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 29th 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 63rd 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 63rd 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…
Wendy,
Do not know how you do such intensive research. Yes I would say amazing! Would ask if you are ever in the market for a nice oil painting by Thomas Moses? I have one available.
Thanks again for what you are doing!!!