Joseph S. Sosman tried to interest both of his stepsons in the scenic studio business during the 1890s and early 1900s. Neither was interested in a backstage career. They wanted to shine on stage. Today I focus on the life and career of Sosman’s youngest stepson, Frederic P. Sosman.
On April 16, 1890, Joseph Sosman married divorcee May Pinney Jones (1858-1947). Jones was previously married to Benjamin Hodge Jones, who deserted her and the boys in 1886. Joe Sosman adopted his two stepsons in 1890. At the time, Arthur Benjamin Jones (1878-1929) was twelve years old and his brother and Frederick Pinney Jones (1882-1946) was eight years old. The boys’ names also changed at this point, becoming Arthur Burton Sosman and Frederic Pinney Sosman. It was less of an issue for Frederick, as only the “k” was dropped from his first name; effectively erasing his connection to his paternal grandfather Frederick N. Jones.
Over the years, Joseph S. Sosman repeatedly employed the two boys, but they were more interested in the performance than any technical theatre project. Fred. H. Sosman became a vaudeville performer, and was primarily known for his comedic performances and singing. He was fortunate to be born into a wealthy family, one that could afford to nurture his musical interests at an early age. Like his older brother, Fred as also able to attend a variety of events specifically planned for children of well-to-do Chicagoans. For example, on Dec. 27, 1895, “The Chicago Chronicle” listed both F. P. Sosman and his brother on the guest list for Children’s Night at the Illinois Club (page 12). The article detailed, “Children of all ages from little toddlers in kilts to the boys and girls with their first evening dress flocked to the Illinois Club yesterday afternoon and evening, on the occasion of the annual children’s party.” From 9 p.m. until 11p.m. the older boys and girls were given exclusive use of the dancing hall.”
Fred P. Sosman.
By the time Fred was 22 yrs. old, he married his first wife. On Dec. 18, 1904, the “Chicago Tribune” announced, “Mr. and Mrs. Joseph S. Sosman announce the marriage of their son, Mr. Frederic P. Sosman, to Miss Elzie Holbrook in St. Paul” (page 25). Their marriage was registered in Minnesota, noting a marriage date of Nov. 3, 1904, in St. Paul. Later newspaper accounts purported that their marriage was very short-lived, purportedly lasting only eight months. It may have been his theatrical career that terminated the relationship. In the beginning, Sosman travelled quite a bit from one town to the next. He performed a solo act and was part of a touring line-up. On April 4, 1908, the “Los Angeles Herald,” announced that Sosman was performing at the Orpheum in Los Angeles. On May 29, 1908, he was part of amateur night at Chutes Theatre in San Francisco. His time on the road ended about 1908, when he returned to Chicago and began working at a wholesale millinery company during the day. At night, he performed at the Olympic theater and a handful of other Chicago venues. On July 19, 1908, the “Chicago Examiner” reported that “Fred Sosman, a Chicago singer and impersonator” was performing at the Olympic Theatre (page 3). I have yet to locate the name of the millinery firm he was working for about this time, and wonder if it was another business entity founded and subsidized by his stepfather, or Sosman & Landis.
In 1909, Sosman performed at the Majestic Theatre and was billed as “a Chicago boy who has made a name for himself as a singer” (“Arlington Heights,” 5 Nov. 1909, page 5). He primarily played in ballrooms and other dining establishments. By 1910, Sosman was part of the entertainment at the Café Savoy, located on Harrison and Wabash (Chicago Examiner 27 March 1910, page 52).
Evelyn Leckie, Fred Sosman’s second wife.
When he was 30 yrs. old, Sosman married his second wife. Their wedding made theatrical news. On Tuesday, May 7, 1912, the “Chicago Examiner” reported, “Jest Hurries Up a Wedding. Back to Stage for Funds.” The article continued, “Mrs. Frederick P. Sosman, until last Saturday Miss Evelyn Leckie. Forty friends of Mr. and Mrs. Frederick P. Sosman – they were married unexpectedly last Saturday – assembled last night in the Willard Theater, Calumet avenue and Fifty-first street, and gave the bridegroom a rousing reception when he reappeared behind the footlights, in a determined effort to furnish a flat for his bride in a hurry.
Mrs. Sosman formerly was Miss Evelyn Leckie of 4512 Racine avenue. Her husband was a vaudeville performer, but two years ago gave up the stage to engage in business.
Meeting a year ago, the couple announced their engagement, several months since, at the marriage of Miss Harrier Gorman, daughter of James Gorman, vice-president of the Rock Island Railroad, to D. A. Hack. Their friends believed the wedding was to take place in June, but last Saturday afternoon the two attended a luncheon at the Hotel La Salle, and then one of the guests rallied them on deferring the ceremony Mr. Sosman left the table, saying he would return shortly.
He did – with a marriage license. Half an hour later after the luncheon party was assembled before a South Side clergyman as a wedding party, and then came dinner, at which Mr. ad Mrs. Sosman were guests of honor. Meanwhile Mr. Sosman was doing some quick thinking. His plans for June wedding had included the furnishing of a dainty little flat at 4645 Hazel avenue, for which he had signed a lease. The hasty marriage rendered ready cash imperative, so he hied himself to a theatrical manager and quickly got a two weeks’ booking at local theaters at his old profession – character singing. Last night was his opening. During the day he attends to his business with a wholesale millinery concern and for two weeks he will tread the boards. Friends last night sought to encourage both Mr. Sosman and the management of the theater.
This is Mr. Sosman’s second matrimonial venture. Three years ago, he married a St. Paul girl, and they were divorced eight months later” (Vol. 10, no. 118, page 5).
Later that summer, Sosman’s performance at the Lincoln Theatre in Chicago was announced in the June issue of the “Clipper” (page 12). His performance was assisted by Clay Coolidge. Sosman continued to sporadically perform at a variety of establishments for the next few years. By 1913, he was performing with “professional dancers” at the Moraine’s open air cabaret in Highland Park (Highland Park Press, 14 Aug 1913, page 12). This, like many others, was a short engagement, and nothing that prompted rave reviews.
In 1914, Sosman was billed as “King of the Cabaret.” On June 9, 1914, the “Detroit Free Press” reported, “With a whole flock of new ‘Broadway Hits,” Fred Sosman, justly styled ‘King of the Cabaret” comes to Edelweiss for a limited summer engagement. Many vaudeville devotees will recall Mr. Sosman as a Keith headliner, for it was not so long ago that Sosman adorned the boards along with Bert Williams and other celebrities. Fred Sosman has the ability which folks along New York’s ‘Big White Lane’ term the ‘Speed ‘em Up Stuff.” You can’t keep from shuffling your feet when Sosman is working. Mr. Sosman’s entertainment does not consist of coarse comedy. His fun is of the clear, sparkling kind – in short, the work of an artist. The ‘King of Cabaret’ handles dialect work as cleverly as straightaway stuff and, during his Edelweiss stay will feature some humorous talking songs.” Speed became his hallmark for the next decade. His performing career eventually began to take off by 1915, putting a little more spending money in Sosman’s pockets. On Jan. 26, 1915, the “Chicago Examiner” listed Fred P. Sosman, 803 Wilson Avenue, as the owner of three Hupmobiles (page 18). Sosman’s automobiles offered other performance opportunities too. On May 17, 1915, Sosman was mentioned as part of a prank in the “Chicago Examiner.” The article reported, “Actors Stage Auto Drama in Street. Several performers at the Wilson Avenue Theater, near Broadway staged a little drama on the street last night. Mrs. Frederick Allen, appearing at the theater, walked in front of an automobile driven by Fred Sosman, 803 Wilson avenue. Allen, when he saw his wife struck, seized Sosman and started to beat him, but ceased when he found Mrs. Allen was uninjured” (page 25). I wonder how badly Sosman was injured before he was able to explain everything was a prank.
As with most vaudeville acts, newspaper reviews were not always kind, some considered his performance mediocre at best. On August 27, 1915, he was mentioned in the “Stage Jottings” section of the “Daily Tribune” in Terre Haute, Indiana: “Fred Sosman has a couple of very good songs which he reserves for the finish of his otherwise so-so act.” It may have been the critic, or the timing, but it was a difficult period for Sosman. Two weeks prior to this performance, his stepfather passed away in Lake Bluff, Illinois. The death of Joseph S. Sosman meant that everyone put their own lives on hold to manage the estate and assume certain business responsabilties. Until his passing, no one truly understood the financial balls that Joe Sosman had continued to juggle over the years. Initially, Fred’s older brother was appointed vice-president of Sosman & Landis. However, their mother, May P. Sosman, assumed the role by 1916. During this time, Thomas G. Moses was elected president of the firm, a position he occupied until 1918. In 1915, Moses wrote, “It is very strange to me that I had never given this change of the business a thought. I had never thought of Sosman dying.”
By fall of 1916, Fred left Chicago, temporarily relocating to Detroit. On October 22, 1916, the “Chicago Examiner” reported, Mrs. Frederic P. Sosman and son, Frederic Jr., departed yesterday for Detroit to join Mr. Sosman, They will pass the Winter in Detroit in their new home, 1601 West Grand boulevard” (page 23). It was about this time that Sosman began touring in earnest again, and soon found a partner.
Sosman’s WWI draft registration card listed him as tall, slender with brown eyes and dark brown hair. At the time he was an actor with the Western Vaudeville Managers Association, with a permanent residence at 4540 Clarendon Chicago. In 1917, Sosman partnered with Gladys Sloan. Sloan was a musical prodigy. She first studied music in Centralia, Illinois, but in 1916, temporarily relocated south to St. Louis, Missouri, where she continued post-graduate classes at the Beethoven Conservatory of Music (Centralia Evening Sentinel, 8 July 1916, page 3). By the fall of 1916, Sloan was performing at the Winter Garden in Chicago (“Chicago Examiner, 5 Nov. 1916, page 95). The next year, she had partnered with Sosman and the two performed at the Empire room in the Grand Pacific Hote, located on Jackson Boulevard and Clark St. (“Chicago Examiner, 18 Sept 1917, page 3).
An advertisement placed in the “Chicago Examiner” on Oct. 15, 1917, reported that they were performing “old and new songs” in the Empire Room, stating, “Here our guests can enjoy dinner of supreme quality, and an entertainment of the Highest order in an environment of quiet elegance. They continued to perform at the Empire Room, billing Fred Sosman at “king of the entertainers” and Gladys Sloan as “the girl with the personality” (“Chicago Examiner, 20 Jan 1918, page 33). By the end of the year, Sosman & Sloan appeared at the Bismarck Garden. On Dec. 9, 1917, the “Chicago Examiner” reported, “Fred Sosman & Gladys Sloan in a varied program of new song ‘hits’ and old time favorites will begin an engagement at the Marigold room Monday night. Mr. Sosman wins his audience at every performance. Miss Sloan is noted for her beautiful soprano voice, attractive personality and artistic gowns” (page 46). Sloan was even pictured in the “Chicago Examiner” on Dec. 16. 1917. It was captioned, “A Marigold Merrymaker.” The caption below Sloan’s picture explained that Sloan was one of the attractions at the North Side Garden, “which forgets name of Bismarck.” The newly named Marigold Garden was described as “the Bismarck under its new name,” and announced, “Fred Sosman and Gladys Sloan share hoors with Muriel De Forrest, the latter introducing several new dancing specialties” (page 44).
Gladys Sloan pictured in an Empire Room advertisement.
By the end of the 1919, Sosman & Sloan performed a new act – “Down Nonsense Lane.” Their tour that winter included stops at both the Columbia Theatre in Davenport and the Palace Theatre in Rock Island. On Dec. 20, 1919, the “Rock Island Argus” reported, “’Down Nonsense Lane,’ which is the offering of Fred Sosman and Gladys Sloan, is a neat singing and character act that will no doubt be one of the hits on the new bill” (page 8). Other reviews for their act at the Palace Theatre reported, “Fred Sosman and Gladys Sloan have a rapid fire line of chatter, shot through with some classical tomfoolery” (Rock Island Argus, 22 Dec. 1919, page 5).
Fred Sosman’s partner, Gladys Sloan.
Sosman & Sloan were still performing “Down Nonsense Lane” in the spring of 1920, appearing at the Empress Theatre in Decatur (Decatur Daily Review, 17 March 1920, page 5). Sosman continued to perform on his own too. Later that year, Fred Sosman was advertised as “a lively boy with good shape and good clothes, and he, too, has a personality.”
Meanwhile, Sosman was still married on paper. The 1920 US Federal Census Report listed Evelyn and Fred Sosman as part of the William Leckie household – this was Evelyn’s father. At the time, members of the household included: William Leckie (64 yrs.), Anna Leckie (60 yrs.), Evelyn Sosman (31 yrs.), Frederick Sosman (36 yrs.) and Frederick Sosman Jr. (4), William was working as a bank teller, with Frederic P. Sosman listed as a vaudeville actor.
One of the last advertisements for Sosman & Sloan from Matrh 1923.
Sosman continued to tour with Sloan until 1923. In 1921, Sosman and Sloan were crossing the country, performing “Just Us” to vaudeville audiences as part of the B. F. Keith circuit. (Lowell Sun 3 Jan 1921, page 26). That spring they played in theaters that spanned from Lowell, Massachusetts to Helena, Montana. At some point, Sosman left his wife, became blind, and remarried, but it was not to Sloan.
They two performed together until the spring of 1923. On Jan. 5, 1923, the “Ogden Standard Examiner” reported, “Between Dances” is the title of the diverting offering of Fred Sosman & Gladys Sloan, in which a lovers’ violent quarrel is aired to the delight of the entire crowd, Before the affair is over, however, the quarrel is amicably settled and in fact forgotten in the midst of some appealing songs” (page 10). On Feb. 10.1923, “The Commercial Appeal” in Memphis, Tennessee, reported, “Miss Gladys Sloan, charming and vivacious song and patter star of Pantages circuit, and Mr. Fred Sosman, her partner, life and otherwise, featured the splendid concert. Their song and monolgue numbers were thoroughly enjoyable” (page 4).
