entered upon the scene and found things without a title – so per se – we need the Union label, and without it I cannot read my title clear, but I have invested coin and I must, lawyer-like, argue there was no label, there is no label. But Mr. Funk’s case is different. He knew the Union label was in use, so did Mr. Deeds – else why were they so anxious to secure it prior to our last election? Why did Mr. Funk object to window dressers painting show cards? And why did he remark that he would stop them when he obtained the Union label? Simply because he recognized its adoption by the local sign painters.

No, the Union label was never used until they wanted to get a curtain painted, but Mr. Deeds knew he could sell more of Mr. Funk’s work is he had the use of the label. As to the fine for not using according to our by-laws, it takes three readings to enact a law; or to make it operative, that takes three weeks, and this was done long before the election in November.

Now the anonymous writer and the same writer in the last article seem desirous to call attention and comparison between Grauman curtain and the Acme. The Grauman curtain was painted in my shop; it is 11×13 feet, and is viewed from a long, narrow room; it was accepted and paid for and proved a good investment for Mr. Green; its total cost, hung, was about $83 – that money was all spent in Sacramento. The Acme curtain comes in contact with very different surroundings and is 20×21 feet; its earning capacity is nearly three times as great as the Grauman. Why should it not cost twice as much to paint it? Did the advertiser receive lower rates because the curtain cost less – or was the firm afraid that if they spent their money in Sacramento the sign painters would get dizzy from their wealth? A few more curtain deals and Deeds, Funk & Green could ride in an auto – even if the local sign painters did not trudge behind on foot.

About prices: the local sign painters without exception pay shop rent, telephone, electrical lights and fuel bills and some advertising and are willing to complete with sign painters similarly situated in San Francisco. Notwithstanding the fact that they handle work in much larger quantities that we do, their jobs average $20 to our $5. As to the covert sneer about delay of the label from headquarters, perhaps at some future time our general officers at Lafayette will answer for themselves.

By the way, considerable information regarding the union label can be obtained from reading the official Painters’ Journal and all painters receive it who are entitled to it. Read it up, brothers, and avoid mistakes with the next ad curtain you don’t paint.

A. A. Killen

Sacramento, January 25th”

They soon focused on work outside of Sacramento. After all, there was plenty work out there and the demand for painted scenery outpaced the supply of scenic artists to complete the work. On March 12, 1904, “The Placer Herald” in Rocklin, California, reported, “New Curtain for Opera House. J.M. Deeds of the firm Deeds & Funk, advertising specialists of Sacramento, has been in town this week, and made arrangements to put in a fireproof curtain at the Opera House. Aside from being protection against fire, the curtain will be of handsome design, and will contain the cards of many of our businessmen” (page 1). On May 3, 1904, “The Morning Union” of Grass Valley, California, reported “W. H. Funk and J. M. Deeds have arrived from Sacramento to repaint the curtain in the Nevada theater” (page 5). The two soon headed north to Oregon but maintained their business offices in Sacramento and Los Angeles. On June 3, 1904, “The Medford Mail” of Medford, Oregon, reported, “J. M. Deeds and W. H. Funk, of San Francisco, are in Medford this week at working and repainting the drop curtain at the Wilson opera house. The have worked fairly well along and it presents a very pretty appearance – much prettier than any curtain which has yet been painted for that house. The design is beautiful and at nighttime, when electric lights are on will show up grandly and give splendid effect to the many advertisements which the gentlemen have placed there for our merchants” (June 3, 1904, page 5). Two weeks later, on June 16, 1904, “The Rosenburg Review” reported that “Deeds & Funk of Los Angeles and Sacramento” owned and operated over 40 advertising curtains in California and Oregon (page 2). On June 29, 1904, “The Eugene Morning Register” reported, “[Deeds & Funke] have on their list 50 curtains they have designed between Eugene and their home city [Sacramento], the last one completed at Rosenburg” (page 8).

Deeds & Funk spent the rest of the summer in Oregon. On June 23, 1904, the “Weekly Rogue Courier” of Grants Pass, Oregon, announced that Deeds & Funk had placed several “very attractive advertising curtains” in many leading theatres of California and Oregon” (page 2).

On June 28, 1904, the “Morning Register” of Eugene, Oregon, reported, “Painting New Drop Curtain. Sacramento Firm Doing Work at the Eugene Theater. Deeds & Funk of Sacramento, the theatrical advertising firm, are in Eugene for the purpose of painting a new drop curtain for the Eugene theater. They have just completed a fine curtain for the Roseburg opera house and do first-class work. The work on the curtain is in progress and will be ready for business ads, in a day or so.” (page 8).

An advertisement placed by “Deeds & Funk, the Ad Men” on July 3, 1904, stated:

“Two Classes of people who do not attend the theater. Those who do not believe in such a place of entertainment, and those who are physically incapacitated, aside from these two classes, upon some one occasion or another during the eighty times or more every year that this local opera house is used, nearly every man, woman, and child in this city, and surrounding community attend. At a cost of not exceeding 25 cents, nor less than 12 ½ cents each night, you can put an ad where they cannot help but read it, namely on a new scenic ad curtain in a space of no less than eight and up to twenty square feet. It is a straight, honest, publicity, recognized and used as such by leading merchants throughout the world. The curtains contain over six hundred square feet, and as two-fifths of it is devoted to scenery and draperies, it is a work of art as well as a splendid advertising medium. 

There are about twenty-five spaces, and each space is separate and by itself.

Ten of the leading business firms of Eugene have already engaged spaces, and their ads are now being artistically arranged and painted in their separated spaces.

Think it over. We’ll call on you if you don’t call on us.

It’s Good and it Catches the eye.

That’s the way it strikes us.

How does it strike you?

(signed) Deeds & Funk, the Ad Men”

On July 8, 1904, the “Morning Register” of Eugene, Oregon, credited Deeds & Funk with an advertising curtain for the Eugene Theater.  The article reported, “Messrs. Deeds & Funk, the Sacramento firm who have been painting a new drop curtain at the Eugene Theater completed their work yesterday and from an artistic point of view the curtain is a thing of beauty. Grouped around a splendid scene are the place signs of the reputative business firms of the city, fully held in the folds of the drapery painted with skill and excellent taste, by Mr. Funk. Deeds & Funk have performed a job that commands them to all the managers on the coast. The gentlemen accompanied by their wives left this morning for home of the McKenzie” (page 8).

Work was so lucrative in Oregon, that Deeds and his wife relocated to Eugene by 1905. His relationship with Funke seemed to have paused at this point, as Funk was not mentioned in relation to Deeds until 1908. On Nov. 14, 1908, Eugene’s “Morning Register” reported, “Mr. and Mrs. W. H Funk of Sacramento, California, arrived last night and will put on the Electric theater their actophone, which is a combination of the voices with the actions in the pictures. They are old friends and business companions of J. M. Deeds of this city” (page 8). Again, this suggests that the two closed Deeds & Funk in 1905, with Deeds moving to Eugene and Funk remaining in Sacramento.

In Eugene, Deeds diversified his business investments, becoming associated with the Eugene Land Co. He had preciously invested in the Maywood Colony in Red Bluff, California. the Eugene Land Co. was located in Bijou theatre building in Eugene. On March 7, 1906, Eugene’s “Morning Register” reported, “A New Land Co. J. M. Deeds, manager of the Eugene Land company, opened in the Bijou Theatre building yesterday morning. The company is handling the Campbells addition to Eugene, a fine tract of land on the western edge of the city and will do general business. Mr. Deeds has been employed to handle the company’s business through the knowledge of his wide experience in the real estate business, gained in California, where he was connected with the famous Maywood colony. The Campbell property is meeting with ready sale, owing to the class of lots the easy payment system on which these lots are sold and for the reason that they are cheap. Mr. Deeds was employed by Register for six months and we recommend him as a reliable man” (page 3). Deeds’ real estate transactions pertaining to the Maywood Colony were repeatedly listed in the “Red Bluff News” during 1904.

In Eugene, Deeds also sold apples and played baseball. On March 8, 1906, the “Eugene Morning Register” announced that J. M. Deeds was selling Siuslaw apples at 5 cents a pound, selling in lots of 20 lbs. or more. That spring Deed played baseball with others from the northside of Eugene that included J. J. McCormick, Will Branstetter, and “Shorty” Russell. (“Morning Register,” 13 April 1906, page 4). Deeds even worked temporarily as an accountant for a local bank, but in the end, he was still known “J. M. Deeds, the artist of Eugene.” He was slowly accumulating funds to open his own studio.

Deeds continued to work as a scenic artist, despite taking a series of odd jobs in Eugene. When completing painting projects in nearby towns, he continued the practice of hiring local labor to reduce overall expenses. On July 24, 1906, the “Corvallis Gazette” in Corvallis, Oregon, reported, “Cecil Cathey, who enjoys a good local reputation as a sign writer, was engaged by J. M. Deeds, to assist in the lettering the main drop curtain in the opera house. The work is of an order justifying pride on Cecil’s part” (page 3). On August 7, 1906, the “Morning Register” reported, “J. M. Deeds, the artist, who has just completed a fine drop curtain at Corvallis is now at work on the drop in Eugene Theatre and is doing fine work” (page 4).

On Aug. 14, 1908, the “Albany Democrat” of Oregon reported, “J. M. Deeds, of Eugene, is in the city renewing contracts for space on his opera house contract, now up for a year. He was recently in California, and thinks the valley is far ahead of the places he visited” (page 3). On August 28, 1908, the “Albany Democrat” reported, “A fine showhouse. The new Wonderland Theater, for moving pictures, opposite Fortmiller Bros., will be one of the most artist affairs in the valley. Something new will be the proscenium theatre art effect, being arranged by J. M. Deeds, the artist of Eugene, who has painted nine pictures for the effect, six to be used inside, three outside, making the theatre a very attractive place. And the pictures shown will be in keeping with the surroundings” (page 5). On October 30, 1908, the “Morning Register” reported, “J.M. Deeds left for Hoquiam, Wash., yesterday where he expects to put in a theatre curtain” (page 5).

