Copyright © 2022 by Wendy Waszut-Barrett
Max Greenburg was a scenic artist who worked for Sosman & Landis at the turn-of-the-twentieth century. I recently stumbled across his name while cross-referencing studio projects from 1900.
Max Greenburg was the middle of three children born to Joseph Greenburgh (1833-1908) and Frances Scherek (1847-1925). His parents were both Jewish immigrants who initially settled in New York. The 1900 US Federal Census listed Joseph Greenburg’s birthplace as Poland. Frances’ was “born at sea” with her parents from German. In later years, their children simply listed “England” as their parents’ birthplace.
Of the three Greenburg children, Gilbert (1871-1931) was the oldest, born in Brooklyn in 1871. Max arrived the following year and was also born in New York. Their younger sister did not arrive until after the family relocated to Maine. Pearl Greenburg was born in 1888 in Lewiston, Androscoggin County.
I have yet to track down when, or where, Max entered the theatre industry. However, by the time Greenburg was 23 yrs. old, he moved from Maine to Massachusetts. In 1894 “Max Greenburg of Boston,” was mentioned in his brother’s wedding announcement (“Sun-Journal” on Nov 22, 1894, page 8). Sometime between 1894 and 1899, Max moved from Boston to Chicago. His move to Chicago likely coincided with his first working for Sosman & Landis.
In 1899, Greenburg married Mary “May” Higgins in Saint Joseph, Berrien, Michigan, on August 12, 1899. Both Max and Mary listed Chicago as their permanent residence on their marriage certificate. Mary was the daughter of Charles “Charlie Higgins (b. 1845) and Delia A. (Cowers) Higgins (b. 1859), both still living in New York at that time. Mary appears to be one of twelve children born to the couple in New York. I have yet to locate any further information about Max’s first wife – at all.
Shortly after marrying Mary, Greenburg began assisting Sosman & Landis scenic artist, Fred McGreer, at the firm’s Cincinnati theatre space. Sosman, Landis & Hunt were a theatrical management firm that managed Cincinnati’s Pike Theatre and Indianapolis Grand Opera House. Sosman & Landis staff painted the necessary scenery for not only the two venues, but also the touring stock companies. This was in addition to their various regional branches in Kansas City, Detroit and New York City.
During the spring of 1900, Greenburg painted stock scenery at the Pike Theatre. On April 15, 1900, McGreer and two of his fellow scenic artists (Fred and Robert McGreer) were pictured in “The Cincinnati Enquirer” (page 12). In 1900, Greenburg was listed as a scenic artist in the Cincinnati Directory, boarding at the Burnet house; the same place that housed McGreer. At the time, McGreer was working as the chief scenic artist for the Pike Theatre, having first started working at the venue in 1898 under the supervision of Thomas G. Moses. When Moses left, McGreer became the head scenic artist, with Greenburg assisting him.
After completing his work at the Pike Theatre, Greenburg ventured east to visit his brother in Naugatuck, Connecticut. On April 27, 1900, the “Naugatuck Daily News” reported, “M. Greenburg, a scenic artist in the employ of Sosman & Landis of Chicago, is visiting his brother, G. Greenburg of Church Street. He is a clever painter, and judging from the samples of his work shown to a News man today, is sure to acquire fame as a scenic artist. Mr. Greenburg is a young man of 27 years but he is old in experience in scene painting. He always had a fondness for painting and at the age of 12 commenced the study of scene painting. His drop curtain work is especially fine and he has painted some very realistic street scenes for some of the large theaters. He recently finished painting some of the scenery for a large theater in Cincinnati. After spending a few days with his brother, Mr. Greenburg will return to Chicago where he will resume work with the brush” (page 4). Greenburg left Naugatuck by the end of April. On April 30, 1900, the “Naugatuck Daily News” reported, “Max Greenburg, who has been visiting his brother G. Greenburg of Church street, left this morning for Chicago.” (page 4).
As with most scenic artists. Greenburg was one the road a lot, bouncing back and forth from one job to the next, going wherever his skills were needed. That summer, Greenburg painted scenery for the “Great Ruby” at the National Theatre in Rochester, New York. On June 14, 1903, the “Democrat and Chronicle” reported, “the scenic investiture that distinguished the original production of this melodrama will be richly reproduced at the National. Mr. Max Greenburg, the scenic artist, has been working on the place for several weeks” (page 16). In 1904, Greenburg was listed as a scenic artist in the Rochester Directory, boarding at 261 Lyndhurst.
