In 1921 Thomas G. Moses wrote,
“Did two watercolors for Mr. Hoblitzelle, which I trust will be pleasing to him
and his wife.” This was immediately after Moses painted the asbestos curtain
and decorated Hoblitzelle’s new Majestic Theatre in 1921.
Karl Hoblitzelle pictured with his new Majestic Theatre in 1921.
Much has been written about Karl
St. John Hoblitzelle, namesake of the Hoblitzelle Foundation.
The following write up about Hoblitzelle
is included as part of the foundation’s history (https://hoblitzelle.org/about):
“Karl St. John Hoblitzelle was born in St. Louis in
1879. While serving as an event manager at the St. Louis World Fair in his
early 20s, Karl Hoblitzelle met performers and concession operators who
indicated the south, in particular Texas, lacked venues to showcase their work
and talent. Upon the fair’s closing in 1903, Karl Hoblitzelle came to
Dallas, Texas with $2,500 and began to build a chain of vaudeville
theaters. At its peak, Interstate Theater Company held 160 theaters across
Texas and the Southeast. These theaters were soon transformed into movie
houses, and the success of this entertainment business created financial
resources which he invested in the growing oil and gas, real estate, and
banking industries in Texas.
Karl Hoblitzelle married Esther Thomas in 1920, a Broadway
starlet who had performed under the name of “Esther Walker” and come to Dallas
to perform at one of the theaters. Both were active in the social, civic,
and cultural activities of Dallas, and did not have any descendants.
Prudent management of their financial assets resulted in the
accumulation of significant wealth, which upon the death of Mrs. Hoblitzelle in
1943 and Mr. Hoblitzelle in 1967, became the corpus of Hoblitzelle Foundation.
It was likely that Moses first
met Karl St. John Hoblitzelle at the St. Louis World’s Fair. Moses attended the
event with his wife Ella, checking on several attractions delivered by the
Sosman & Landis Studio for the event. Moses frequently gifted a painted to client’s
he considered good friends by the end of a project. It is no surprise that
Hoblitzelle was the recipient of two watercolor paintings. I wonder where they
are now?
In 1921, Thomas G. Moses wrote, “Mitchell of
Mitchell and Halbach has engaged my services for Dallas, Texas, for the new
Majestic Theatre.”
The Majestic Theatre in Dallas, Texas.
To clarify, a well-known interior decorating firm subcontracted some of the work for the new Majestic Theatre in Dallas to Thomas G. Moses, representing Sosman & Landis. Since the establishment of Soman & Landis, the firm delivered stage scenery and painted décor for a variety of venues. This does not mean that Moses was credited for any of the Majestic Theatre painting as a subcontractor.
Since the late nineteenth century, Mitchell and Halbach were
well known interior decorators and furnishers, located at 1715 S. Michigan Ave.
in Chicago, Illinois. In 1921 they advertised as “specialists in high class
interior decorations and furnishings for public and private buildings. Moses had even hired Mitchell & Halbach
to decorate the rooms in his own home.
Later in 1921 Moses specified his contribution to the
Majestic Theatre in Dallas, writing, “I was successful with the asbestos
curtain, and then went on to the wall decorations, which were very interesting
and finally the playroom which was doubly interesting.” Moses remained in the
south for nine weeks, working on the Majestic Theatre, Dallas Shrine scenery, and negotiating future
contracts with the Scottish Rite in Little Rock, Arkansas.
Asbestos curtain painted by Thomas G. Moses, representing Sosman & Landis, that was subcontracted by Mitchell & Halback for the Majestic Theatre in Dallas, Texas, 1921.
Moses was accompanied by his wife Ella [Madam] when they
headed south that February, writing, “On the 15th I started for
Dallas, where I arrived the next day, late in the afternoon. I was pleased to get this work as it was away
from the extreme cold weather and a novel adventure for the Madam and myself.”
Later that spring, Moses wrote, “Made a side trip to Little
Rock to settle on the Scottish Rite Temple.
I hope to be able to close the contract very soon. I enjoyed the trip as I saw some very
interesting old buildings. On my return
to Dallas, it didn’t take me long to complete the work.
Of Moses’ Majestic Theatre painting, advertisements
announced, “In the vast auditorium that seats 3,000, a Roman Garden has been
reproduced in detail. Overhead a sunset sinks to rest, sending the flaming
amber tinted farewell to a sky that heralds the night with its millions of
twinkling stars. One every side, seen over flower-covered walls, is a vision of
‘Gods Out-of-Doors, cloud-kissed hills with dormant Vesuvius rising on the distance to greet them”
(Corsica Daily Sun, 1 April 1921, page 10).
Dallas Majestic Theatre advertisement published in the “Corsicana Sun,” 1 April 1921, page 10.
The Majestic Theatre in Dallas
opened on April 11, 1921. It was advertised as the “New 2 Million Dollar Peak
on the Dallas Sky-line” (Corsicana Daily Sun, 1 April 1921, page 10). This was
the flagship of Karl St. John Hoblitzelle’s Interstate Amusement Company chain
of theaters. Replacing Hoblitzelle’s previous Majestic Theatre from 1905 that
burned to the ground in 1916. Located at the corner of Commerce and St. Paul
streets, the five-story building boasted 20,000 square feet and was also home
to business offices for Hoblitzelle. The Renaissance Revival structure was
designed by John Eberson.” Later in 1921, Moses would write, “Did two
watercolors for Mr. Hoblitzelle, which I trust will be pleasing to him and his
wife.” Moses frequently gifted fine art paintings to his theatre clients. It
was a personal thank you for the work and added credibility to the artistic
works for the stage.
Dallas Majestic Theatre advertisement published in the “Dallas Express,” 8 Oct 1921, page 7.
On October 13, 1921, the “Corsicana Daily Sun” reported, “When Fair visitors go to Dallas this year there will be one place they will all want to go – The New Majestic of Dallas, For to come to Dallas and fail to see this palatial show house would be like going to Rome and forgetting to visit the Vatican. The New Majestic of Dallas is conceded to be the peer of all playhouses in the world for it possesses a Majesticland. A playground that is all of 90 feet long and 50 wide- containing all manner of toys, animals, merry go rounds, slides, etc. Mary Garden the famous diva of the Chicago Symphony Opera Co. declared that even she – in her plans and ambitions for an ideal playhouse never dreamed of such innovation and theatredom as Majesticland. But Majesticland is the only one of the many perfect details of this beautiful theatre. Throughout it is an example of the highest art. Patterned after the beautiful decorations of Louis Sixteenth it stands alone in its simple elegance of beauty n in the entire southwest” (page 10).
