Many of my projects take years to plan and implement. Such was the case with the main drape and valance at the Ruby Theatre in Chelan, Washington.
The drapes were intended to accentuate a newly acquired photo-player. The old ones having fallen into an irreparable state of disrepair.
Proving to be a bit of a diva during installation, theatre owner Larry Hibbard, appropriately named his photo-player Valentina. Photo-players accompanied silent movies with both music and sound effects. By the way, Valentina rises from the original orchestra pit, now hidden below the thrust. Hibbard explained that Valentina demanded this grand entrance after learning about the history of photo players from her big-city cousins .
“Valentina” – the photo-player – on stage at the Ruby Theatre in front of the new draperies.
Here is a link to an interview with Hibbard about his photo-player, named Valentina, for Wenatchee World (January 2021)- “Bringing Back a Piece of History to Chelan’s Ruby Theatre.” https://www.facebook.com/watch/?v=416089849649129
Exterior of the Ruby Theatre in Chelan, Washington.
I was first contacted by Hibbard in November 2021. He was interested in replicating the main drape, complete with hand-painted border.
In January 2022, Hibbard shipped half of the main drape to my studio so I could examine the fabric and stencil. The arrival of the curtain at my studio coincided with another Washington State theater event that made national news. On Jan. 27, 2022, CNN reported, “A couple renovating a 115-year-old building discovered two 60-foot-long hidden murals.” The next day I received an email with a link to the article from my Canadian colleague John Madill. Madill was the first of many colleagues to share the online article; all urging me to contact the couple. I was hesistant as my schedule was already booked for the year.
The next day, on Jan. 29, 2022, I received the following FB message:
“Hi, Wendy! My husband and I recently uncovered a 60ft mural from 1915 and are hoping to conserve it. I was wondering if you could offer any advice or expertise as it looks like a theatre backdrop. There are videos and pictures on our Facebook group (mural restoration at the historic Timm building). Thanks so much.”
Great. I decided to see exactly where Okanogan was located. Amazingly, it was less than an hour north of the Ruby Theatre in Chelan, Washington. That was my sign to plan a quick trip.
Here is a map of the area – west of Spokane, Washington.
The Okanogan Murals were located in a building once known as the Hub Theatre.
A small section of the mural, delivered to the Hub Theatre by the J. M. Deeds Scenic Studio of Spokane, Washington.
They were only seen by the public for three years before being encapsulated behind a wall of plaster. In 1918, the building was again renovated, becoming the Paramount Theatre.
The renovated Hub Theatre when it became the Paramount.
I did a little research, and soon discovered that J. M. Deeds Scenic Studio decorated BOTH Okanogan’s Hub Theatre and Chelan’s Ruby Theatre. On Dec. 7, 1915, the Okanogan Independent announced, “Improvements at Hub’s.” The article reported, “Hub Carlton has contracted with J. M. Deeds of Wenatchee for interior decorations, new screen and new curtain for the Hub Theatre that will greatly improve the inside appearance of this popular playhouse. Mr. Deeds came up from Wenatchee last week and is now supervising the work, which is being done by W. J. McConnon, and experienced decorator who has been in Mr. Deeds employ for some time. Mr. Deeds has just completed decorations for the Wenatchee theater, which is said to be one of the finest in this part of the state, and also is the man who did the decorating for the Ruby Theatre of Chelan, known far and near as one of the most attractive playhouses in the country. The new improvements at the Hub include 120 feet of panoramic landscape scenery in light tans. The picture screen will be 11×13 feet in size and have frame effects of moulding. There will also be a pretty drop advertising curtain with an overhead roll, noiseless I operation and will be controlled from the operator’s booth. Mr. Carlton is sparing no means to improve his place of business and is making additions to his equipment as rapidly as business will warrant.”
After a quick visit to meet with both theater owners in Okanogan and Chelan, I was soon back in Okanogan to supervise the removal of both murals from a water-drenched building. As they were created with distemper paint (pigment paste and diluted hide glue), time was of the essence.
Removing the murals at the Old Hub Theatre in Okanogan, Washington.March 2022.
That fall, I again led a crew to clean and stabilize the murals before again placing them back into storage.
The murals hanging in an Okanogan Fairgroundbuilding after Phase 1: cleaning and stabilization. October 2022.
All the while, I remained in contact with Hibbard about the Ruby Theatre project. It took us quite some time to locate a similar fabric. Creating a custom-dye job was not financially feasible, as the project was too small.
In the end we hired Liba Fabrics to manufacture the draperies with a lovely rose-colored fabric that shifted color under light.
They were shipped to the Ruby Theatre during the spring of 2023.
The plain curtains, valance, and side curtains, installed at the Ruby Theatre in 2023.
My trip to paint the draperies was scheduled for spring 2024. Prior to my April departure, I replicated the stencil and completed several samples to look at on site before commencing the project with local assistants. As light altered the fabric to an alarming degree (that was the magic), we wanted to make sure that everything would work with the space.
Here is one of the three-color stencils…
The base color for the stencil.
Detail of the base color. I came up with a technique that made it look like velvet appliqués.
Two types of gold were applied for detail; warm and cool to help it take dimension from a distance.
Two types of gold paint were used for the second stencil.
Although photographs make it difficult to see the gold, it reflects light beautifully – especially in low-light conditions.
Completed stencil.
As anticipated, the “R” stencil would prove to be problematic. Enter, Patrece Canoy-Barrett. She re-stitched the top and flipped a pleat.
On site assistant, Patrece Canoy-Barrett, who re-stitched the pleats to make the “R” hang flat.
Addition highlight to “R” so it would “pop.”The seam disappears from a distance.
Completed stencil with Valentina, after painting the proscenium arch .Thrust lights are only used when Valentina emerges from the pit.
During my time on site, we also moved a drop curtain from the local museum back to the Ruby Theatre. I really wanted Hibbard to see how a painted element shifted the space. It was so successful that an event was planned to feature Valentina and the historic ad drop. The drop has since been returned to the Museum where it will be on display.
Moving the drop from the Museum to the Ruby Theatre.
Ad drop painted by J. C. Carpenter in 1932 for the Ruby Theatre.
In 1905, Hugh Lanning painted an advertising curtain and stock scenery for the Blakesburg Opera House. Donated by Mr. and Mrs. Edward Fritz of Blakesburg, Iowa, it is currently on display at the Theatre Museum of Repertoire Americana.
