Copyright © 2022 by Wendy Waszut-Barrett
William H. Lemle worked as a scenic artist at Sosman & Landis shortly after WWI ended. He then established his own scenic studio, still renting space in the Sosman & Landis main studio on Clinton St. He would remain in the space for over a decade, as the first iteration of Sosman & Landis closed its doors, and a second iteration of the firm began under the management of Thomas G. Moses and Fred R. Megan. In the end, it was Lemle who purchased the last remnants of Sosman & Landis stock from Moses and P. Lester Landis.
The scenic studio shuffle is complicated, and Lemle was in the right place at the right time. Sosman & Landis Scene Painting Studio closed its doors by the end of 1923. This ended the first iteration of the firm; the main studio on S. Clinton Street was built in 1886 and considered one of the best shop spaces in the country. In 1924, the Sosman & Landis name (and goodwill) was sold to Moses and Megan, but they did not lease the studio space. Instead, the second iteration of Sosman & Landis established their business offices at Kedzie Ave.
Several parties vied for the highly coveted main studio space at 417-419 S. Clinton St. Prior to the firm’s closure, both William H. Lemle and Chicago Studios rented space at Sosman & Landis’ main studio. Lemle remained in the space after the firm’s closure, eventually becoming a subcontractor for the National Theater Supply Co.
Lemle’s early painting career included sign painting, lamp shade decoration, panoramas, and advertising curtains in Philadelphia, Pennsylvania. He was a bit of a Renaissance Man, always on the verge of something new, an innovator, with an abundance of talent and ambition. Like many of his predecessors, Lemle entered the theatre industry as a performer, and immediately tried his hand at playwriting and production. All the while, he continued to work as a decorative painter and scenic artist.
I have written about Lemle past posts, exploring his early life and later accomplishments. This post for Lemle, as Sosman & Landis Employee No. 90, gives me a chance to piece everything together that I have uncovered to date. His life and career are incredibly complex and difficult to decipher as he accomplished so much in a relatively short period of time.
William Henry Lemle was born in Philadelphia on July 29, 1871. The son of Francis P. Lemle (1841-1925) and Margaret A. Wooley (1847-1906), he was one of four children born to the couple. His siblings were Francis E. Lemle (b. 1864), David J. Lemle (b. 1865), and Martha Lemle (b. 1876). His father, Francis P. Lemle, tried his hand at a few professions when Lemle was young, but primarily worked as a salesman. By the early 1890s, Lemle followed in his father’s footsteps and also worked sales; a skill that would repeatedly benefit him over the years. Throughout his career, Lemle successfully marketed his skills as a painter, performer and producer.
He remained close to his family in the early years, staying in Philadelphia when he entered the workforce. By the age of 22 yrs. old, Lemle was still living with his family at 1826 Judson St. In 1893, the “Philadelphia Directory” listed William Lemle as a salesman. That same year he married Elizabeth “Bessie” C. Cushing (1872-1905) in New Jersey. Despite marrying in another state, the young couple returned to live in Philadelphia where they set up house with Lemle’s extended family. They remained in the family home until 1895. In 1896, William and Bessie Lemle celebrated the birth of their first child, Ethel M. Lemle. At the time, Lemle was working as a shade maker, painting a variety of scenes on the shades. For a little context, late-nineteenth-century window shades were constructed of thick cotton or linen, and often glazed or decorated with painted scenes and ornament.
While working in the decorative arts industry, Lemle came in contact with scenic artist William Cook – soon to be his future brother-in-law. The same year that Ethel was born, Lemle’s sister, Martha Christina Lemle married William Harman Cook. On June 21, 1896, the “Philadelphia Times” announced, “COOK-LEMLE – At 2589 Montgomery avenue, Philadelphia, June 4 by Rev. S. G. Shannon, William H. Cook to Miss Martha C. Lemle, both of this city.” (page 12). Cook made quite a name for himself in the scenic art field, with his own son continuing in the trade. It makes sense that Lemle also worked with his brother-in-law over the years and was thus introduced to the Philadelphia Theatre scene.