Advertisements stated, “The ancients never thought of going to Rome without visiting the Coliseum. No one thinks of going to Paris without visiting the Louvre. No one thinks of going to Washington, D.C. without seeing the Capitol Building and White House. Correspondingly – on one thinks of going to Dallas without visiting the New Majestic Theatre – the Greatest Amusement Institution in America” (Dallas Express, 8 Oct. 1921, page 7).
The “Scenic Artists” column in “The Billboard” that year reported, “Thos. G. Moses, art director for the Sosman & Landis Studios, is at Dallas, Tex., painting the new curtain and mural gardens in the new Majestic Theater now under construction. Mr. Moses states that this new Dallas House is one of the most wonderful in the country, having a number of unique features that make it interesting.” This article was clipped by Moses and placed in his scrapbook. There is no exact date or page number.
Design for an olio drop by John Z. Wood, representing the Twin City Scenic Co. Information on the back of the color rendering notes that the composition depicts Bordighera, Italy. This is part of the Twin City Scenic Co, Collection, Performing Arts Archives, University of Minnesota Libraries.
Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Detail. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Detail of Bordighera, Italy, in the distance. Bordighera olio drop design, Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota Libraries.Historic photograph of Bordighera, Italy.
The Twin City Scenic Co. Collection, Holak Collection, Northwest Studios Collection and Great Western Stage Equipment Co. Collection are all part of an online searchable database. Here is the link to the database with over 3000 images of historic designs produced by American scenic studios: https://umedia.lib.umn.edu/search?facet_field=collection_name_s&facets%5Bcollection_name_s%5D%5B%5D=Scenic+Collections
I post a historic scene every day to my FB Group Dry Pigment and my FB Page Wendy Rae Waszut-Barrett.
Thomas G. Moses visited Minnesota in January 1921. Of the
trip, he wrote, “Took a short trip to Louisville to get measurements for data
for a big picture set, coming directly back and going to Le Roy, Minn., where I
closed a contract for a decoration of a big pavilion used for dancing at the
Oak Dale Farm. I found some zero weather
and had to go several miles out of town to the farm in an old bob-sled.” Moses
later wrote, “I found the Le Roy job still hanging fire, so I had to go up and
superintend the installing. Everyone
pleased. We certainly got a good effect
out of the ceiling panels.”
Dancing pavilion at Oakdale Farms near Le Roy, Minnesota.Dancing pavilion at Oakdale Farms near Le Roy, Minnesota.
Le Roy was in the southeast corner of Minnesota, just a mile from the Iowa state line.
Postcard of Le Roy, MinnesotaPostcard of LeRoy, Minnesota
The dancing pavilion project was quite a project. At the time, Oakdale Farm near Le Roy, Minnesota, had a reputation for being the largest establishment of White Leghorns near that place. Stopping here to comment that it is hard not to visualize the cartoon character of Foghorn Leghorn. I guess that I am a product of Saturday morning cartoons.
Foghorn Leghorn was a popular character on Saturday morning cartoons in America during the 1970s and 1980s.
By 1920, Oakdale farm comprised
80 acres and was stocked with 4,000 and 5,000 birds (New Ulm Review, 13 Oct.
1920, page 12). Each year, Oakdale Farms hosted an annual exhibit advertised as
“More Fun Than a Circus! – More to See Than a Fair!” (Star Tribune, 3 Aug 1921,
page 8). Advertisements announced, “Start early and make this a real picnic.
Good places to park your car, and you’ll certainly enjoy the trip. 25,000 people
expected, and there is room for all. Picnic tables free on the ground and
arrangements have been made to serve cafeteria style at a nominal charge all
those who do not care to bring their own picnic dinners. Plenty to eat for all.”
I bet chicken was on the menu. There was “something ‘doing’ every minute!” that
included aero-planes, vaudeville, band concerts and lectures.
From the “Star Tribune,” 3 Aug 1921, page 8.
The 1921 advertisement also noted, “You will have an opportunity to ‘star’
in our motion pictures. The William A. Lochern Film and Slide Co. of
Minneapolis are sending down their most expert crew to take picture for us of
the crowds. We expect to show the film in every locality possible afterwards. Don’t
miss getting in on this picture.”
On July 17, 1921, the “Star
Tribune” included a picture of the dance pavilion announcing, “Oak Dale Farms
Famous for Chickens” (page 33). The caption noted, “People who spend their
vacation at the Oak Dale farms in Leroy, Minn., will have enough to eat. One of
the farms is a famous poultry ranch and hatches out 50,000 chicks every month;
if they cook them as well as hatch them, and it is said the do. Dancing in the pavilion
should be postponed until some time after dinner. The other farm has gained
notice for its stock. The photograph shows the corner of the dance pavilion at
the farms.” This was a big enterprise that also functioned as a tourist
destination.
“Oakdale Farms, Inc.” made the
newspaper multiple times in 1921. On August 21, 1921, the Star Tribune”
reported, “Liens on Thomson Farm Break Records….Austin, Minn., Aug. 20. – All
records for liens against an individual estate were broken here today with the
filing of 56 liens, totaling $19,018.43, against Oakdale Farms, Inc. owned by
R. J. (Cy) Thomson, embezzler of $1,890,000 from George A. Hormel & Co. The
liens filed do no include those filed against Oakdale Farms at Le Roy, but are
against property here and in Blooming Prairies. Liens against the LeRoy farms
are filed in Cresco, Iowa. The amounts range from $621 to $3,956.49” (21 Aug
1921, page 11).
This mention on Moses’ diary shows the variety of projects
that came into a scenic studio, ranging from rural Minnesota dance pavilions to
metropolitan coliseums. In 1921, Sosman & Moses also delivered scenery to
the Acadia Dancing Hall. These firms delivered painted scenes and decorations
all over the country to stay afloat. My
greatest question was why a poultry producer south contracted a Chicago scenic
studio, rather than one in the Twin Cities. However, there was the mention of
Oakdale Farm’s connection to Hormel in Chicago, also a client of Sosman &
Landis.
In 1921, Thomas G. Moses wrote that early in January they
closed a contract with Mrs. John Alden Carpenter for a fashion show.
