Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 83 – Art Oberbeck

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 I will supplement Oberbeck’s recorded recollections with information from historical documents.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…