By 1909, Deeds began to solely focus on scenic art. On Aug. 27, 1909, Deeds was mentioned twice in the “Albany Democrat.” The newspaper reported, “J. M. Deeds, the artist of Eugene, left Saturday evening on his trip to Portland, after looking after his drop curtain at the opera house. While one of Eugene’s best boosters Mr. Deeds declared that there wasn’t a place in the valley that had made a more striking change in a year than Albany during the past years, and nowhere is there a city with better surrounding for progress” (page 3

Deeds briefly returned to California in 1910, possibly to relocate his family back home. That year he was listed twice in the 1910 US Federal Census twice, each dated April 1915. In the first census, Deeds was living in Long Beach, California, with his wife, three children and his 32-yrs.-old sister-in-law, Ora E. Dappen. For a brief period of time, Deeds was listed as a commercial traveler working with theatre curtain advertising.  He was also listed as a lodger on 22 ½ street in Sacramento, employed as a solicitor in the advertising company industry. In his second census listing, Deeds was living in an apartment complex by himself alongside several other individuals working in the theatre industry. His neighbors included actors and architects. This is likely when he separated from his first wife and planned his move to Spokane, Washington.

On Dec. 6, 1911, the “Spokane Chronicle” reported, “Local Scenic Artist Gets Colville Contract. J. M. Deeds, a well-known local scenic artist, has been given the contract for furnishing the curtain and stage settings for a $20,000 theater recently constructed at Colville by the Odd Fellow. The work in finishing the curtain will be completed by December 16” (page 2). On Dec. 2, 1911, “The Colville Examiner” reported, “J. M. Deeds of the Deeds Scenic Studio of Spokane, has been given the contract for the complete stage fittings of the new opera house, and expects to start the work soon. Local artisans will do the carpenter work, and Mr. Deeds’ best artist will come up to do the curtain painting. It is the plan to give Colville opera house an up-to-date stage. The work will take three or four weeks. All the materials are to be purchased from local merchants. Mr. Deeds is the one who has the contract to put up the new drop curtain at the Spokane Auditorium next month” (page 3).  Deeds was not only listed as an employee at the Auditorium Theater in Spokane, but also operating his own scenic studio in the Auditorium.

On Jan. 10, 1912, “The Spokesman-Review” reported that Deeds landed a contract for the Lewis and Clark High School stage in an article entitled, “Paint High School Scenery” (page 6) The article reported, “The J. M. Deeds scenic studio, which was awarded the contract for furnishing the $1188 equipment at the Lewis and Clark high school stage, have the frames completed and began the painting yesterday. The work will be ready for the stage early in February, The stage fittings are four complete changes of scenes.”

On Feb. 15, 1912, “The Spokesman-Review” announced, “Will Give Curtain.” The article continued, “August Paulsen will make present to New High School Auditorium. August Paulsen, well-known capitalist, has agreed to donate the curtain for the auditorium of the new Lewis and Clark high school. J. M. Deeds, manager of the Deeds scenic studio, has been given the contract for painting the curtain. The contract is left upon the condition that after its completion it will be satisfactory to Paulsen. Deeds will commence work this week. The curtain will cost $600. Six weeks will be required to finish the work. At the bottom in small letters will be “August Paulsen.” Six weeks will be required to finish the work. Mr. Paulsen, Fred P. Green, president of the school board; Mr. Deeds and Mr. Harding, manager of the Paulsen Realty company, made a trip through the new high school building this morning” (page 6).

Deeds continued to make inroads with the Spokane business community. On Feb. 22, 1912, Spokane’s “Spokesman Review” reported, “J. M. Deeds of the Auditorium theaters and L. S. Hurtig were admitted active members of the ad men’s club luncheon yesterday” (page 7). A week later, on Feb. 29, 1912, the “Spokane Chronicle” reported, “J. M. Deeds will install the settings for Stage at St. Aloysius Hall” (page 8) The article reported, “J. M. Deeds, manager of the Deeds scenic studio, was this morning awarded the contract for furnishing the stage and appliances for the new St. Aloysius parish hall by Father George P. Butler, S. J. Work on painting the scenery will start immediately and part of it will be installed by March 18 in time for the play to be given by the seniors of Gonzaga college. The contract is for the following: One fancy parlor setting, including 10 pieces plain chamber scene of eight pieces, front curtain with Venetian scene, street scene, Ohio scene, picture screen, garden drop, wood scene, three sets of borders, six wood wings, cottage settings, sky tabs, tormentors and gold drapery.” The influx of work helped secure the necessary funds for Deeds to build a stand-alone studio for his business.

On 11 March 1912, the “Spokane Chronicle” announced, “To Build Scenic Studio in City.

J. M. Deeds Incorporates a Stock Company to Build $6000 Structure” (page 2). The article continued, “The Deeds Scenic Studio, of which J. M. Deeds is manager, is to be incorporated into a stock company and a $6000 building is to be built in Spokane as its permanent home.

Three local theatrical men are now interested in the corporation of the company and Robert Sweatt, local architect, has been instructed to draw plans for the building. The entire building, 100×40 feet will be devoted to the painting of scenes for theaters. The building will contain a display stage and the room for the hanging of curtains will be from 60 to 70 feet in height. M. S. Anderson, an artist of 30-years-experience, has been engaged as head artist for the new studio. Mr. Deeds will also conduct his studio in the Auditorium block for the convenience of traveling theatrical companies. The studio has been in operation for the last year.”

On April 12, 1912, “The Spokane Chronicle” reported, “The new scenery which was recently installed in the hall at a cost of $1250 will be used for the first time. The scenery was designed by J. M. Deeds, who designed the scenery at the Lewis and Clark high school.” This was in an article about the play “Breezy Point,” starring Miss Katherine Connelly, at the parish hall of St. Aloysius” (page 19).

Deeds continued to make headlines that Fall. He certainly understood the benefits derived from self-promotion and marketing. On Oct. 6, 1912, “The Spokesman-Review” included a huge article about Deeds:

“Scene Painting is New Industry.

J. M. Deeds will build unique studio to paint and make stage fittings.

Contracts Completed.

Newest Product of Spokane Already in Great Demand in Inland Empire Towns.

Plans are being completed and work is expected to start withing a few weeks on a home for one of the most novel industries that has as yet entered the industrial life of the city, when a modern scenic studio will be opened by J. M. Deeds. For the last 18 months he has been doing his work under a disadvantage on the stages of the Auditorium and American theaters when these were not in use, R. C. Sweatt is drawing plans for the studio, which will be erected on the north side on one of two sites now under consideration.

The nature of the work calls for a building of unusual dimensions to permit of the hanging of large theatre drop curtains while these are being painted, The plans call for a building 100×50 feet and 70 feet high to cost approximately $12,000. Deeds who had 10 years’ experience in the work at Sacramento, California., and Eugene, Oregon., before coming to Spokane, is organizing a stock company and articles of incorporation are already prepared. Since coming to the city Deeds has painted scenery for several local buildings and many out of the city. Among these are:

Lewis and Clark building, North Central high school, St. Aloysius parish hall, Ellensburg opera house, Wenatchee theater, Scenic theater, Leavenworth; Odd Fellow’s theaters at Monroe and Colville, Casino at Republic, Auditorium at Davenport, Parish hall at Nelson, B.C.; Nelson opera house, Odd Fellows’ hall at Bonners Ferry, Burford’s Theatorium at Lewistown, Woodmen’s opera house at Grand Bend, Grand at Missoula, Mont., and Odd Fellows’ theater at Garfield. Deeds furnishes scenery and stage appliances complete and at the present time his force of 11 men are completing contracts as follows: Keylor Grand theater, Walla Walla; Bijou Grand, Walla Walla; Temple, Lewiston; Ridgeway, Colfax; new opera houses at Austin and Cashmere and scenery for the interstate fair. Rush of work has made it necessary for Deeds to increase his force to 13 men” (page 31).

As in Sacramento with Funk, Deeds again focused on sales, leaving more skilled artists to paint the scenery. He lined up a series of projects that continued to generate profits for the firm and continued to expand his work force. He also found a partner, likely an investor- C. H. Eaton. I have yet to locate much information pertaining to Eaton, including a first name. Meanwhile, Deeds’ scenic studio continued to make news.

On May 29, 1913, “The Spokane Chronicle” reported in the “Realty and Business News” section: “Scenery and Curtains for All Kinds are manufactured by Local Company” (page 14). The article included a picture of Deeds studio included with caption: “Show in the above picture is an interior view of the Deeds Scenic Studio plant on E8 Trent avenue. The Spokane Enterprise was started in 1911 with only one employee. It now has a payroll of 16 persons, practically all specialists in the production of theatre scenery, and in planning to greatly extend its territory, insuring a further increase of payroll.”

The article continued: “Deeds Scenic Studio Handles Work in Many Northwest Towns. Local Firm Started with one man, now has fine plant and 16 employees.

      A home industry established in 1911 with one employee, now an organized partnership with a manufacturing plant and a payroll of 16 employees, having the prospect of greatly increasing its force and extending the field of its operations – is the unique record of the Deeds Scenic Studio, E8 Trent avenue, builders of theaters scenery of all kinds.

      J. M. Deeds and C. H. Eaton are the partners in the business, which now extends over the states of Washington, Idaho, Oregon, and Montana. The partners said today they are prepared to extend their field to include western Canada, Utah, and Wyoming in the near future.

The production of theater scenery was started by Mr. Deeds here in December 1911, Not having an advantage of a plant at first, he worked in the Auditorium and American theaters here and at the Colfax Theatre at Colfax. Mr. Eaton became a partner in the firm in April of this year and the work on installing the studio in its new quarters has already been largely completed.

      Have carpenter Shop.

The first floor is devoted to the carpenter shop, which is now well equipped. Additional woodworking machinery, however, is on the way to Spokane, and will be installed as soon as it arrives. The second story is devoted to the general decorating and manufacturing work and also contained the offices. Frame equipment is afforded here for curtains 45×32 feet. There are also two 32-foot frames and two 26-foot frames.