From the “Chicago Tribune,” 31 Jan 1921 page 5.From the “Chicago Tribune,” 14 Jan 1921 page 15.
Moses had previously worked with Mrs. John Alden Carpenter
on a Boardwalk show at the Chicago Coliseum in 1919. His scrap book included
newspaper clippings pertaining to the event. On showed Moses at work with Mrs.
Carpenter nearby. Of the 1919 event, Moses wrote, “Early in February we put the
fashion show on, and it was quite a success.” I have written about this project
in the past. On Nov. 24, 1919, the “Chicago Tribune” announced, “New Ocean
Ready to Roll at Boardwalk.” The article continued, “Mrs. John Alden
Carpenter’s painted ocean is finished it the last wave and all ready to roll up
under Atlantic City Boardwalk at the Coliseum on dec. 6, when the bazaar for
the benefit of the Passavant Memorial Hospital building fund is opened. The
ocean and all other decorations have been designed by Mrs. Carpenter, who
evolved the idea, bringing the board walk to Chicago, and are being executed by
Thomas G. Moses” (24, 1919, page 7).
Of Mrs. Carpenter’s fashion show, the “Chicago Tribune”
reported, “Mrs. John Alden Carpenter has decided to capitalize her skill in
interior decorating but not for herself. She has elected to contribute her
artistic ability as a gift for needy children. In future she will charge for
services, but the money will go to the Illinois Children’s Home Aid Society.
Mrs. Carpenter’s first’ professional’ job will be the decorations for the Fashion
Show, to be held in First Regiment Armory Feb. 9 to 19, by the Chicago Garment
Manufacturers’ association, the wholesale milliners’ association, the Chicago Furrier’s
association. The check for her services will be sent directly to the children’s
society. The transplanting of the Atlantic City board walk to Chicago’s Coliseum
last winter was the work of Mrs. Carpenter, who also did the decoration for the
Pageant of the East, for the Ten Allies ball in Madison Square Gardens in New
York, and for Russian section of a pageant given for the Red Cross of Long
Island. Everything in women’s wear for spring and summer, from hats to shoes,
will be exhibited in little French shops along a street that will be an exact
replica of a street in Paris” (14 Jan. 1921, page 15).
On “Designer of gowns and millinery, carpenters and
painters, 150 beautiful models, and manufacturer and whole salers are rushing preparation
for the Fashion Show and Merchants’ Fair to be held in the First Regiment
armory, Feb. 9 and 19, inclusive. Mrs. John Alden Carpenter, who designed ‘Le
Boul Miche,’ the boulevard of French shops to be erected in the armory, daily goes
to 417 South Clinton, where the shops are being built and painted, and
personally directs the work. The beautiful models selected for the nightly promenade
to display Milady’s wear, are being fitted to the coats, suits and gowns and
other apparel they will wear. It will require quick work to get the boulevard
of shops erected in the armory, as the automobile show will not get out of the armory
until Feb. 7, and then fashion show opens two days later. The show is under the
auspices of the Chicago Garment Manufacturers’ association” (31 Jan. 1921, page
5).
Mrs. Carpenter has stuck in the back of my mind since 2017
when I came across the image of Mrs. Carpenter and Moses. It was not a new
image, or a new name to me. When I compiled two indexes for Moses’ scrapbook
and diary as an undergraduate, there was an entry for Mrs. Carpenter. When I
expanded this index to 127 pages in 2006 (I was on maternity leave), I came
across her name and picture again.
Mrs. John Alden Carpenter pictured next to Thomas G. Moses. A clipping from Moses’ scrapbook, source unknown.
What I found so remarkable about the undocumented newspaper
clipping in Moses’ scrapbook is the inclusion of the paint table. There are a
few things to notice about Moses’ paint table in the picture. There is an abundance of “pots” – containers
for the dry pigment paste when painting a drop. This also ties into the name “pot
boys,” mentioned by Sosman & Landis employee John Hanny. Pot boys was
another name for paint boys. Hanny
explained that pot boys were given this name because they filled the pots of
paint with pigment. These are not individually mixed colors for the composition,
but pots for pure colors; they function like dollops of paint on an artist’s
palette – a really big artist’s palette. This may be the only image of a paint
palette used by Moses during his career from 1873-1934.
Paint table used by Jesse Cox, currently on display at the Theatre Museum in Mt. Pleasant, Iowa.Paint table used by Jesse Cox, currently on display at the Theatre Museum in Mt. Pleasant, Iowa.
In 1921, Thomas G. Moses wrote, “Early
in January we closed a contract for Joe Bren productions.” That year, “Twin-City Daily Sentinel”
reported, “The Joe Bren Company are professional producers of wide fame and
popularity, doing an extensive business among the Shriners, Elks, and other
fraternal organizations in all parts of the nation” (Feb. 26, 1921, Winston-Salem,
North Carolina, page 2).
The article quoted Bren: “Our
hope supreme is not to make money; tho we do not spurn the master linguist, Mr.
Kale, who talks all languages with equal facility – not that, but primarily to
get before the public and show the good people of the city what we can do.” The
article continued, “Someone mentioned the great expense entailed in engaging
this professional company. ‘Expense, be hanged!’ exclaimed John [Whitaker]. ‘We
want to put on a show that will not soon be forgot, a show with home talent,
but with the ‘home’ made invisible thru training by professionals.’”
Joe Bren advertisement, “Alliance Herald,” 27 Dec 1921, page 3.
Sosman & Landis produced all
of the scenery for Bren’s productions. Bren had been a client of theirs since
1916. The Joe Bren Company was a Chicago-based theatrical company that
partnered with churches, fraternal organizations and civic groups to stage
fundraising shows. They tapped into the “everyone wants to be a star” mentality.
So many long for their moment in the spotlight, and Joe Bren delivered that –
an opportunity to don a costume and perform in front of professional scenery
for family and friends, never leaving the comfort of their hometown. The Bren Company was especially popular with Kiwanis
Clubs, the Lions, American Legionnaires, United Commercial Travelers,
Benevolent and Protective Order of Elks, and Ancient Arabic Order of the Nobles
of the Mystic Shrine.
Joe Bren advertisement, “The Times,” Munster, IN, 21 May 1921, page 2.