On Feb 21, the “Indianapolis Star” reported:
“In Between Dances,” a comedy act presented at the Lyric this week by Fred Sosman & Gladys Sloan, is a combination of repartee and songs. Mr. Sosman and Miss Sloan recently entered vaudeville after extended engagements at the Moulin Rouge and Café DeParnee, New York, and the Marigold Gardens, Chicago. Miss Sloan was formerly engaged in concert work. Mr. Sosman is the son of Sosman of the famous firm of scenic artists Sosman & Landis. For several years he specialized in landscape painting, and has been awarded prizes for his work at exhibits in New York, Chicago and London.”
The advertisement for Sosman & Sloan that I have located is from March 18, 1923, in the “Detroit Free Press” (page 64). They were performing at the Chas. H. Miles Theatre.
His relationship with Sloan ended during the spring of 1923. By fall, Gladys Sloan & Co. was performing at Loew’s Delancey Street Theater in Nashville (“The Tennessean, 11 Sept. 1923, page 8). It was about this time, that Sosman briefly retired from the stage and met his third wife, Zelma. She convinced him to return to acting, despite his disability.
On Nov. 3, 1924, “The Indianapolis Star” reported, “’I’m sure there could be no objection to that,” is the assertation of Fred Sosman when he offers his skit which was written by Aaron Hoffman, the author of ‘Welcome Stranger’” (page 3).
On Nov. 9, 1924, “The Star Press” of Muncie, Indiana, mentioned Sosman’s new vaudeville act. The article reported, “When you want anything done it is a good plan to go to an expert. That is what Fred Sosman, the irresistible comedian did when looking for a new vaudeville vehicle. Fred wanted a new act, so after careful deliberation he applied to Aaron Hoffman, author of :Friendly Enemies” and “Welcome Stranger.” Mr. Hoffman’s effort for Fred Sosman has been called, “I’m sure there could be no objections to that” and is said to be one pf the cleverest monologues being used in vaudeville. Mr. Sosman also renders a couple of comedy songs that are said to be on par with the spoken lines” (page 15). His new act was entitled, “Songs and Chatter.” Written by Dolph Singer and Harry Von Tilzer, authors of many song hits and vaudeville skits.
On Nov. 24, 1924, the Lima News (Ohio) reported, “It is heralded as one of the cleverest monologues being used in vaudeville today. Sosman also renders a couple of comedy songs that are said to be on par with the spoken lines” (page 7).
He continued to perform solo. On Oct. 25, 1925, “The Indianapolis Star” reported that Sosman was performing at the Palace Theatre: “Fred Sosman is the eccentric comedian who, in black face, chatters and sings” (page 45).
By 1926, the Sosman’s moved East, settling in Montclar, New Jersey. Sosman’s health continued to fail, prompting his wife Zelma to open a tea room at 49 Park Manor to supplement their income. The last newspaper advertisements that I have located for Sosman’s vaudeville act are from 1927. On Jan. 28, 1927, Sosman performed at the Grand Opera House in Webster Groves, Missouri. He was still performing “Songs and Chatter.” An article in the “News-Times” reported, “‘Songs and Chatter’ is the title of the vehicle of Fred Sosman, and irresistible comedian, and the offering is said to be one of the cleverest monologues in vaudeville. Sosman also sings several screamingly funny numbers written especially for him by Dolf Singer and Harry Von Tilzer” (page 3).
1927 advertisement listing Fred Sosman in “Songs and Chatter.”
By the spring of 1929, Fred and Zelma Sosman were living in Montclair, New Jersey. On April 20, 1929, the “Montclair Times” announced a dinner party hosted by Mr. and Mrs. Frederic P. Sosman of 49 Park St.” (page 1). Mrs. Frederic P. Sosman hosted a birthday lunch and bridge party a few weeks later. However, Sosman was listed as a bling theatrical actor in the 1930 US Federal Census. In 1930,The Sosman household included Frederick P. Sosman (42 yrs.) Zelma W. Sosman (34 yrs.), Iris W. L. Sosman (44 yrs.), and Bonnie Ferie (22 yrs.). Ferie was listed as a roomer and actress. Fred listed that he married at the age of 37, suggesting that he and Zelma married in 1923, the same year his eyesight failed and his vaudeville act with Sloan ended.
Interestingly, the 1929 Aurora Illinois Directory listed Evelyn Sosman as the widow of F. P. Sosman, now residing at 437 N. Highland Ave. Fred didn’t die, he just remarried. I find it fascinating that this was the same thing Fred’s mother did when his own birth father deserted them in 1886; mother May had declared herself a widow. Keep in mind that it was often more respectable to explain you were a widow, than deserted or divorced.
By the end of 1930, the Sosman’s closed their tea room in Montclair and temporarily headed south to Zelma’s home in Atlanta, Georgia. On Dec. 13, 1930, “The Montclair Times” announced, “Park Manor at 49 Park street, which for the past four years has been conducted by Mrs. Zelma Sosman, closed yesterday. Mr. and Mrs. Sosman, and the latter’s sister, Mrs. Iris Lewis, are motoring to Atlanta Ga., where they will make their new home” (page 19).
I was a bit shocked when I first encountered the 1930 census listing for Sosman as a “blind theatrical actor,” wondering what exactly happened; specifically, how he lost his sight and managed to keep performing. Although his performance career ended in the 1930s, I was able to locate Sosman in WWI draft records, realizing that he eventually returned to Chicago. In 1942, Sosman’s WWII draft registration described him as 6’-2” tall, with brown hair, gray eyes, and light complexion. He was listed as Blind – non ambulatory paralysis. He wrote that the person who would always know where he was Mrs. Zelma Sosman 800 Buena Ave. Chicago. He passed away four years later at the age of sixty years old.
On Nov. 30, 1946, the “Chicago Tribune” reported, “Frederic P. Sosman, 60, former vaudeville monologist and character singer, died yesterday in a sanitarium in Lake Zurich, Lake country. He is survived by his widow, Zelma; a son, Frederic Jr. and his mother, May. Services will be held at 10 a.m. Monday in the chapel at 5501 N. Ashland av.” (page 20). On Dec. 1, 1946, the “Chicago Tribune” published his obituary:
“SOSMAN – Frederic Pinney Sosman, Sr., of 800 Buena avenue, Nov. 29, 1946, beloved husband of Zelma Sosman, fond father of Frederic P. Jr., dear son of May P. Sosman. At chapel, 5501 N. Ashland avenue, where services will be held Monday, Dec. 2, at 10 a.m.. Interment Graceland.” (page 79).
It was not until I started to track down the life of his third wife, Zelma, that the story of Sosman’s life from 1923 to 1946 years came to light. I am going to include the entire article about Zelma Sosman, as I find her life both fascinating and inspiring. The article was written by Jean Tyson and entitled “Aunt Zel,” published in “The Atlanta Constitution” on April 28, 1974 (page 117). The caption above her picture read, “She can’t find time to complain; life is beautiful.”
Fred Sosman’s third wife, Zelma Sosman.
The article continued:
“Zelma Sosman is too busy enjoying life to complain about anything – even the fact she has difficulty seeing.
“I have done everything I ever wanted to do,” Aunt Zel, as she prefers to be called, said. “I have gone everywhere, and I tell you kid, I have had a good time, and I’m still having a good time.
“I would be an ungrateful old woman if I sat here and complained about anything. I haven’t missed a thing. Of course I have gone through reverses, illnesses and things like this, but I can’t complain. I don’t know a woman who has more love and friends.
Aunt Zel began her life 82 years ago May 8, in Atlanta. She grew up on her grandfather’s, Dr. Joseph Hollingsworth, farm of 100 acres.
“The farm was at Highland and Virginia – that was out of the city. I watched them pave Ponce de Leon. I still have scars on my knees,” she said pulling up her long purple dress far enough to show them, “from falling on my bicycle on that pavement.”
The years in between her growing up in Atlanta, and her return in 1957, were filled with travel. She first married a doctor in Birmingham, Ala., which ended in divorce.
She followed this with marriage to Gene Dumont, a silent movie film actor. After Dumont’s death, she married Fred Sosman, who told jokes, stories and sand in every Vaudeville house in the United States.
“When I left the doctor, I went to Chicago and got a job on a newspaper called the Women’s Press. It was a William Jennings Bryant paper (printed no liquor ads). I had never worked a day in my life, but I started out selling subscriptions to the paper over the telephone. Then I became circulation manager and started writing a fashion notes column called Mademoiselle Chica. I wasn’t a fashion columnist, just wrote fashion notes.
She went to California and met Dumont at a baseball game.
“My brother was on the stage. He had to change his name because Grandfather wouldn’t have liked it. He wanted me and my sister, Iris, to come out. So we went just because we had never been to California.
“We were at a baseball game and Fatty Arbuckle was in the box next to us. This man sitting there kept blowing smoke over me. Finally he leaned over and said, “Is this smoke bothering you?” I said, “Oh, goodness no, I’m enjoying it.”
“He wanted to know if he could join me and my sister and I said yes. The next day he came and took us for a ride and we were thrilled.
“He wanted to marry me, but I said I didn’t want to marry him, because if I did something would happen to our relationship. I left and returned to Chicago, and told him not to call. But he did call and said he was going on location for a movie and wanted me there. I went back to California and married him. “We had a grand time, and everything was so exciting, but he died, and I returned to Chicago again.
“I met Fred Sosman through his sister-in-law. We worked together in the same department store. Fred had left the stage because he had become blind.
“I didn’t see any reason why he shouldn’t be on stage. He was a very handsome and talented man, and you would never know he was blind.
“His audience didn’t even know it. I put a little raised fringe on a rug and it was placed at the footlights. When Fred got to this, he knew he was in the right place.
“You could eat a meal with him and never know he was blind. In a restaurant, he would be carrying on a conversation with you and all the time you could see his hands going over the eating utensils. He was learning which fork and which spoon was where. When the meal came, he would pick up the proper utensil and eat, never making a mistake.
“We traveled the vaudeville circuit about ten years. One year I played piano accompaniment for him, but it made me too nervous and I had to give it up.
“We were in Montclair, N. J. when I saw the handwriting on the wall. I knew Fred was sick and we would have to leave the road. So I decided to open a tea room – that was something I knew we could do. I made pies and cakes and did most of the cooking. We didn’t have a customer for a month, and finally one day a group of businessmen came.
“The depression followed, and we returned to Chicago. I had 25 cents when we got there, so we moved in with Fred’s mother.
“One knight I was talking with a sweet dear friend and I said if I have $600 I could go into business. She told me if she had $600 I could have it, but she didn’t. Soon after this conversation her husband was killed and she collected some insurance,. She loaned me $600.
“I found a house with 13 rooms which I rented for $200 a month and turned it into a boarding house. I didn’t have any furniture for it.
I went to a local store and sold items to boarding house, hotels and such. The man there wanted to know how much I could pay down on all the stuff, and I told him $200. He let me have over $6,000 worth of items for only $200 down. I rented rooms for $10 a week, and nobody in my boarding house was a problem.”
She gave up the house and rented a second one with 32 rooms. After a time, she bought a house with 13 rooms and then one with 15 rooms.
“This last one is torn down now,” Aunt Zel said,” and has a 35 story building there.
“I went into the boarding house business because I didn’t know what else I could do, and stay home and take care of Fred.
“The opera stars at that time used to come and visit us at the house – people like Tagliavinia and Carlo Costelleni. My niece was studying at the National Conservatory of Music and she met the stars through her voice teacher.
“My sister Iris and I were never separated except during the years Fred and I were on the road. When Fred died in 1946, we continued to run the boarding house.
“In 1957, Iris was wanting to move back to Atlanta so we did. We had a little house here and one night we were sitting around and talking about how quiet the house was.
“We both had the same idea – take in boarders. We rented to some nice young men who stayed with us for several years.
Aunt Zel’s sister died five years after returning to Atlanta. So she moved to the Palmer house, the 17th floor which she calls the penthouse. Here she lives in her own apartment overlooking the city. Her niece, Iris White, looks in on her.
“Aunt Zel suffered a minor stroke last year, which temporarily put an end to her jogging up and down the halls of her apartment building.
“I have started doing slow jogging again. I don’t guess you can call it jogging because I don’t lift my feet high enough. I’s more like a slow run.
“I was thinking about streaking out to the elevator to meet you today, but you got here a little early.
“People say teen-agers today are vulgar and I don’t believe it. I don’t believe the teen-agers are half as sex crazed as they were 50 years ago.
“You know I still hear from the boys and girls who lived in my boarding houses. They are all over the world now and have families of their own, but they still keep in touch with me.
“I sure have had a full life – still having it. I still love to go places and I go. You know life is just beautiful, I can’t find a thing to complain about.”
Sosman & Landis stockholders held a meeting after Joseph S. Sosman passed away in 1915. On Aug. 10, they elected Thomas G. Moses as president and Sosman’s stepson, Arthur B. Sosman as vice-president. Perry Landis’s son, P. Lester Landis, was elected secretary and treasurer. Although Sosman repeatedly tried to interest both of his step son’s in the scenery business, it didn’t stick. Their interests were in performance and not production
Arthur Benjamin Jones was born on September 30, 1878. He was the eldest of two sons born to Benjamin Hodge Jones and Maria “May” Hazard Pinney. His younger brother, Frederick Pinney Jones was born 3 ½ years later on Feb. 22, 1882. The two boys spent much of their early childhood in a series of Chicago hotels and boarding houses, all managed by their maternal grandfather, Elijah S. Pinney.
By 1885, the extended Jones family was living at the Farwell House in Chicago, another hotel owned by Pinney. For a short period of time, their B. N. Jones was listed as the manager. However, Jones work at the Farwell House did not last for long. May P. Jones was listed as a widow in the 1886 Chicago Directory, likely the easiest explanation when her husband disappeared. She filed for divorce two years later, citing desertion. This must have been an incredible difficult time for the boys. When their father left, Arthur was only eight years old. Four years passed before his mother remarried in 1890. Of the event, then Sosman & Landis employee, Thomas G. Moses, wrote, “Found Sosman married very quietly.” Moses had just returned to the Chicago studios after a seven-month absence. The marriage seemed to be more of an arrangement than a great love affair.