The Deeds Scenic studio is now completing work for theater at Pocatello, Idaho; Baker City, Oregon, and for the Fraternal Opera house at Tekoa. Work is also underway on the curtains for the new high school at Moscow, Idaho.

     ‘This is the only studio of the kind between Minneapolis and the Coast,’ said Mr. Deeds today. ‘We are prepared to cover the territory completely, including the states of Wyoming, Utah and the Western Canadian provinces, and we expect to invade the east. There is no reason why we should not do this since we are prepared to complete with them in workmanship as well as salesmanship. Mr. Deeds has been engaged in the production of theater scenery for 10 years and during that time has traveled extensively, visiting the leading studios in the east and middle west.” (page 14).

On June 27, 1913, “The Spokane Chronicle” reported, “J. M. Deeds, senior member of the Deeds Art Studio company, left this afternoon for a two weeks’ visit in Chicago and other middle western points. On his way east he will stop at Pocatello, Idaho, where he will install a chapter of the St. Anthony’s order” (page 6). On July 19, 1913, “The Spokane Chronicle” reported, “J. M. Deeds, senior member of the Deeds Art studio firm, has returned from an extended business trip through the Inland Empire. He has engaged W. F. Berry, a scenic artist of the east, to assist in the work of painting the scenes and curtains for which orders were taken (page 6).

Deeds continued to travel throughout the region for work, and soon met his second wife. On June 8, 1914, “The Spokesman-Review” reported,

“Cupid is Busy at Cashmere.

Announcement Tells of Wedding Several Months Ago.

Cashmere, Wash., June 7. -…Miss Nellie Stoffer and J. M. Deeds of Seattle were married in Victoria, B.C. several months ago, but the fact was announced here only lately. Miss Stoffer has had charge of the music in the schools here for two years. They will live in Seattle” (page 7). Nellie Katherine Stoffer (1885 – 1981) was the daughter of Andrew Jackson Stoffer (1853-1905) and Susan Hyde (1863-1934). This gets a bit confusing as both Deeds’ first wife and second wife shared the same first name – Nellie. Nellie Dappen was his first wife and Nellie Stoffer was his second wife.

On Dec. 7, 1915, the “Okanogan Independent Newspaper” reported, “Mr. Deeds has just completed the decorations for the Wenatchee Theatre, which is said to be the finest in this part of the state and did the decorating for the Ruby Theatre known far and wide as one of the most attractive playhouses in the country.” Somehow, between contracting the murals for Okanogan’s Hub Theatre in 1915 and the beginning of 1917, Deeds returned to California. He was still working in Washington during 1916, but his work takes on takes a new twist.

On September 4, 1916, “The Spokesman-Review” reported, Page 8: “Davenport, Wash., Sept 3. – The home talent minstrel show under the auspices of the Davenport volunteer fire department Saturday night, directed by J. M. Deeds, pleased a crowded theater” (page 8). It did not specify that Deeds was solely providing the scenic elements for the production, instead he was directing the action.

In 1916, Deeds primarily made news as a fisherman, which makes me wonder what was going on at his scenic studio. On October 3, 1916, “The Spokesman-Review” reported, “Six salmon, weighing from 10 to 4 1-2 pounds were caught by J. M. Deeds in the Wenatchee river, near Dryden power plant. Mr. Deeds used a casting pole with linen line and spoon. It took from about 10 to 45 minutes of hard work to land the big fellow” (page 3). In 1916, J. M. Deeds was evened pictured in “The American Angler” (Winter 1916, Vol. 1, No. 3). Below his picture was the caption was: “J. M. Deeds of Seattle, Wash., and 7 lb. Rainbow Trout, Caught in Crab Creek, Lincoln County, Wash.” To date, this is the only photograph of Deeds that I have located.

By the end of 1916, Deeds returned to California and was living in Red Bluff. In the beginning, he was still listed as a theatrical scenery contractor. Later on, he was listed as a scenic artist. On January 25, 1917, the “Auburn Journal” published an article about Deeds painting scenery for the Colfax Theatre in Auburn, California. Entitled, “Brushing Things Up,” the article reported, “S. K. Williams has engaged J. M. Deeds, theatrical scenery contractor, to install a new drop curtain with a local scene as the Centerpiece; also, a nine-piece fancy parlor set in the Colfax theatre. Mr. Deeds and his assistant are now engaged in the work. This is an improvement that will be greatly appreciated by the townspeople, especially by the home talent players.—Colfax Record.”

By February 1917, Deeds temporarily returned to work with for his old business partner in Sacramento, W. H. Funk in Sacramento. This was only temporary and may have been somewhat awkward after Deeds divorced his first wife. In 1917, Funk owned and operated an outdoor advertising company. Funk’s WWI draft registration card listed him as employed in the outdoor advertising industry and working for himself. At the time, the Funks were living at 3181 D St. in Sacramento. Funk’s physical appearance was described as medium height, stout, brown hair, and brown eyes. On Feb. 16, 1917, the “Sacramento Daily Union” reported, “The regular luncheon of the Rotary club was held at the Hotel Sacramento at noon yesterday. The time was spent In a pleasurable and profitable manner, land after special musical numbers and j several short talks by members a general discussion on attendance followed. J. M. Deeds, sales manager of W. H. Funk & Co., talked on outdoor advertising, and J Haley on the principles of Rotaryism.”

Interestingly, Deeds’ WWI draft registration card in 1917 listed his occupation as “Moving Picture Shows,” working at venues in Tehama and Shasta counties.   Deeds’ physical description was listed as medium height, medium build, brown hair, and blue eyes. In Red Bluff, Deeds leased and managed the Red Bluff Opera House for seven months. Built in 1908, the Red Bluff Opera House was a 1,000-set venue that Deeds managed between 1917 and 1918. During that time, he hosted in a number of events that helped support the war effort, including benefit performances for the Red Cross and Liberty League.

While managing the Red Bluff opera house, Deeds was repeatedly referred to as “Sunny Jim” in newspaper articles and advertisements.

For example, on Nov. 6, 1917, Red Bluff’s “Daily People’s Cause,” reported, “Mary Pickford in ‘Rebecca of Sunnybrook Farm’ is to be the opening of the opera house under the management of ‘Sunny Jim’ Deeds Saturday evening” (page 1). On Nov. 17, 1917, the “Daily People’s Cause” reviewed the much-anticipated production of Irving Berlin’s musical “Watch Your Step, scheduled to be shown at the Red Bluff Opera House. The article reported, “When the above newspaper’s critic puts his O.K. on a show it must be exceptionally good, and it is with a feeling of satisfaction that we can also place our approval on the motto of “Sunny Jim” Deeds, when he says that he will play only the first class shows while he has charge of the Red Bluff opera house.” (page 1).

On Jan. 11, 1918, the “Tehama County Daily Republican” still mentioned “Sunny Jim” Deeds, as the “genial manager of the opera house” (page 1). Deeds still had a handle on marketing; he placed ads in local newspapers announcing that red-headed boys would be admitted free to the Douglas Fairbanks matinee, “Reaching for the Moon.” In addition to managing the opera house, Deeds took on work as a painter.

The stage at the Red Bluff Opera House offered studio space, where Deeds was able to complete a variety of painting projects. He was still working as a scenic artist. On Jan. 18, 1918, the “Red Bluff Daily News” included an article entitled, “J. M. Deeds Paints Map Orchard Park.” The article reported, “J. M. Deeds has proved that he is an artist as well as a first-class theatrical manager. Yesterday he placed in the window of the James Feeley Company on Main street a colored map of Orchard Park which shows the smallest detail relative to the big tract just south of Red Bluff. The map is a thing of beauty as well as being instructive and already has attracted a great deal of interest from the passersby. Orchard Park is one of the prettiest suburban tracts adjacent to the city and recently several big sales have been made to people from a distance who are anxious to come to Tehama county to make a permanent home.”

And then there was the family reunion…

On May 13, 1918, the “Tehama County Daily Republican” announced, “Father and Son Together after Twenty-Two Years” (page 1). The article reported, “A happy reunion after a period of twenty-two years took place today when J. B. Deeds and wife of Gridley, who chanced to be in Red Bluff on business, net their son, Jim M. Deeds, Manager of the Red Bluff Opera House. The meeting was purely accidental. The elder Deeds and his wife were passing along the street when Mrs. Deeds said, “There is our son” and stopped Jim, who was in his auto, and happy greetings of love and affection took place. Twenty-two years is a long time for families to be separated and without any knowledge as to each other’s whereabouts, but it also proves that after all the United States is not such a large place after all, because no one can get lost within its confines. The elder Deeds is in the real estate business and is here looking over some property, and may settle in Tehama county as a home, which in fact pleases ‘Sunny Jim’ all the more.”

On May 14, 1918, the “Red Bluff Daily News” carried a similar story:

“J. M. Deeds Meets Parents after a Long Separation.”

Manager Deeds of the Opera House met with a pleasant surprise yesterday morning when he stepped out of his automobile on Main street. He noticed a man standing in front of one of the business houses who looked familiar to mm. He started toward him and at the same time the man turned and recognized him. The stranger was J. B. Deeds, father of J. M. Deeds and the two had not met for twenty-two years. During the Spanish-American war Mr. Deeds and his father became separated and although both tried to get trace of the other, they were unable to find each other. Mr. Deeds, senior, has been living at Gridley, and he came to Red Bluff yesterday on land business. He was accompanied on the trip by Mrs. Deeds and the two have remained over for a few days’ visit with the son and his wife.” For a little context, Gridely was just 30 miles southeast of Chico, California, where James Deeds Jr. departed with Chico Company A of the Eighth Regiment during the Spanish-American War in 1898.

I find this whole story very strange and wonder what really happened to cause the separation in 1899. It’s not as if both men weren’t making news in the same region. Maybe the Deeds Jr. didn’t want to be found.