From 1896 to 1898, Lemle continued to work as a decorative painter and paper-hanger, seldom straying from the window shade industry. By the fall of 1899, a second daughter was born to the couple. On September 27, 1899, Eloise F. Lemle, arrived, prompting her family to seek larger living accommodations.
The 1900 US Federal Census listed the William H. Lemle family living at 1221 Ridge Ave, in Philadelphia. In addition to an expanding family, Lemle also began to expand his business interests. By 1900 Lemle had established two companies – the Novelty Window Shade Co. and Lemle & Hemple. Both firms were listed in “Boyd’s Co-Partnership and Residence Business Directory of Philadelphia City” that year. 1221 Ridge Ave. was listed as the business offices for both firms. Interestingly, Lemle & Hemple was a company that specialized in gas machines, having nothing to do with scenic art or the theatrical trade. Hemple was only a few years younger than Lemle, but was also lived in the Lemle home at 1221 Ridge Ave. The Lemle & Hemple firm was very short-lived.
In 1901, Lemle established another partnership, forming a scenic art concern. Lemle’s new business partner was Philadelphia sign painter D. H. C. Warren. As with Hemple, Lemle’s relationship with Warren was also short-lived.
Lemle and Warren made headlines after the failure of a New Year’s Eve display. On Jan. 2, 1902, “The Philadelphia Inquirer” announced, “Winds Rattled Figures.” The article continued, “The two most disappointed men over the failure of Father Time and the Angel of Peace to perform their proper duties are D. H. C. Warren and William H. Lemle who designed the feature and suggested it to the committee. They suffer not only artistic loss, but financial as well by the interference of the roaring winds with the working of the illuminated figures. What was designed as a picturesque and imposing feature was turned into a grotesque display. Father Time and the Angel of Peace hung from the tower and coquetted, with each other in the most amusing way. They looked for all the world as though they were in the death embrace. While being hanged in effigy from the top of City Hall Tower. The financial loss for the failure, it was explained by Jacob E. Henderson, a member of the committee, will fall on the contractors and not on the city. “We were doubtful about the success of the scheme when it was suggested,” he said, “but the men who proposed it were so earnest that we determined to give it a trial. Our agreement was that if it worked we would pay $350 agreed upon, while if it was not a success we would merely defray the cost of the materials used” (page 2).
On January 3, 1902, the ”Philadelphia Inquirer” reported, “Designers Demonstrate That Only High Winds Prevented Display” (page 2). The article continued, “In order to demonstrate that the angel of peace, which failed to take flight in the New Year’s Eve display, was in proper working order, D. H. Warren and William H. Lemle, designers of this feature of the display, yesterday afternoon gave a special demonstration on North Broad Street. At a given signal, the figure, illuminated with candles, left City Hall and started on its journey toward Vin Street. A wire stretched across the street above Race street halted the figure for a minute or so by did not stop its journey, It only required a few twists of the main cable and the angel, with horn on her lips floated triumphantly to her destination. In every respect the exhibition was a success, and the projectors of the scheme expressed regret that the same favorable conditions did not prevail on New Year’s Eve. They ascribe their failure to properly manipulate the figures on that occasion to the high winds and an accident to one of the wires.
Fully a thousand persons witnessed the triumphant descent of the angel yesterday and lustily cheered when the figure landed safely at Broad and Vine Streets. Both Lemle and Warren devoted considerable time and money to the construction of Father Time and the Angel of Peace, and were deeply disappointed at the failure which attended their portion of the celebration of the New Year. They contend that the weather conditions were such as to make it impossible to carry out their plans.”
The dissolution of Lemle and Warren’s partnership occurred just prior to period of great loss. Between 1903 and 1906 Lemle’s older brother, mother and wife passed away. His brother, David Lemle, was the first to go. On Nov. 20, 1903, the “Philadelphia Inquirer” reported, “On the 19th last, David J. Lemle, son of Francis P. and Martha A. Lemle, in his 39th year. Due notice of the funeral will be given, from his late residence, 1847 North Judson street” (page 7).