He remained associated with Sosman & Landis in 1903, but was also the primary scenic artist for the Cleveland Theatre. He was credited with painting scenery for Nance O’Neil’s production of “Jewess;” her version of “Leah, the Forsaken.” On Nov. 7, 1903, Chicago’s Polish newspaper “Dziennik Chiogoski” reported, “Cleveland’s new theater – Wabash av. and Hubbard Court for next charter week on Sunday evening, November 8, Miss Nance O’Neil in the delicious and rich production of ‘The Jewess.’ This is one of the strongest and most popular plays in Miss O’Neil’s repertoire, and it is everywhere by all classes of amateur theater enthusiasts. Miss O’Neil won the greatest triumphs in the personification of the ‘Jewish woman’. Ms. E. J. Ratcliffe and the whole community will help her Cleveland Theater. Mr. Ralph E. Cummings will also perform for the first time as a member of this troupe. Scenery will be brand new and under the brush of Misters Sosman and Landis, and Max Greenburg, the stage artist of this theater. The entire production will be under the personal director Mr. McKee Rankin” (page 5).
By 1905, Greenburg was credited as the “Forepaugh scenic artist.” This was the Forepaugh Stock Company of Philadelphia, managed by George F. Fish. On Oct. 23 1905, the “Cincinnati Commercial Tribune” reviewed “Twelfth Night,” starring Miss Viola Allen, at Robinson’s proclaiming it to be “A Hit” (page 7). The article reported, “Mr. Max Greenburg, the Forepaugh scenic artist, with his assistants, produced results in pictorial embellishment of the play that exceeded in beauty and real artistic value anything ever before exhibited at Robinson’s, and it would be difficult to recall any stock mounting of a Shakespearean drama that fairly equaled this Forepaugh achievement.” Greenburg maintained a residence in Cincinnati from 1906-1907, listing, “Greenburg, Max artist bds flat 9 n e c 7th and Central Ave.”
By1908, Greenburg became associated with the Vaugh Glaser Stock Co. On April 16, 1908, the “Detroit Times” reported “Theodore Johnston, who has directed the Vaughn Glaser productions for the past four years, will still direct the stage for this company during its coming engagements in the Lyceum Theatre, while the scenic artist will be Max Greenburg, recognized as the foremost scene painter now engaged in stock work in America” (page 5). He was still with the company in 1909. On October 2, 1909, “The New York Dramatic Mirror” listed Max Greenburg, as the scenic artist for the Vaughan Glaser Stock Co. in Cleveland (page 21). He remained in Cleveland until 1911 when he temporarily relocated to St. Louis, Missouri, establishing his studio in the Princess Theatre. His focus shifted to movie screen improvements.
On July 16, 1911, the St. Louis newspapers announced, “A new picture-screen invented by Max Greenburg, formerly scenic artist at the Cleveland Hippodrome, said to be the first of its kind ever used in St. Louis, has been installed at the Princess. It brings out facial expressions and the high lights of photographs in a remarkable manner”(page 20). On August 6, 1911, the “St. Louis Star” published a detailed description of his invention (page 52).
Unfortunately, the digitized copy was damaged, so much of the information is missing. What I was able to decipher notes that Greenburg was formerly the scenic artist at the Hippodrome in Cleveland. His new picture screen allowed projected images to remain visible when all of the auditorium lights were on, maintain an unprecedented clarity to the projected image. That summer, Greenburg was arranging a series of exhibitions at his studio for local moving picture exhibitors to see his new invention.
Fellow Sosman & Landis scenic artist William M. Minor also took an interest in movie screen development. On Sept. 14, 1910, the “Salt-Lake Herald-Republican” reported:
“Moving Picture Screen.
William M Minor, scenic artist at the Salt Lake Theatre, has applied for a patent on an invention which he calls Minor’s Wonder Moving Picture Screen. It is a cloth screen with a burnished metallic surface that adds distinctness to the picture that is thrown upon it. Last evening at the Orpheum theatre, preceding the regular performance, a test was made of the invention which impressed a score of invited spectators favorably. Seven by twelve feet of the entire scene was of the new material, and the remainder was the usual cotton cloth. This arrangement afforded opportunity for comparison between the two surfaces, and the mirror-like distinctness of the pictures on the metallic surface argued well for the success of the invention. Mr. Minor has experimented with the screen for about three months and since he received a receipt from the patent office, on Saturday last, has been testing the invention before private audiences. On Monday night it was tried at the Murray opera house.”