The couple was married on April 16, 1890. Sosman likely met May P. Jones and her sons at the Farwell House, where he lodged for two years. After marrying, Sosman adopted both Arthur and Frederick. Their names changed after the adoption, effectively erasing all ties to the Jones family. Arthur’s name went from Arthur Benjamin Jones to Arthur Burton Sosman. Little is known of the next five years as Arthur grew to adulthood. However, his graduation from Marquette School was listed in “The Inter Ocean” on June 29, 1895 (page 6). That winter, Arthur and his little brother attended the Illinois Club’s Christmas Ball. Each were listed as guests in an article published in the “Chicago Tribune” on Dec. 27, 1895 (page 7).
Arthur made the newspaper a few times in the late 1890s as he continued his education. On March 28, 1897. Mr. A. B. Sosman was listed as a guest at an informal party for the Sigma Delta club, N. 389 Adams Street. He was again a guest at a Sigma Delta “stag” reception at the club rooms at 389 West Adams to enjoy lunch and a musical program (“Chicago Chronicle,” 19 Sept 1897, page 36). On August 16, 1896, his arrival at the Sosman summer home in Lake Bluff was published in “The Chicago Chronicle,” (page 26).
By 1900, Sosman was 21 yrs. old and living on his own. The US Federal Census that year listed A. B. Sosman’s address as 235 Ashland Ave. in Chicago. He was one of many boarders in a private hotel. At the time he was working as a clerk, possibly at the Sosman & Landis studio. By the following year, he moved south to St. Louis, Missouri. On Aug 18, 1901, the “Chicago Tribune” reported, “Arthur Sosman of St. Louis, eldest son of Mr. and Mrs. Joseph Sosman, is visiting his parents.” (page 37). In the “Lake Bluff” section. Interestingly, Sosman was not listed in the St. Louis directory in 1901 or 1902. I have yet to locate him in a city directory before 1911.
If he was working as a Sosman & Landis salesman, he could have been associated with the firm’s regional branches in Chicago, Kansas City, New York, or Detroit. Interestingly, it was in Detroit that he met and married his future wife, Maude Noble Doherty (b. 1880). On July 12, 1906, the “Detroit Free Press” published that a marriage license was granted to Arthur Burton Sosman, 27, Chicago, and Maude Noble Doherty, 26, Detroit” (page 6).
The couple was married on July 14, 1906, in Detroit. At the time, Sosman was listed a salesman on the marriage license. My gut instinct says that he was working at Sosman & Landis in Detroit. Maude’s parents were listed as William Doberts and Elizabeth Barnes. The wedding ceremony was witnessed by John J. and Mary J. Bather of Detroit. The young couple spent their honeymoon at the Sosman summer home, Fairlawn, in Lake Bluff, Illinois. On August 15, 1906, “The Inter Ocean” reported, “Mrs. Joseph Sands Sosman, 513 Washington boulevard, has sent out more than 200 invitations for a lawn fete on Friday afternoon at her summer home in Lake Bluff. The fete is given in honor of her daughter-in-law, Mrs. Arthur B. Sosman, a bride of a month, who, with her husband arrived yesterday from Dayton, Ohio. Among those assisting the hostess will be Mrs. Frank Talbot, Mrs. F. R. McMullin, Mrs. Emmons Cobb, Mrs. James McCrea, Mrs. Frederick Duffy, Mrs. William Kriedler, Mrs. John Peterson, Mrs. W. Holman, Mrs. Harry Backus, and Mrs. Charles Benson. The young women presiding at the tables, which will be spread under a large marquee on the lawn, will be Miss Estella Tunnison, Miss Romaine Wets, Miss Edith Sexton, and Miss Fanny Prentiss” (page 6). On August 17, 1906, “The Chicago Tribune” reported, “Mrs. Joseph Sosman of Lake Bluff will give a lawn fete this afternoon from 3 to 6 o’clock to which 200 friends along the north shore have been invited, The affair is in honor of Mrs. Arthur B. Sosman, a bride of a month, who, with Mr. Sosman, a son of Mr. and Mrs. Joseph Sosman, is here on a visit to the last Monday” (page 9).
Purportedly the young couple settled in New York for the next few years. Again. They were not listed in any city directories, which is so very odd. However, the couple made news again in 1909. On June 30, 1909, the “Inter Ocean” included a portrait of Mrs. J. S. Sosman, announcing her upcoming travel plans (page 7). The caption stated, “Mrs. Joseph Sands Sosman. 513 Washington boulevard. Left Chicago yesterday for an extended visit to her son and daughter, Mrs. and Mrs. Arthur Sosman of New York, who spent their honeymoon at the Sosman summer home at Lake Bluff two seasons ago where they were introduced at a memorable lawn fete the week following their marriage.”
By the fall of 1909, Arthur and his bride headed west to Great Falls, Montana. On Nov. 4, 1909, “The Great Falls Tribune” announced the arrival of A. B. Sosman and wife, Chicago” at the Hotel Fair (Montana, page 9). At the time, Sosman was working as a publicity agent. By 1910, the US Federal Census listed the two living at 33 East Granite Street in Butte, Montana, with Sosman listed as a salesman. Shortly after Sosman’s arrival to Butter, however, he tried his hand at managing a theater. Interestingly, a decade earlier, his step father had established a theatrical management firm, known as Sosman, Landis & Hunt.
On March 7, 1911, “The Butte Daily Post” reported “A. B. Sosman Succeeds Gardner at Empire. Joseph Gardner, for the past several months manager of the New Empire theater, since its transfer to the Montana Amusement company, has resigned his position and gone to Lewiston in the interest of the company, for the purpose of opening a new theatorium in the budding eastern Montana city. Mr. Gardner has wide experience in the theatrical world, having owned numerous theaters of his own in the east. At the age of 15 years he gained his knowledge first as a shifter of scenery and by gradual stages to his present position with the company, who control 12 theaters in the state. Mr. Gardner left Sunday night to take up the work and all his employees and the many friends he made while in Bitte wish him plenty of luck and a pleasant trip, Mr. Gardner is succeeded by A. B. Sosman, the well-known publicity agent. (page 10).
On March 8, 1911, “The Butte Miner” reported, “Empire Manager. A. B. Sosman, a former publicity agent of this city, is now manager of the New Empire theater, succeeding Joseph Gardner, who recently resigned to manage a new theater the Montana Amusement company has opened in Lewistown. Mr. Sosman has for a number of years been prominent in theatrical circles, During his stay in Butte he has made many sincere friends, who have only the best wishes for his success in his new venture” (page 3).
Sosman soon began performing his own vaudeville act, and was billed as a Song Storiest, or Songologist in regional papers. He was repeated mentioned in local news.
A. B. Sosman pictured in “The Butte Miner” on March 19, 1911, page 16.
Here are a few of the articles and advertisements about Sosman’s performances:
On March 9, 1911, “The Butte Miner” reported, “A. B. Sosman. The songologist, has another character song, which will be illustrated with beautiful slides” (page 3).
On March 10, 1911, “The Butte Miner” reported, “Art Sosman, the song storiest, singing “Down by the Old Mill Stream,” a pictoral comedy, Bioscope hit and Selig feature, completed a bill of decided
On March 12, 1911, “The Butte Miner” included an advertisement form the Empire Theatre, with A. B. Sosman, Songologist in a new character song” (page 17).
On March 12, 1911, “The Anaconda Standard” advertised “A. B. Sosman, Songologist in a new character song. Three Photoplays. Bioscope feature.”
On March 13, 1911, “The Butte Miner” reported, “Louise Dresser’s hit, ‘Pat O’Hare,’ is the vehicle with which A. B. Sosman the clever character song man is increasing in his popularity.
On March 14, 1911, A. B. Sosman appeared in various Butte ads as a songologist (The Anaconda Standard, page 9).
On March 19, 1911, “The Butte Miner” included a portrait of A. B. Sosman with the caption, “A. B. Sosman, the song storiest, who is making a decided hit at the Empire theater with his character songs” (page 16).
March 19, 1911, advertisement in the “Anaconda Standard” for Arthur Sosman.
On March 24, 1911, “The Butte Miner” reported, “Mickey Flynn Making Debut at New Empire, An incidental feature of A. B. Sosman’s blizzard song, “Winter” is the hit of the New Empire’s bill of high class offerings which opened yesterday, even if it not the headliner. The music of the song is reminiscent of an icy blast from the Arctic, but when the snow begins to fall it makes one feel Jack Frost is there in person. The song last night, in the vernacular of the profession, was a riot. It certainly ‘knocked ‘em off the seats.” (page 3).
On April 2, 1911, “The Butte Miner” reported, “A. B., the song storiest, has a new march song this week. It is ‘Dixie Gray,’ a stirring song of the southland (page 17).
On April 6, 1911, “The Butte Daily Post” reported, “A. B. Sosman the premiere of all character songsters, has a brand new song with which he will undoubtedly score” (page 7)
On April 9, 1911, the “Anaconda Standard” included an advertisement at the Empire Theatre with featured acts “Besides Photoplays of Sheriff and Art Sosman in the Heidelberg Guide” (page 32).
1911 Advertisement that includes Sosman singing the “Heidelberg Glide.”
On April 24, 1911, “The Butte Daily Post” reported, Mrs. John Waldo of Detroit, Mich., is the guest of A. B. Sosman. She will spend a month in Butte and will then go to the coast, to look after some business there” (page 3).
On April 25, “The Butte Daily post” reported, “A. B. Sosman in a unique act of his own manufacture; Mr. Flynn, the live cartoonist.” (page 7). That same day, the “Butte Miner” referred to him as “Art Sosman, the Shakespearean student and actor” (page 3).
On April 28, an ad placed by Sosman in “The Butte Miner” stated:
“Just a Minute. I want to tell YOU and every patron of vaudeville in Butte about the big Pantages act I will import direct from Chicago every week, as an added feature to the regular bill of top-liners the New Empire will offer. I have an idea. That everyone doesn’t appreciate just what this extra feature every week will mean as an entertainer. It means just two high priced headliners instead of one, as formerly, supported by three other meritorious acts; it means a rich, delectable dessert for a vaudeville feast. The feature will open with the Sunday change. See if it isn’t just what you’ve been waiting for. A. B. Sosman Manager New Empire Theater” (page 3).
On May 14, 1911, the “Anaconda Standard” included an ad for “Art Sosman, the Song Storiest with a New Song Hit and Character Impersonation Up to Date” (page 34). On May 28, 1911, the “Anaconda Standard” reported, “Steamboat Bill” is the name of a song-story rt Sosman will narrate. It is appropriately pictured and a genuine hit. The three photoplays are brand-new ones and afford a somewhat different and refined feature. They are interspersed with other numbers on the bill in such a manner that diversifies the whole offering nicely.” (page 9).
On April 30, 1911, the “Anaconda Standard” reported, “Art Sosman has a regular sensation up his sleeve with which to inaugurate the new added feature. It’s going to be a flirtatious song story, introducing a startling situation. The three photoplays will be late Bioscope features. As usual amateurs will furnish entertainment in connection with the regular bill on Tuesday night” (page 9).
Sosman’s life as a performer, however, was short-lived, as both Arthur and Maude Sosman returned to Chicago in 1912. Mrs. May P. Sosman brought them home. On Feb. 6, 1912, “The Billings Weekly Gazette” reported, “Babcock Manager Resigns. A. B. Sosman has resigned his position as manager of the Babcock theater and left last night with Mrs. Sosman for Chicago. Mr. Sosman will be succeeded by Frank Rowe an experienced theatrical man who was with the ‘Talk of New York’ company as advance as advance agent until recently” (page 6).
By 1913, Arthur B. Sosman was listed in the “Chicago Directory” as a solicitor, living at 1057 Leland Ave. I believed that he returned to help out the family business, and soon returned to work as a salesman. By 1914, Sosman was listed as a salesman in the Chicago Directory, working as 509, 606 S. Michigan Ave. He was again living at home with his parents, his address listed as Margate terrace. Arthur continued to work as a salesman in 1915, listing his employers address as N. Clark, and living at 1321 Sunnyside Ave.
Upon Joseph S. Sosman’s passing, Moses was elected president of the firm, with Sosman’s eldest son Arthur becoming vice-president. In 1915, Moses wrote, “It is very strange to me that I had never given this change of the business a thought. I had never thought of Sosman dying.” Although Arthur was elected as vice-president, he didn’t last long at Sosman & Landis. The following year, his mother filled the role as vice-president.
On March 17, 1916, the “Chicago Tribune” included an article entitled, “Strung Dictagraph Wires.” The article continued:
“You know that Leslie alienation suit?” inquired the voice. “Well, one man had an apartment next door to the Leslie flat. Somebody broke a hole through the wall and strung dictograph wires. He was in there with another named White, He rented a flat from a family named Sosman on the Beacon street side. Now, then, Mr. Leslie and his wife occupied the third floor of the flat on the Sunnyside avenue side of the apartment building. Arthur Sosman leases the third floor flat next door. The peep hole was found in the wall between the two flats. J. A. Weiss, the janitor of the building was able to give some information. The Sosmans subleased their flat furnished about five months ago to a man named White,” said Weiss. “There was another man in the flat with him. They were in there about two months and left about three months ago. When they left Mrs. Sosman returned and she complained there was a hole in the wall. I went up there, and on the Sosman side, about seven feet up in the front hall was a holed six inches square. It was only about as big as your fingertip on the Leslie side – just big enough for a dictograph wire. “I can’t tell you anything,” said Mrs. Sosman.
In 1917, the Chicago Directory listed Arthur B. Sosman as the manager of Arthur B. Sosman Co., at 206, 29 E. Madison. That same year he was also mentioned as an agent for the Pathé Film Corporation. On April 25, 1917, “The Daily Chronicle” of De Kalb, Illinois, reported, “Negotiations between Harold Blass and his parents – and the Pathe Film corporation toward the advent of the Dixon lad into the film world, which have been progressing for some time, were practically consummated Thursday afternoon when the company’s offer, made through A B. Sosman, agent for the Pathe firm, was accepted. Within a short time Harold will be summoned to the head offices of the company in Chicago where C. E. Seeley, one of the directors of the company, will pass judgement and then – as Mr. Sosman says, there is no doubt the boy will be accepted – he will be sent to one of the Pathe studios in California to receive instruction preparatory to playing opposite “Baby Marie Osborner,” the Pathe child star. During his period of training he will receive a salary of not less than $40 per week and when he has progressed sufficiently to take up his regular work before the camera his salary will be roughly $250 weekly. He will be accompanied to California by his brother Leo. Harold is one of the most popular boys in Dixon and a host of friends will unite in congratulating him on his opportunity. It is probable he will be sent to Balboa studio in San Diego for training” (page 4).