Bren Company representatives
traveled from town to town, working with local talent to organize minstrel
reviews; working as the producers, directors and some-times performers for each
endeavor. The Joe Bren Company not only provided instruction, but also all of
the sketches and songs. The traveled with all of the technical trappings; scenery,
lighting and costumes were brought in by train. On Jan. 4, 1921, the “Courier-Gazette”
reported, “The Joe Bren Production Company has its headquarters in Chicago
where it keeps in touch with the progress of stage art. The company carries a
carload of scenery, electrical effects and stage paraphernalia, to put the show
on” (McKinney, Texas, page 1).
Joe Bren advertisement in the “Parsons Daily Republican,” Kansas, 11 Oct 1921, page 5.
The only true flaw with this entire
formula was the inclusion of blackface, as it continued to perpetuate harmful
stereotypes and further deepen the racial divide in America. I have written
about Bren in the past posts (see #941 and #1111). Clients in 1921 included the
Dallas Shriners’ Club, the Elks Convention in San Francisco, the Elks
Convention in New Orleans, Charleston’s “Jollies of 1922,” Davenport’s “Amoo
Revue of ‘22” for the Amoo Grotto, Minneapolis Elks for the Boy Scout Camp
fundraiser, the American Legion of Nebraska’s “The Jollies of 1922,” and many,
many more.
Joe Bren advertisement, “Bristol Daily Courier,” Bristol, TN, 5 Oct 1921, page 8.
Bren was back every year to purchase more scenery for his
shows. In 1923 Thomas G. Moses wrote, “Joe
Bren’s work came in early this year, and we will try and give him a good
job. It is not apt to be paid for very
soon as usual.”
I am frequently asked about historic scenery maintenance and restoration techniques, with many suggesting I publish some form of manual. Unfortunately, there is no standard way to restore all historic backdrops, cut drops, leg drops, roll drops, wings or shutters. Each one is different, demanding a custom approach based upon a unique set of criteria identified during the preliminary research phase.
A stage artifact’s artistic provenance is the main factor in determining the appropriate process for a continued care program, maintenance or any restoration.
Extensive research must be completed prior to proposing a plan for the handling, cleaning, or repair of a large-scale artwork. Certain questions need to be answered in advance too; whomanufactured the scenery, whenwas the scenery manufactured, andwherewas the scenery manufactured? The answers to these questions are key in determining the preservation strategy for a specific stage artifact or scenery collection. These answers also prompt a subsequent series of questions regarding appropriate materials, techniques, processes, timelines, future display and use. Is this historic scene intended for display in a theater, or will it simply hang on the wall of an art gallery, commercial establishment, or private residence? How often will the scenery be used, if at all? The answers to these basic questions help formulate a plan.
In addition to understanding an artifact’s artistic
provenance, all stakeholders must understand that certain materials and
techniques could destroy the artifact. I will explain what not to do, based on
examples of poor repairs that I have encountered in the past. There are specific materials and techniques
that should never be used on historic scenery or fragile fabric, as they cause
irreparable harm and could destroy a significant piece of theatre history.
Contemporary scene painting is a dramatic departure from historic scene painting, in terms of fabrics, painting products and artistic techniques. So much has changed over the past two centuries. Historic scenic art is foreign ground to many contemporary scene painters, especially as certain types of training and materials have vanished from most college curricula and theatre apprenticeships. Just because you are a scenic artist does not make you qualified to restore historic paintings; the two are worlds apart. In other words, an ability to paint historic scenes doesn’t mean you should repair historic scenery. Similarly, a fine art conservator is not necessarily qualified to assess and repair historic settings for the stage.
1. ESTABLISHING ARTISTIC PROVENANCE
The first step to any historic scenery project starts with
research. You need to establish the artistic provenance of a stage artifact or
scenery collection, and here are the questions that you need to ask, and why
you need to ask them:
WHO made
it? Is it a backdrop painted on cotton sheeting by a student for a class
play in the 1920s, or is it a drop curtain constructed of Russian linen and
painted by an internationally recognized artist in the 1890s? The manufacturer of a scenic piece matters,
as it is integrally tied to the painting process and materials.
Many nineteenth-century and early-twentieth-century American
scenic artists attended art institutes, at home and abroad. In many cases, fine
art studies were completed in addition to a lengthy apprenticeship at a
professional scenic studio before striking out on one’s own. American scenic artists at this time were
members of fine art organizations across the country, and much of their work
continues to be treasured in the fine art world. For example, some scenic
artists in the east belonged to the Salmagundi Club and/or Rochester Art
Club. In the midwestern states, scenic
artists studied at the Chicago Institute of Art, joining unique groups, such as
the Palette & Chisel Club. In the west, scenic artists belonged to a
variety of fine art organizations established in the Pacific North West,
California, New Mexico and elsewhere. Theatrical scenery created by scenic artists
should not be considered any less significant than their smaller fine art
pieces. Large scale works provided generations of artists with opportunities to
explore color theory, painting techniques, compositional lay outs and lighting
conditions. That being said, there were
many amateur artists producing scenery too, and their work is easily
identifiable, but also culturally significant.
Regardless of skill level and/or final product, the terms “old
backdrops,” “old backings for the stage,” and “old scenery” devalues stage art.
Instead, refer to historic scenery as “large-scale artworks” painted by local,
regional, national, or internationally recognized fine artists. Public perception
is crucial when preserving theatrical heritage. Your terminology could save a
piece of American theatre history, or world history.
WHEN was
the artifact manufactured? The year, decade, and/or century that the theatrical
scene was produced helps identify the type of fabric, paint, and painting
process. Knowing the age of a scene
helps identify various materials, especially the fabric and basic construction
techniques. Fabric seams, whether vertical or horizontal, can also identify a
particular era and studio. How the drop is suspended and operated also matters.
Are there sandwich battens, rollers, jute webbing, or something else at the top
and bottom of the scene? Is there a counterweight system with arbors or a pin
rail with sandbags? Keep in mind that the overall suspension affects the
deterioration of both the fabric and painted composition. Understanding the original
materials and display are crucial in identifying and locating appropriate and compatible
materials for any repair.
WHERE
was the artifact manufactured? Location can help identify a specific construction
and painting process. Certain regions adopted unique approaches to scenic art,
often based upon the influx of immigrants. Scenic art in the United States
began as a large melting pot of languages, traditions and techniques, with two
dominant approaches emerging between 1850 and 1900. At this time American
scenic artists primarily worked with opaque washes, thin glazes, and later a combination
of the two. These artistic influences are still recognizable today across the
country. For more information, read my recent article, “American Scenic Art:
The Immigrant Contribution,” in TheatreInitiative Berlin’s Die Vierte Wand #110.