Interestingly, the spring of 1918 marked another transition for the J. M. Deeds as he gave up managing the Red Bluff Opera House and moved. On May 25, 1918, the “Red Bluff Daily News” announced, “J. M. Deeds Gives Up Opera House at Early Date.” The article continued, “The news that J. M. Deeds has relinquished the Opera House, will be generally regretted by the Red Bluff people. During the seven months that he has had charge of the Opera House he has given his patrons many of the best shows being played this season as well as putting on the best pictures that have been turned out by the producers. Mr. Deeds has also been an enthusiastic booster for Red Bluff, and has been active in all public affairs, and generous in donating the use of the Opera House for many patriotic and benefit gatherings. Mr. Deeds will continue his picture shows in the smaller towns for the present. He has had an offer of a responsible position and will probably accept it within the next thirty days.”

It doesn’t appear as if Deeds had an exit strategy when he left the opera house, and I have to wonder of the family reunion prompted his departure. That summer Deeds began to consider other employment opportunities, and still made the news, despite being unemployed.

On June 13, 1918, the “Red Bluff Daily News” reported, “Injured Foot. J. M. Deeds met with a painful accident last evening. He was working in his garden when he ran a spading fork in his left instep. A physician was called immediately, and the foot dressed. Mr. Deeds will be confined to the house for several weeks.” Despite his injury, Deeds began to game plan for the future and returned to painting. On June 18, he placed the following announcement in the “Red Bluff Daily News:

“Business Men Attention! While engaged in completing the contracts for highway signs and’ lettering several store fronts in this city, I can handle some additional work and will appreciate an opportunity of serving you. I believe in “signs” and “will sign anything.” J. M DEEDS.” His article ran in the paper or several consecutive days.

In December 1918, Jim and Nellie celebrated the birth of their first child, Jean M. Deeds. On Dec. 26, 1918, the “Red Bluff Daily News” reported, “Mrs. J. M. Deeds and baby have gone to Woodland for a two-week visit with relatives. They will go from there to Sacramento, where they will be joined later by Mr. Deeds.” In 1919, James and Nellie celebrated the birth of another child, a son named James Andrew Deeds. Deeds was still working as a scenic artist. On Jan. 22, 1921, an advertisement o page four by the McCormick-Richards Ins. Agency mentioned Deeds as a client:

“WHO’S NEXT?

Mr. J. M. Deeds, the scenic artist, was another “repeater” last fall. On October 8th, we paid him $12.65 for a small fire damage to his auto and, in less than a month (Nov. 3rd), “came-across” again to the tune of $66.08 for a collision damage which, among other things, smashed a front axel.

DOES MR. DEEDS BELIEVE IN AUTOMOBILE FIRE AND COLLISION INSURANCE?

WE’LL SAY HE DOES.

McCormick-Richards Ins. Agency, 410 Third Street. Phone 220

An article published on May 22, 1919, in the “Woodland Daily Democrat” credited Deeds with re-enameling and renumbering the “Old Town Clock” in Woodland, California (page 1). Later that summer he was still making news in Woodland. On August 5, 1919, the “Woodland Daily Democrat” announced, “Jim Deeds May Open Paint Shop in Fresno” (page 1). The article continued, “James Deeds leaves tomorrow for Fresno. He is thinking of opening another sign painting shop in the Raison City and will make an investigation of the prospects in that community. His family has moved to Sacramento.”

The 1920 US Federal Census listed James, Nellie, and their two children living at 2915 H St in Sacramento. Deeds was now listed as a district manager for an insurance company. Meanwhile in Long Beach, California, Deed’s ex-wife, Nellie Dappen Deeds, was living with their three children, Woodson (16 yrs.), Cecile (14 yrs.), and Maxwell (12 yrs.). They were living with Nellie’s sister, Ora Dappen, at 1363 Olive Ave. with their children. Nellie was employed in the dressmaking industry, working out of their home.

The Deeds went on the move again and headed south. At first, they first settled in Livermore, California. It doesn’t appear as if Deeds ever returned to painting after this point. He began to solely focus on sports. On April 6, 1927, the “Livermore Journal” reported, “Horseshoe Club Ranks Second in California, Only Long Beach has more members than Livermore Club. That the Livermore Horseshoe Club is the second largest organization of its kind in the state was the pleasing announcement of J. M. Deeds, organizer of the club here, yesterday.” 

By 1930 the US Federal Census listed the Deeds family living at 703 North Street in Taft, California. For geographical context, Taft is about 280 miles south of Sacramento and due east of San Luis Obispo.  In his early years, Deeds enjoyed fishing trips in San Luis Obispo. However, in Taft, Deeds was employed as a salesman with the automobile accessories industry. Nellie was now working as a music teacher. In regard to his ex-wife Nellie Dappen Deeds, she was now 48 yrs. old and on her own, working as a housekeeper for the Swan family. She lived with the Swans at 635 Euclid Avenue in San Bernardino, California. Little is known of Deed’s ex-wife after 1930, but she lived another eighteen years, passing away in Los Angeles on Oct. 8, 1958.

As with many, Deeds continued to pick up odd jobs throughout the Depression. He seems to have turned to education and was giving lessons in archery. On August 6, 1935, the “Oakland Tribune” announced, “Housewives Better Archers Than Mates.”  The article continued, “Two-hour nightly classes in archery in five Oakland schools have disclosed that housewives prove to be better archers than their husbands, it was announced today by James M. Deeds, expert bowman and instructor of the classes being conducted by the Emergency Education Program. Approximately 475 adults have enrolled in the archery classes which are being conducted at the following schools: Chabot School, Monday: Peralta School, Wednesday: Fruitvale School, Thursday: Webster School, Tuesday, and Allendale School, Friday. All classes are conducted from 6 to 8 p.m. nightly” (page 13).

In 1938, California Voter Registration listed Deeds as a teacher, living at 5768 Vincente St. in Alameda, California. He continued to work with aspiring athletes in a variety of capacities for the next few years. In 1940, he was a sales manager in manufacture of bows and arrows (62) living in Oakland, California, living with Nellie (54) and his son James, now 20 yrs. old. The last information I have located for Deeds placed him in Oakland in 1941. That year, he was listed in the Oakland Directory, living with his son James at 803 57^th. At the time, his son was employed a radio technician. He remained in the Oakland area until his passing nine years later.

On Sept. 29, 1950, Deeds passed away in Alameda, California. He is buried at the Golden Gate National Cemetery in San Bruno, San Mateo, California (Section N Site 2801). At the time of his passing he and Nellie were living at 2126-C 62nd Ave. in Oakland, California.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

On January 28, 2022, I received a short email from John Madill in Canada:

In case you hadn’t seen this (nice tranquil images and palette)
https://www.cnn.com/style/article/couple-discover-murals-during-renovation-trnd/index.html 

Cheers,  J

He shared a CNN link from Jan. 27, 2022, that reported, “A couple renovating a 115-year-old building discovered two 60-foot-long hidden murals.” Below the heading was a photograph of a lovely landscape painting above construction debris. The color palette and stencil reminded me of several backdrops that I had encountered over the years, and my first thought was, “A scenic artist painted that.”

John was just the first of many friends who shared the link that day, and each time I thought, “Looks like fun, but nothing I can deal with right now.” I had already cancelled my trips to teach at Cobalt in February and attend USITT in March. Familial obligations were pressing, and I was trying to stick close to home this spring.

However, the story was intriguing. After serving in the military, a young couple had returned home to take care of dying parent. In the midst of grieving and settling the estate, they decided to put down roots in the town. They purchased and began the renovation of an old movie theater. It was to be a bar and restaurant; a gathering place for locals. Early in January of this year, they decided to break through a section of plaster, just to see what was behind the wall.  No one could have anticipated that there would be a huge landscape mural; one of two. Despite punctures from furring strips and water damage from plaster oozing between strips of lathe, the paintings were in great shape. 

The very next day I received a FB message from Lisa Timm. I opened it and read:

“Hi, Wendy! My husband and I recently uncovered a 60ft mural from 1915 and are hoping to conserve it. I was wondering if you could offer any advice or expertise as it looks like a theatre backdrop. There are videos and pictures on our Facebook group (mural restoration at the historic Timm building.” Thanks so much.”

I scheduled a time to chat with her about the murals.

In the meantime, I decided to do a little research on my own. I started with the simple query: “Where in the heck is Okanogan, Washington?”  After opening a Maps app, I started to peruse nearby towns.  Okanogan was due north of Chelan, Washington.  At that moment, half of the main curtain from Chelan’s Ruby Theatre was laid out on my paint frame. I had just started the process of bidding out a replica.

Although I was swamped with work and had no intention of traveling out of state for the next few months, I began to contemplate the feasibility of a very quick trip west. After realizing that the same scenic studio decorated both the Okanogan and Chelan theaters, I booked a flight. There were too many signs pointing me in the direction of Washington.

Over the course of the next two weeks, Lisa and Nick Timm sent detail pictures of the murals and we began a series of discussions about possible options. I was still hesitant to take on another project yet fielded their questions. I also did my best to educate them about the painting process and options for removal, storage, repair, and restoration. We even scheduled a WhatsApp video chat so they could walk me through the space, and I could clearly examine how the mural was attached to the wall.  We were in luck as the mural was the last of three layers.

Initially cotton sheeting was tacked to the wall with a thick wallpaper layer pasted on top.  When the theatre was renovated in 1915, a second layer of cotton sheeting was tacked on top of the wallpaper and primed.  This effectively glued the fabric to the wallpaper, creating a backing for the mural.  The mural was only visible for three years before a plaster wall concealed it for a century.

In 1918 the venue changed hands, the building was renovated, and the theatre was renamed the Paramount. During the renovation, furring strips were tacked to the murals. Then lathe and plaster entombed the landscape paintings.  In the dark they patiently waited for another renovation; one that would not happen until early January 2022.

I flew into Spokane and drove three hours west to Chelan where I stayed for the remainder of the trip. In Chelan I met explored the Ruby Theatre space and gave a community presentation about their theatre. When I ventured north to Okanogan, I was accompanied by Larry Hibbard, local architect and Ruby Theatre owner. I could not have asked for a better host. It is an absolutely beautiful area, home to miles and miles of fruit orchards. Their biggest export remains apples. Hibbard operated an apple orchard for decades.