That summer, Sosman was again mentioned in a very odd article about a movie theatre fountain. On July 19, 1917, the “Chicago Examiner” reported, “‘Fountain’ is Trysting Place. Movie Show Engagements Made for Examiner Booth; Annabelle Whitford to Sing.” The article continued, The Examiner booth. All dressed up with piano and the largest internal fountain in captivity, according to A. B. Sosman, who put it there, was company place for a lot of people last night. Miss Marguerite Calyton, hostess of the day, was fairly swamped with eager requests for her picture autographed, given with the examiner’s compliments…(page 130.
Sosman remained in Chicago, where he registered for the WWI draft on Sept. 12, 1918. His registration card listed that he was living at 841 Eastwood Ave., Chicago, and working as a salesman of store fixtures at the Palay-Jennings Co. Sosman’s physical appearance was described as medium height and build, brown hair and blue eyes.
By 1920, both Arthur and Maude were working. That year Arthur was employed as a salesman and Maude as a saleswoman at a suit house. I have yet to uncover any other information about the couple in the 1920s.
Arthur Died on Oct. 9, 1929 and was buried at Graceland Cemetery in Chicago. He was only 51 years old.
Joseph Sosman (1846-1915) and Perry Landis (1848-1905) met in 1875 and partnered by 1876. In 1879 they established a scenic studio in Chicago, Illinois, with Sosman living downtown and Landis settling in nearby Evanston. Over the years, they were involved in a variety of business endeavors that spanned from lighting to theatrical management. They were partners in both life and death, sharing a family grave plot, with wives and children nearby. It is difficult to determine the depth of their relationship, but they had certainly complemented one another. Perry was the first to marry at the age of thirty-three in 1881. Sosman remained a bachelor for almost another decade, marrying a divorced woman with two children in 1890. Before marriage, Sosman channeled much of his passion into both his partnership and friendship with Landis.
May P. Sosman in 1909.
Sosman turned forty-four-years old the year that he married May Jones and adopted Frederick and Arthur. In one fail swoop he acquired an instant family, gaining access to social circles previously unavailable for single gentlemen. I like to think that Sosman found love late in life, and in turn, offered a second chance at love for May. I find May P. Sosman absolutely fascinating. In many ways she was the perfect domestic partner for Sosman, a very strong and determined manager of charitable events, households, and men. In looking at all of the obstacles that she overcame, my guess is she was a force to be reckoned with in her day.
I am including May P. Sosman with the Sosman & Landis employees as she was appointed vice-president of the firm in the years following her husband’s passing. Her involvement with his business, however, began years earlier. In 1899 Cincinnati’s “Commercial Tribune” may the following observation about Mrs. Sosman:
“Mrs. Sosman is the wife of the senior partner in the firm of Sosman & Landis (scenic painters and makers of reflectors), which controls the lease of the Pike. She is a handsome woman, with a strong business temperament, and has familiarized herself enough with her husband’s extensive business to be of considerable assistance to him” (page 11). It was extremely unusual for publications to comment on the contributions of wives at this time. The fact that a major metropolitan newspaper credited May as having “a strong business temperament” and being of “considerable assistance” meant she understood the scenic studio and lighting business.
Maria “May” Hazard Pinney was born in Chicago in 1858. She was the daughter of Elijah S. Pinney (1831-1920) and Mary Hazard (1827-1893). As an infant and young child, May and her mother were shuffled from one home to another. It appears that they kept the home fires burning, while Elijah sought any available work. The 1860 US Federal Census listed 3-yrs.-old Maria and her mother, Mary, living in a multi-family complex in Marion County, Illinois. Elijah was not included in the census report that year; he was likely on the road or working in a nearby town. From 1861 to 1862, Elijah was working in Chicago, listed as a messenger for the American Merchant’s Union Express Co. I am uncertain as to exactly when Mary and Maria joined him, but they were likely in town by 1862. That year Elijah moved from 183 Third Ave. to 218 Edina Place. The move may have been prompted by their expanding family. In 1863, the Pinney’s celebrated the birth of their second daughter, Blanche Pinney. In 1865 the Pinney family moved again, this time to 227 Ohio in Chicago.
From 1869 to 1870, Pinney was working for American Merchant’s Union Express Company and living at 51 Madison. The census that year listed Mr. Pinney as a railroad brakeman, likely in the employ of American Merchant’s Union Express Co. Interestingly, the 1870 Chicago Directory listed his wife, Mrs. E. S. Pinney, as running a boarding house at the same address, 51 Madison. It would be ironic if her husband’s rise to fame in the Chicago Hotel Industry began with her running their first boarding house. Late in life Elijah S. Pinney was considered to be the “dean of Chicago hoteldom.”
As many in Chicago, the Pinneys relocated again after the Great Fire of 1871. In 1872, they set up house at 170 W. Jackson. It was about this time that Pinney began owning and operating hotels and boarding houses. From 1874 to 1875 Pinney was listed at the proprietor of the St. Denis Hotel, located at 109 West Madison. He also became involved with the management of the new Revere House on N. Clark Street. Partnering with Thomas L. Case to establish the management firm of Pinney & Case. In 1876 they were located on the southeast corner of Michigan Ave. on N. Clark; this was the same location as the Revere House. Eventually, Pinney was listed as the sole proprietor for the venue, managing it until 1884 when he moved onto another venue.
Those staying at the Revere House were primarily clerks, cashiers, bookkeepers, salesmen, and traveling agents. When the hotel closed in 1888, “The New York Times” described the Revere House as “one of the largest hotels on the north side” (2 August 1888, page 3). However, there were earlier establishments named the Revere House too. Before the great fire, an earlier Revere House was located on the southeast corner of Clark and Kinzie streets. The one built after the fire was constructed one-half block further north from its previous location, adjoining it to the [Cyrus H.] McCormick building block. The address for the Revere House in 1880 was listed as 52-60 N. Clark Street.
It was at the Revere House that Pinney’s eldest daughter caught the eye Benjamin “Bennie” Hodge Jones (1850-1926). Jones happened to be lodging at the Revere House in 1876 and working as a clerk. Jones grew up in Buffalo, New York, but moved to Chicago in 1875. One of seven children born to well-known shipbuilder Frederick Nelson Jones and Cordelia Augusta Hodge, he came from wealth. Both of his parents were descendants of prominent North American families. The following was published about his mother in the Hodge Genealogy of North American Family History:
“Cordelia Augusta Hodge. Born Sept. 25, 1818; married, June 15, 1843, Frederick N. Jones, born May 24, 1819, and died March 23, 1883; son of Augustus and Saba (Murdock) Jones of Black Rover, Ohio (1820). Mr. Jones for a number of years was a captain on the lakes and then became a ship builder at Buffalo. He has a fine residence in Buffalo, on Delaware avenue, where he resided for many years. He was successful in business and had a high reputation as a vessel-builder. He was a deacon of the church for many years and subsequently became an elder. Mrs. Jones was loved and revered by a large circle of acquaintances. When the writer last saw her, in 1896, she was nearly fourscore years of age; she converses with vigor and marked intelligence, presenting the type of a dame that writers sometimes seem to think they lived only in “ye olden times” (page 150). Mrs. Jones died Feb. 24, 1898, at Redwood City, California. Here is the link to the entry: (https://www.ancestry.com/discoveryui-content/view/3109003:61157)
The Jones family’s home on 874 Delaware Ave. was described years later in the “Buffalo Times.” It was mentioned in a 1911 article as part of a series about the early inhabitants of Buffalo. The March 8 article reported that in 1855 Capt. F. N. Jones moved into a 22-room, 11-bedroom, mansion on Delaware Ave. (page 11). At the time, the estate was called “Thornbush,” on account of the row of thorn trees lining the driveway on one side, and Osage orange bushes on the other. Five acres of grounds boasted hundreds of cherry, pear, and apple trees. There were smoke houses, an icehouse, wine cellar, food cellars and larders, each overflowing throughout the year. Benjamin Jones came from a very well-off family, enjoying a life of privilege. All of the Jones children seem to have married well and lived in relative comfort.
As a young adult, Jones worked for the family business. He was listed in the “Buffalo Directory” as a cashier for five years, from 1868 until 1873, before advancing to bookkeeper in 1874. In other words, he worked for his father until the age of twenty-four. All the while, he remained living in the family mansion. Although he was included in the 1875 New York State Census, Jones headed west late that summer. He was included int 1875 Chicago Directory as a bookkeeper for E. L. Hedstrom & Co., residing at 365 West Harrison. In 1876, Jones continued work as a bookkeeper, but secured new lodging at the southeast corner of North Clark and Michigan. This was the location of the Revere House, managed by E. S. Pinney. By the spring of 1877 Jones working as an agent for the National Publishing Company and engaged to Miss May Pinney.
The young couple’s engagement and wedding made Chicago news. I am going to include a series of articles concerning their wedding, as it provides some socio-economic context for the young couple as they began married life together. At the time of their wedding, the groom was 27 yrs. old, and the bride was 20 yrs. old. It was the quintessential Victorian wedding ceremony and reception.
The two were engaged during the spring of 1877. On May 27, 1877, the “Chicago Tribune” announced, “Miss Pinney, daughter of the proprietor of the Revere House, is expected to be married sometime in the fall to B. F. Jones, Esq., of this city, agent for the National Publishing Company” (page 11).
Their wedding was quite the societal event. On Sept. 23, 1877, the “Chicago Tribune” announced, “Miss Maria Pinney, daughter of E. S. Pinney, proprietor of the Revere House, will be married to Mr. B. H. Jones, of Buffalo, to-morrow evening at half-past six o’clock, at the Centenary Church. Reception at the Revere House” (page 12).
On Sept. 25, 1877, the “Chicago Tribune” reported:
“The marriage of Mr. B. H. Jones and Miss Maria Pinney last evening was a brilliant affair, and the wedding, owning to the great number of friends and acquaintances of the bride’s parents, was a very large one. The ceremony took place at the Centenary Church, West Monroe street, at half-past 6-oclock, and fully an hour before the event the building was completely filled, and the street in front was likewise crowded with eager and curious people. The Rev. S. H. Adams officiated. A reception was given in the spacious parlors of the Revere House in the evening, which was very largely attended. Mr. and Mrs. Jones took an evening train for the East, where they purpose to visit for a week, and returning, will be at home at the Revere House Wednesday afternoons and evenings in November” (page 8).
A very lengthy description of the ceremony and reception was published in “The Inter Ocean” on Sept. 25, 1877 (page 8). I took me some the time to transcribe this article, but it really gives a glimpse into the upper-class weddings during the 1870s. The descriptions of the ceremonial music, wedding attire, hairstyles and gifts are quite delightful.
Here is the article in its entirety:
“A Happy Day.
The nuptials of Miss M. H. Pinney and Mr. B. H Jones.
A wedding and an anniversary.
The Revere House was last evening a scene of festivity, the occasion being the silver wedding of the genial hist and hostess, Mr. and Mrs. E. S. Pinney, and the wedding of their eldest daughter, Miss Maria H. Pinney, to Mr. B. H. Jones, of this city.
The ceremony of uniting the younger couple took place at the Centenary Methodist Episcopal Church and was performed by the Rev. S. H. Adams the pastor. The evening was one that had long been looked forward to by the society of young people and the vast auditorium was accordingly crowded to almost overflowing. The church had been appropriately decorated for the occasion. The chancel was filled with growing plants, and the front of the organ bore in floral letters the words: Sept. 24. J.-P. 1877.”
Shortly before 7 o’clock the bridal party entered and marched up the aisle of the strains of the ‘Lohengrin Wedding March.” The ushers, Messrs. W. H. Lane and J. F. Brine, led the way. They were followed by the groom attendants, Messrs. Len C. Jones, of Buffalo, a brother of the groom. Alexander Buchanan, of this city; Willard W. Hodges, of Buffalo, and F. T. Bliss, of Morris, Ill. They, in turn, were followed by the bride’s attendants, Miss Nellie Osborne, of Racine; Miss Georgie Smith, of Buffalo; Miss Blanche Pinney, sister of the bride, and Miss Carrie E. Jones, of Buffalo. The groom then entered with Mrs. Pinney, the bride’s mother, and Mr. Pinner led the bride. Messrs. Archie Hutchinson and J. J. Augustine brought up the rear.
The ceremony was soon over. The young couple were pronounced husband and wife, and the procession filed out of the church to the measures of Mendelssohn’s wedding march. Then the audience dispersed.
The reception was afterward held at the Revere House by the newly wedded pair and the pair who thus celebrated the twenty-fifth anniversary of marriage. It was attended only by the relatives and intimate friends of the parties and was altogether very pleasant and brilliant affair. The parlors were elegantly decorated with flowers, the artistic work of H. H. Stevens, manager of the Oak Park greenhouse. The gasoliers were hung with a perfect wealth of smilax, varied with rosebuds and balls of roses. The wedding pair stood underneath a bridal bell of balsams and carnations, from which depended on festoons of smilax. The bride held in her hand a bouquet of tube roses and stepthons. The walls were hung with the initials of the young couple who celebrated their silver wedding, wrought in pinks and carnations, and fringed with green leaves.
The toilets were in keeping with the parlors. The bride wore a combination costume of cream silk and satin, princess style, with demi-sleeves trimmed with duchess lace and flowers at wrist and elbow. The skirt was trimmed with perpendicular bands of satin and grosgrain silk, and the edges garnished with clusters of orange blossoms, tub-roses, sweet-briar leaves, rose leaves, lilies of the valley, and silver bells. Her hair was dressed with French twist, puffs, and bound with bridal veil of tulle. She wore diamond ear-drops, the gift of the grooms.
Miss Blanche Pinney, sister of the bride, wore a dress of white tarlatan, with corsage waist of white silk, trimmed with scarlet rosebuds; hair in low chatelaine braid, decorated with natural flowers. Miss Carrie E. Jones was attired in a dress of white silk, with overdress of tarlatan; high corsage waist; trimmings of lace and natural flowers.