Itavailable for free online https://archive.org/details/itheam_d4w-010_202009,
Throughout the twentieth century the American scenic art
world continued to change, incorporating new products and methods into the
painting process. As an industry many American scenic artists shifted from
painting on vertical frames to painting on the floor. A backdrop painted in
1929 and another painted in 1940 may seem light years apart when examining construction,
materials, painting techniques and operation.
2. MATERIALS AND PRODUCTS TO AVOID DURING RESTORATION
Restoration is for the long term. Unlike the ephemeral
nature of scenery for a short-run show, certain materials and techniques to
repair historic scenery should be avoided. Use common sense and think of the
big picture; one beyond a quick repair. Select techniques that are reversible
and will not permanently alter the artifact. Some methods to patch and repair contemporary
drops are not always an option for historic ones. Below is a list of specific
materials and techniques that should never be used on historic scenery or
fragile fabric:
Metal: Sheet metal is never
an option to patch fabric. The weight and sharp edges pose a threat and the
rivets puncture the fabric.
Plaster: Plaster on fabric adds
too much weight and the painted composition will stretch an irreparable amount.
Hot Melt Glue: This product
embeds itself in the fibers and is irreversible, while adding unnecessary weight
to the area. Hot melt glue should never be considered when repairing fragile
fabrics or historic scenery. It is also an accelerant, posing a fire hazard.
Wood Glue: This product is
too brittle to use on soft goods. It was also never intended for fabric; it’s
for wood.
Wood Putty: This product was never intended for use on fabric. Again, it is for wood and too rigid for repairs.
Masonite: The weight of any wood or composite material glued to the back of drop or flat causes stress and will irreparably stretch the surrounding area.
Contact Cement: This is an
irreversible and a solvent-based product that should not be used on historic
scenery. It poses a fire hazard.
Flexible Foam: This product should
not be glued to historic scenery at all.
Plastic and plastic netting:
Plastic should never pair with historic or fragile fabric for many reasons. In
regard to plastic netting, the rigidity will harm the fabric. Look for
all-natural cotton fabrics and nettings.
Do not replace wooden battens
with pipe pockets: Replacing wood battens with pipe pockets always fails.
Piercing the fragile fabric creates a weakness; adding weight on that weak area
works like a perforated page. It will eventually tear off.
Do not patch the front andsewn
fabric patches: Sewn patches are seldom a solution, as piercing the fabric
introduces additional weakness to damaged areas. Also, all patches should be
applied to the back of pieces, never the painted front.
Do not consolidate paint with a
reflective product: Dusting pigment is a problem with historic scenery, as
the original binder begins to break down over time. Humid environments and
water damage can accelerate this process. Consolidating loose pigment is the
only option to minimize airborne particles, especially those that may be
dangerous. The original binder for the paint was an all-natural, water-based product
with a completely matte finish (hide glue). If you substitute a contemporary
product, it should never leave any type of sheen to the surface or darken the
original color. Even when the label says “matte” or “flat” it may still reflect
stage lights.
Do not a
different artistic medium on historic scenery: A new paint product
should never be introduced for in-painting or overpainting on a historic drop. The
color and finish will not match the original paint product, especially under
the glare of stage lights. Oil pastels, markers, hobby paints, crayons and even
contemporary scenic paint should not be used when restoring scenery that was originally
painted with dry pigment and diluted hide glue.
Do not use flame-retardants on
historic scenery:
Fire
retardant chemicals irreparably damage historic scenery, harming both the
fabric substrate and the painted composition. The original fabric discolors
over time and becomes brittle. The painted surface will also crack, eventually flaking
off.
The
following was created by the director of Curtains Without Borders, Chris Hadsel:
“The
attached amendment was passed by the National Fire Protection Association
Technical Committee on Cultural Resources in September 2007. The amendment is to the National Fire
Protection Association (NFPA) 101 Life Safety Code, NFPA 909: Code for the
Protection of Cultural Resources Properties – Museums, Libraries, and Places of
Worship. The revised code was approved
in 2009. You should be aware of the
following standards and you should work with your local fire marshal to be sure
that you are in compliance.
There are two aspects of this amendment that
you should be aware of:
As historic artifacts, a destructive burn test and/or the
application of fire-retardant chemicals are not recommended by accepted
preservation practice.
2. However, in
order to qualify for an exemption to Life Safety Code #101, the following safeguards must be implemented. These include, but are not limited to:
Prohibition
of open flames (i.e. candles, lamps, and smoking)
Avoiding
the use of heat producing appliances such as food and beverage preparation
equipment within the room
Adding
a fire watch during events when there are large groups of people
A
recommendation to replace light bulbs on stage with cool burning lamps such as
a fluorescent or LED, with no lights, electrical devices or cables located with
1 meter of the historic artifact.
Appendix 11.2.4
11.2.4:
Fire-retardant treatment of historically significant fabric shall not be
required where such treatment will cause damage to the fabric. This provision shall apply only on an
object-by-object basis and where alternative protection measures are approved.
Where historically significant artifacts
such as painted stage drops, tapestries and antique flags are displayed in
public gathering places there is a need to balance fire and life safety
requirements with the preservation needs of the artifacts. Life Safety Standards including NFPA #101
Life Safety Code mandate fire retardant treatments for fabrics that are used in
gathering places, with NFPA 701 Standard Method of Fire Tests for Flame
Resistant Textiles and Films referenced as a test protocol. NFPA 701 requires a destructive burn test of
a fabric sample to verify compliance with the standard however this action will
cause permanent damage to the material and is not recommended by accepted
preservation practice. Additionally,
specific chemical treatments that may be applied to reduce combustibility may
also result in irreversible harm fabrics.
None-the-less there is a need to protect artifacts and the locations in
which they are housed from fire, and safeguards must be implemented for
situations where artifacts are displayed in assembly spaces. These should include but not be limited to:
prohibiting open flames (i.e. candles, lamps, and smoking), avoiding the use of
heat producing appliances such as food and beverage preparation equipment within
the room, or adding a fire watch where the artifact is located. The use of cool burning lamps such as a
fluorescent or LED within the space is recommended with no lights, electrical
devices or cables located within 1 meter (3 ft) distance of the artifact. The placement of a combustible artifact
within an assembly space should be approved by the authority having
jurisdiction. The AHJ should consult
with disciplines that have expertise in preservation and protection of
artifacts.”