My plan was to only take pictures and leave with memories.  This was not a project that I could drop everything else and take on in March. I was in the midst of several restoration projects, an opera design, and recognized that I was already overextended. Little did I know that everything was about to change.

The old Hub Theater in Okanogan is easy to miss. There is not a fly tower nor ornate façade to announce that it was once featured movies. The building looks more like an old hardware store than any temple of entertainment. If the Timms had not been standing outside, shouting and waving their hands, we would have missed it entirely.

Upon entering the building my heart sank and I knew that there was very little time to save these murals. The relentless drip of water accentuated the dampness of the space.  The drips both hit and missed a series of buckets lined up on the floor between the two murals. In previous conversations, the Timms had mentioned their concern of snow melt and a leaking roof. I had no idea it was this bad.  I knew that it was just a matter of weeks before the murals would be entirely destroyed. That was when I began to game plan about their immediate removal. There would be plenty of time to plan the conservation of each painting, but there was minimal time to remove the murals from a leaking building.

I could not extend my stay but could return within the week.  In the meantime, the space needed to be cleared, prepped and necessary supplies ordered. 

The first mural came down in two hours, the second in less than an hour.  Nick, Lisa and their crew of four helped stabilize the painting as I separated the wallpaper from the first layer of cotton sheeting.

I am breathing a bit easier today, and happy to report that both murals have been successfully removed from the walls. In the end, the thick wallpaper backing helped support the long artworks throughout the process. Each mural will be transferred to a climate-controlled storage room until I am able to restore them.

These murals come with their own artistic provenance and shed a little light on American Theatre in the Pacific Northwest.  J. M. Deeds Scenic Studio, of Spokane, secured the contract to paint the murals in 1915. By this time his firm had already decorated Chelan’s Ruby Theatre and the Wenatchee Theatre, located south of Chelan. I’ll share the story of J. M. Deeds tomorrow.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

In 1919, Thomas G. Moses wrote, “Larson quit us on October 24th.” He was referring to Larry. Unfortunately, both Moses and newspapers frequently misspelled Larry’s last name; it was actually Larsen.  Larry P. Larsen began his career as a scenic artist in Chicago during the first decade of the Twentieth Century.  Later in life, he founded his own studio and became extremely well-known as an architect and contractor, building more than 100 theaters across the country.

Lawrence “Larry” Peter Larsen was born in Copenhagen, Denmark, on May 25, 1892. He was the eldest son of eight children born to Louis V. Larsen (1862-1947) and Carrie M. Mortenson (1868-1959).  The couple celebrated the birth of five children in Denmark, with three more arriving in the United States. The Larsen children included: Lawrence P. Larsen (b. 1892), Cora R. Larsen (b. 1893), Henry Larsen (b. 1896), Gertrude Larsen (b. 1898), Herbert R. Larsen (b. 1900), Arthur H. Larsen (b. 1904), Katherine Larsen (b. 1911) and Mayme C. Larsen (b. 1912).

The Louis and Carrie Larsen emigrated with five children to the United States in 1902, sailing from Hamburg, Germany, to New York. They arrived in the United States on April 22 of that year. At the time, Larry was only 12 yrs. old, but had already studied at the Royal Danish Academy of Fine Arts. After arriving in the United States, the Larsen’s briefly settled in Hancock, Michigan for two years. In 1904, they moved west to Oshkosh, Wisconsin.  For geographical context, Oshkosh is located on the shores of Lake Winnebago. It is southwest of Green Bay and northwest of Milwaukee.

Larry did not come from a family with any theatrical connections or ambitions. After arriving in America, his father worked a variety of jobs that ranged from security guard to fireman. It remains unclear as to whether he supported his son’s artistic ambitions, but Larry ran away from home to pursue a career in art sometime between 1908 and 1910.

Larry was not listed as part of the Larsen household in Oshkosh for the 1910 US Federal census. I have yet to locate any listing for Larry that year, and it is likely because he was working on the road for Sosman & Landis. In later accounts, Larry explained that he ran away from home as there was no formal artistic training in Oshkosh at the time. He attended art school in Chicago, working as a scenic artist during the day and attending art classes in the evening. This was a common situation for many scenic artists who filtered through the Sosman & Landis shops at the time. After hours, scenic artists studied art, constantly attempting to improve their skills to advance through the ranks at the studio. Many hoped to make a name for themselves someday.  

In 1913, Larry was listed as an artist in the Chicago Directory, living at 4615 Langley Ave. On May 10 of that year, he married his first wife, Marguerite Pottinger Muir (1895-1924). They were married in Chicago, the city where they likely met. Marguerite was the daughter of Jamill Pattinger and Howard A. Muir.  At the time, Larry was 21 years old, and Marguerite was only 18 years old. The following year, the couple celebrated the birth of their first child. Jeanette M. Larsen was born on June 27, 1914,

In 1915, the Larsens moved from Chicago to New York where Larry continued to work as a scenic artist. That year the New York State census reported Larry and Marguerite living with their one-year-old daughter, Janet M., in Queens. By the next spring, a second child arrived. On April 14, 1916, the Larsen’s celebrated the birth of Lawrence Peter Larsen Jr. On Sept. 15, 1916, Chicago’s “Englewood Times” reported, “Mrs. Lawrence P. Larsen and her two little children who have been visiting her parents, Mr. and Mrs. H. A. Muir, of 6448 Champlain Ave. the past three months returned to their home in Brooklyn, N. Y., Tuesday” (page 1).

Meanwhile, Larsen spent a considerable amount of the time on the road, traveling across the country from one painting project to the next. It was during a stay in Texas that Larry became a naturalized citizen on May 25, 1917. At the time, he was working in Beaumont, Texas, temporarily residing at the Woodrow Hotel.  The day after he was naturalized, Larry registered for the WWI Draft.  Although his card was submitted in Jefferson County, Texas, on May 26, 1917, it was placed on file in Oshkosh, Wisconsin, by June 5, 1917.  Larry’s Registration card noted his employers as United Scenery Studios and that he was employed “on road.”  His physical appearance was described as medium height, stout build, blue eyes, and brown hair. Larry listed 721 Mt. Vernon, Oshkosh, as his permanent home address. The couple likely returned home while awaiting the birth of their third child Thomas P. Larsen that year.

In regard to Larry’s employer, the United Scenery Studios of New York…

During the fall of 1917, the United Scenery Studios was credited with decorating a variety of theaters, including the Orpheum Theaters in Topeka, Kansas, and Mexico, Missouri. On October 2, 1917, the “Mexico Ledger” of Mexico, Missouri, announced, “Improving the Orpheum. Stage  Will be Made Into Conservatory of Charm” (page 1). The article continued, “Following the popular trend of decorating the space around a moving picture screen, Manager S. C. Thompson, of the Orpheum Theatre has L. P. Larson, G. F. Moody, his assistant, of the United Scenery Studios, of New York City, here building a conservatory set to surround the picture screen at the Orpheum. This setting will have large windows in it, behind which a subdued moonlight effect in lights will present a beautiful landscape. The top of the stage will represent a glass conservatory roof. The idea is a new and novel one and is being installed in the larger and more progressive theatres in this country.”

Larsen’s assistant was George Farnsworth Moody (1886-1944). Both Larsen and Moody moved to New York about the same time, c. 1913-1914.  Moody’s marriage license to Hattie M. Dyment was registered in Manhattan, New York, and dated August 10, 1914. In 1917 Moody also listed his occupation as an “on road” with the United Scenery Co. on his 1917 WWI Draft Registration card.  Moody later worked as an artist for the Kansas City Scenic Co. and the Great Western Stage Equipment Co. of Kansas City. Many of Moody’s designs are part of the Great Western Stage Equipment Co. at the University of Minnesota’s Performing Arts Archives.

There was another interesting article from 1917 that mentioned the United Scenery Studios in Topeka, Kansas in 1917. On Oct. 17, 1917, “The Topeka State Journal” reported, “Camouflage artists, wanted by the British in the French trenches, area working this week on the Orpheum stage transforming it into a thing of beauty and a joy forever, as the old saying goes.

A week from Monday Orpheum patrons will look upon a stage rivaling in beauty of decorations and movie stage in the country. It will picture a Japanese garden scene.

A land scape will appear on one side of the stage and a water scene on the other. Prior to the opening of the show, patrons will have an opportunity to look at the garden scene, as it would appear at daybreak, daytime and in the evening. Red lights will be flashed to depict daybreak, white lights, daytime, and blue lights evening.  The canvas on which the pictures are thrown will be hidden by a heavy velvet curtain. There will be stone lanterns and Japanaise vases on the land side of the stage and the sacred mountains of Japan will appear in the background. The work is being done by the United Scenery Studios of New York” (page 6).

Although referred to as the United Scenery Studios of New York, the actual name of the firm was American Velvet Drops United Scenic Studios; an unfortunate mouthful that needed to be shortened. The company was managed by Ernest A. price and located in the Gaiety Theatre at 1547 Broadway in New York. The firm specialized in stage draperies, but also delivered painted scenery and ornamental décor.

Larsen was still working for the New York firm during the spring of 1918. On March 20, 1918, “The Salina Daily Union” included an article about the Palace Theatre in Salina, Kansas. The renovated venue represented a Japanese tea garden, complete with Japanese stone lamps, flower pots and painted dragons; similar to the theaters in Topeka. The article reported, “The velvet curtain parts and rises as the pictures come upon the screen. The theatre is certainly one of the most beautiful in the state of Kansas, and, according to Mr. L. P. Larsen of the United Scenery Studio of New York, this is the prettiest job they have done in Kansas and they have done several” (page 6). Sometime between in 1918, Larsen also began working for the New York Studios in Chicago. Keep in mind that New York Studios held a regional branch in Chicago and was considered the eastern affiliate of Sosman & Landis. Regardless of timing, Larsen permanently returned to Chicago where he became associated with the Universal Scenic Artist Studio.

Between 1918 and 1920, Larsen worked for New York Studios and then founded his own Chicago-based firm, Universal Scenic Studios, Inc. It gets a bit confusing from here on out due to the similarity and repetition of studio names. To start with, Universal Scenic Artist Studios is erroneously listed in newspaper articles as Universal Scenery Studios, and Universal Sceneries Studios. However, it is the same firm, as Larsen is often mentioned by name.