Miss Nellie Osbourne, a blonde, wore a white tarlatan, with high corsage waist of white silk, demi-sleeves; hair dressed high and decorated with forget-me-nots of palest blue.
Miss Georgia Smith wore a white tarlatan made over a dress of white silk; pearl ornaments.
Mrs. Pinney, the mother of the bride, wore a heavy black grosgrain, richly trimmed with point lace; jewels of pearl and black onyx.
Among those present were Mr. and Mrs. E. S. Pinney, father and mother of the bride; Mr. and Mrs. H. N. Pinney, grandparents of the bride; Mr. Milton Pinney, of Ottumwa; Mr. F. L. Jones, of Buffalo, father of the groom; Mr. Frederick Jones, Jr., brother of the groom; Mr. and Mrs. David Gould, Mr. and Mrs. R. J. Morse, Mr. and Mrs. J. J. Brown, Mr. nd Mrs. Watson, Mr. and Mrs. Thomas J. Slattery, Mr. and Mrs. Charles Hitchcock, Mr. and Mrs. T. F. Briss, Mr. and Mrs. Whitman, Mr. and Mrs. W. B. Telfair, Mrs. Mason; Mr. Lem Ellsworth and daughter, of Milwaukee; Mr. and Mrs. George P. Sexton, Dr. and Mrs. Wilson, Mrs. W. W. Bishop, Mr. and Mrs. W. C. Dow, Mr. and Mrs. Dwight Johnson, Mrs. Patterson, Mr. and Mrs. Palmer Mackey, Dr. and Mrs. J. O. Price, Mr. and Mrs. Horatio Lewis, Mrs. G. W. Turner, Vandalia; the Rev. S. H. Adams; Messrs. C. R. Beasely, H. W. Knight, David H. Kennedy, Judge Wolcott, A. D. Turner, Judge Wilkinson, Carrie Hutchinson, Virginia Butler, Addie Brown, Nellie Butler, Lib. M. Knight, Hattie L. Knight, Mary Hitchcock, Minnie Holt, Minneapolis, Minn., Ida Lewis, Hyde Park; Kate Emmons, Mason Fisk, Martha Peters and others.
Among the gifts to the young and old couples were a pair of toilet chandeliers from Mr. and Mrs. Hitchcock; silver candlesticks, from Miss Georgie Smith; baskets of flowers, from Mr. and Mrs. H. M. Brown and Henry C. Dolph; silver soup and fruit ladles, from Mrs. William Hodge and Charles J. Hodge; silver cream ladle, from Mrs. B. P. Mackey and Miss Martha Peters; case of silver forks and spoons, from Mr. and Mrs. F. N. Jones, the parents of the groom; silver sugar and cream spoons, from Miss Lewis, of Atchison, Kan., aunt of the bride; carving-knife, fork and steel from Mr. and Mrs. A. J. Hoole; silver fruit spoon from Mr. and Mrs. Whitman; silver and crystal pickle castor, from Mrs. G. W. Turner; silver card receiver, from Mr. and Mrs. T. F. Bliss; silver pie knife, from Mr. and Mrs. Albert Jones; a bronze from Miss Carrie Jones; a bronze card table from M. F. and Len C. Jones; pictures from Mr. and Mrs. W. C. Hodge; and easel from F. N. Jones; silver-headed cane for E. S. Pinney from John R. Daley and W. H. Carson; bronze clock and side ornaments, Mr. F. L. Case; bronze statuette, Mr. Morris Butler, of Buffalo, N. Y.; air of bronze vases, Mrs. Nellie F. Osborne; travelling clock, Mrs. L. Giffith; silver berry spoon, Mr. Frank T. Bliss; silver cake knife, Mr. J. W. Kimball; silver card receiver, Mrs. and Mrs. J. J. Brown; unique silver jewel box, Miss Winnie Kimball; silver card case, Mr. Charles W. Besly; silver beery spoon, Mr. and Mrs. B. Palmer Mackey; card receiver, Kate Emmons; handsome bouquet of natural flowers, Mr. A. J. Buchanan; card receiver, D. W. Bakers; Guizot’s “History of France” in six volumes, bound in calf from Messrs. J. F. Brine, A. C. Hutchinson, W. H. Lane and J. J. Augustine; a fine engraving from “Fritz;” superb pair of solitaire diamond ear-rings from the father to the mother of the bride. About 10 o’clock Mr. and Mrs. Jones took leave of their friends and departed ono a wedding tour through the East. They will return to the city in about a month” (page 8).
So you can see, this was quite a big deal, and not the standard average wedding for the masses. Keep in mind that the majority of brides at this time simply wore a nice dress that could be re-used for special occasions.
On Nov. 4, 1877, the “Chicago Tribune” announced, “Mr. and Mrs. B. H. Jones (nee Pinney), have returned from their wedding trip and will be pleased to see their friends Wednesday, afternoons and evenings in November, at the Revere house” (page 16). Everything was going according to plan, as the newlyweds filled societal expectations, playing their parts. On Dec. 30, 1877, the “Chicago Tribune” published a list of ladies wishing to receive callers on New Year’s Day. The Revere House, detailed, “Mrs. B. H. Jones, nee Pinney, assisted by her sister, Miss Blanche Pinney, and Miss Nellie Osbourne, of Racine” (page 7).
A year later, the young couple celebrated the birth of their first child. On September 30, 1878, Arthur Benjamin Jones was born. At the time, Jones was still working as an agent, working at 99 Dearborn, and boarding at the Revere House. His brother, Frederick N. Jones Jr. was also boarding at the Revere House during this time, working as a bookkeeper. Mr. and Mrs. B. H. Jones continued to live at the Revere House for the next few years with Jones trying his hand at a variety of business endeavors; none stuck for long. Meanwhile in Buffalo, the Jones’ family home on Delaware avenue was sold to George Van Vleck. In 1878, Capt. F. N. Jones moved to No. 44 Hodge Avenue. I don’t know if the move was prompted by increased age, decreased income, or a combination of both. By now, however, the Jones children were scattered across the country and doing quite well for themselves. I don’t know if the same was true for Benjamin Hodge Jones. To all appearances, he was moving forward with his career, but his life soon spiraled out of control. I have to wonder if it was gold fever.
Jones became interested in mining and ventured west. He settled in Leadville, Colorado, establishing the firm B. H. Jones & Co. Of all the places, Leadville surprised me, as I am very familiar with the town at that time. In 1879, Horace A. W. Tabor built the Tabor Opera House. Jones would have arrived into this bustling community by rail; a town flooded with mining wealth. The mining possibilities in Colorado made headlines across the country, especially in Chicago newspapers.
Benjamin Hodge Jones, posted to www.ancestry.com
B. H. Jones was listed twice in the 1880 U S Federal Census. He was included as part of the Pinney Household at the Revere House, listed as the son-in-law of E. S. Pinney and working as a miner. What I found interesting, is that when the census in Chicago was taken, Arthur Jones (1 yrs. old) was listed as the son of Blanche Pinney, May’s 18 yrs. old sister. This was likely an error, but Blanch and Arthur were listed quite far apart from the other Pinneys. It does makes me wonder, but maybe she was caring for her nephew that day and census taker assumed the little boy was her own. The other option is unmarried mother, with married sister raising the child.
B. H. Jones was listed a second time in the 1880 US Federal census as a “miner broker” in Leadville. Benjamin H. Jones was also listed in the 1880 Leadville Directory, living and working at 141 West 2nd St. This was really a sketchy part of town and near to a local brothel (inside info. provided by Tammy Taber). B. H. Jones & Co. advertised as miners and dealers in mining property. W. D. Crofoot and T. Page were also associated with the firm. By the way, they were 1 ½ blocks away from the Tabor Opera House. Small world.
B. H. Jones didn’t stay in Leadville for long and was back in Chicago by 1881. During his absence, Mrs. B. F. Jones continued to list calling hours in the newspaper, receiving company alongside Miss Blanche Pinney, Miss Nellie Osbourne and Miss May Watson. In Chicago, Jones entered a new profession. On March 22, 1881, The “Chicago Tribune” announced that B. F. Jones was appointed town clerk for the 12th ward of Chicago (page 6). He was again listed as a bookkeeper in the 1882, Chicago Directory, now working at 95 Dearborn and living at 24 Maple. On Feb. 22, 1882, Benjamin H. Jones and Mary H. Pinney were listed as the birth parents of Frederick P. Jones. Little is known of Jones’ activities or whereabouts during this time.
Jones’ father, Frederick N. Jones Sr., passed away in Buffalo on March 23, 1883. I have yet to locate any information about Jones’ returning home for his father’s funeral, or if he had already deserted his wife and children.
The marriage of Benjamin to May did not survive. On Jan. 6, 1888, the “Chicago Tribune” listed “Maria H. Jones vs. Benjamin H. Jones, Bill for divorce for desertion. W. W. Gurley, soir” as a new suit in the Superior court” (page 9). On July 4, 1888, the “Chicago Tribune” published the divorce: “Maria H. Jones from Benjamin H. Jones; decree, divorce” (page 9). That year, a Benjamin H. Jones was listed as a clerk in the Chicago Directory, working as 91 State and living at 77 S. Morgan.
Jones purportedly married again in Chicago. An article entitled “Buffalo of the Olden Time,” was published in the “Buffalo Times” in 1911. Written by Grace Carew Sheldon, the March 8 installment mentioned the family of Frederick N. Jones. Sheldon wrote, “Benjamin Hodge (Ben) Jones married Josephine Roberts of Chicago, Illinois in 1892, and is now living in San Francisco, California.” Additional information was added by a Jones descendant, posted at www.findagrave.com: “Benjamin married his second wife Josephine (Josie) Roberts in 1892. They were living on Haight Street in San Francisco when the 1906 earthquake struck, knocking them both out of bed. Our family has letters written by Benjamin in the aftermath of the earthquake which are historically very interesting.” Although the 1905 San Francisco Directory lists a William H. Jones living at 629 Haight in San Francisco, I have yet to locate any listing Benjamin H. Jones, B. H. Jones or Josephine Jones. However, there was a Josephine Roberts living in Chicago in 1892. This was also the same year that her mother (Dorothea Roberts) died on Aug. 1. I have yet to locate any wedding records, newspaper announcements, or census reports. They may have just moved west and lived together. Regardless, Jones lived in California for quite some time. He passed away on Jan. 22, 1926, in Los Angeles, California. He was buried at Calvary Cemetery in East Los Angeles the next day. Jones’ mother, Cordelia A. Jones, also passed away in California in 1898, after traveling west to improve her health that winter.
May met her second husband at another one of her father’s properties. After leaving the Revere House in 1884, Pinney went on to manage the Farwell House, located at 164-166 S. Halsted. By the way, in 1885, Farwell House made newspapers for its new fire escape. On March 19, 1884, the “Inter Ocean” included an article about C. Baker’s fire escape (page 9). This was Chauncy D. Baker, another Sosman & Landis employee. The article reported, “A sensible fire escape was exhibited from the Farewell Block yesterday, which is in many ways meritorious, and must soon come into use by owners of large public buildings where many persons are employed, and in hotels and colleges throughout the country. The invention is the result of Chicago ingenuity, and is secured to Mr. C. Baker by letters patent…The cost is but $200, and one escape is sufficient for one building, unless it is unusually large…The escape may be seen in operation any day at the Farewell Block, on Adams street, and any time, and information had of H. Burgheim, at No. 279 South Clark street.” 279 S. Clark was the original Sosman & Landis studio address.
In 1885, E. S. Pinney listed as the proprietor of the Farwell House, with B. H. Jones listed as the manager. Jones’ role as manager was short-lived, however, and by the next year he was gone. Interestingly, in the 1887 Chicago Directory, May P. Jones was listed as a widow. I think the “widow” may have been used as an explanation for absent husband. During this same time, Joseph S. Sosman began lodging at the Farwell House. The year after, she filed for divorce.
Prior to lodging at the Farwell House, Sosman rented and apartment at 155 Sangamon; this was a boarding house near the Sosman & Landis studio on N. Clark Street. In 1886, Sosman & Landis built a new studio on S. Clinton Street. The Farwell House was located on Halsted. Halsted ran parallel to Clinton Street and was only three blocks west of the studio: a short four-minute walk. The two streets are now divided by an interstate highway. Sosman most certainly met May at the Farwell house, about the same time that her husband left. Sosman remained at the Farwell house for at least two years.
1886 map of Chicago. Sosman & Landis’ 1st studio on Clark was located near Depot #2. There second studio was locate near Depot #3.Map showing the walk from the Rever House to the Sosman & Landis Studio on Clinton St.
In 1889, Sosman moved to the Tremont House, a venue managed by Pinney’s old business partner Thomas L. Case. For geographical context, the Tremont House was located on LaSalle. Cases’ business offices were listed as 24, 232 LaSalle. This move might have been in preparation for their impending nuptials, or simply had to do with the fact Pinney was planning to lease his next hotel, the Hotel Lafayette.
Location of the Tremont House in 1886.
May married Sosman in the spring of 1890, four years after Sosman first moved to the Farwell House. Their marriage license was published in the “Chicago Tribune” on April 15, 1890 (page 3). Of the marriage, Thomas G. Moses wrote, “Found Sosman married very quietly. “
Sosman immediately adopted the two boys and May attempted to erase all familial connection with their birthfather and the Jones family. Her sons’ birth names were even changed: Arthur Benjamin Jones became Arthur Burton Sosman, and Frederick was now spelled with the “k” – Frederic Pinney Jones. What I cannot find is any records that verify that the decision was a legal name change. Sosman’s will still used the birth names for his two stepsons.
1889 Sosman & Landis catalogue with portraits of Sosman (top) and Landis (bottom).
Meanwhile, May’s father continued to gain ground in the hotel industry. By 1890, Pinney was listed as proprietor of the Hotel Lafayette, located at 111 W. Madison in Chicago. Interestingly, Sosman placed a want ad for his father-in-law the next year. On April 26, 1891, the “Chicago Tribune” published the following ad:
“FOR SALE – The furniture and fixtures of the Hotel Lafayette, corner Desplaines and Madison sts.; includes fine bar and fixtures; must be sold by Wednesday, April 29. J. S. Sosman, 236 South Clinton St.” This is about the same that time that Sosman and Landis began investing in a variety of other business ventures and properties.