1905 Ad drop by Hugh Lanning on display the Theatre Museum of Repertoire Americana. The top and side of the drop are folded over, so you cannot see the entire composition.
Painted detail from 1905 Hugh Lanning Ad Drop.
Painted detail from 1905 Hugh Lanning Ad Drop.
Painted detail from 1905 Hugh Lanning Ad Drop.
Painted detail from 1905 Hugh Lanning Ad Drop.
Painted detail from 1905 Hugh Lanning Ad Drop.
Lanning exemplifies the skilled scenic artist who diversified his work and never strayed far from home. He was born, raised, and died in Wapello County, Iowa.
Map showing Wapello County in relation to Omaha, Chicago, and Kansas City.
Map of Wapello County. Note that Blakesburg is on the western border.
For a brief time, Lanning was the area’s leading landscape and sign painter, dabbling in a variety of other artistic endeavors that included scene painting, side-show banners, and the decoration of mechanical equipment.
Suffering from a series of hardships, Lanning left only a modest legacy. It is remarkable that any of his artworks survive. Like many Midwestern artists, Lanning’s contributions quickly faded from theatre history.
It is only fitting that Lanning’s work is now on display at the Theatre Museum. He represents the thousands of scenic artists who never moved to a large city, rubbed elbows with theatrical elites, or made the “big time.” It certainly wasn’t because he lacked skills or ambition. In fact, Lanning reminds me of some advice passed down on my mom’s side of the family. Growing up, I was repeatedly told, “There are at least 10,000 people as talented as you; they just didn’t have the same opportunities.” Over the years, this helped place my own work and life in perspective, making me appreciate those who contributed to theatre history, yet were never counted. Maybe that is why I am trying so hard to tell the stories of those who shaped the world of scenic art but are long forgotten.
Lanning leaves a legacy that encapsulates the careers of many rural scenic artists in the Midwestern United States. Those who gave so much to local communities and left life with very little fanfare.
Surprisingly, 43 years after Lanning’s passing, his advertising curtain was displayed at the Kennedy Center during a bicentennial exposition that celebrated two-hundred years of performing arts in America. In 1975, the Theatre Museum of Repertoire Americana loaned Lanning’s ad drop to be part of “America on Stage: 200 Years of the Performing Arts.” The year-long exhibition was free and open to the public every day from morning to night. Located on the Kennedy Center’s roof-terrace level, scenery, costumes, props, and other memorabilia were placed on display, borrowed from individuals and institutions all over the country. The primary focus of the exhibit was the evolution of American drama, music and dance from colonial times until the 1970s. If anyone attended this event and has documents to share, I would love to include them in this post.
The Kennedy Center exhibition was described by a visitor the “This ‘N That” section of The Bayard News. On March 25, 1976, an article reported, “Visited the bicentennial exhibit on the top floor of the Kennedy Center. Had heard it plugged on IEBN by Helen Hays. It is a review of entertainment in America. There was a Chautauqua tent in which you could see films on various subjects. There was a café-type setting with a Wurlitzer juke box. Hated to leave there for the juke box had records of my era…In a section devoted to traveling tent show, the famous Toby shows of the Schaeffers were prominent. The original family were great friends of Grace and Ralph Chapman and I’ve heard them talk about them…One wall displayed a very large stage curtain, it was full of ads advertising businesses in Ottumwa. Remember those things, painted in the most brazen colors, you could study them until the curtain was raised for the big show” (p. 2). They were describing Lanning’s ad drop. In many ways, he represents the 99% of scenic artists who never gained national reputations.
Here is the story of Hugh I. Lanning (1853-1933), Stage and Side Show Painter of Ottumwa, Iowa.
Signature on Blakesburg Opera House Ad Drop.
Signature and date on Blakesburg Opera House.
Lanning’s family tree is bit complicated due to his father’s multiple marriages and offspring. So many young women died in childbirth in the mid-nineteenth century, leaving grieving husbands with small children.
Hugh Lanning was the one of two children born to David Cornelius Lanning (1826-1907) and Nancy Connelly (1831-1862). Nancy was David’s second wife. The couple was married on Sept. 4, 1850, in Wapello County, Iowa. This was almost three years after the passing of David’s first wife, Amelia Ann O’Neil Lanning (1820-1847). David’s first marriage took place in Ripley, Illinois, on Sept. 12, 1844.
The 1850 Census report listed David and his second wife, Nancy, living with two children from David’s first marriage: Sarah Agnes Lanning (1845-1927) and David Columbus Lanning (1847-1913). That year, the Lanning family lived in Ripley, Brown County, Illinois. Interestingly, Nancy was counted twice in the census. She was also listed as part of her parents’ home in Wapello County, Iowa (Hugh & Martha Connelly).
Hugh Lanning was born on April 27, 1853, in Agency Township, Iowa, with his birth registered in Wapello County. Lanning’s younger sister, Mary Alice Lanning was born the following year.
The 1856 Iowa State Census listed the Lanning family living approximately ten miles southeast of Ottumwa, still in Agency Township. The Lanning household included David, Nancy, Sarah A., Hugh, and Martha. In both the 1850 and 1856 census reports, David Lanning was listed as a cooper.
I was surprised to see that David Jr. was not listed as part of the household. It is possible, that he had already been “hired out”; such was the case with my maternal grandfather at the turn-of-the-twentieth century. As soon as a child was old enough to work, they were hired out to another family with their subsequent “wages” sent home. This is basically leasing a child.
The Lanning family began to financially fail by the late 1850s. On Dec. 8, 1859, David Lanning was listed in the Ottumwa Semi-Weekly Courier as delinquent in his taxes for three lots in Agency City (p. 2).
I have yet to locate any listing for the Lanning family in the 1860 US Federal Census. However, David and Nancy Lanning celebrated the birth of their third child that year. Emma J. Lanning was born in Ohio. I am uncertain as to whether the Lannings temporarily relocated to Ohio, or were visiting when Emma was born. When Nancy Lanning passed away on Feb. 20, 1862, however, the Lannings were again living in Wapello County.
David remarried his third wife, Harriett Elizabeth Criswell/Creswell (1842-1872) on December 3, 1862. The couple celebrated the birth of Mary Ella Lanning (1863-1920), James Lanning (1865-1921), and William Robert Lanning (1869-1918).