There was a second firm established in 1919 named the Universal Scenic Studio Co. The only different is Co. versus Inc. at the end. This firm was established by Boyd P. Joy and initially located in on East Tenth Street in Sioux Falls, South Dakota. Business offices for Boyd’s Universal Scenic Studio Co. later opened offices in Minneapolis, Minnesota and Milwaukee, Wisconsin.

In regard to Boyd’s endeavor, an interesting article was published in the “Argus-Leader” on March 22, 1919. It reported, “The Universal Scenic Studio of Sioux Falls, on East Tenth Street, under the direction of Boyd P. Joy, is providing for this section of the northwest products of the best experience of a man who was for a number of years connected with the best studios of New York and since coming west a few years ago has become one of the recognized leaders in scenic art production.”  In later years, Boyd’s firm was often advertised as “Universal Scenic Studio, of Milwaukee” and “Universal Scenic Studios, of Minneapolis” whereas Larsen’s firm was advertised as “Universal Scenic Studios, of Chicago.”

Between 1917 and 1920 Larsen divided his time between Chicago and New York, although he was constantly on the road. Larsen’s fourth child, William Herbert Larsen, was born on May 15, 1918, in Chicago.  This is likely when Larsen shifted from the United Scenery Studio of New York to New York Studios. His wife was now caring for four children and likely benefitted from remaining in the same city as her parents.

When Larsen went to briefly work for New York Studios, it was not in New York. New York Studios managed a branch office in Chicago, and were an eastern affiliate of Sosman & Landis. This is where Moses was temporarily working in 1918 and 1919. Moses and Larsen were not the only scenic artists hopping from one studio to the next. This was a tumultuous time for scenic artists and their employers. There were a series of disputes and settlements just prior to the United States’ entry into WWI.  It created a perfect storm for suppliers and artisans in the theatre industry.

Two articles were published in the August 1918 issue of “Variety.” They painted a vivid picture of the struggles for scenic artists that summer. The first article was entitled, “No Studio Settlement.” The article reported, “The report that the scenic artists had won their fight against the studio operators and had returned was erroneous. There have been two committee meetings between artists and contractors, but the former were not empowered to settle even had the differences been adjusted. All the large studios are continuing with newly developed artists, and although running short-handed, are getting out some work. The contractors say they are ‘standing pat’ and that the scenic association’s men are working in smaller studios only. There was but one deflection from the contractor’s association, that being the Metropolitan Studio of Brooklyn, in which plant the men never walked out. While the fight is on the Dodge and Castle studio has shifted all work to the plant of the New York studio.  New York Studio was where Moses and Larsen worked that year.

The second article in “Variety” during the summer of 1918 was entitled, “Scenic Artists Arbitrate.” The article reported, “The so-called ‘strike’ of the scenic artists, which lasted for five weeks was amicably adjusted last week and the ‘belligerents’ returned to work. While ‘strikers’ gained nothing in the matter of salary or hours in employment – returning under a somewhat less favorable basis than was offered then before the quit – they succeed in securing an Arbitration Committee to adjust any further disagreements. When they walked out the scene painters demanded that 44 hours constitute a week, double pay for overtime, such as nights, Sunday’s and holidays, and a minimum wage of $30 for assistants. All this was agreed to by the studio managers, but they objected to being limited to one assistant to every artist. Upon occasion they have found it expedient to employ as many as four assistants to one artist, often paying them more than minimum wage demanded. The walk-out was times for the busiest period of the year, but the studio managers merely did as much work themselves as they could and passed up the remainder.”

The entry of the United States into WWI also prompted many scenic artists to leave the private sector and work for the government.  Others, such as Larsen, founded their own scenic studios. In the beginning, Larsen founded Universal Scenic Artist Studios in Chicago. He was listed as the art director and manager of the firm. After leaving New York Studios in 1919, Larsen remained in Chicago. The 1920 US Federal Census listed the Larsens living at 5617 Drexel Ave. The household included: Lawrence (27), Marguerite (24), Jeanette M. (5), Lawrence P. Jr. (3 yrs. 8 mts), William (1 yrs. 5 mths.), and Lawrence’s brother, Herbert R. Larsen (19 yrs.). Herbert was listed as an “artist’s helper” in the theatre industry.

By 1921, Universal Scenic Artists Studios was working with Universal Electric Stage Lighting Co. of New York. On Jan. 29, 1921, the “Lansing State Journal” of Lansing, Michigan, reported that Universal Scenic Artists Studios of Chicago delivered black velvet hangings trimmed with gold bullion for the Style Review at the Gladmer Theatre. The Universal Electric Stage Lighting Co. provided special electrical effects and scioticons for the show, with Sosman & Landis delivering the painted stage settings.  As with many new scenic concerns, Universal Scenic Artist Studios started small, picking up whatever projects they could find, including fabric draperies for the stage.

On April 1922, Wisconsin’s “Kenosha News” reported, “Beautiful Scenery in Haresfoot Comedy. Scenery and equipment for the Wisconsin Haresfoot show, “Kitty Corner,” which is to appear at the Rhode Opera House, Tuesday evening, April 18, is being specially constructed for the production by the Universal Scenic Artist studio, Chicago, recognized leaders in scenic equipment” (page 9). The 1922 Chicago Central Business and Office Directory listed L. P. Larsen as the general manager and art director for Universal Scenic Artist Studio. Advertisements state that they were “Leaders in Scenic Equipment.” The firm was located in Suite 626 of the new State-Lake Building at 190 N. State. Other tenants in the building that year included the Orpheum Circuit Inc., Rapp & Rapp architects, B. F. Keith’s Vaudeville Exchange, Western Vaudeville Managers Association, Broadway Music Corporations, Advertising Art Bulletin Co. Signs, Lester Theatrical Costumes, and dozens of other managers in the entertainment industry.

In 1922, Larry and Marguerite welcomed their fifth child into the world. On February 17, 1922, Howard Muir Larsen was born in Chicago. Marguerite, however, never seemed to recover and passed away two years later. Marguerite Muir Larsen died Feb 4, 1924 and was buried on Feb. 7 in Oakwood Cemetery. At the time, the Larsen’s home address was listed 6411 St. Lawrence Ave. On Feb. 8, 1924, Chicago’s “Suburbanite Economist” reported, “Mr. Marguerite Muir Larsen, wife of Lawrence P. Larsen, died at Englewood hospital on Monday morning, February 4, 1924. Mrs. Larsen was the daughter of Mr. and. Mrs. Howard A. Muir, residents of Englewood and Woodlawn. Funeral services were held at Cunningham’s chapel, 6237 Normal Blvd., on Thursday, at 2 O.M. Interment at Oakwood cemetery” (page 4).

For the next two years, Larsen struggled as a single parent, relying heavily upon his in-laws as his business continued to expand. On May 2, 1926, the “Joplin Sunday Globe” reported, “L. P. Larsen, general manager and art director of the United Studios, was in Joplin Friday…”(page 1).  Larsen was spending an increasing amount of time in Missouri, completing one project after another, including the Gillioz Theatre in Springfield, Missouri. In June 1926, Larsen married Helen June Mingo (1901-1988). Helen worked as a secretary in Larsen’s office.

The 1920s posed a challenge to well-established scenic studios while offering opportunity to new firms. Theatre suppliers and manufacturers had to rapidly adapt to changing times, immediately responding to new expectations and technological innovations. Live entertainment began to promote drapery settings in lieu of painted scenes. In some ways, it benefited many new studio owners. The manufacture of drapery settings or abstract scenes required an entirely different skill set from their labor pool. This meant that majority of work once completed by highly-skilled scenic artists was replaced with projects that could be completed by their assistants. In some ways, scenic art became more of a scenic trade.

As noted above in the “Variety” article above, the ratio of one assistant per artist could be stretched to several assistants per artist.  This allowed the master artist to supervise a team of less-experienced, and minimally-paid, individuals. In the end, studio owners were able to rake in larger profits by substituting the work of master painters with their less-experienced assistants. Scenic artists well-versed in painted illusion had to adapt, and quickly. Some set their sights on a much bigger prize – the whole theatre building. Such was the case when Larsen

founded his second firm, United Studios, Inc. Larsen became well-known as a designer and builder of atmospheric theaters. Years later, on April 31, 1927, the “Kenosha News” reported, “It is the only enterprise designing and executing theaters from the laying of the first steel and stone to the finished product completely equipped ready to present entertainment and receive patronage.” Larsen became well-known as a designer and builder of atmospheric theaters. His company advertised as “Creators and Builders of Theatres Complete.”

At the beginning of January 1927, Larsen opened his second firm, United Scenic Studios, Inc.

On Jan. 26, 1927, “The Capital Times” of Madison, Wisconsin, announced United Scenic Studios, Inc., Chicago, as a new Foreign Corporations (page 20), with a capital stock of $50; proportion represented in Wisconsin, $12,000; Wisconsin agent, B. W. Frampton, Kenosha, Wis.” Larsen made news that year and began an aggressive marketing campaign. On April 31, 1927, “The Kenosha News” pictures a portrait of Larsen in an article entitled, “Larson Bought First Suit from Laemmle, Now Builds Theatre” (pages 1 and 7). The article uses Larsen and Larson interchangeably; so, you can see how difficult it has been to track down Larry.  Here is the article in its entirety:

“Larry Larsen, school boy of Oshkosh, was about to be confirmed and he was to have a new suit. He was told that it could have long pants and as he opened negotiations for its purchase with Carl Laemmle in his little Oshkosh clothing store it was one of the proudest moments in his life.

And now today as Larry Larson, master builder of theaters, puts the finishing touches on the splendid Kenosha Theater, he comes to another moment fraught with import and intimately associated with it the man of his earlier experience for he created and built the theater for Carl Laemmle, president of the Universal Pictures, Inc.