In addition to expanding their scenery and theatrical supply busines, each began to diversify their investments. Throughout the 1890s, Sosman and Landis were instrumental in establishing the American Reflector and Lighting Co. They also founded the theatrical management firm of Sosman, Landis & Hunt with David H. Hunt. Over the next few years, Sosman placed more want ads, including one in the “Chicago Tribune” on Feb 24, 1894 (page 15). His advertisement announced: “FOR SALE – the Lease and fixtures of Morton House, Hamond, Ind.; only hotel in town of 15,000 inhabitants; a good chance for a live party. Inquire on premises or of J. S. Sosman 236 S. Clinton st., Chicago.”
Although Sosman was an incredibly successful businessman in his own right, May provided something that could not be bought – social access. At that time, being married and having children gave legitimacy to Sosman’s business empire. By his mid-40s, Sosman really needed a wife and children for various social inroads. In many instances, wives of wealthy husbands functioned as patronesses for charitable benefits. May helped Sosman make necessary business connections, providing avenues to various events; something otherwise impossible for a single gentleman at that time. Keep in mind that many charitable events had grand themes, necessitating extravagant decor and painted illusion. These fundraisers represented big business opportunities for many manufacturing firms, especially scenic studios. Wealthy wives planned the large-scale events, carefully selecting designers and other necessary artisans for the work. Sosman & Landis began to land one contract after another for various social galas by the 1890s. I have written about many of these grand social spectacles in the past. May helped market her husband’s business in a way that no other employee could. In other words, her suggestions and recommendations happened over tea or at other intimate gatherings.
Immediately after their marriage, Mr. and Mrs. Sosman set up house at 576 Congress Street and began to entertain. They hosted a variety of social events and other gatherings for charitable organizations. They even secured a summer home, strategically located in a popular lake area to host events in the summer. Like many other wealthy Chicagoans, the summer season was spent relaxing in the cool shade near a body of water. They initially purchased property in Green Lake, Wisconsin. On August 9, 1891, “Chicago Tribune” published, “Mr. and Mrs. Joseph S. Sosman and family, No. 570 West Congress street, are spending the month of August at the Oakwood, at Green Lake, Wis.” (page 30). On Jan. 31, 1892, “The Inter Ocean” reported, “Mrs. Joseph S. Sosman entertained the Green Lake Progressive Euchre Club Thursday evening at her residence, No. 570 West Congress avenue. The club is composed of young people who spend their summers at Green Lake. Those present were Mrs. and Mrs. Will Pullman, Mr. and Mrs. Cady Jordan, Mr. and Mrs. John Westen, Mr. and Mrs. James Miller, Mrs. and Mrs. Berg, the Misses Eldridge, Pinkerton, Fick, Peacock, marks, Messrs. White, Dewes, Hamline, Robert Stewart, Jack Stewart, Peacock and Prindiville” (page 18). But Green Lake was quite far away, approximately 180 miles northwest from downtown Chicago.
By the summer of 1892, they purchased a much closer summer home in Lake Bluff, Illinois. For geographical context, Lake Bluff is about thirty miles north of Chicago, along the shores of Lake Michigan. Their timing could not have been better. In the years leading up to the Columbian Exposition, high society planned large public events for the upcoming year. People came from all over the world for the World’s Fair in Chicago in 1893; nearby lodging was at a premium. On April 30, 1893, the “Chicago Tribune” published, “For Rent – For the Summer – Nicely furnished cottage at Lake Bluff, Ill; very desirable location. Address J. S. Sosman 236 S. Clinton st., Chicago” (page 21).
For the next two decades, the Sosman’s entertained family, friends, and potential clients at their lake home. Notices were posted in the “Chicago tribune,” published by those who could afford to escape for weeks on end, exchanging the blistering confines of downtown Chicago for cool lakeshore breezes. For example, on July 26, 1897, the “Chicago Tribune” announced “Mr. and Mrs. Joseph S. Sosman and family, 570 West Congress street, are at their summer home at Lake Bluff” (page 12). These announcements provided friends and associates with opportunities to call. Furthermore, the “Chicago Tribune” listed news from vacation communities each summer. On June 16, 1901, the “Chicago Tribune” the “Lake Bluff” section announced, “The Country Club gave an enjoyable party at its clubhouse on Saturday night. Mr. and Mrs. J. S. Sosman of Chicago are out for the season. They have recently enlarged their grounds by the purchase of additional land” (page 47). In the end, they would own several lost in the north section of Lake Bluff. The Sosman’s home in Lake Bluff was christened Fairlawn.
Fairlawn. The Sosman’s home in Lake Bluff.
On June 21, 1903, the “Chicago Tribune” reported in the “Lake Bluff” section: “Among the families now at cottages for the summer are the following: J. W. Bridgeman, H. E. Alexander, F. W. Bowen. Stephen T. Mather, Henry Miner, J. S. Sosman, A. L. Merrill and William C. Reynolds of Chicago and H. C. Tunison of Jacksonville.
Mrs. Sosman also purchased property on her own, indicating a substantial amount of financial independence. On October 24, 1906, the “Waukegan News Sun” or Waukegan, Illinois, listed the following real estate transfer:
Anna E. Shellabarger and hus. to May P. Sosman, lots 6 and 7, block 29, Lake Bluff. Warranty deed, $1,250.” The information was furnished by the Lake County Title and Trust Co., guaranteed by the Masonic Temple building, Waukegan, Ill. (page 2).
On June 4, 1909, both “The Inter Ocean” and “Chicago Tribune” announced, “Mr. and Mrs. Joseph S. Sosman, 513 Washington boulevard, have opened their home, Fairlawn, at Lake Bluff, (on the north shore) for the season” (page 6). Sosman passed away at Lake Bluff on August 6, 1915. May retained the home for four years after her husband’s passing, not selling the property until 1919.
The Sosmans continued to make societal news. On Jan. 28, 1894, “The Inter Ocean” reported, “Mrs. Joseph S. Sosman of No. 570 West Congress street, threw open her pretty and artistic home Friday afternoon in the interest of ‘sweet charity.’ It was given in aid of the philanthropic work of the West End Woman’s Club, and was in the form of a Japanese tea, carried out to the minutest detail. The house was thronged during the receiving hours, hundreds of ladies, prominent in social and charitable circles, being present. The club members assisting Mrs. Sosman were Mesdames C. K. G. Billings, W. H. Wells, and H. M. Scott. Tea was poured by the Misses Franc Reece, Edith Bingham, Evelyn Brooks, Florence Mitchell, Leila Hulbert, Belle Pinkerton, and Jessie Hulbert” (page 26).
On Nov. 3, 1894, the “Chicago Tribune” announced, “The children of the Home for the Friendless were given entertainment yesterday afternoon at the Masonic Temple Roof Garden by Mrs. Joseph S. Sosman, one of the Board women of the home. Busses and carriages were furnished the little ones to take them to and from the Temple and the affair, which was intended as a Thanksgiving treat, which was a thoroughly enjoyable one (page 6). In 1894, Sosman & Landis leased and managed the Masonic Temple Roof Garden, featuring two electric scenic theaters.
In addition to charitable events, the Sosman’s also participated in a variety of Masonic activities. Since moving to Chicago, Sosman had been heavily invested in Freemasonry. Sosman & Landis also specialized in producing fraternal scenery for a variety of Masonic orders. By 1892, Sosman & Landis placed advertisements in Masonic publications across the country. For example, an 1892 in “American Mason” magazine stated, “We make a specialty of Scenery for Illustrating the Different Degrees in Masonry.” Mr. and Mrs. Sosman were repeatedly mentioned for their organization and participation in large-scale fraternal events, such as the Knight Templar’s Charity ball and Queen Esther’s Reception (No. 41, O.E.S) in 1895.
1892 Sosman & Landis Advertisement in “American Mason.”
May was also featured in The Etiquette of Today: a Complete Guide to Correct Manners, and Social Customs in Use Among Edicated and Refined People of America by Marshall Everett, publishedin 1902.
That same year, the interior of the Sosman’s Home was included in Beautiful Homes and Social Customs of America.
On June 30, 1909, the “Inter Ocean” included a portrait of Mrs. J. S. Sosman, announcing her upcoming travel plans (page 7). The caption stated, “Mrs. Joseph Sands Sosman. 513 Washington boulevard. Left Chicago yesterday for an extended visit to her son and daughter, Mrs. and Mrs. Arthur Sosman of New York, who spent their honeymoon at the Sosman summer home at Lake Bluff two seasons ago where they were introduced at a memorable lawn fete the week following their marriage.”
1909 portrait of Mrs. J. S. Sosman.
By 1909, Sosman was nearing retirement and he began redirecting his focus on his family. He was nearing a twentieth wedding anniversary and began spending more time with his wife. There were no longer children to consider. Their son Arthur had married in 1906 and was currently living in New York. Arthur would go onto be a composer and musical performer in the west. Frederic also became a performer and was well-known for his vaudeville act.
In the final years of their marriage, the Sosman’s travelled quite a bit; their time spent away increasing with each trip. In 1910, the Sosman’s traveled abroad. On May 22, 1910, the “Philadelphia Inquirer” reported, Mr. and Mrs. J. S. Sosman arrived at the Hotel Waldorf in London May 21, 1910” (page 2). They went on a grand tour with Sosman sending postcards back to Thomas G. Moses and the studio staff. On Feb. 6, 1911, the “Chicago Tribune” announced, “Mr. and Mrs. J. S. Sosman, 1628 Washington boulevard, will leave Thursday for Southern California where they will remain for several months” (page 12). By 1913, the Sosmans listed their permanent residence in Lake Bluff. In 1914 and 1915 they lived at 906 Margate Terrace in Chicago, with Arthur; then May moved again.
I really believe that Sosman began to emotionally let go of many business endeavors several years before his passing. It started when Landis became ill and stepped away from his responsibilities. This loss prompted Sosman to hire Moses and appoint him vice-president of the firm. When Moses returned to the studio he was placed in charge of all design, construction, painting and installation. In many ways, he replaced Sosman in the studio while Sosman covered many of Landis’ duties. It is possibly that Sosman’s heart went out of the game after his best friend and business partner died in 1905. The decade to follow seems to be one long goodbye. Sosman increasingly delegated his tasks, passing along all of his work-related responsibilities to others, especially Moses and David H. Hunt. Then Hunt abandoned him to establish New York Studios in New York by 1910.
Picture postcard sent to Thomas G. Moses from Joseph S. Sosman in 1910.
There was no one to carry on Sosman’s business legacy from his immediate family. Over the years, Sosman repeatedly tried to interest his sons in the scenic trade, but their passions remained elsewhere. Each worked for the firm in various capacities, but nothing stuck. By the way, I am writing their biographies next. In the end, there was no immediate Sosman family member to pick to the reigns when he stepped away – only May. But May was only temporary and had no interest in taking over the business. Maybe it didn’t matter in the end, as he had already made his fortune and was living comfortably. His finances were well diversified; the income from multiple investments funding both travel and retirement plans. Regardless, Sosman’s absence at the studio was acutely felt by his employees and the business ran rudderless. Without Sosman actively taking his lead at the helm, infighting began and sidetracked many projects. Moses was the only one left who kept fighting to keep Sosman & Landis afloat, and even he had to briefly step away by 1918.
Upon Joseph S. Sosman’s passing, Moses was elected president of the firm, with Sosman’s eldest son Arthur becoming vice-president. In 1915, Moses wrote, “It is very strange to me that I had never given this change of the business a thought. I had never thought of Sosman dying.” Although Arthur was elected as vice-president, he did not last long at Sosman & Landis. In 1916, Moses wrote, “October 10th I was re-elected president of the company, Mrs. Sosman vice president and Lester Landis secretary and treasurer. October 6th, Lillian presented her husband with a pair of twins, boy and girl.”
Behind the scenes, May remained steadfast to her men, both living and dead. She continued to plug along until the family estate was settled, temporarily assuming her husband’s role at the American Reflector & Lighting Co. too. Meanwhile, May systematically began to liquidate the family assets and contemplate the future. All the while, she cared for her aging father, even throwing him an 89th birthday party on Feb. 26, 1920.
On Feb. 7, 1920, the National Hotel Reporter (page 1) announced, “Pinney – Mr. E. S. Pinney, dean of Chicago hotel men, will celebrate his 89th birthday on Thursday February 26, at which time his daughter, Mrs. J. S. Sosman, will give a small birthday party for her father. Mr. Pinney, who returned from active business ten or fifteen years ago, was formerly the proprietor of the Revere House on North Clark street, when it was a reputable hotel and conducted in the most exemplary manner. Prior to his occupancy of the Revere House, Mr. Pinney for many years conducted the hotel at the northeast corner of West Jackson and South Halsted streets, then known as the Farwell House, then owned by Hon. Charles B. Farwell, United States Senator from Illinois. When the Hotel Men’s Mutual Benefit Association was organized in Chicago, January 17, 1879, its first board of officers consisted mainly of hotel clerks. In fact, the only proprietor on the board of directors was Mr. Pinney. That was more than four decades ago – to be exact 41 years – and it is a matter of remarkable record that Mr. Pinney has continued to serve unremittingly and uninterruptedly as a director of this great fraternal organization – the original hotel association of the United States – for this entire period. He was, for several years chairman of the board and had scarcely missed a single meeting during the entire forty-one years. Truly a wonderful, and, indeed, a most commendable record.” Her father passed away four months later.
Pinney’s1920 obituary sheds a little light on his career and the status of the Pinney family in Chicago. Born in East Windsor, Connecticut, he traveled west from New York to Illinois in the 1850s where he married and started a family.
On June 19, 1920, “The National Hotel Reporter” reported:
“Elijah S. Pinney, dean of Chicago hoteldom and for forty-one years a member of the board of directors of the Hotel Mens’ Mutual Benefit Association of the United States and Canada, dies at the James C. King Home for aged men, East Garfield boulevard, Chicago, yesterday at one o’clock p.m. from double pneumonia, after an illness of only a few days.