During this time, Lemle continued to work as a scenic artist and sign painter. He advertised in the “White Letters” section of the “Philadelphia Directory” in 1904. Interestingly, Lemle’s name was listed just below that of scenic artist Otto Armbruster, son of the famous scenic artist Mathias Armbruster of Columbus, Ohio. Otto also worked with Thomas G. Moses over the years, and possibly at Sosman & Landis.
Lemle was actually listed twice below Armbruster, and his second listing advertised:
“Sign Letters of all kinds. Enameled, Gold, Wood, &c. Sole agent for Stamped Aluminum Letters, Wholesale and Retail. Agents wanted. Phone PO La8 2487 0 1221 Ridge Ave.”
Lemle also became associated with the Criterion Dramatic Association. Both Lemle and his wife began performing with this amateur theatre group. It remains unclear as to whether Lemle painted the sets or not. However, Lemle soon became the Criterion Dramatic Association’s business manager.
On April 10, 1904, the “Philadelphia Inquirer” reported, “The Criterion Dramatic Association is one of the oldest and most widely known amateur dramatic associations in Philadelphia. The Criterion was founded several years ago by a few young people merely to satisfy their ambition in ways of amusement.” The group performed their productions at the New Mercantile Hall. That spring, Lemle played the role of Col. Bonham in “Arizona.” On May 8, 1904, the “Philadelphia Inquirer” reported that Lemle’s wife, Bessie, was also one of the principal players for the company (page 36).
Lemle’s wife, Bessie, passed away the next year. On Sept. 4, 1905, the “Philadelphia Inquirer” announced, “BETH C. wife of William H. Lemle (nee Cushing). Relatives and friends are invited to attend the funeral services, at her late residence, 1221 Ridge Ave on Tuesday, at 2PM, Interment private at Greenwood Knights of Pythias Cemetery.” She was buried at Greenwood Cemetery in Philadelphia on September 6, 1905. Church records for her burial note that cause of death was “albrumurod”; I have yet to locate what that medical term is, and wonder if it was misspelled. Two weeks later Lemle posted an advertisement in the “Philadelphia Inquirer.” On Sept. 18, 1905, Lemle advertised,
“WINDOW SIGN LETTERS. ALL KINDS White, gold, etc.; cheap; postal; we call anywhere. Lemle, 1221 Ridge Ave” (18 Sept 1905, page 13).
Soon after his wife died, Lemle moved to the home of Martha Lemle Cook and William Cook. Martha was five years younger than her brother, born on June 4, 1876. Instantly, she became a surrogate mother for two young nieces. Lemle continued to work as both a painter and performer during this time, securing whatever work he could find. However, it was his stage career that took off like a rocket.
By 1906, Lemle was also performing as the lead in numerous comic roles, including Deacon Coleman and Judge Schneider in “The Bronco Buster.” At the time, he was part of English actress, Alyce Kee Kan’s company. Advertisements for this “high class musical comedy drama by Ed deCorsia” were placed across the region, including the Chronicle Hall in DeKalb, Illinois. On Dec. 17, 1906, “The Daily Chronicle” advertised that the production traveled with “special scenery, proper costuming and novel stage effects” (page 5). “Not Like Other Girls,” starring Alyce Kee Nan and Lemle was also performed that winter. Lemle soon caught the eye of Fred C. Conrad and began touring with his company as the starring actor. With Conrad’s Company, he not only performed, but also penned the play adaptation of “Monte Cristo.” In the fall of 1907, Lemle was mentioned in newspapers across the country for his contributions to the popularly received production. When the company performed at the Opera House in Paris, Kentucky, “Bourbon News” reported, “Mr. Conrad has had unlimited experience in producing ‘Monte Cristo’ and his especial care is shown in his use of Wm. Lemle’s arrangement of the play. Mr. Lemle will be remembered by most people interested in the drama, as one of the most talented and scholarly actors on the American stage. In his thoroughness and high ideals, he belongs virtually to the old school, and it was in this way of thinking and doing that he prepared and starred in ‘Monte Cristo’ under Mr. Conrad’s management. When we go to the theatre to see this famous character, we want to see him in the play as prepared by Mr. Lemle and presented by Mr. Conrad’s Company, we can expect to see him step from the pages of romance to the footlights in the full power and dignity of his personality.”