‘Our first transaction,’ says Larsen, ‘was a matter of fifteen dollars or so. Now our deals involve the exchange of millions but the same happy, kindly, honorable spirit dominates negotiations for ‘Uncle’ Carl Laemmle’s knows just one way of doing business.’

L. P. Larsen, president and general manager of the United Studios, Inc. of Chicago, a concern which designs and builds theaters complete, is a native of Copenhagen, Denmark, where he studied art in the Royal Academy. When he was a lad the family came to the United States, going directly to Oshkosh.

Young Larsen, his soul hungry for art tuition unavailable in his home town, ran away to Chicago where he studied by night and acted as a scenic artist by day. His rapid rise in the fields of decoration and architecture led him to form his own company in 1920, This is known as United Studios, Inc., a concern which stands unique and in a field of its own making. It is the only enterprise designing and executing theaters from the laying of the first steel and stone to the finished product completely equipped ready to present entertainment and receive patronage.

Built First Atmospheric Theater.

Mr. Larsen is particularly enthusiastic over the latest innovation of theatrical architecture, the atmospheric theater. It was he who built the first house of this type east of the Mississippi. The theater was erected at Worchester, Mass., and was considered one of the outstanding show places of the east, both from architectural and entertainment standpoints. The United Studios have since built similar places coast to coast.

Handsome theatrical structures, involving millions of dollars, are underway for Carl Laemmle at Racine and Sheboygan, states Larsen, and that being the case it prompts the builder to remark, ‘Isn’t life queer?’” This story would be retold dozens of times over the years with minimal variation to the storyline.

By 1927, Larsen had built several large theaters for Universal Chain Theatrical Enterprises, Inc., of New York, The Universal Chain owned and controlled more than 290 theaters throughout the United States and Foreign countries, with a seating capacity of 250,000 (The Sheboygan Press, 27 Dec. 1927, page 11).

Larsen’s reputation continued to grow, along with profits generated by the United Studios, Inc. in the late 1920s.  On Aug. 6, 1927, “The Sheboygan Press” reported “The United Studios, Inc., which has the erection, completion and furnishing of theatres for the Milwaukee Theatre Circuit, now has under construction projects totaling approximately $2,300.000. These include the $1,000,000 theatre at Racine, the $700,000 theatre in Kenosha, and the $600,000 building in Sheboygan” (page 1). But all was no well with Larsen. On Aug. 27, 1927, the “Joplin Globe” announced “L. P. Larsen was admitted for medical treatment yesterday” (page 5).

Larsen also began to diversify and invest in other business opportunities, such as the Joplin Building Corporation. When the Universal Film Corporation announced plans for construction of a theater on the site, Larsen purchased the property for the purpose of erecting a combined hotel and theater building. He formed the Joplin Building Corporation. Larsen was noted as the president of the Joplin Building Corporation, incorporated for $200,000. (“Joplin Globe,” 29 Feb 1928, page 2). “L. P. Larsen of Chicago, president of United Studios, Inc.” was credited with the design for the 11-story hotel, advertised to be the “Highest building in the Ozarks.”

On Feb. 28, 1928, the “Freeport Journal-Standard” reported, “The United Studios are the builders of the new theatre and 100 room hotel to be constructed in Beloit, Wis. And have recently completed theatres in Racine, Kenosha and Sheboygan. Among other houses which the company have constructed are the Ambassador in Chicago, houses in Worchester, Mass. Springfield and Joplin, Mo., and Edison Park, Ill.” (page 6).

Larsen was also featured in “The Journal Times” of Racine, Wisconsin, on April 11, 1928 (page 33).  The article was entitled “New Venetian Theater is Creation of Former Badger State Resident.” Here is the article in its entirety:

“The architectural beauty and stability, and the elaborate and carefully worked out details of the new Venetian were planned and executed under the direction of L. P. Larsen, president and general manager of United Studios, Inc., a concern which designs and builds theaters complete. He is an expert on atmospheric houses, of which the Venetian is a magnificent example.

Mr. Larsen, who is a native of Copenhagen, Denmark, where he studied art in the Royal Academy, came to the United States with his family, while he was still a lad, going directly to Oshkosh, Wis. Here, as a school boy he had his first dealings with Carl Laemmle, president of Universal Pictures, Inc., and Universal Chain Theatrical enterprises which owns and operates the Venetian Theater. Mr. Laemmle, then owned a small Oshkosh clothing store, and it was to him that young Larsen went on the eve of conformation to purchase his first ‘long pants.’

Mr. Larsen and Mr. Laemmle smile today when they look on the early deal which involved fifteen dollars, for today Mr. Larsen builds theaters all over the United States for the Universal company, and millions of dollars are exchanged by the two men in necessary transactions.

Earl in life Mr., Larsen exhibited artistic tendencies and desired art education. Since there was none available in his home town he ran away to Chicago, where he ‘doubled in brass,’ acting as a scenic artist during the day, and going to art school at night. His successes in the field of art and decoration were so outstanding that he formed his own company in 1920, known as the United Studios, Inc. This concern is unique in that it is the only enterprise designing and executing theaters from laying of the first steel and stone, and the mixing of the first concrete, to the finished product, completely equipped and ready in every detail for patronage and presentation of entertainment.

Atmospheric theaters, of which the Venetian is a wonderful example, are close to Mr. Larsen’s heart, for he built the first theater of this type east of the Mississippi. Erected at Worchester, Mass., this theater was considered one of the showplaces of the east, both from an architectural and amusement standpoint. The United Studios have since built similar places from coast to coast.”

On July 10, 1928, the “Freeport Journal-Standard” reported, “The United Studios, Inc., finance, design, erect and equip theaters and have recently completed houses in Racine, Kenosha and Sheboygan, Wis., Chicago, Ill., Worchester, Mass., Springfield, Mo., and are now constructing a ten-story theatre and hotel in Joplin, Mo., and a new 100-room hotel in Beloit” (page 1).

On Nov. 15, 1929, “The Post-Crescent” of Appleton, Wisconsin, published a full-page advertisement for the opening of the New Fox Midwestco Theater, crediting “The United Studios of 14 W. Lake St., Chicago” with conceiving and executing the new theater building.  The ad stated, “The New Fox Midwestco Theater created for Appleton by the United Studios, Inc. of Chicago. The United Studios, under the direction of L. P. Larsen have designed and built many of the country’s outstanding theatres. The new Fox is their latest achievement.” The ad also stated, “The following work was executed under the direction of the United Studios, Inc.: Architecture, Electrical Work  and Equipment, Pain and Ornamental Plastering, Painting and Decorating, Sign and Marquee, Scenery and Rigging, Draperies, Lighting Fixtures, Carpets, Furniture, Switch Board and Border Lights, Opera Chairs, Organ, Booth Equipment, and Talking Equipment Installation.” Other projects for United Studios, inc. included Crystal Lake’s El Tovar theatre in Crystal Lake, Illinois. That year advertisements for United Studios, Inc. stated, “United Studios, Inc., builds massive structures of beauty and durability,” detailing that the were “Builder and Equippers of Theatres Complete” (“The Herald,” Crystal Lake, Illinois, 25 July 1929, page 9).

E. R. Nickel was listed as the superintendent of construction for the United Studios, Inc. during the remodeling of the New Van Der Vaart Theatre in Sheboygan (“The Sheboygan Press,” 31 Aug 1928, page 18). For other projects, Nickels was listed as the firm’s engineer (“Stevens Point Journal,” 23 July 1928, page 2). Nickel was also the president of the Valley Construction Co. of Oshkosh. An article about the New Van Der Vaart Theatre reported, “United Studios, Inc. whose artists drafted the plans for the remodeling and re-decorating program has under construction at the present time a combined hotel and theatre building in Joplin, Mo., which when completed $1,500,00, theatres in Crystal Lake, Ill, Delavan and Green Bay, Wis., South Bend, Ind. And Freeport, Ill. A large number of other big projects, such as the $1,000,000 theatre in Racine, the Sheboygan theatre, and numerous other theatrical and hotel properties have also been planned and constructed under supervision of the United Studios, Inc.” (page 18). That same year, Larsen, Nickels and pilot Max Bergham survived a plane crash near Marshfield shortly after takeoff. Larsen and Nickels had chartered a plane to take them to Chicago for a pressing business appointment. They were meeting with J. P. Adler, proprietor of the Adler and Trio theaters of Marshfield, Wisconsin. Miraculously, all three men survived (“Oshkosh Northwestern,” 8 Aug 1928, page 9).

On Sept. 29, 1929, the “Joplin Globe” included an article entitled “Theater Depends on Stock Sale” (page 21). The article concerned the proposed theatre at Fifth Street and Virginia avenue. “L. P. Larsen of Chicago, one of the promoters” explained there must be $50,000 to $60,000 worth of stock subscribed if the building was to be erected. “Larsen said the actual construction of the building would be begun when the stuck is subscribed.”

By 1930, L. P. Larsen was not only listed as president of United Studios, Inc., but also the president of J. N. Blumberg Theatrical Enterprises, Inc. Although N. J. Blumberg and his wife, Kate Silvers, were the original incorporators of N. J. Blumberg Theatrical Enterprises, Inc. Larsen gained control of the stock by November 1928. By 1930, Larsen, H. J. Mingo (Mrs. Larsen), E. R. Nickel and W. E. Roberts were the present stockholders of the corporation. Mrs. Larsen and Nickels were also principal stockholders in the United Studios (“The Sheboygan Press,” page 12).

1930 US Census listed the Larsens living at 844 Glencoe Ave. in Highland Park, Illinois; this was part of Deerfield Township. Larsen was listed as a contractor in the Theatre Building industry. In 1931, the Larry briefly relocated his family to Bakersfield, California, where he was listed in the City Directory: “Lawrence P. Larsen (Helen) h2200 D.” They soon returned to Missouri, where Larry worked in Joplin as an architect.

On April 29, 1932, the “Joplin Globe” reported “Theater Proposal at W. C. Explained” (page 3). The article concerned the approval and support given to plan of rebuilding Old Blake at $40,000. “Webb City, Mo.- April 28. – Approval and support were unanimously given to the proposal of rebuilding the Blake theaters, destroyed five weeks ago by fire, at a mass meeting at regular weekly scheduled session of the Chamber of Commerce today. The meeting as largely attended. The proposal was explained by Fletcher Hammond, manager of the ruined theater and L. P. Larsen, Joplin architect, who would build the new theater.”