Mr. Pinney was for years the proprietor of the Farwell House at Jackson boulevard and Halsted street, removing thence to the north side, where he became proprietor of the Revere House on North Clark street, which he conducted successfully for many years.
He retired from business several years ago and has since lived a comfortable life in the King home, which has proven a haven of rest for so many aged men.
Mr. Pinney’s wife died many years ago and he is survived by one daughter, Mrs. J. S. Sosman, who has been devoted to him since her mother’s death and with whom he resided for many summers at Mrs. Sosman’s summer at Lake Bluff, Ill.
When the Hotel Mens’ Mutual Benefit Association was organized in Chicago forty-one years ago, Mr. Pinney was one of the few hotel proprietors to become a charter member. He was elected a director at the first meeting and has served continuously ever since in that capacity, He was devoted to the affairs of the association and was naturally very proud of his long connection with it.
A man of extreme geniality devoted to his family and friends, generous hearted and deservedly popular, Mr. Pinney lived to a ripe old age, having celebrated his 89th birthday on February 26th, last.
Funeral services under the auspices of the Masonic fraternity, of which he had been a long member, will be held on Monday next at Graceland Cemetery, at an hour to be announced in the regular death notices of the Sunday issue of the Chicago Tribune” (page 1).
The year her father passed, May P. Sosman lived at 946 Ainslie in Chicago. The 1920 US Federal Census listed her as head of the household, living with two widows and a domestic servant. Her household included Edna Myrers (52 yrs.), Glory D. Ladd (32 yrs.), and Carrie Pearson (27 yrs. old servant). Edna was a saleswoman of bonds and Glory was a secretary at a Publishing firm. I find May’s relationship with Edna fascinating.
Edna remained in Sosman’s home, becoming her close companion for the next two decades. The two remained extremely close until Edna’s passing in 1943. The 1940 US Federal Census even listed Edna as May’s partner, with Edna head of household. I have to wonder if Sosman was the silent business partner who provided funding for Edna. At the time of Edna’s death, Sosman wrote and published her obituary in the “Chicago Tribune.” published in the “Chicago Tribune.” On Sept. 7, 1943, Edna’s obituary announcement read:
“MYRER– Edna S. Myrer, Sept. 5, 1943, formerly of 935 Leland avenue, Chicago, dear friend of Mrs. J. S. Sosman. Interment California” (page 26).
In the end, May lived with Edna almost as long as her second husband. I was curious to discover more about Edna Myers.
Edna Sarah Miller was born on May 16, 1865, in Lunenburg, Nova Scotia, Canada, she was the youngest daughter of George Edward Miller (1823-1872) and Sara Sophia Miller (1825-1913). One of seven children born to the couple, her siblings were George Edward Miller Jr. (1850-1912), Capt. William Miller (1852-1927), Capt. Samuel Miller (1854-1927), David Casper Miller (1856-1938), Robert Miller (1860-1860) and Gabriel Miller (1860-1860).
For geographical context, Lunenburg is about 60 miles southwest of Halifax, along the coast. Dutch Reform Church records list that Miller was christened in Lunenburg on June 5, 1865. Canadian Census reports confirm that the Millers were living in Lunenburg in 1871. This was the year before her father passed away at sea. He died on Jan. 13, 1872, at sea. A decade later, Edna Miller was still living with her mother and three brothers: Samuel, Casper and Daniel. She remained in Lunenburg until she married Edward Davidson Myrer (1852-1901) on Aug. 17, 1886, and moved to the United States.
Edward Myrer emigrated to the U. S. as a young man in 1869, settling in Massachusetts and naturalized in 1874. After marrying Miller in 1886, Edna remained in Canada for two years, until 1888. She then traveled to California, living with her husband near San Francisco in Pacheco, California. Edna never relinquished her Canadian citizenship but spent the rest of her life in the US. In California her husband was employed not only as a carpenter, but also as a police officer. In 1888, the Myrers relocated ninety miles northwest and were living in Yuba, California. They eventually returned to the San Francisco area where Edward Myrer passed away on April 1, 1901. The 1901-1903 San Francisco Directory listed Edna S. Myrer as a widow, residing at 808 Eddy. Doors began to open for Myrer as a widow, and she began a career as a successful businesswoman.
Sometime between 1903 and 1907, Myrer journeyed east to Virginia. She likely left after the 1906 San Francisco earthquake and fire. By 1907, she was listed as the secretary and treasurer for the newly incorporated United States Automatic Loom Attachment Co. in Lynchburg, Virginia. The 1909 and 1910 Lynchburg Directories list Mrs. Edna S. Myrer as the secretary and treasurer of the United States Automatic Loom Attachment Co., located at 718 Commerce, with C. L. T. Fisher as president of the firm. The 1910 US Federal Census also listed Myrer as a 41-yrs.-old widow, working as a secretary in the cotton twine industry. At the time, she was living with the Karber family. The head of the household was Kant H. Carber, a 47 yrs. old machinist. Also, in the looms industry. Here’s where it gets a little interesting….
It appears that Myrer had a knack for both business and sales. By 1913, she moved to Chicago and soon became involved with another business venture, selling stock for Universal Wheel Co. She posted advertisements in papers throughout Wisconsin and Indiana. On August 5, 1913, the “Kenosha News” of Kenosha, Wisconsin, published the following advertisement: “FOR SALE at a sacrifice – 200 shares of Universal Wheel stock at $2.50 per share; address Mrs. E. S. Myrer, 1238 LaSalle avenue, Chicago” (page 7). Myrer also placed adds throughout Indiana, including “The Fort Wayne Sentinel” that year. Although she listed her LaSalle address, Myrer was not listed in the Chicago Directory for 1913. In 1914, only one Myrer appears in the directory – Walter Henry Myrer, a clerk at 547 W. Jackson and living at 2106 Grace. It is not until 1915, that Mrs. E. S. Myrer is briefly listed in the Chicago Directory, living at 529 Fullerton Parkway. By 1916, only W. H. Myrer is again listed as a clerk again.
In 1916, Elijah S. Pinney sold May P. Sosman his lot 3, block 29, at Lake Bluff for $1. (“Libertyville Independent, May 12, 1918, page 2). I think that Myrer and Sosman began living together in the wake of Joseph Sosman’s death.
Interestingly, neither Mrs. Sosman nor Mrs. Myrer were listed in the 1917 directory. I wonder if they relocated to Lake Bluff for a short time. Mrs. Sosman sold the estate in 1919. On June 5, 1919, the “Liberty Independent” of Liberty, Illinois, published the sale:
“In Lake Bluff: John Griffith bought 6 lots on N side Center Ave., between Sheridan Rd. and Simpson Ave., from May P. Sosman for indicated $3,000” (page 11).
In 1920, Mrs. Sosman was again living in Chicago. Myrer continued to work in the Chicago area. The 1920 US Federal Census reported that Myrer was living with Mrs. Sosman at 946 Ainslie, selling bonds. It is about this time that Mrs. Sosman fades from print and Myrer makes a splash in the papers.
By 1922 Myrer embarked on a new business venture. She was very good at securing skilled labor for her employers.
On April 25, 1922, the “Chicago Tribune” posted the following advertisement placed by Myrer:
“Four high grade women who have good command of the English language; such women, if active, can earn $100 per week or more; capable managers will assist and instruct you; out proposition unquestionable; bankers know us. E. S. Meyer Room 310 Willoughby Bldg. S. W. Cor. Madison and Michigan av.” (page 30).
1922 advertisement placed by Edna S. Myrer.
By 1925, Myrer became involved with real estate, especially vacation properties. It really reminds me of the entire time-share industry and aggressive marketing approach. On March 16, 1925, Mrs. Myrer posted the following want ad in the “Chicago Tribune” (page 29):
“SALESLADIES.
Get into the resort branch of the real estate business and make some real money. We are building the Atlantic City of the west and need a few more experienced ladies to follow live leads due to our advertising campaign. Season just starting. Apply Mrs. Myrer. Room 701, 179 W. Washington-st.”
By that summer Myrer was representing C. A. Blair & Co. They were a firm that specialized in real estate, rentals, loans, and insurance. They were located in the Otis Building at 10 S. La Salle Street in Chicago and advertised that real estate exchanges were a specialty. The firm placed advertisements in a variety in publications, including “The Sentinel,” a Jewish periodical.
In 1925, C. A. Blair & Co. was planning developments along the Dixie Highway between Kissimmee and Melbourne in Florida. Their marketing campaign even included $100 cash prizes for the best name submitted for their lake development on Lake Tohopekaliga (“St. Cloud Tribune, Vol. 17, No. 32, 2 April 1925, page 10). They advertised that in addition to the extensive lake frontage a picturesque ‘Venice Development’ of canals was to be built through the property. Interesting way a rebranding swamp land. The firm was simultaneously trying to locate companies to dredge their land.
On July 24, 1925, the “Chicago Tribune” published the following:
“FLORIDA SALESWOMEN WANTED.
Experienced and inexperienced, who can command the respect of the public. Must have a good command of the English language and be well groomed, to prepare themselves for work in Florida this coming winter with a high-class orientation they can be proud of. Call Rm. 349 10 S. La Salle-st. Ask for Mrs. Kemp or Mrs. Myrer” (page 28).
Myrer was working with Johanna Kemp.
On July 30, 1925, the “Chicago Tribune” reported, “Saleswomen. “A Venetian Home in the Heart of Florida.” Prepare yourselves for selling in this beautiful spot this coming winter. Women who have initiative, and who would like to connect themselves with a high-class organization or property can make this connection at the following address. Must be well groomed and have good command of the English language. No misrepresentation is needed or allowed. The undersigned are capable to instruct you and will give you every co-operation. Call R. 349. 10 S. La Salle-st. Ask for Mrs. Kemp or Mrs. Myrer” (page 30). On September 22, 1925, a similar advertisement was posted in the “Chicago Tribune” (page 40)
“A HIGH TYPE OF WOMAN WHO DESIRES TO MAKE REAL MONEY.
Can make such a connection at the following address. Reports from Chicago people who have seen our property in Florida, show we have the most desirable property in the entire state. Our references in Chicago will surprise you. If you wish to go to Florida for the winter months, Orlando will be your destination. The undersigned are capable of giving you every co-operation. Ask for Mrs. Kemp or Mrs. Myrer. Room 349, 10 S. La Salle-st. C. A. Blair & Co.”
On Oct. 25, 1925, another advertisement specified, “The Clyde A. Blair Organization, which is doing business in a high-class way and selling property on the most beautiful lake in Florida and on the only complete East and West Coast to Gulf Highway south of Orlando.” This ad stated, “Ask for Mrs. Kemp, Room 349, 10 La Salle-st.”
Kemp and Myrer spent the remainder of 1925 in Florida, managing the Orlando office of C. A. Blair & Co., Inc. of Kissimmee, Florida. The firm was now advertised as owners and developers of Lago Vista and Tolga Manor. On Nov. 1, 1925, “The Orlando Sentinel” published a full-page advertisement for the new development of Lago Vista. The ad included the following statement: “Announces the formal opening of their Orlando Office at 223 South Orange Ave. to-morrow, Monday evening, November 2nd at 8P.M. Good music will be provided, and the public is invited to attend and get acquainted. The office is in charge of Mrs. Myrer and Mrs. Kemp.” On Nov. 2, 1925, the “The Orlando Sentinel” reported, The Orlando office is in charge of Mrs. Myrer and Mrs. Kemp.1,500 lots had already been sold in Tolga Manor and Lago Vista since August, and a bright future is now assured for this new enterprise. There is a total of 4,200 acres with six miles of waterfront, and four miles of Dixie Highway having twenty miles of property facing lagoons. The well for the business section has been completed, flowing 1,000 feet per minute. The Spanish portals near the entrance are nearing completion, and much other construction work is underway” (page 14).
1925 advertisement in “The Orlando Sentinel” mentioning Myrer.
By 1926, Myrer was back in Chicago and working solo. On June 8, 1926, she placed the following want ad in the “Chicago Tribune” –
“WOMEN.
To women who want to earn big money without delay I offer such an opportunity and will co-operate with those who qualify; no canvassing, no soliciting; must be over 21 years. Call on Mrs. Myrer, Suite 1212 105 W. Monroe-st., after 10 a.m.” (page 42). Myers remained a saleslady throughout the late 1920s.
On Oct. 31, 1928, Canadian Immigration Records reported that saleslady Edna S. Myrer arrived in the Port of Sarnia, Ontario, intending to do business with the World Fiber Co in Toronto. In the manifest, Myrer listed her religious affiliation as Christian Science and Mrs. Sosman of Chicago, Illinois, as her nearest relative, defining her relationship as “friend.” At the time of entering Canada, Myrer had $500 cash in her possession.
That same year, Mrs. Sosman also did some travel. On April 22, 1928, the “Chicago Tribune” reported, “Mrs. May P. Sosman of 923 Lafayette parkway has recently returned from a two month’s visit with her son and his family in New Jersey (page 108).”
Arthur Sosman was sick and passed away on Oct. 29, 1929.
The 1930 US Federal Census report listed that both Mrs. Sosman and Mrs. Myrer lived at 923 Lafayette Parkway. Myrer was listed as a lodger, with Sosman head of household. Each widowed, Myrer listed her occupation as a saleslady in “general” industry. Meanwhile, Mrs. Sosman listed her occupation as “practitioner” in the “Christian Science” industry. The 1930 Chicago Telephone Directory listed Mrs. Joe Sosman living at 923 Lafayette Parkway. Myrer was not listed in the directory at this time.
Edna Myrer passed away in Chicago on Sept. 5, 1943, at the age of 64 yrs. old. She is listed in the Cook County, Illinois, Death Index. She was buried on Sept. 8, 1943, at the Acacia Park Cemetery in Norwood Park, Illinois. At the time of her passing. Edna’s spouse was listed as Johanna.
Three years later, Mrs. Sosman buried her youngest son, Frederic, On Dec 1, 1946, the “Chicago Tribune” published his obituary:
“SOSMAN- Frederic Pinny Sosman Sr., of 800 Buena avenue, Nov. 29, 1946, beloved husband of Zelma Sosman, fond father of Frederic P. Jr., dear son of May P. Sosman. At chapel, 5501 N. Ashland avenue, where services will be held Monday, Dec. 2, at 10 a.m. Interment Graceland” (page 79).