I have yet to track down the Lanning family in the 1860 Census, however, David and Harriet celebrated the birth of Emma J. Lanning in Ohio that year. The Lanning family may have temporarily moved back east. They were back in Iowa by the onset of the Civil War. In 1862, David Lanning was listed as a person subject to military duty in Iowa Records. I have yet to uncover anything about the Lanning family’s activities during the remainder of the 1860s, however, the were still in Wapello county in 1870.
The 1870 US Federal Census listed the Lanning family living in Center Township, Wapello County, Iowa. In 1878, David Lanning was listed as a farmer in “History of Wapello County. He owned Sec. 27 in Agency Township.” James Lanning, also listed as a farmer in 1878, owned Sec. 30 in Agency Township. That year, B. F. Watson was listed as a local painter. It is possible that Lanning apprenticed with Watson. At 38 yrs. old, David Lanning was now employed as a carpenter, with 17-yrs.-old Hugh listed as a laborer. Other members of the Lanning household in 1870 included Hugh’s step-mother Harriet (27 yrs.), Emma J. (10 yrs.), Mary E. (7 yrs.), James (4 yrs.), and Willie (1 yr.). By this time, Lanning’s two oldest children had already married. Sarah A. Lanning was living in Macon, Illinois with her husband, Joseph Fry, and 2-yrs.-old daughter, Elda. David Lanning Jr. was also living in Illinois, recently married to Eliza Mryess.
It is a complicated genealogy, with David Lanning purportedly marrying two more times after the passing of his third wife; L. C. Royce on Dec. 29, 1880, and Sarah Wertz on July 15, 1886. Both marriages were in Wapello County.
I have yet to identify when Hugh Lanning began his work as a painter or attempted his first theatrical project. The 1870s were certainly a decade a transition as he left his parents home, married and celebrated the birth of his first child. Hugh married Josephine “Josie” Rush (b. 1855) in Brown, Illinois, in 1876. Over the years, the couple celebrated the birth of three children:
Hugh Antonio “Tony” Lanning (1877-1947)
David Nelson Lanning (1881-1958)
Fanchon Lanning (1886-1968)
In 1878, their home was destroyed by a tornado. At the time, the Lanning family was living northeast of Ottumwa in Dahlonega township. This community had formerly been known as Shellbark. In 1856 the town boasted three hundred residents, with two packing houses, schoolhouse, public hall, and numerous businesses.
On June 6, 1878, the Buffalo Courier Express described a tornado’s deadly path that destroyed Lanning’s home:
”Still Another. A Destructive Tornado in Iowa the Day After One in Missouri.
Ottumwa, Iowa, June 3, – A terrible tornado took place here on yesterday, about 4 o’clock P. M., originating about two miles north of the city, striking city limits on the north and northeast, and thence passing in a southeasterly direction between Eldon and Batavia, avoiding Agency City…Thence the storm passed to the frame house of Hugh Lanning, a painter, one mile and a half further on. Mr. Lanning and his wife were not in the house and thus saved their lives, as their house, a frame cottage, was torn to pieces, scattering their earthly possessions, and carrying pieces of the timber and small pieces of the furniture ten miles beyond…”
On June 6, 1878, The Oskaloosa Herald reported, “The residence of Hugh Lanning was picked up from the foundation turned around three or four times and crushed like an eggshell on the ground, Of the contents of the house only three or four chairs have been found unbroken. No one luckily was at home” (p. 3).
Lanning remained in the area, but the process of rebuilding one’s home meant that Lanning did not stray far from the area. The 1880 US Federal Census still listing the Lanning home in Dahlonega with Hugh working as a painter. His employment as a scenic artist did not make news until 1882 when he painted some circus banners. On Aug. 6, 1882, the Ottumwa Weekly Courier announced, “Hugh Lanning has some fine specimens of scene painting in his shop, nearly completed, for Batcheller & Doris’ show. The painting is first class, and a decided credit to Mr. Lanning” (p. 4). That year, Batcheller & Doris were travelling with their “Great Inter-Ocean Show.” On Aug. 16, 1882, The Columbus Journal (Nebraska) reported, “Batcheller & Doric have, without question, the finest circus that ever visited Burlington, and have more real attractions than any other circus on the road; chief among which is Millie Christian, the two0headed girl, who can truthfully be called the eighth wonder of then world” (p. 3). That summer, Batcheller & Doris’ show included several stops in Iowa, also making news upriver in Oskaloosa.
The show was also advertised as Batcheller & Doris’ Mammoth Aggregation. On August 11, 1882, Nebraska’s Lincoln Journal Star described, “Batcheller & Doris’ Mammoth Aggregation is in reality the combination of a half dozen shows…there is no circus now in the world that presents such varied and first-class ring performance, every artist being bright and particular star in his or her line of business, and commanding salaries that twenty years ago would have been deemed fabulous” (p. 2). 1882 feature acts included: Mlle. Rosina Dubsky, the Hungarian equestrienne; Miss Lizzie Keyes, the American rider; Aberlando Dowanda, the Brazillian equestrian; Willie Shanles, champion hurdle rider; the three Russian Athletes, acrobatics; Milo Brothers, gymnasts; Mlle. Eltre, contortionist; Mlle. Adele, trapeze artist; Prince Salsuma, balancing act; and Prof. Parker, dog act. The circus traveled all over the country between 1881 and 1882. On Jun 5, 1882, The Times of Streator, Illinois, reported, “There are 260 persons on the payroll of the Batcheller & Doris Co.” (p. 4).
Lanning continued to pick up a variety of work. He also became known for his easel art. That fall, Lanning exhibited some of his artworks at the 1882 Agricultural Fair in Agency City. The fairgrounds were within one block of the depot. Lanning was one of the listed attractions. On Oct. 4, 1882, the Ottumwa Weekly Courier announced, “Hugh Lanning has staked his tent, in which he has a fine art museum, exhibiting many fine specimens of the art of painting, of which Mr. Lanning is one of the most proficient in this country” (p. 4). On Oct. 5, 1882, the Ottumwa Daily Democrat announced, “Hugh Lanning has an art gallery that is really worth going to see, and when you are down there go and see his pictures. There is much to admire and nothing to offend” (p. 4).