When the production toured to Huntington, Indiana, the “Daily News-Democrat” reported, “the production which is to be seen at the New Theatre has the authority of one of the most thoroughly trained and accomplished leading actors on the American stage, William Lemle who through presentations of the play in all the leading cities and during several entire seasons has brought his part of Dantes and the play to a finely complete and finished condition. Wm. Lemle who is a scholar, as well as an actor and stage director, has provided a production of ‘Monte Cristo’ which may well be expected to reveal the full power that made it famous at the New theatre Monday night.”
On September 18, 1907, the “Van Wert Daily Bulletin” reported, “Mr. William Lemle, who handles the lead in the company to appear here; it is said that he is exceptionally clever in this character and his support unusually good” (page 3). Other articles heralded Lemle’s staging of the duel scene. The “Daily News-Democrat” published an article entitles “A Famous Duel,” reporting, “The memorable duel scene in ‘Monte Cristo,’ as well as such climaxes as ‘The World is Mine’ will be irresistible magnets for the coming engagement of the play at the new theatre September 16. The duel scene in this production was introduced by William Lemle, who presented the play with great success in all the leading cities and it is as exact a reproduction as possible of the most thrilling combat that ever took place on a field of honor, the ‘meeting’ of Del Frenchi and Chateau Renaud in the Fountainbleau Forest, near Paris. It is a deadly duel with all the details closely following the historical combat described by Benjamin D’Isreali.”
By 1908 Lemle was listed as the producer for “Monte Cristo.” On Jan. 3, 1908, the “Jefferson County Republican” (De Soto, Missouri) reported that the W. H. Lemle Company was presenting “Monte Cristo” (page 5).
The next year, Lemle was associated with another touring production. In 1909, Lemle starred in Henry Thorn Hum’s biblical romance, “Moses, the Prince of Egypt,” (“The Pemiscot Argus,”Caruthersville, Missouri, 16 Sept. 1909, page 1). As with “Monte Cristo,” Lemle’s production toured throughout the Midwestern region, playing in a dozen states. On Sept. 17, 1909, “The Commercial Gazette,” of Union City, Tennessee, reported, “The company presenting this splendid play is said to the one of uncommon excellence and is headed by that finished actor, William Lemle, who portrays the part of Moses” (page 7). On September 24, 1909, the “Weekly Citizen Democrat,” of Poplar Bluff, Missouri, announced, “On October 9 a really notable engagement has been contracted for. On that date the ‘Moses Prince of Egypt’ company, controlled by Fred G. Conrad, will present the sterling Biblical drama of that name…The company is said to be one of uncommon excellence, headed by William Lemle, who portrays the part of Moses” (page 5). The show traveled with elaborate scenery. On Oct. 1, 1909, the “Weekly Citizen Democrat” detailed, “It will be seen at the opera house Tuesday, September 21, and is said to be a gorgeous spectacle with a wealth of special scenery, electrical effects, and historically correct costumes” (page 2). By 1910, several amateur groups were featuring the production, so Lemle returned to star in “Monte Cristo.”
On March 10, 1910, “The Hope Pioneer” of Hope, North Dakota,” reported, “The Drama, Monte Cristo presented at the Opera House Monday evening by Wm. Lemle and company may have been the best play of the season under different conditions. The play, with the exception of the first act which was played in the most lifeless manner, was above the average. However, owing to the long waits between acts and the late start, most people lost interest and left before the last act” (page 4).
On April 14, 1910, the “Turtle Mountain Star” of Rolla, North Dakota, reported, “Monte Cristo still holds its own and sways its old fascination over the theatre going public is proven by the remarkable success of William H. Lemle as “Edmund Dantes” in Fred G. Conrad’s production of that play. Mr. Lemle is now in his fourth season appearing in that part, and bids fair to rival Charles Fechter and James O’Neil in reputation as Dumas’ romantic hero. Mr. Lemle will appear at the opera house in Rolla, N. D. on April 15, 1910.