Although Greenburg purportedly filed for a patent in Missouri, he soon returned east and was living in New York by the end of the year.
In regard to his personal life, Greenburg’s first marriage failed. Sometime between 1900 and 1911, Greenburg divorced his first wife, Mary. After returning to New York in 1911, Greenburg married his second wife, Ethel Hooper. On Dec. 14, 1911, the “Baltimore Sun” reported, “Ellicott City. – Max Greenburg, of New York city and Miss Ethel B. Hooper, of Boston, were married at the parsonage of Emory Methodist Episcopal Church, this city, on Tuesday by Rev. Vernon N. Ridgley” (page 13). Miss E. Hooper was a Canadian immigrant who sailed from Halifax to Boston in 1902. At the time, she was listed as single and 19 yrs. old. By 1911, Ethel was 28 yrs. old. The couple would not celebrate the birth of a child for another decade though. In 1922, the one and only daughter, Helen Hooper Greenburg was born in Boston on Nov. 20.
Greenburg continued to bounce from one project to the next after his second marriage. In 1913, Greenburg and his wife briefly relocated to Winnipeg, where he accepted a scenic art position at the Winnipeg Theatre. On Aug 12, 1913, the “Winnipeg Tribune” reported, “Stage Director Johnston still occupies his old position with credit, and is assisted this season by John Daly, Max Greenburg is the new scenic artist, and Augustus Hughes, the music director, exploits agreeable orchestral music as usual between acts.” (page 6). The couple did not stay in Canada for long, and soon returned to New York where Greenburg became quite successful.
In 1918, his work caught the eye of Maude Fulton.
On Dec. 22, 1918, the “Oakland Tribune” announced, “Max Greenburg, the scenic artist who has been brought from New York by Maude Fulton to supervise the scenic department of the Fulton playhouse has done himself proud with the sets for ‘Sis Hopkins,’ and it is promised, that they will be a revelation” (page 43). Greenburg remained in California for about three years.
March 14, 1919 “Oakland Tribune” – “The Scenic Artist. We come now to the wizard of the paint brush, Max Greenberg, the scenic artist whose remarkable skills is in evidence each week in the painted scenes that make the frame work where shine the stars of the Fulton company. Much of the credit for the distinction of the Fulton productions belongs to Mr. Max Greenberg. Miss Fulton brought him to Oakland from Boston, where he was deemed the peer of scenic artists. His name in Boston and New York, in his line, is one to conjure with. It is a unique art – scene painting – and Max Greenberg is a master of that art” (page 10).
The Greenburgs were still living in California during the 1920 US Federal Census. At the age of 44 yrs. old, his occupation was listed as scenic artist in the theatre industry. By 1921, the Greenburgs returned to the East Coast. On July 2, 1921, “The Billboard” announced, “Max Greenburg was in New York City last week. He is working on the Plymouth Pageant to be held in August. Mr. Greenburg is planning on having several boys on from Boston, as well as several more on from New York, to form his crew when production gets to that point.”
By 1922, the Greenburg’s were again living in Boston, where his daughter Helen was born. She would also become an artist. Her 1989 obituary listed her profession as “commercial artist” (“Indian River Press Journal,” Vero Beach, 22 Feb 1989, page 3).
In the 1924 Boston Directory, Greenburg was listed as residing at 376 Riverway. His reason return east may have been partially prompted by his aging mother. In 1925, his mother, Frances Scherek Greenburg passed way in Lawrence, Massachusetts. At the time, she was living with her daughter Pearl. On August 20, 1925, the “Sun-Journal of Lewiston, Maine” reported, “Obituary. Mrs. Frances Greenberg. Funeral services for Mrs. Frances Greenberg, widow of Joseph Greenberg, formerly of Lewiston, were held in Auburn Wednesday from the Congregation Beth Jacob Synagogue. Rev. S. Segal officiated the service and interment was at the Congregation Beth Jacob Cemetery. Mrs. Greenberg died suddenly in Old Orchard on Monday. She had been in rather poor health for some years but her condition was not considered serious and so her death was a distinct shock to her family and friends. For the last 10 years she has made her home with her daughter, Mrs. James D. Brown of Lawrence, Mass. Previous to that she had made her home in Lewiston and with her husband was among the best-known and most highly respected residents of the city. She leaves two sons, Gilbert Greenberg, Naugatuck, Conn.; Max Greenberg, Boston, Mass; four grandchildren, Adrian Greenberg, Hollywood; Mrs. Clarence Leventhal, Jamaica, Long Island; Helen Greenberg, Boston; and Ruth Brown, Lawrence, Mass,” (page 12).