Lanning’s work extended to panorama exhibits for local events that included a Turner’s Fair. On Jan. 21, 1885, the Ottumwa Daily Democrat announced, “One of the attractions of the evening was the panorama which Mr. Hugh Lanning had kindly put in position for the occasion. His Punch and Judy performance also furnished an unlimited amount of merriment for the many children present” (p. 3).
Tragically, Lannings sister at this same time, with news reaching Ottumwans on Jan. 28. The Ottumwa Daily Democrat announced, “Miss Mattie Lanning, now Mrs. Lee Traul, dies of consumption on Jan. 20 in Macon, Illinois” (p. 3). This was Martha Alice Lanning, Hugh’s younger sister.
By the end of the 1880s, Hugh Lanning moved his family to Ottumwa where he established a scenic studio on the south side of town. His two sons would follow in his footsteps, working at his shop. On 20 Jun 1888, the Ottumwa Weekly Democrat reported, “During a visit to the South Side yesterday a reporter called at the studio of the scenic artist Hugh Lanning, and found this favorite of Ottumwa art lovers hard at work on a number of landscape scenes ordered from different parts of the country, six of which go to Red Oak, and all gems of their kind. He also has on hand commenced an immense sign for the Golden Eagle clothing house which will be one of the finest signs in Iowa. Mr. Lanning is decidedly the finest scenic artist that ever came to our city and deserves to be liberally patronized” (p. 3)
The next year, Lanning’s artistic diversity was advertised in local news. On May 14, 1889, the Ottumwa Daily Democrat reported, “Hugh Lanning, the painter, does frescoing, sign painting, wood engraving. Scene-painting, etc. Mr. Lanning did the scene work in the Turner opera house, and there is no better artist in Iowa. We understand he will be a bidder for the scene work in the new opera house to be built in this city, and we trust he will secure the contract. If you want any painting done, give Mr. Lanning a call” (p. 3). Like many scenic artists at this time, the key to success was a willingness to paint whatever project came your way. In the case of Lanning, it was a combination of touring show scenery, local signage, residential decoration, and easel art. The wood engraving was unique, but not a surprise when considering his father’s carpentry work.
Lanning’s business was thriving at the turn-of-the-twentieth century. He was listed as one of many business owners involved with the Ottumwa Street Carnival in 1900 (Ottumwa Semi-Weekly Courier 23 Aug 1900, p. 4). By now, Lanning’s two sons were working alongside him, also employed as painters, and living at 907 Church Street. Hugh’s wife was also listed as a dressmaker in the 1901 Ottumwa Directory. The whole family seemed to be gainfully employed and succeeding.
As with many scenic artists at this time Lanning embraced new technology, investing in new forms of entertainment. He began with stereopticon shows, even touring nearby small towns with his act. On Jan. 2, 1902, the Ottumwa Semi Weekly Courier announced, “Hugh Lanning gave a stereopticon show at Bear Creek Monday” (p. 8). Lanning provided a similar entertainment for members of Ottumwa’s Carpenters Union, No, 767. On Jan. 14, 1902, the Ottumwa Daily Democrat reported, “The evening’s program was furnished by High Lanning and consisted of moving pictures and gramophone music, or unusual merit and much was appreciated by all” (p. 4). On March 19, 9102,the Ottumwa Daily Democrat reported, “Hugh Lanning gave an entertainment last evening at the Woodmen of the World hall, which was well attended. The entertainment was given under the auspices of the Northwestern Fraternal Reserve” (p. 4). That spring, Lanning also took his entertainment on the road to. On March 26,1902, the Ottumwa Daily Democrat reported, “Hugh Lanning and the Stoops brothers left this morning for Moravia where they will give a moving picture and gramophone entertainment this evening. Before returning to Ottumwa they will give entertainments at Centerville, Mystic, Blakesburg and other points and expect to be gone about two weeks” (p. 4).
Just when the sky seemed the limit for Lanning, tragedy struck when Josie Lanning fell. She never fully recovered from the incident, and her health continued to decline. On May 6, 1903, the Ottumwa Daily Courier announced, “Mrs. Hugh Lanning is very ill at her home, 907 Church St.” On May 27, 1904, the Ottumwa Evening Democrat announced, “Mrs. Hugh Lanning is dangerously ill at her home on Church Street as the result of a fall she sustained some time ago” (p. 2). She passed away the next year. On June 17, 1905, Ottumwa Semi-Weekly Courier “Death of Mrs. Lanning. After a lingering illness, death came to Mrs. Josie Lanning, wife of Hugh Lanning, this morning at 12:20 o’clock at the family residence, 907 Church Street. The deceased is survived by her husband, two sons, H. A. Lanning and N. D. Lanning, and one daughter” (p. 4).
This was the same year that Hugh Lanning painted an advertising and stock scenery collection for the Blakesburg Opera House. In fact, Lanning was working at the Blakesburg Opera House when his daughter visited that fall. On Sept. 19, 1905, the Ottumwa Semi-Weekly Courier, announced, “Miss Fanchon Lanning, 907 Church Street, left on the Milwaukee this morning for Blakesburg, where she will visit her father Hugh Lanning” (p. 8).
For the next few years, Lanning drifted along, varying his work and seldom making news. It was as if his heart was no longer in the game.
On May 9, 1907, The Oskaloosa Herald reported, “Painting the Summer Cars.
The summer equipment of the Traction & Light Co. is being rapidly repainted and overhauled in every way. The work is being done by Hugh Lanning, an expert painter from Ottumwa, and some of his decorations on the cars, which are all hand work, are quite handsome. The cars will be put to use as soon as the work is completed” (p. 7). Lanning briefly relocated to Center, Iowa, where he worked as a sign painter. The 1910 US Federal Census listed that he was still living with his 23 yrs. old daughter that year. He returned to Ottumwa by 1912, where he was listed in the “Painters and Paperhangers” section of the City Directory, still working as a sign painter and now living at 524 Church.”