In 1910 the US Federal Census still listed Lemle’s occupation as an actor in the theatre industry. Lemle and his daughters were still living with his sister and her family. The Lemle-Cook household included William H. Cook, Martha Lemle Cook, Charles Cook (their son), Lemle, Lemle’s two daughters, and his father (Francis P. Lemle). Both William Cook and his son Charles Cook ran a scenic art studio.
Lemle’s next two productions were “The Rosary” and “Rock of Ages.” “Rock of Ages” was written by Edward E. Rose. With eight speaking parts, the play centered around the white slave trade and the power of faith. Both productions found a stronghold in a variety of theaters across the country. Although Lemle continued to meet with a certain amount of success, touring with a company began to take its toll. Lemle’s interests began to drift elsewhere as he contemplated leaving the road. In 1911, the “Indianapolis Star” reported, “William Lemle, manager of ‘Rock of Ages,’ coming to the Park tomorrow, has struck upon a novel idea to add to the many souvenirs that he has gathered while touring the country in the capacity of a theatrical manager, Mr. Lemle is desirous of securing the autograph of the mayor and the chief of police in every city that he visits. Mr. Lemle proposes to bid farewell to the show business next season and retire to his farm in Oklahoma. He was last in Indianapolis as manager of “The Rosary” company last season” (27 Sept. 1911, page 7).
Lemle relocated to Chicago, not Oklahoma. In the Windy City, Lemle continued to work as a performer, but began to expand is business interests. On May 3, 1912, the “Chicago Englewood Times” listed Lemle as part of the cast for “Thelma” at the National Theater (page 8). The production starred Irene Summerly.
From 1912 until 1915, Lemle tried his hand at a variety partnerships. All the while, he continued to financially struggle. He partnered with Daniel L. Martin in 1914 to establish, Martin & Lemle, Inc. One of their touring showing included “September Morn” (”The Post-Crescent, Appleton, WI, 25 Aug 1915, page 3). In 1915, this partnership expanded to include Edward J. McArdle to establish Lemle & Martin by 1915. Their firm was listed in the “National Corporation Reporter” that summer. In 1916, William Lemle and Daniel L. Martin were managers of “September Morn” musical comedy company. Their business endeavor did not go so well after they failed to pay the necessary royalties. The box receipts of their company were seized in Larned, Kansas. The “Hutchinson Gazette” reported, “an attachment on their property for $781.98, claimed to be due for royalty on the play” (27 Feb. 1916, page 9). Half of the box office receipts were collected for payment due to the corporation that owned the copyright.
This seems to have been a definitive moment for Lemle. He left the road and began diversifying his business interests in both Chicago and Philadelphia. In short, Lemle established and became an officer in multiple organizations. At first, he invested in silent films.
I’ll start in Philadelphia where Lemle invested established a film studio. In 1920, William H. and Charles Cooks were working as scenic artists at the Lemle picture studio building. The firm made newspapers that year when a telephone pole crashed into the building (“Philadelphia Inquirer,” 3 Nov. 1920, page 19). Previously, Cook and his son worked as scenic artists for the Lubin Motion Picture Co. Lemle was also associated with the Art Film Co., another motion picture machine company.
In Chicago, Lemle was linked to a variety of Chicago firms, including Sosman & Landis Co., Allardt Advertising Company, the Hoyland-Lemle Advertising Co., and the Lemle-Barrett Company, Inc.
Lemle’s career at this point is intertwined with that of Charles L. Hoylund and the Allardt Advertising Co. Lemle’s entry into advertising is what kept him financially afloat for the next few decades.
For context, here is a little background on both Charles Hoylund and their introduction to the Allardt Bros., as they are part of Lemle’s history.