Understanding Painted Illusion for Historic Theaters
It is crucial to understand painted illusion for nineteenth-century
and twentieth-century stages when planning the preservation of historic scenery.
Painted illusion was used in a variety of venues, including theaters, opera
houses, cinemas, music academies, city halls, schools, lodge rooms, armories, coliseums,
and hippodromes. None of it was intended to be viewed up close, or on a museum
wall.
Leg drop, cut drop and backdrop by Sosman & Landis Scene Painting Studio for the Scottish Rite Theatre in Santa Fe, New Mexico, 192.
Many extant backdrops were produced as part of a set. There would
be a combination of backdrops, cut drop, leg drops, and borders, or wings,
shutters, roll drops and borders. Flat profile pieces were added for painted dimension.
A proscenium opening with painted grand teasers and tormentors were often
permanently positioned to frame the onstage setting. The level of detail for each painted piece shifted
as the scenes were positioned from upstage to downstage.
Before you decide to formulate a maintenance plan or the restoration of any historic scenery, understand the past; past materials, past techniques, past stage systems and past venues. All provide much needed information. Choosing an appropriate path for any scenery maintenance or restoration is akin to the saying, “measure twice, cut once.” In almost every case you have only one opportunity to do this right.
Here is a link to my youtube video about the topic:
Back to the life and career of Thomas G. Moses after getting
sidetracked by the Ackermans. I am beginning the year 1921. Thomas G. Moses
wrote, “The New Year was ushered in by a general clean-up of the studio, and a
pleasant call from Tom McCall.”
This is the first mention of a Tom McCall in Moses’ diary
and there is no additional context to help place this individual in a public or
private setting. It remains unclear whether McCall came by the Sosman &
Landis studio or to Moses’ home.
There were a few Thomas McCalls living in the Chicago area
at time, including the attorney Thomas H. McCall, the doctor Thomas E. McCall
and the architect Thomas C. McCall. I believe
it was the architect Thomas C. McCall (1856-1925) who called on Moses near the
beginning of 1921.
McCall was born on August 6, 1856, in Newburgh, Fife,
Scotland. He was the son of William McCall and Catherine Fotheringham, sailing
from Liverpool about April 15, 1883. He was naturalized in 1892, before the
Superior Court in Cook County. McCall married to Anna Delle Penney (1859-1903)
on April 6, 1892 in LaSalle, Illinois, and the couple celebrated the birth of two
daughters, Catherine (1897-1972) and Arvilla (Arville) P. (1899).
The first mention that I have encountered of Thomas McCall
as a Chicago architect was in 1892. At the time, he was primarily designing
hotels, such as the Holland Hotel for C. B. Waite (Inter Ocean, 7 Aug, 1892,
page 10). Other hotels that year included a four-story hotel for Mary J.
Reynolds and another for Mrs. George Krick. In 1892 he also designed a five-story clubhouse and
hotel being built by the Queen Isabelle Association at Sixty-first street and Oglesby
avenue (Inter Ocean, 9 Oct. 1892, page 10). In 1893, the “Chicago Tribune”
reported, McCall completed drawings for the Hotel Oceana erected by John F.
Thompson at Nos. 6331 and 6333 Drexel Ave in Chicago in early 1893 (12 Feb
1893, page 30).
The first listing of McCall in the Chicago Directory as an
architect is in the 1898 That year he was residing at 5344 Madison Avenue. McCall
was also listed in the “House Beautiful” architect directory for 1899. His
primary focus was “Specialty” and “Residences” (Vol. VI, No. 6, page xi). In
1900 McCall was working at 702, 167 Dearborn, and residing at 5344 Madison Ave.
Throughout 1903, McCall continued working at 710, 167 Dearborn. By 1905, however,
he was residing at 1710, 9 Jackson Boulevard.
By 1916, McCall was designing the plans for the Chicago
Picture Frame factory on Western Avenue and West Nineteenth Street, as well as
a three-story apartment house for John Coutts (Inter Ocean, 9 Dec. 1900, page
39). The next year he moved to Evanston, Illinois, where he continued to work
as an architect there. In 1917, McCall was listed as an architect in the
Evanston, Illinois, Directory, residing at 845 Ridge Ave.
A little more information about McCall surfaced in his
passport application. 1924, he applied for a passport, described as a
67-years-old man, 5’-7” with blue eyes and
gray hair. On their return trip, he and his daughter Catherine, were listed as
passengers, sailing on the S.S. Aquitania. They left on August 16th
and arrived in New York on August 24th.
McCall died on January 13, 1925 in Evanston, Illinois, and
is buried at Ottawa Avenue Cemetery in Ottawa, LaSalle
County, Illinois, USA His obituary in the “Chicago Tribune”
noted, “Thomas McCall, Noted Architect Dies at 58. Thomas McCall, well known
architect and prominent in fraternal circles died at his home yesterday, 843
Ridge Evanston, following an illness of a month. He was 58 years old and was
born at Edinburgh, Scotland, coming to Illinois forty years ago. Mr. McCall is
survived by two daughters, the Misses Catherine and Arvilla McCall. Funeral
services are to be held at 3 p.m. today as First Baptist church, Evanston.
Interment at Ottawa, Ill.” ( 15 Jan. 1925, page 12). By that summer, the
“Chicago Tribune” announced the engagement of Arvilla McCall to Albert Linne
Tholin of Dowers Grove, son of Mr. and Mrs. Andrew P. Tholin (16 August 1925,
page 71).
An example of Thomas McCall’s work is Ridge Boulevard Apartments, at the southeast corner of Ridge Avenue and Main Street in Evanston, Illinois, 1913.
George and Theresa Korb made room for Earle Ackerman in their home and provided a space for him after death. Scenic Artist Earle Van Buren Ackerman (1877-1970) shares a gravestone with George Washington Korb (1889-1957) and his wife Theresa Elizabeth Zsiday Korb (1893-1947). By 1935 all three were living in Franklin, New Jersey. Earle was thirteen years older than Korb.
Theresa “Tessie” Elizabeth Zsiday was the daughter of Joseph Zsiday (1868-1926) and Elizabeth (Elza) Absalom Faber (1871-1962). Each left Hungary and arrived on America’s shore in 1890. Joseph Zsiday was a shoemaker.