Over the next few years, Lanning’s named popped up here and there without much fanfare. One 1914 notice announced that he was selected was selected for jury duty. Another indicated his association with the Socialist party. The direction of Lanning’s painting projects during this time shifted toward residential decor. On Feb. 18, 1915, the Ottumwa Tri-Weekly Courier announced, “Hon. P. G. Ballingall has erected on top of his five-cent lunch house, a panoramic view that is immense. He must have got his idea for it in some oriental country during his trips around the world. Like the woman’s calico dress it must have been ‘pretty costive’ Hugh Lanning was the artist who executed it” (p. 2). This is the last article that I have located about Lanning’s work. What once seemed a promising career simply faded away after World War I.
By 1920, Lanning was living with his daughter, Fanchon, son-in-law, Ed Schworm, and granddaughters, Patricia Ann and Betty. He remained at the Schworm home there until his passing. His last work as a scene and sign painter purportedly occurred in 1931.
Lanning passed away on Sept. 8, 1933. The cause of his death was listed as myocarditis; senility was considered a contributing cause.
Lanning’s obituary was published in the Ottumwa Courier on Sept. 9, 1933:
“Hugh Lanning, Sr., 80 years old, died at 401 McKinley avenue at 6 p.m. Friday. He was born in Agency township, the son of David and Nancy Lanning, April 27, 1853. In 1876 he was married to Josephine Rush. She preceded him in death in 1905. Since that time he has made his home with his daughter, Mrs. Ed M. Schworm. For many years, Mr. Lanning was a leading landscape and sign painter here. He has lived practically all his life in Ottumwa. Surviving are two sons, H.A. Lanning of Battle Creek, Mich., and N.D. Lanning of Chicago; one daughter, Mrs. Schworm of Ottumwa; three grandsons, five granddaughters and one great-grandson. Funeral services will be held Monday at 2 p.m. at the Schworm residence. The Rev. O.B. Preston, pastor of the Plymouth Congregational church will officiate. Burial will be in Shaul cemetery. The body was removed to the Johnson funeral chapel and will be returned to the home, Monday morning.”
My past few posts have explored the lives and careers of Charles L. Hoyland and William H. Lemle. Hoyland and Lemle were involved with the Allardt Advertising Co., Hoyland-Lemle Advertising Co., Lemle-Barrett Co., Charles L. Hoyland Co., William Lemle, Inc., and Lemle Studios in the 1920s. While completing preliminary research for each artist and their respective studios, I came across an interesting article about an illuminated curtain, one that the Hoyland-Lemle Advertising Co. delivered to the Majestic Theatre in Cedar Rapids, Iowa. It is worth mentioning before I return to the life and career of scenic artist Thomas G. Moses (1856-1934)
On May 18, 1923, the Cedar Rapid’s “Gazette” reported, “An illuminated curtain presenting a street scene has been added to the equipment of the Majestic theater. It is one of the latest developments in theatrical accessories and adds much to the effectiveness of the stage scenery. The curtain was installed today by H. L. Winckler of the Hoyland-Lemle company of Chicago, one of the largest curtain advertising companies in the country. The curtain is built so that the manipulation of lights it presents either a night scene or a day scene. An artistic coloring effects effect results when soft lights are turned on back of the curtains so that it appears as a panoramic view of the city at night. Many local business firms have reserved space on the curtain which provides an excellent background for their advertisements. The curtain will be shown for the first time Sunday when the Dixon Players open an engagement here.”
This is a translucent street scene with advertising spaces placed in the composition. The advertisements were incorporated into the architecture of buildings, street signs, walls, marquees, windows, etc. This also means that the ads were visible during the production, an appealing prospect for any merchant. In a way, it’s similar to a brand name product appearing in a television show or movie. Traditionally, advertising curtains were lowered at specific times during a production, coming in between scenes or acts. Ad spaces traditionally created a border around a central composition. They were also incorporated into the ornament of the surround. Over time, the number of ad spaces multiplied, greatly encroaching upon the central picture and reducing its dominance in the overall composition.
The “Gazette” article’s use of “illuminated” indicates translucent sections on the ad drop with backlighting. In other words, street lamps, windows, or stars in night sky would glow for the nighttime depiction. The street scene was a success.On June 2, 1923, the Gazette reported, “Last night was the first time the boys had seen the new illuminated curtain at the Majestic and when it was shown, they burst into a round of applause” (page 15).
I am attaching a few examples of similar deigns from the Twin City Scenic Co. collection at the University of Minnesota’s Performing Arts Archives. Each design could have incorporated translucent sections into the design, thus appearing illuminated.
Advertisement Curtain (Ad Drop) in the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota.
Ad drop design. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.Ad drop design detail. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.Ad drop design detail. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.Ad drop design detail. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.Ad drop design detail. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.Ad drop design detail. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.Ad drop design detail. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.Ad drop design detail. Twin City Scenic Co. collection, Performing Arts Archives, University of Minnesota.
Advertisement Curtain (Ad Drop) in the Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota.
Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of Minnesota.Detail. Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of MN.Detail. Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of MN.Detail. Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of MN.Detail. Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of MN.Detail. Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of MN.Detail. Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of MN.Detail. Ad drop. Twin City Scenic Co. Collection, Performing Arts Archives, University of MN.
By the end of 1923, Thomas G. Moses wrote: “On December 26th, Megan and I met Sosman and Landis Company at Richard’s office and paid our first installment for the name and good will of Sosman and Landis Company, which we now own and will operate, but for a while we will have to use our names of Moses and Megan, until the old company can liquidate. We will then get a new charter.” In the end, it cost Moses $20,000 for that “name and goodwill.”
When the Sosman & Landis Co. was liquidated, the name was purchased by Moses & Megan; the studio’s contents were purchased by the Hoyland-Lemle Co.; and Chicago Studios leased the space. In one fell swoop, Sosman & Landis was split into three parts – name, contents and address, each going to a different firm. Each of the players has a unique story. I am starting with the Hoyland-Lemle Co.
The main studio of Sosman & Landis, located at 417-419 S. Clinton Street, Chicago.
By 1923, the Hoyland-Lemle offices were listed at 6751 Sheridan Rd, but they rented various studio spaces to paint advertising curtains (ad drops). Interestingly, 6751 Sheridan Rd was the same address listed by Moses & Megan when they sent out letters to prospective clients in 1923 while Moses was still working for Sosman & Landis. Keep in mind that Chicago Studios was using the official Sosman & Landis address by late summer 1923, citing 417 S. Clinton Street – this was immediately after preliminary discussions about the closure of Sosman & Landis. At this same time, Hoyland-Lemle were actually renting the Sosman & Landis main studio at 417 S. Clinton St. To briefly recap, Chicago Studios sent out letters during the summer of 1923 to prospective Sosman & Landis clients, explaining that they were the successors to Sosman & Landis – citing the same address, 417 S. Clinton St.