Charles Leroy Hoyland was born on Sept. 24, 1885, in Illinois. So he was fourteen years younger than Lemle. Hoyland was the only child of James Andrew Hoyland (1861-1918) and Carrie Major (1866-1931). By the time he was twenty years old, Hoyland was working at a theater in Springfield, Illinois. In 1905, Hoylund began managing George W. Chatterton’s Opera House. He was in the right place, at the right time, and met all of the right people while working for Chatterton. On January 28, 1905, the “Herald and Review” reported, “Manager George W. Chatterton of the Chatterton Opera House, Springfield, Ill., has decided to dispose of his jewelry store that he may devote his entire time to his rapidly increasing theatrical interests. His large stock of jewelry is being sold and Manager Chatterton will hereafter be found either in the box office of the Chatterton or in his private office on the second floor. George Hickock, treasurer, and C. L Hoyland, assistant, will have charge of the box-office” (page 19). For several years, George W. Chatterton Jr. managed opera houses for his father.
Hoyland quickly moved from box office assistant into theatre management. This is likely where he first encountered Lemle, as he toured with “Monte Cristo” throughout the region. By 1907, Hoylund relocated to Wayne, Michigan, where he continued managing theaters. In Michigan, Hoyland married Frances H. Putman Thompson. He and his bride went from one project to the next. By 1910, the Hoylunds were living in Illinois, and this was when Hoyland became associated with the Allardt Bros. Circuit. His timing was impeccable. Between 1910 and 1913, the Allardt circuit grew from one theater in Terre Haute, Indiana, to twenty-four theatres throughout the Midwest and Canada. Their circuit was composed of both vaudeville and legitimate theaters.
In 1910, Hoyland was working at Allardt’s Lyric Theatre in South Bend, Indiana. His connection with the brothers was cemented, however, when he was invited as their guest at the Theatrical Mechanic Association in 1911. On Jan. 9, 1911, “The South Bend Tribune” reported that Hoyland was initiated into the Theatrical Mechanical Association, South Bend Lodge, No. 120, the guest of Messrs. C. J. and Louis F. Allardt of the Orpheum. In 1911, the Allardt Bros. acquired the Broadway Theater Hotel in Superior, Wisconsin. Hoyland began managing the venue in 1912. Hoyland became the Allardts’ “right-hand man” and business boomed throughout the region.
On Feb. 23, 1912, the “Virginia Enterprise” in Minnesota reported, “The Allardt circuit will, with the opening of the new house here, be divided into two circuits, the southern and the northern. All the theaters north of Chicago will be in the northern division. The acts that will appear here will be routed not only though the Allardt houses but into several of those owned by close allies of the big firm. It is planned to open every act in the Northern division of the circuit at the Lyric. From here the shows will proceed to Fort William and then back to Superior, St. Paul and Minneapolis and south to the southern points on the big wheel” (page 4). By 1913 Hoylund managed the Allardts’ New Orpheum Theatre in Racine, Wisconsin. He continued to climb in the Allardt enterprise, becoming both treasurer, and managing their new advertising firm. On Feb. 1, 1914, Chicago’s “Inter Ocean” listed Hoyland as not only Allardt Bros. treasurer, but also Allardt Advertising Company director.
On Dec. 21, 1913, the “Inter Ocean” published an article about the Allardt Bros. rise to fame. The article reported, “The firm was founded by three brothers with H. J. (senior partner of the firm) and L. F. Allardt in Chicago and C. J. Allardt directing affairs in South Bend, Indiana. The firm diversified, investing in Boyle Woolfolks, Inc. (producer of musical comedy tabloids), Robert Sherman (dramatic tabloid producer), the Alamo Film company, and the Allardt Advertising company.” At the time, Allardt Advertising Co. was considered of the biggest firms in vaudeville.”
Hoylund continued his association at Allardt Advertising Co. for the next several years. His 1918 WWI Draft Registration card listed that he was an advertising agent for the Allardt Advertising Co., then located in 316 Westminster Building.
Enter, Lemle.
By Feb. 19, 1920, Lemle was listed as one of four directors for the Allardt Advertising Co. when the number of Directors was increased from three to four. The other three were Charles L. Hoyland, Carrie Hoyland, and Mabel Shearer. When exactly he actually began working for the firm remains a mystery. The 1920 US Federal Census listed William H. Lemle as a salesman for a Manufacturing concern, living at 211 Ellis Ave. in Chicago. He was listed as a lodger of Vera J. Bales at the address.