Joseph Zsiday (1868-1926)Elizabeth (Elza) Absalom Faber (1871-1962).
Their first child Theresa “Tessie” Elizabeth Zsiday was born on Sept. 28, 1893. The 1910 census listed “Tessie” as a sixteen-year-old, the eldest of four children living at home in Brooklyn, New York. Her younger siblings were Julia (Jule) Agnes (1896-1964, married Paul Julius Zaber), Charles (1899-1977, married Anna Marie Offerding) and Joseph Jr. (1904-1989, married Rose Lillian Glod) At the time, Tessie was working as an operator in a fur factory. She married George Washington Korb on Feb 4, 1913. Their marriage announcement in the Brooklyn “Chat” specified, “George W. Korb, 23, of Newark, N. J., and Theresa E. Zsiday, 19, of 187 Throop avenue” (18 Jan., 1913, page 23.) The couple celebrated the birth of two children, Ethel M. in 1922 (married Ralph Mathews) and George Earle, on March 9, 1926.
George W. Korb, Sr. was born in Harrison, New Jersey,
on February 22, 1890. The son of Ed J. Korb and Mary Ehehardt. His WWI draft
registration card lists his physical appearance as tall and slender with brown
eyes and light hair.
From 1909 to 1913, George W. Korb was working as a clerk,
and boarding at 96 Spruce in Newark, New Jersey. It was not until 1910 that
Korb partially transitioned from working as a clerk to a scenery painter. The
1910 US Federal Census listed both Korb and his brother Edward as living with their
grandmother, Chrystina Korb. At the time he was nineteen years old.
In 1916, George W. Korb was again listed in the Newark
City Directory as a clerk, living at 797
S. 13th Street. He remained at the same residence in 1917 and by 1918
he was again listed as a scenic artist. In 1918 Korb worked for Joseph A. and
Wray Physioc at Physioc Studios at 624 West 24th St in New York City.
In 1922, the Physioc studio burned to
the ground. This was the same year that Korb founded the Beaux Arts Scenic Studio
with Earle Ackerman. Of the Physioc Studio devastation, newspapers reported, “One
of the most spectacular fires seen in New York for many months last Wednesday
gutted the Physioc Studios at 449 and 451 First Avenue, and for four hours
threatened the destruction of Bellevue hospital.”
In 1920, his brother Edward lived with George and
Tessie on South 13th St. in Newark, New Jersey. By this time, George
was working for himself, listing his occupation as proprietor of a scenic
studio. He was likely working under his own name at this time.
From 1922 to 1925 the Newark Directory listed that
Korb as working at Beaux Arts Scenic Studios. I have only located one mention
of the firm. The “New York Clipper,” reported, “Earl
Van Ackerman and George W. Korb, doing business as the Beaux Arts Scenic
Studio, filed the suit against Dudley for the sum of $638 plus interest from July
8, 1922. In their complaint the plaintiffs allege, that scenery worth $1,628
was sold to Dudley, on which he paid $990, leaving a balance which they seek to
recover” (7 Feb. 1923, page 5).
Little else is known of George’s later years beyond
his obituary noting that he worked as a scenic artist for CBS in New York.
Theresa passed away on Jan. 23, 1947 at the age of
fifty-four yrs. old. Her obituary in the “Courier-New” announced, “Mrs. George
W. Korb of Howard Ave. died last night (Jan. 23, 1947) in Somerset Hospital (24
Jan. 1947, page 17). In addition to her husband, Mr. Korb is survived by her
mother, Mrs. Elisabeth Zsiday; one daughter, Mrs. Ralph Mathews; and one son
George, Korb, all of this place; and a sister and two brothers. Funeral
arrangements will be announced by the Taggart Funeral Home, Bound Brook.”
On July 22, 1957, George Korb passed away. His
obituary in the “Courier-News” announced, “South Bound Brook – George W. Korb, 68,
of Howard Ave., died Saturday (July 20, 1957) in New York following a sudden
attack. A native of New York, he was a resident here for the past years. He was
employed by CBS television in New York. Surviving him are one son, George E. of
Green Brook; one daughter, Mrs. Ralph Mathews of Franklin Township; one
brother, Edward of Pleasantville; and four grandchildren. Services will be held
Wednesday at 10 a.m. in the Taggart-Chamberlain Funeral Home, Bound Brook, with
Rev. Daniel U. Smith of the Reformed Church officiating. Burial will be in the Bound
Brook Cemetery” (22 July 1957, page 20).
Earle Ackerman passed away on April 29, 1970, in
Philipsburg, New Jersey.
Life can be complicated; more so for some. In 1897 Earle Van Buren Ackerman married Rhoda Beatrice Snell (1877-1953). Their wedding took place in Brooklyn, New York. This was the same year that Earle’s brother P. Dodd Ackerman married his first wife Margaret.
Earle and Rhonda celebrated the birth of their son Robert on August 28, 1898 in Brooklyn, NY, the same year that P. Dodd and Margaret celebrated the birth of their daughter Emma. Each couple lived in Brooklyn with infants, the men of the family trying to succeed as a scenic artist.
1916 was a turning point for each brother. That year the
marriage of each couple made headlines. Margaret divorced P. Dodd, after he had
an affair with his daughter’s friend.
Similar troubles were also brewing for his younger brother
Earle, when another woman caught his eye, also making headlines. On Feb. 12,
1916, the “Times Union” reported, “Mrs. Shean is Held. Charged with assault by
Mrs. E. Ackerman, Wife of Scenic Artist” (page 1). The article continued, Mrs.