Moses and Megan immediately disputed the fact that Chicago Studios was the successor to Sosman & Landis, sending out their own letters on Sosman & Landis stationary. They explained that Sosman & Landis was only moving to a better location – 6751 Sheridan Rd. in Chicago, the Hoyland-Lemle offices. This, combined with Moses’ delay in securing the new business charter, was disastrous. Moses and Megan were put in a difficult position with any future iteration of Sosman & Landis looking weak.
It was an interesting time in the theatre industry. By the 1920s scenic studios were often short-lived, opening and closing like clover plants every day. This was not especially new, but there were now many more players in Chicago. Names were changed, with scenic artists hopping from one firm to another. There were still major players, with long histories and impeccable reputations; Sosman & Landis was one of those companies, and that was something that Moses was relying upon for his own future success.
The Hoyland-Lemle Co. has an interesting, albeit short-lived, history. The company’s namesakes were Charles L. Hoyland and William Lemle. Hoyland-Lemle officially entered the scenic studio game in 1922, but really was the result of a name change, not a start-up company. Previously, the Hoyland-Lemle Co. was known as the Allardt Advertising Co., run by the Allardt Bros. who established the Allardt Circuit in the Midwest.
On May 29, 1922, the “Tulsa Daily Legal News” announced “Allardt Adv. Co, changing name to Hoyland-Lemle Co., Chicago, Ill. C. L. Hoyland, Wm Lemle, Maybelle Shearer & C. M. Hoyland, Chicago, Ill. Capital $50,000” (page 1). State business filings in 1922 listed the Hoylund-Lemle address as 417 S. Clinton Street, the same as Sosman & Landis where they were renting paint space. Hoyland-Lemle also rented frames at the newly founded Service Studios, in the renovated spaces of the old Jewel Tea Co. barns. The company provided many different addresses for various government records, such as 32 West Monroe Street, listed in the “Second Annual Report of the Tax Commission of the State of Illinois” in 1921 (page 304).
The key figure in the formation of Hoyland-Lemle was Hoyland. It was the result of Hoyland’s relationship with the Allardt Bros. He was working for them by 1910. In Jan. 9, 1911, “The South Bend Tribune reported that Hoyland was initiated into the Theatrical Mechanical Association, South Bend Lodge, No. 120. At the time, he was treasurer of the Lyric Theatre in Danville, Illinois. He was the guest of Messrs. C. J. and Louis F. Allardt of the Orpheum. The article went on to state that Danville’s Lyric Theatre was part of the Allardt Circuit (page 4). Hoyland continued to work at other Allardt venues, including the New Orpheum Theatre in Racine, Wisconsin by 1913. In 1914 Hoyland’s primary focus became the Allardt Advertising Co. Much of the Allardts’ energies were focusing on marketing. They invested in theatrical agencies, venues and advertising curtains. On Feb. 1, 1914, the “Inter Ocean” listed Charles L. Hoyland as the head of the Allardt Advertising Company, and treasurer of Allardt Bros.
Between 1914 and 1921, Hoyland remained with the Allardt company until he and William Lemle purchased the firm and changed the name. The company lasted less than five years, and by 1927, Hoyland was running the new Charles L. Hoyland Co. Much of the Hoyland-Lemle Company’s demise was due to lack of payment. Like Sosman & Landis, clients’ were not always prompt with final payments. The firm was involved in several court cases to collect money owed from clients throughout the mid-1920s.
On Sept. 8, 1926, the “Paducah Sun-Democrat” reported, “The Hoyland-Lemle company, an Illinois corporation, is the plaintiff in five suits filed against Paducahans in McCracken county circuit court yesterday afternoon. The company alleges in each suit that the defendant owes a balance on a contract price for advertising displayed on the Orpheum theater circuit curtain. The suits were brought on behalf of Hoyland-Lemle by Attorney W. A. Berry” (Paducah, Kentucky, page 2).
The advertising curtain business was extremely lucrative, but risky. Businesses would rent ad squares on a curtain, paying a monthly, or annual, fee for the space. These curtains were often placed independent of the scenery contract, front curtain or asbestos curtain. In many cases, they were painted and installed at no cost to the theatre owner. The fees collected from the businesses paid for the piece’s construction and then provided a substantial profit, as long at the curtain was used.
Advertising curtains functioned like commercials; they were contracted to be lowered at specific times during a show. Advertising companies even sent representatives to various theaters to ensure that the advertising curtains were being lowered at the appropriate times. This all worked well, unless the clients renting the ad space didn’t pay the contracted fee. This meant not only losing the anticipated income but finding a new business to rent the ad space and repainting the square. The best-case scenario was never having to repaint a square and just collecting the payments. The worst-case scenario was what happened at the Orpheum Theatre in Paducah, Kentucky. Five businesses not paying for an advertisement curtain was a significant loss. It is no wonder that 1926 was the last year of the Hoyland-Lemle Co.
When the Hoyland-Lemle Co. ended, two new studios sprung up: the Charles L. Hoyland Co. and William Lemle, Inc. In an odd twist of fate, the newly listed “spacious studio of William Lemle Inc.” was located at 417 S. Clinton St – the old Sosman & Landis main studio.
William Lemle Inc. using the old Sosman & Landis Studio image, 1927.
Sosman & Landis seldom posted want ads for labor. I have encountered only a few over the years. Often the ads were seeking individuals who possessed basic trade skills, seamstresses and carpenters to fill basic positions without any specialized interests. However, in 1909, there were numerous advertisements placed in the “Chicago Tribune” for sign painters. Here is one example from the “Chicago Tribune” on January 6, 1909 (page 4)
“WANTED-MALE HELP
Sign Painter-First Class. Up to date, on advertising curtains; good chance for young man to learn scene painting business.
SOSMAN & LANDIS CO., Scene Painting Studio, 236-238 Clinton-St.”
Ad placed in the Chicago Tribune, 6 Jan. 1909, page 14.