The following year, Max was listed as a scenic artist in the Quincy Directory, living at 160 E. Elm in Quincy, Massachusetts. For geographical context, Quincy is about ten miles south of Boston. Meanwhile, the three children closed their mother’s estate in Lewiston, Maine. In 1927, Max’s siblings, Pearl and Gilbert, sold their interest in Lewiston land and buildings to Max (Sun-Journal, 11 Feb 1927, page 15).
By 1930, the US Federal Census listed Max, Ethel and Helen Greenburg living in Boston at 36 Burroughs. St., Jamaica Plain. This would remain their permanent address for the rest of their lives. Greenburg continued to be listed as a scenic artist in the Boston Directory until his passing in 1934. On Dec. 13, 1934, “The Boston Globe” announced, “Greenburg – In Boston, Dec. 11, Max Greenburg of 36 Burroughs St., Jamaica Plain, husband of Ethel Hooper Greenberg. Services from the chapel of Jacob H. Levine, 200 Washington St., Dorchester, Thursday, Dec. 13 at 2 P.M.” (page 35). Ethel Greenburg continued to live at their home on Burroughs St., even after Helen married Joseph L. Ferano in 1944. On Feb. 12, 1952, “The Boston Globe” announced, “GREENBURG – In Jamaica Plain, Feb. 10, Ethel B. (Hooper), widow of the late Max Greenburg; Mother of Mrs. Joseph Ferano. Funeral Service from her home, 27 Burroughs St., Wednesday at 1:30. Visiting hours 2-4 and 7-10 pm. Relatives and Friends invited.”
There is one other interesting tidbit to add to the life and career of Max Greenburg. His nephew became a well-known Hollywood costumer and fashion designer. I encountered the connection while tracing the lives of Max’s siblings. While looking for information about Gilbert senior, I stumbled across his son’s passport application. On the passport application, Greenburg listed that his professional name was “Gilbert Adrian.”
His older brother, Gilbert Greenburg, had two children: Beatrice (b. 1895) and Gilbert A. Greenburg (b. 1903). Gilbert Sr. ran a milliner’s shop in Naugatuck, where both of his children worked while growing up in Connecticut. Adrian was the costumer for “The Wizard of Oz.” Many books have been written about “Gowns by Adrian” and his legacy. Adrian passed away in 1959, his obituary reporting, “Adrian, a native of Naugatuck, Conn., was head designer at Metro-Goldwyn-Mayer for many years. He designed gowns for such stars as Great Garbo, Norma Shearer, Joan Crawford, Myrna Loy, Hedy Lamarr and Rosalind Russell. In 1942 he opened his own custom dressmaking salon in Beverly Hills and the label “Gowns by Adrian” became internationally famous. He won a number of awards, including the coveted American Fashion Critic’s award for excellence in design. Adrian studied art in Paris and got his start in the designing field when Irving Berlin asked him to create costumes for the Music Box Revue in New York. His creations, in subsequent shows, caught the eye of Mrs. Rudolph Valentino, who hired him to design costumes for Valentino’s pictures. While at M-G-M he met Miss Gaynor, winner of the first Academy Award in 1928. They were married in 1939. Adrian and Miss Gaynor abandoned Hollywood in 1952 and went to live on a frontier ranch they purchased in Brazil. For five years they divided their time between apartments in New York and Beverly Hills” (Oakland Tribune, 14 Sept, 1959, page 13)
For a short read…There is a very interesting article entitled “Adrian: The Costume Designer Who Made Hollywood High Fashion. Here is the link: https://www.lofficielusa.com/fashion/costume-designer-adrian-hollywood-fashion-impact). The article reports, “After getting his start at New York City’s Parson’s School of Design, Adrian moved to Hollywood at the height of the Golden Age. He briefly worked for film director Cecile B. DeMille’s independent film studio before signing on as chief costume designer at MGM…From 1928 to 1941, Adrian designed costumes for over 250 films, collaborating with some of the biggest Hollywood icons of the time…screen credits usually read as ‘Gowns by Adrian.’”
For a long read…Here is a link to Howard Gutner’s book, “Gowns by Adrian: The MGM Years 1928-1941 (2001): https://www.amazon.com/Gowns-Adrian-MGM-Years-1928-1941/dp/0810908980
To be continued…