As with other studios, the Allardt Advertising Co. struggled with collecting payment from their clients. This became increasingly common throughout the 1920s, and many scenic studios folded, despite the phenomenal profits provided by advertising curtains. Collecting money owed became a full-time job. On September 16, 1921, Allardt Advertising Co. published the following Want Ad in the “Alton Evening Telegraph”:
“Party whose present occupation will permit him to act as collector for a Chicago concern. Only a very small part of time required. Accounts are payable quarterly and will aggregate about $500.00 each quarter. 5 per cent commission. Good references or bond necessary. Address Allardt Advertising company, Inc. 417 S. Clinton street, Chicago, or call Mr. Kentnick at Illini Hotel” (page 13). That address was the same address as the main studio for Sosman & Landis; Allardt Advertising Co. was renting space from Sosman & Landis, likely subcontracting some work too.
In 1922, the Allardt Advertising Co. business offices were located at 1100-1109 N. Dearborn St., Chicago, but the firm still rented space on S. Clinton St. That February Allardt Advertising Co. increased its capital stock from $5,000.00 to $50,000.00, and then changed its name to Hoyland-Lemle Company. In April 1922, the Hoylund-Lemle Co. offices relocated from their temporary 56 West Randolph Street to 417 South Clinton Street in Chicago. Again, 417 S. Clinton St. was the main studio and business offices for Sosman & Landis. Before the name-change in 1922, the official studio address for the Allardt Advertising Co. was listed as 417 S. Clinton St. Charles Hoylund and William Lemle worked closely with Sosman & Landis on a variety of projects. As the demand for scenic illusion for the stage declined, the demand for advertising products and services increased. Hoyland and Lemle saw an opportunity, bridging the gap while staying in the same prime location – 417 S. Clinton St. This space remained the one of the best shops in the country to manufacture a painted product. As Sosman & Landis work dwindled, Hoyland-Lemle Co. work skyrocketed. Back to 1922…
Certificates were granted for both of capital stock and name changes on March 4, 1922. In addition to a name change, the objective of the company also changed. The original object of the company:
“To engage in and carry on a general advertising business by the circulation and distribution of display cards, signs, posters, dodgers, handbills, programmes, banners and flags, to be placed in and on railroad cars, street cars, steamboats, cabs, hacks, omnibuses, stage, and all kinds of conveyances used for passengers or any other purpose. To display stationary or movable or changeable signs, cards, pictures, designs, mottoes, etc., operated by clockwork, electricity or any other power, to use, place and display the same in theatres, depots, hotels, halls and other public places. To make contracts with individuals and corporations for the exclusive use of their property and to purchase, control and use individual rights, easements and contracts, and to have all the rights, powers and privileges and franchises incident to and granted to corporations organized by virtue of the law of Illinois.”
The new objective in 1922 stated:
“To carry on the business of advertising contractors and agents and any other business which may be usually carried on in connection with such business; to lease property and real estate for the purpose of exhibiting advertising signs; to make, manufacture and display advertising curtains in theatres, halls and other places of amusement; to carry on the business of originating, composing and devising forms of advertisements and advertising matter for others and publishing and securing the publication of the same and all other matters thereto pertaining. To manufacture, buy, sell, import, export and deal in advertising novelties and devices of every kind and description, including raw materials used in the manufacture thereof and to conduct the business of printing, stamping, lithographing, engraving, and binding in connection therewith. To act as agent of representative of corporations, firms and individuals and as such to develop and extend the business interests of firms, corporations and individuals.”
At the time, certificates for the change were signed by Charles L. Hoyland, Carrie M. Hoyland William Lemle, and Maybelle Shearer. M. Shearer would become a key player in another Lemle business endeavor. The Lemle-Barrett Co. The same year that Allardt Advertising Company became Hoyland-Lemle Co., Lemle partnered with John P. Barrett.