There are a few things to consider about in regard to the 1909 Sosman & Landis ad. The first is that 1909 is a peak period for Masonic theatre production at the Sosman & Landis Studio, even though fraternal scenery only made up about 25% of all projects. Hundreds of Scottish Rite drops, flats, set pieces, and props are being designed and manufactured in Chicago before they ship to various locations. In 1909, their main studio was swamped with work, as was their second “annex” studio. The production of Masonic scenery requires the studio’s most experienced artists to produce, leaving much other work to second-rate artists employed in the shops.
Other Studio projects included the production of massive scenic spectacles for the Ringling Brothers’ circus. As with Masonic scenery, the production of grand circus spectacles necessitated the use of topnotch artists on staff. In addition to high-end scenery for prestigious clients, there remained endless orders of stock scenery for small town opera houses, vaudeville theaters and music halls. In addition to roll drops, wings, flats, interior box sets and drop curtains, there was the continued demand for advertising curtains. Also referred to as Ad Drops, these compositions required artists to paint hundreds of characters in various fonts, filling the numerous advertising spaces. Although lettering requires skill, it was a trade mastered by many individuals at the time. Various levels of artists painted signage that ranged from commercial billboards to daily placards.
It would make no sense to place any scenic artist on a lettering project that could be completed by any sign painter, temporarily hired off of the street. Sign painting also required skilled artisans, but not with the same training and intuitive sense necessary for figure painting, draperies, landscapes, or other scenic illusions.
What the 1909 Sosman & Landis want ad also suggests is a possible spike in requests for Ad Drops. In the past, I have explored the origin and evolution of advertising curtains, especially those produced by Lee Lash in San Francisco, Philadelphia and New York (see past installments # 578-584). From 1900 through the 1920s, the design and manufacture of advertising curtains was big business that generated massive profits for many studios. For example, when Lee Lash had advertising curtains in 1700 American theatres, it resulted in an annual income of $250,000 (“Star-Gazette,” 4 March, 1973, page 7).
In many cases, studios directly collected the revenue from clients for their advertisements prior to the creation of an Ad Drop. No upfront loss for materials. This also allowed studio to place Ad Drops “free of charge” while even generating income for the theater. Free drop, free installation and possible revenue! The only requirement on the theater’s behalf was that they lower and display the advertising curtain at certain times specified in the contract. This was similar to out current advertisement slots for television programs. Furthermore, the position of advertisements in spaces, as with specific times for television and radio ads, varied in price that was dependent on placement.
In looking at the big picture of theatrical manufacturers during the early twentieth century, the increase in the demand for advertising curtains harkens back to a bustling economy and the expansion of products and services.
Design for an advertising curtain in the Twin City Scenic Co. collection. Here is the link to the University of Minnesota Performing Arts Archives scenic collection search: https://umedia.lib.umn.edu/scenicsearch
Design for an advertising curtain in the Twin City Scenic Co. collection. Here is the link to the University of Minnesota Performing Arts Archives scenic collection search: https://umedia.lib.umn.edu/scenicsearch
Design for an advertising curtain in the Twin City Scenic Co. collection. Here is the link to the University of Minnesota Performing Arts Archives scenic collection search: https://umedia.lib.umn.edu/scenicsearch
Here is one last installment on advertising curtains. It gives information pertaining to the revenue collected for advertising curtains in 1909 and the decision of Martin Beck to remove advertising curtains in Orpheum Theatres. President Meyerfeld and General Manager Martin Beck ran the Orpheum Company. The “Lincoln Star” summarized Beck’s position in the company. It is well worth including as it provides the scope of the Orpheum company.
General Manager Martin Beck for the Orpheum Theatre company who decreed that all advertising curtains would be removed from Orpheum Theatre in 1911. Image from the Lincoln Star, 21 May 1911, page 19
“Mr. Meyerfeld was in his San Francisco office exercising general control over all the big Orpheum company. Around him are able lieutenants, who assist him in his executive work. At the other end of the line in New York is Mr. Beck, with his big offices and a small army of men who are lieutenants. Over in London is another group of expert vaudeville booking agents, all busy as bees under the guidance of Mr. Meyefeld and Mr. Beck, and in Berlin is still another group of booking men who report to Mr. Meyerfeld and Mr. Beck. In Chicago is still another big Orpheum office in the Majestic Theatre building, with a corps of vaudeville agents who do nothing but canvas the field searching for the very cream of vaudeville and submitting it for Mr. Meyefeld and Mr. Beck’s approval” (The Lincoln Star, 21 May 1911, page 19).
In 1909, the “Los Angeles Times” quoted General Manager Martin Beck: “Never again will an advertising curtain be permitted in one of our theaters” (3 Oct. 1909, page 28). The Times noted that the loss of revenue to art for the local house would be slightly in excess of 500 dollars per month. Today’s equivalent purchasing power is just shy of $14,000 per month. This provides us with a little information; many advertising curtains had approximately ten to twelve spaces, so each space could generate approximately $1000 each month.
Beck argued that there was a “gain to the sensibilities of the patrons in many fold” with the removal of advertising curtains, but he did not elaborate. In the Los Angeles article, Beck noted that the new screen for the front of the theater was being painted in Chicago.; this replaced the advertising curtain. I found the terminology for the replacement piece interesting – “screen,” instead of front curtain or drop curtain. It is possible that he was referring to a picture sheet, with a central screen surrounded by an elaborate and painted frame. Is it possible that the progression in some theaters went from painted front curtain to advertising curtain to picture sheet?
Front curtain
Advertising curtain
Picture sheet
At the same time, the advertising curtain had also gained prominence by 1909, having moved from a position behind the front curtain to replacing it. This means that the advertising curtain had moved from being dropped during intermission to taking the prominent spot behind the proscenium, being on permanent displayed in the theatre. During the 1890s, there are many articles that support the advertising curtain was lowered for a specific period of time and was not on permanent display as the front curtain for all who entered the theatre. At the time, advertising companies even hired individuals to attend various productions at theatres to make sure that their ad drops were being displayed as promised. This was similar to making sure that television commercials appear in the specific time slots.
An article titled “Curtain Fight” was published in the “Buffalo Commercial” during 1897 (18 Oct 1897, page 15). It discussed a legal battle that ensued after the proprietor refused to allow the placement of an advertising curtain as contracted with a scenic studio. In May of 1896, John Laughlin became the manager of the Lyceum theatre and he refused to allow the New York Curtain Company to place an advertising curtain in his theatre on the ground that it would be a detriment to the house. The curtain company alleged that the contract had been broken and that it had suffered damages to the amount of $500.”