Mrs. May P. Sosman passed away less than three months later on Feb. 15, 1947. She was 89 yrs. old and had buried all of her loved ones, with no one else to care for at the time of her passing.
In 1902, Thomas G. Moses wrote, “Walter C. Hartson and Arthur Barr joined our forces and our work kept on increasing. We now had an office in the Broadway Theatre Building, a bookkeeper and an office boy, with a very swell uniform. We were getting very classy. We were also starting a big payroll.”
In 1900, Moses left Sosman & Landis to strike out on his own. In New York, Moses partnered with Will Hamilton to establish Moses & Hamilton. By 1902, they secured the paint room at the 14th Street Theatre, subsequently increasing their paint frames to six on total. Although their partnership was short lived, it was extremely successful. When Moses returned to Sosman & Landis in 1904, several scenic artists accompanied him, including Barr. Barr only remained in Chicago for a very brief period of time before continuing west. By 1905, he was associated with San Francisco’s Tivoli Opera house and working with Oscar L. Fest.
In California, Barr’s live began to unravel.
When Moses first encountered Barr in New York, he was full of artistic potential, with a beautiful wife and young daughter in tow. A decade later, he died unknown in Louisville, Kentucky. This is such a tragic tale, and I have yet to understand what really happened between 1902 and 1912.
Arthur Leo Barr was born on Feb. 18, 1878, and grew up in Pittsburgh, Pennsylvania. He was the youngest son of John C. Barr (1837-18889) and Sarah A. Toner (1841-1941). His father was a prominent attorney and newspaper man, listed as a printer in 1880. US Federal Census. That year the Barr children included: Mary (b. 1867), Anna (b. 1869), Maud (b. 1873), J. Carroll (b. 1873), J. Toner (b. 1876), and Arthur (b. 1878). The family affectionately nicknamed Arthur “Tookie.” There is actually a picture of him in paint clothes posted to ancestry.com.
Photograph of Arthur Barr posted at ancestry.com
Little is known of Arthur’s childhood, but his father passed away in 1889; he was only eleven years old at the time. By 1896, Arthur was listed as a sign painter in Pittsburgh, living at “McCully, n St. Clair.” That was the same residence of his brother Carroll Barr. His brother J. Toner was also living nearby, at McCully, near Mellon. At the time, Carroll was working as a civil engineer and J. Toner as a draughtsman.
As with most scenic artists at the time, Arthur traveled quite a bit for work, going from one project to another. The photograph referenced above shows that at one tome he worked in St. Louis, Missouri, too. Barr married Annie Rose Bradley (b. 1877) in Mahoning, Ohio on Jan. 13, 1889. Annie was also from Pittsburgh, the daughter Michael Bradley and Margaret Ducker (Dufour in some records). Between 1898 and 1900, the young couple moved to New York.
Over the new few years, the two celebrated the birth of two daughters, Georgeanna and Maude.
Arthur Barr’s wife and two daughters.
Only Georgeanna survived to adulthood. She was born in New York on March 15, 1900. Her birth certificate listed that her father was employed as a scenic artist that year. In 1900, the Barr family was living in Manhattan at 566 7th Avenue, alongside other painters, actresses, property men and theatre folk. 20-yrs. old John Boaty and Annie’s 18-yrs. old sister, Maggie Bradley, were living with them.
By 1902, Barr was working for Thomas G. Moses alongside many other well-known scenic artists, including John H. Young, Harry Vincent, Otto Armbruster, Al Roberts, Ed Loitz, and Walter C. Hartson to name a few.
Sometime between 1902 and 1905, Barr headed west without his wife and daughter. It remains unclear if he abandoned them, or if was no longer able to adequately provide for his family. I wonder if it had something to do with the death of his daughter Maude. To date, I have yet to locate any information about her birth or passing.
By 1905, Barr was working in San Francisco, California. That same year, “Arthur Barr” named as part of the Advertised Letter list in the “Santa Barbara Weekly,” suggesting that he spent some time in the city during 1905 (June 8, 1905, page 8).
By now he was separated from his wife, who had returned to Pittsburgh with their daughter. In 1906 Annie married Charles Edward, a motorman in the Pittsburgh area. Edward’s WWI Draft Registration card described him as tall, thin with blue eyes and light hair. The two remained married until Annie’s passing in 1926. Georgeanna grew up under their care and went on to get married herself. In the end, she cared for her step father in his old age and never left Pittsburgh.
When Georgie was about nine years old, her birth father began faulter in California.
In 1909 Barr was listed in the Los Angeles Directory as an artist, working at the C. F. Thompson Scenic Co., residing at 464 Witmer. However, 464 Witmer was the business address of Charles’ F. Thompson’s scenic studio. For context, Thompson established his first scenic studio in Chicago, before moving west. Over the years, his established a series of regional branches across the country, including in Dallas, Texas, and Detroit, Michigan. Between 1908 and 1909, the C. F. Thompson Scenic Co. was doing quite well and expanding its studio staff and sales team. In 1909, Barr was working at Thompson Scenic Co. with Ansel Cook, another former Sosman & Landis scenic artist. Projects at that time included a new drop curtain for the Home Theatre in Hutchinson, Kansas. On January 22, 1909, the “Hutchinson Daily Gazette” described the composition: “The center is a redwood scene with stage coach and a group of horsemen approaching a watering place” (page 5).
By the summer of 1909, however, Barr’s mental health faltered. Little is known about the artist at this time, with only newspaper accounts providing some insight.
Barr was living in Santa Barbara when he attempted suicide in Needles, California, that June.
On June 5, 1909, “The Needles Eye” reported, “Attempted Suicide.
Arthur L. Barr who recently came here from Santa Barbara, according to statements made by him, tried to commit suicide last Wednesday afternoon by cutting his wrist with a piece of glass. He had scratched the back of his wrist in several places and the underside of the writs was more or less cut. He struck no vital artery but bleed quite a little. When arrested by the officers he was taken to the office of Dr. D. W. Rees who dressed the wounds after which he was taken to the jail where he remained until the next evening when he was taken to the County Hospital by Deputy Sheriff George Acuna. Barr is a man of about 32 years of age, and seemed to be possessed of his faculties, but a letters he had left behind would indicate he was not in his right mind. The letters read as follows: “My name is Arthur L. Barr, Would like my mother notified in case of sudden death, also Louis Dressler California and Division St. California. “Mrs. Sarah T. Barr, care of G. G. O’Brien 5th Ave. Pittsburgh. Was to be taken from Priests House at 7 o’clock tonight to be terribly tortured by yags, tramps. Ask Sheriff West will not go out with man Woodruff, or any other Detective Woodruff supposed friend of my brother Tooner [sic.] and Carroll” (page 6).
For additional context, Gerald G. “George” O’Brien was a decorator in Pittsburgh, listed in the 1909 Pittsburgh Directory, 1002 5th Ave. The 1910 Census listed him as a sign painter, living at Fifth Avenue, with his wife, children and extended family. O’Brien was likely a close friend of Barr’s from his sign painting days in Pittsburgh.
His brothers J. Toner and Carroll had been actively looking for their brother, sending detectives all over the country. Arthur’s sad tale of attempted suicide did not end in Needles, California. He tried again on his way from Needles to San Francisco. “The San Francisco Chronicle” fully described the sad tale on June 5, 1909 (page 10). The article reported:
“Fails in Two Attempts at Suicide. San Bernardino, June 4. – Arthur L. Barr of Santa Barbara was driven insane by the intense heat at Needles yesterday and attempted suicide by slashing his wrists with a pocketknife. While en route to this city in charge of Deputy Sheriff George Acuna he made a plunge head first through the window of a swiftly moving Santa Fe overland, escaping with slight bruises on the head, though in the fall he went over a fifteen-foot embarkment. Barr, who is a mineral surveyor had been two days on the desert north of Needles. When he found his hands were hanging by threads of flesh. When the train was passing Barstow the officer left Barr alone in the seat. Suddenly the demented man rushed down the car, pursued by Acuna. Seeing a window open he took a header. His severe jolt apparently restored his reason. To-night he talks sanely and regrets his rash attempts.” (page 10).
Barr seems to have temporarily recovered somewhat, enough to continue work as a scenic artist. He remained in California and was listed in the Los Angeles Directory was working for Edwin H. Flagg. The 1911 Los Angeles city directory listed:
“Barr, artist, E. H. Flagg Scenic Co. r 1638 Long Beach av.” I
Interestingly, this was also the address used by C. F. Thompson studio in 1909 want ads for labor – suggesting an alliance, or shared space, between the two studios.
Unfortunately, this was the last listing for Barr. Sometime between 1911 and the summer of 1912, Barr moved from California to Kentucky. He passed away from tuberculosis at the Waverly Hill Sanatorium in Louisville during the summer of 1912. At the time of his death, no one knew his background or next of kin. As there was no family to claim the body, his remains were donated for medical research at the University of Louisville.
Fortunately, his brothers arrived in town, before Barr’s body was dissected. Their discovery made the headlines across the country.
On August 28, 1912, the story was published in “The Courier-Journal” of Louisville, Kentucky (page 8). The article was entitled, “Body Consigned to Pickling Vat is Recovered By Dead Man’s Relatives.” It reported, “The relatives of Arthur Leo Barr, a scenic artist and member of a prominent family of Pittsburgh, who died at Waverly Hill Sanatorium July 14, were able to take the body yesterday with them to their home city yesterday is due to the fact that the winter semester of the medical department of the University of Louisville has not begun its sessions. The body had been turned over to this department for dissecting purposed, as it is customary in cases where a body is not claimed by relatives or friends within a month after death. J. Toney Barr, a civil engineer, and J. V. Carroll Barr, brothers of the dead man arrived here yesterday, and with the aid of a local detective department and Dr. Ed Grant, City Health Officer, they were enabled to trace the body of their brother to the morgue of the medical department of the university, where it was found in a good state of preservation.
Barr, who was 34 years old, had not been heard from his relatives for nine years. He is said to have been an artist of ability, but he was of a roving disposition and had refused to give the name of any relative or friend when received at the hospital. Under these circumstances it was impossible to locate his relatives, and it was by accident they heard of his death here.”
Arthur L. Barr was buried at Calvary Cemetery in Pittsburgh.
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.
The tombstone of Fred H. Sosman Sr. and his wife Ida J. Robey Sosman in Mt. Sterling, Ohio.
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. 22nd Ohio Vol. Infantry, making quite a name for himself. He later enlisted in Co. F, 63rd Ohio Vol. Infantry, and then accepted a commission as second lieutenant in the 106th 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.”
Announcement of Fred H. Sosman’s wedding in 1895.
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, 63rd O. V. I. from which he was discharged April 14, 1862, to accept a commission as second lieutenant in the 106th 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).
The gravestone of Fred’s father, Capt. William M. Sosman.
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).
Picture of 1 yrs. old Virginia Valek with her parents in 1914. Posted to www.ancestry.com
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.
Patti A. Sosman is buried with her birth mother, Virginia Valek.
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.
Advertisement for Fred H. Sosman Jr. in the Tiffin City Directory.
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).
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.
Art Oberbeck’s 1972 Speech.
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.
Alonzo P. Daniels, namesake of Daniels’ Scenic Studios, of Chciago.
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.
Chicago Directory, 1904.
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.
Chicago Directory, 1905.
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.
From an old ACME Scenic Studios sales book, showing previous ownership by Service Studios. Private Collection.
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.
1926 advertisement.Acme sales book showing a design for an interior setting.
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.
Acme Scenic Studios Page in 1927 Souvenir Book for the Scenic Artists Ball in Chicago.
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. 20th., 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).
1966 article about Art Oberbeck.
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.”
Booklet with samples of Art Oberbeck’s painting.First page in booklet with Oberbeck’s work.
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.
Leo Stahr pictured in “Variety” Magazine in 1929.
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
Mural by Leo’s brother Fred C. Stahr at Borough Hall, Staten Island. 1936 WPA project.Mural by Leo’s brother, Fred C. Stahr, for Borough Hall, Staten Island. 1936 WPA project.
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.”
Leo Stahr pictured in the “Chicago Tribune,” 1925.
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 Balaban & Katz tree with Leo A. Stahr, published in 1929.
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 in 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).
Map to show the relationship between the five boroughs.
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.”
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 30th. 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.”
Seymour D. Parker was the scenic artist for Col. Sinn’s New Park Theater.
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 6th, 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 41st 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.
In 1901, Grace Wishaar made headlines as a scenic artist. In an interview, Wishaar stated that she worked with “Sousman [sic.] and Landes [sic.]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.
Grace Wishaar on 1901. George H. Brass, J. Willis Sayre Collection of Theatrical Photographs.
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.”
Sheridan Jenkins and Grace Wishaar in May 1902, Seattle. Jenkins was the artist at the Third Street Theatre in Seattle. From the J. Willis Sayre Collection of Theatrical Photographs (JWS24539): http://digitalcollections.lib.washington.edu/cdm/singleitem/collection/sayre/id/13233/rec/2 University of Washington Libraries.
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 12th 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 2nd 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.
Grace N. Wishaar. “The San Francisco Call,” 13 Oct 1904.
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.”
Grace N. Wishaar. “Albuquerque Citizen,” 21 July 1905.
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.
Grace N. Wishaar. “Oakland Tribune,” 25 Nov. 1906.
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.
Grace Wishaar. “The Pittsburgh Press,” 28 April 1907.
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.
Grace N. Wishaar. “The San Francisco Call,” 3 July 1909.
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.
Final resting place of Grace N. Wishaar in France.
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.
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.
Section of mural by scenic artist representing the J. M. Deeds Scenic Studio if Spokane, 1915.Detail of mural in Okanogan.Map showing the location of Okanogan in relation to Vancouver, Seattle and Spokane.
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).
J. M. Deeds pictured in 1896
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 12th and 13th, 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.
Deeds & Funk advertised themselves as “The Ad Men” in 1904.
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.”
Interior of J. M. Deeds Scenic Studio that accompanied the 1913 article in the “Spokane Chronicle.”
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.
J. M. Deeds pictured in “The American Angler,” 1916.
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.
One of the many advertisements placed by Jim Deeds when he managed the Red Bluff Opera House.
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 57th. 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.