In 1933 the Larsen’s moved from Joplin to Webb City, where Larry would remain until his passing in 1950.

Larry and Helen welcomed their only son, David, in 1936. Sadly, their marriage would end in divorce, with Larsen securing custody of his son David. Something happened to the couple between 1936 and 1943. By 1940, Helen ended up as a patient in the State Hospital, they briefly moved to her hometown of Cedar Rapids. The 1940 Us Federal Census listed Helen J. Larsen as a patient at the State Hospital in Washington, Missouri.  She was one of many housewives who were listed as patients, ranging in all ages.  The same census also listed Helen as part of the Larsen household, living at 125 N. Ball Street, Webb City. The report included the following household members at the time: Larry P (47 yrs.), Helen J. (38 yrs.), David (4 yrs.), William (21 yrs.), Howard (18 yrs.), Lawrence (23 yrs.), and Kathryn (21 yrs.). Kathryn was Larsen’s daughter-in-law, Larry Jr.’s first wife. Larry Sr. was listed as an architect, his son William as a mechanic in the building industry), and Larry Jr. as a manager in the theatre industry.  

On March 18, 1941, the “Joplin Globe” announced “Architect to Speak Before W. C. [Webb City] Rotarians” (page 5). The article continued, “Webb City, Mo., March 17. – Larry Larsen, architect, will deliver the principal address at a meeting of the Rotary Club which will be held at 12:10 o’clock Wednesday in the Elks Club building. Following the meeting the members and their guests will be the guests of the Civic Theatre, where they will be shown “World in Flames.” The picture was a complete outline of the happenings and events of the world from 1929 up to the present crisis.” In many ways, it was the beginning of a personal crises for the Larsen family too.

The last listing for Larry and Helen as a couple was from 1942 – the Cedar Rapids, Iowa, City Directory. They briefly moved to Iowa for a year after Helen was released from the State Hospital. She was returning to her hometown and family. At the time, Larry was listed as a theatre operator in the Cedar Rapids Directory, living at 218 8^th Ave. SW. I doubt that Larry remained in Cedar Rapids for long, as he was too active that year in Webb City area that year. Helen would go on to live another 46 years after their divorce. On Nov. 21, 1988, the Cedar Rapids “Gazette” announced Helen’s passing, reporting, “87, died Sunday in the People’s Care Center at Independence after a long illness. She was born June 9, 1901, at Cedar Rapids. She married Lawrence P Larson [sic.] in June 1926. She was a graduate of Grant High School and was employed as a secretary for the L. P. Larson Designers and Builders of Chicago. Surviving are a son, David of East St. Louis, Ill; and two sisters, Mrs. Gladys Suchomel of Cedar Rapids and Mrs. Evelyn Hoffey of Iowa City. Services: 2:30 p.m. Tuesday, Jacobs-Kuba Funeral Home, by Rev. David Young. Burial: Linwood Cemetery. Friends may call at funeral home from 7 p.m. to 9 p.m. today and after 9 a.m. Tuesday” (page 14).

On Jan. 26, 1942, the “Joplin News-Herald” included a full-page spread on Larsen’s new theater, entitled, “New Civic Drive in Cafe” (page 6). The article reported, “The dreamer is Larry Larsen, artist and architect who erects buildings, not because of what they represent in potential earning power, but because they are beautiful to look at and be in, and make life a little more convenient and pleasant. Larsen came to this district in 1926 to plan a new theater in Joplin. His plans culminated in opening the Fox theaters in November, 1930.

But while he was working on the theater project, Larsen was doing something else. He was falling in love with this region as an ideal place to live. He knew he intended to give up the hurry and cold-blooded commercialism of the big cities and seek a more leisurely and less materialistic life in a smaller community, but he didn’t find just what he wanted until he reached the ‘gateway to the Ozarks.’ When he came here, he already had built 100 of the finest theaters in the nation. Even after closing the community for his home, he went out and erected 40 more show houses before returning to Webb City ‘for good,’ as he expresses it. Larsen’s first contribution to Webb City was the Civic theater, opened in November, 1932. That gave the city a show house with an atmosphere in keeping with that of the largest metropolitan centers – one so pleasant that many persons attend shows from all parts of the district. The Drive-In Café is a second step in a plan for a complete tourist center in Webb City. Next, Larsen expects to establish a hotel, or Mo-tel as he will call it, because it will be constructed especially for cross-country tourists or salesmen who travel in this district with their wives and wish complete garage and eating accommodations…Larsen is known throughout the United States, not only because of his playhouse construction, but also as the man who brought the first pair of suspenders from the man whom he later built so many theaters. Born in Copenhagen, Denmark, Larsen came to American when he was 9 years old. He left home when he was 14 to make his own way in the world and literally pulled himself up by his own bootstraps, earning by his own effort the tuition he needed to study art. Later he devoted his time to interior decorating and finally found expression for his talents in architecture. Larsen first met the man for whom he built the theaters when he was in Oshkosh, Wis. He was the late Carl Laemmle who founded Universal Film Corporation. At that time Laemmle was operating haberdashery and it was his store that Larsen went to buy his first pair of long trousers – with suspenders thrown in. Erection of the Fox Theater here in 1930 marked a step forward in playhouse design which to a great degree influenced all other theater construction in the district. At that time, with due respect to the old Hippodrome and Electric theaters, playhouses of Joplin and the district had not advanced with the motion picture industry. The industry had given the world ‘talkies,’ but show houses still were designed for the silent days. The Fox theaters was the first house built especially for sound motion pictures. It was the first really beautiful playhouse in the district. It set a pace and other theater operators throughout the district were encouraged to follow suit” (page 6).

On July 16, 1942, the “Joplin Globe” included an article entitled Webb City Business Men Will See Film” (page 10). The article noted, “The luncheon will be served promptly at noon at the Civic Drive-in Café. The group will then adjourn to view the picture as guests of L. P. Larsen, manager of the theater” Luncheon Chamber of Commerce meeting. That year, Larry Jr. was managing his father’s Civic Theatre in Webb City.

On May 30, 1943, the “Joplin Globe” announced “Six divorces were granted in circuit court today: Lawrence P. Larsen from Helen J. Larsen, with the custody of their child awarded to Larsen” (page 3). Larry remarried two days later. On June 1, 1943, he married Bird Necomis McKnight Brooks (1905-1970) in Webb City. Byrd had also worked as a secretary at Larsen’s firm. She was a divorcee, having previously married Fred A. Brooks in 1928. Byrd was a resident of Webb City and had been working as a secretary at the theatre corporation since 1940.

Despite WWII, business continued to thrive for Larsen in the 1940s. Tragedy struck the Larsen family, however, in 1947 when Larry’s father passed away. Louis Larsen’s obituary was published in “the Oshkosh Northwestern” on April 19, 1947 (page 4):

“Louis Larsen, 85, of 721 Mt. Vernon street, passed away this morning at 6:45 o’clock after an extended illness. He was born in Denmark, March 14, 1862, and settled at Hancock, Mich., in 1902. Since 1904 he had been a resident of Oshkosh. He was a member of Our Saviour’s Lutheran church and of the Danish brotherhood No. 9. Survivors included his wife Carried; three daughters, Mrs. Cora Morgan of Wenatchee, Wash., Mrs. Gertrude Pilcher of Salem, Ore. And Mrs. Katherine Steiger of Oshkosh; four sons, Lawrence of Webb City, Mo., Henry of Olympia, Wash., Arthur of Fond du Lac, and Herbert of Osh Kosh; 17 grandchildren and three great grandchildren.”

Larry passed away less than three years later. On Feb. 18, 1950, he died from a cerebral hemorrhage. On Feb. 19, 1950, the “Neosha Daily Democrat” reported, “Well-Known Joplin Architect Succumbs. Joplin, Mo., Feb 18 – (UP) – L. P. Larsen, 57, widely known architect of the Missouri-Oklahoma-Kansas area, died today in a Joplin hospital. Larsen was a resident of Webb City, where he owned and operated two motion picture theaters, He was a native of Copenhagen, Denmark” (page 1).

Longer obituaries were published in local newspapers.

“Larry P. Larsen of Webb City Dies.

Owner of Civic Theater and Designer of More Than 100 Playhouses Succumbs Unexpectedly.

Webb City, Mo., Feb 18. – Larry P. Larsen, 57 years old, 119 North Ball street, died at 12:40 o’clock this afternoon in St. John’s hospital in Joplin. He had been ill three years, but was not hospitalized recently until about 11 o’clock this morning.

Mr. Larsen was born in Copenhagen, Denmark, and came to this country with his family when he was five years old. He had resided in Webb City for 17 years. He was a member of the Elks Lodge, War Dads, Chamber of Commerce and Presbyterian Church.

He was an architect and contractor, having built more than 100 theaters in all parts of the country. He designed and built the Fox Theater in Joplin and the Civic Theatre and Civic Drive-In restaurant in Webb City, which he owned, and the sanctuary of the Presbyterian church.

He is survived by his widow Byrd Larsen of the home; four sons, Larry P. Larsen, Jr., of Indiana, William H. Larsen of Kansas City, Mo., David Larsen of the home, and Howard Larsen of Webb City, a stepson, Fred Brooks of Stockton, Calif., one daughter, Mrs. Janet Hawk of Webb City, his mother Mrs. Louis Larsen of Oshkosh, Wis., three brothers, Henry Larsen of Washington, Arthur Larsen of Fond Du Lac, Wis., and Herbert Larsen of Oshkosh, three sisters Mrs. John Stiger of Oshkosh, Mrs. Ira Pricher of Salem, Ore., and Mrs. Cora Morgan of Washington, and three grandchildren.

Funeral arrangements are in charge of the Johnston-Arnce-Simpson mortuary.”

Larsen was buried in buried in Mount Hope Cemetery, Webb City.

To be continued…