There was a shift from advertising curtains being displayed at certain times, to replacing the front curtain. My research suggests that it occurred around 1900. It was during this period when the placement of an advertising curtain also began suggesting that the venue was suffering and needed extra income. An article in the “Cincinnati Enquirer” commented that the need to place an advertising curtain could indicate the proprietor’s precarious financial state. The article reported, “The stage 12 x 14, with an ‘ad’ curtain which when it went up bespoke more plainly than words the nervous condition of the manager’s hand” (The Cincinnati Enquirer, 16 Dec 1900, page 36).
Part 582: Advertising Curtains and the Kansas City Scenic Company
I came across an interesting article when searching for information about advertising curtains during the early twentieth century. It presented some of the financial logistics and revenue generated by an ad spaces on a drop. The article concerned scenery for the new opera house in Perry, Iowa, located at 1314 Second St.
Opera house in Perry, Iowa, 1908
Fred R. Megan, representing the Kansas City Scenic Co., was negotiating the contract during August 1903. Kansas City Scenic was founded by former Sosman & Landis scenic artist, L. L. Graham.
Private collection of Christopher Steiner at Luminous-Link.
Here is the article published in the “Perry Daily” on 26 Aug 1903:
“Mr. F. R. Megan, of Kansas City, was in Perry this week representing the Kansas City Scenic Co., which concern will paint the scenery for the new opera house. The directors selected the richest design of drop curtain that he had to offer and it is indeed a beauty. They also selected about eleven hundred dollars’ worth of scenery all told, including interiors, woods, garden, landscape, street scenes, etc. When the choice of the scenery was made it was found that there was a deficit of four hundred dollars in the appropriation that had been set apart for the item of scenery, and in order to procure the full amount that had been chosen it was decided to put on an ad curtain and sell limited number of ads. The main house curtain will be raised when the orchestra begins its overture and display this curtain. In seven hours time $375 worth of space on the ad curtain was sold Monday. $25 worth have been sold since and there are yet three spaces which an be taken by any parties who have not been solicited. It is probable that there will be no space for sale in a day or two” (The Perry Daily, 26 Aug 1903, page 3).
The Perry Opera House stage stage included a proscenium that measured 31 feet wide by 26 ½ feet high. The height to the rigging loft was 47 feet, and the height to the fly gallery was 23 ½ feet. There were no grooves to accommodate painted wings, just fly scenery. It was a sizable space, standard in many aspects for the time. Although there is not measurement provided for the ad curtain, it likely measured approximately 32 feet wide by 24 feet high. The number of ad spaces possibly ranged from 10 to 14 surrounding a central landscape.
The company providing scenery for the venue was Kansas City Scenic Co., a studio that I have explored in “Travel of a Scenic Artists and Scholar” posts. Let me briefly put Kansas City Scenic Company and Fred R. Megan in relation to Thomas G. Moses and Sosman & Landis studio.
Kansas City Scenic Co. was a competitor of Sosman and Landis, formed by one of their studio artists – Lemuel L Graham. It was in 1882, Moses would partner with Graham, after leaving Sosman & Landis for the first time. After Graham left Chicago, he would later found the Kansas City Scenic Co. The company grew to be a prominent studio and major player in the midwestern and western regions of the country. Many well-known scenic artists would later become associated with Kansas City Scenic Co, such as scenic artists and salesman Fred R. Megan.
The earliest mention of Megan’s association with the Kansas City Scenic Company is in 1901. Earlier, Megan had toured with the Barrett & Barrett Company (The Leonardville Monitor, Leonardville, Kansas, 2 Dec. 1897, page 8). By the early twentieth century, Megan was on staff at the Kansa City Scenic Co. studio, negotiating contracts across the country.
Later, Moses would contact Megan during 1923; the two would work together, purchasing the Sosman & Landis name after Hoyland and Lemle purchased the company contents at that same time. While they were negotiating the purchase of the Sosman & Landis name, Moses and Megan continued to work under their own names – Moses & Megan. They needed to wait for Sosman & Landis to liquidate, get their own charter, and then work as “Sosman & Landis.” During this time, they leased the old Fabric Studio in Chicago (that was an interesting tidbit for me). By 1924, Megan was on the road most of the time, with Moses making models in his studio.This is how Sosman & Lanids had most successfully operated – with Landis on the road and Sosman in the studio. The two would close the contract for the Salt Lake Consistory during 1926. The two would also provide the scenery for the Oakland Scottish Rite in 1927. Moses and Megan would continued working together until 1931.
The was a special section in the Oakland Tribune concerning the new Scottish Rite (12 Dec 1927, page 17). Moses and Megan placed an advertisement in the center of the section.
A number of studios specializing advertising curtains appeared during the first decade of the twentieth century. Many were short-lived, such as Deeds & Funk. Advertisements for available spaces were placed Deeds & Funk placed in local newspapers, noting various reasons to purchase an ad space. One included, “Because the rates are lower in proportion than any other advertising. It reaches more people than any other ad you can place.”
Deeds & Funk advertisement from the “Morning Register (Eugene, Lane, Oregon, 30 June, 1904, page 2).
In 1904, the “Morning Register” included an interesting announcement by “Deeds & Funk, the Ad Men” (Eugene, Oregon, 3 July 1904, page 2):
“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 can not 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”
Deeds & Funk of Los Angeles and Sacramento owned and operated over 40 advertising curtains in California and Oregon during 1904 (Rosenburg Review, 16 June 1904, page 2). In 1904, they created an advertising curtain for the theater in Eugene, Oregon. The Eugene “Morning Register” elaborated, “they have on their list 50 curtains they have designed between Eugene and their home city, the last one completed at Rosenburg” (Morning Register, Eugene, Oregon, 29 June 1904, page 8). The article’s heading noted that the new Eugene Theatre was “ready of the cards of Eugene business firms,” explaining “The curtain is now ready for the advertisements of representative business firms at a reasonable figure, putting the finishing to a drop curtain the equal for beauty of any found in the state.”
Deeds & Funk advertisement from the “Rosenburg Review” (Rosenburg, Oregon, 16 June 1904, page 2)