Thomas F. Shean of 8 Glenada place, was held in $200 bail by Magistrate Naumer
in the Gates Avenue Court late yesterday afternoon on the charge of
assault…Mrs. Shean is the wife of an insurance broker and Mrs. Ackerman’s
husband is a scenic artist with a scenic studio at 531 Grand avenue. The
courtroom was crowded with a number of club women and society folk who had come
to hear the domestic troubles of the couple in court. Mrs. Ackerman testified
that she accidentally met Mrs. Shean in a Fulton streetcar Sunday night, When
Mrs. Shean got off at Grand avenue, Mrs. Ackerman followed and pursued her for
over half a mile. Finally, Mrs. Shean turned and said: ‘Do you expect to find
your husband by following me?’ Mrs. Ackerman replied that she did. Thereupon
Mrs. Shean struck Mrs. Ackerman over the eye with her handbag, so Mrs. Ackerman
testified, and she took off Mrs. Shean’s hat and pulled her hair. Mrs. Ackerman
further testified that her husband told her, after the arrest, that he would
leave her unless she withdrew the complaint against Mrs. Shean. Mrs. Ackerman
claims she is going to sue her husband for a separation.” Mr. Shean posted bail
for his wife (The Standard Union, 12 Feb 1916, page 9). Mrs. Ackerman’s suspicions
were justified, and the couple divorced two years later. The “Standard Union”
added, “In telling the story to the Magistrate, Mrs. Ackerman declared her
assailant had alienated her husband’s affections…Mrs. Ackerman said she was
unwilling to make any trouble for Mrs. Shean because her son, Robert, was an
intimate friend of the Shean children, Ethel, 18 and Edward, 16. The public
assault was ‘the straw that broke the camel’s back, Mrs. Ackerman averted” (8
Feb, 1916, page 14).
And yet, Earle and Margaret continued to ride the wave of wedlock
in a sinking ship. On March 30, 1916, the “Standard Union” announced, “Mr. and
Mrs. E. Van Ackerman of 329 Halsey street, celebrated their nineteenth wedding
anniversary on Tuesday night with a social at their home” (page 9). That same
month, Mrs. P.Dodd Ackerman was awarded $30/week alimony, pending her suit for
separation (Standard Union, 17 March 1916, page 17). After two years of denying
an affair with the young stenographer, Miss Smith, he put her name on his draft
registration as his second wife. Earle Van Buren Ackerman’s WWI draft
registration card listed his physical appearance as identical to his older
brother, with fair hair, blue eyes, medium height and medium build. The
registration card listed his occupation as “theatrical scenery,” and his
employer H. Robert Law, at 502 W. 38th in New York.
About the same time that P. Dodd was writing May Smith on
his draft registration form, Earle Ackerman made headlines when the “Brooklyn
Daily Eagle” reported, “Artist Sued For Divorce” (Nov. 12, 1918,page 2). The
article continued, “Mrs. Rhonda B. Ackerman today brought suit in the Supreme
Court for a divorce from her husband, Earle Van Buren Ackerman, known in
theatrical circles as a scenic artist, naming Mrs. Martha Shean of 8 Glenada pl.,
co-respondent. The wife alleged that Mrs. Shean induced Ackerman to leave his
home and then taunted Mrs. Ackerman. Mrs. Shean is known in church circles and
was active in charitable and social welfare work. The Ackermans were married in
1897 and have one son” (page 2).
The next day, the “Times Union” reported, “Church Worker in
Divorce Case” (12 Nov 1918, page 7). The article expanded on the Ackerman’s
marriage troubles: “Artist’s Wife Names Mrs. Shean as Co-respondent. ‘Well,
I’ve got him now,’ said Mrs. Martha Shean, of 8 Glenada place, Brooklyn,
snapping her fingers under the nose of Mrs. Rhonda B. Ackerman, according to
Mrs. Ackerman’s complaint in her divorce suit filed in the Supreme Court today
against Earle Van Buren Ackerman, a scenic artist. Mrs. Ackerman named Mrs.
Shean as co-respondent. Mrs. Shean is a church worker and known in the
Stuyvesant Heights section of Brooklyn, according to Frank X. McCaffry,
attorney for Mrs. Ackerman. Mrs. Ackerman stated that she and Ackerman were
married in 1897 and have a son. The finger snapping episode occurred after Mrs.
Shean and Ackerman had met several times, Mrs. Ackermam asserted. She declared
further that the co-respondent engaged an apartment on Pacific street where
Ackerman would visit her.”
The battle between Mrs. Ackerman and Mrs. Shean continued
into 1919. That year Mrs. Ackerman wanted $20,000 for her “Lost Love.” A “Brooklyn
Daily Eagle” article reported, “Mrs. Rhonda B. Ackerman of 158 Lefferts pl. has
brought suit for $20,000 damages against Mrs. Martha Shean of 8 Glenada pl.,
whom she charges with alienating the affections of her husband. Francis X.
McCaffry counsel for Mrs. Ackerman today files notice that the case would be
moved for trial in the Supreme Court next month. Mrs. Ackerman recently brought
suit against her husband, naming Mrs. Shean as correspondent. Ackerman did not
defend the suit and Mrs. Ackerman won a decree. The two women at one time were
friends, and on one occasion when they met in the street, Mrs. Ackerman alleges
that her rival snapped her fingers at her and declared she could get her
husband away from her anytime she wanted. Mrs. Shean, who is said to be
prominent in church and social activities in Stuyvesant section, finally did
succeed in her endeavors, Mrs. Ackerman alleges, and that is why she asks
$20,000. Mrs. Shean, through Meier Steinbrink, has entered a denial of Mrs.
Ackerman’s charges” (page 18).
From “The Brooklyn Daily Eagle,” 12 Nov. 1918, page 2.
Little is known of Ackerman’s life or career or personal
life in the post-WWI years. Very seldom did his name appear in print. He did do
some design work, such as the scenery for “Tia Juana,” at the Schubert
Playhouse (Wilmington, DE, page 13). In
1934, he was listed as an art director, supervising the production of murals in
the Broadway Theatre (Courier-Post, Camden, New Jersey, 28 Aug. 1934, page 9).
There seemed to be a little black cloud that was forever
over Earle Ackerman’s head. By 1939, he made headlines after a car collision.
The “Courier-News” reported, “Car driven by Isador Gelbard, 43, of Davidson
Ave., Franklin Township, was in collision with a car driven by Earle Van B.
Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in front of the
Brooks Theater Saturday afternoon. No one was hurt and no complaints have been
made. Mrs. Isador Gelbard was in the car with her husband” (Bridgewater, CT,
page 4). His life trudged along for the next few decades.
By 1940, Earle was living in Franklin, New Jersey; lodging in
Franklin, New Jersey, with scenic artist George Washington Korb (1889-1957) and
his wife Theresa E. Zsiday Korb (1893-1947). At the time, Ackerman had already
lived with the couple for five years and his marital status was still listed as
divorced. The Korbs always made room for Ackerman, even after death; their
gravestone marked a place for Earle.
The Korbs are a fascinating couple in their own right
and will be the topic of my post tomorrow.