Barrett was the manager of Chicago’s National Theatre. The Lemle-Barrett Company, Inc. was a corporation established to manage movie houses in 1922. On Oct 5, 1922, the “Blue Island Sun Standard” reported, “The National Theater on the south side has been leased by John P. Barrett and William H. Lemle for a term of years and opened its season Sunday with “Why Wives God Wrong”…Mr. Barrett, who has been manager of this theater for the past twelve years” (page 9). The new company of was formed manage to moving picture venues, or “picture theaters” (“Moving Picture World, Nov-Dec 1922). The offices for the Lemle-Barrett Company, Inc. were located at 6219 S. Halsted St. This is the same address for the National Theatre and future National Theatre Supply Co. The primary focus of the business was motion picture production. The new company was listed in the New Corporations section from the Oct. 26, 1922, issue of “Manufacturer’s News.
“Lemle-Barrett Company, Inc., 6219 S. Halsted St. William Lemle, John P. Barrett, M. Schearer; $5,000, motion pictures. William Lemle, John P. Barrett, M. Shearer. Cor., Hoyland-Lemle Co., Inc. 417 S. Clinton St.” The address, 6219 S. Halsted, was in the Englewood neighborhood, between West 63rd Street and Peoria Drive; it was the address for the National Theater. The venue had opened in 1904 as a vaudeville theater known as the Avenue Theatre. In 1908, it was refurbished, becoming a movie theater until the early 1930s. Over the decades, then venue was known as the Ace Theatre and Kim Theatre, until it permanently closed in 1966.
Lemle invested in the motion picture industry in Chicago and with his brother-in-law William H. Cook in Philadelphia. Keep in mind that motion picture theaters not only purchased equipment, but also painted settings that framed a projection surface and necessary draperies. Many scenic artists began specializing in designing a variety of cinema stages.
On Sept 29, 1922 the “Englewood Times” ”reported, “National Theatre is to reopen Oct. 1. The National Theatre in the south side, has been leased by John P. Barrett and William H. Lemle, for a term of years and will open its season on Sunday, October first with “Why Wives Go Wrong.” A phenomenal hit, that is fairly coining money for its producers, Ralph Ketterling and C.S. Primrose. The company presenting the play at the National has been especially organized and will tour the vicinity surround Chicago, while the company which has been playing the piece on the road will start eastward with Boston for the Thanksgiving destination. While the opening of the National will be given to this road show, it is the intention of Mr. Barrett, who has been manager of this theatre for the past twelve years, to install a high class and dramatic stock company which will begin its season immediately following the termination of the engagement of “Why Wives Go Wrong” (page 7). In 1923 the Lemle-Barrett Company, Inc., was located at 1539 Milwaukee Ave. in Chicago. The firm did not last much longer after that, and Lemle began to focus much of his energy on other business endeavors.
But wait, there’s more! Lemle also established Lemle Incorporated in 1922. This business continued for over a decade, operating in the background until 1934. As with the various Sosman & Landis business, they all look very separate on paper, but they are all part of one big operation.
1922 was not only the beginning of new partnerships, but also the beginning of a new chapter in his personal life. On May 17, Charles L. Hoyland married his second wife, Anna E Kentnick (also spelled Kentnich). Kentnick was the daughter of Allardt employee, William J. Kentnick, and very much a sign of the times. Kentnick was quite independent, employed as a stenographer in a law office.
Keep in mind that stockholders at Sosman & Landis decided to liquidate all of their assets in 1923. This is when the first iteration of the company closes. In 1923, Moses wrote: “On our return to Chicago we had a little chat with Fred Megan about buying into the company and getting Hoyland and Lemle out. D.S. Hunt is also bobbing about for the lease of the studio.” Now, Hunt was doing a similar thing as Hoyland and Lemle. He was deeply involved with Sosman & Landis, New York Studios (their eastern affiliate) and Chicago Studios (also using space at 417 S. Clinton St.). So this makes a couple individuals representing completing business entities racing around to acquire the coveted Sosman & Landis address and assets as the firm folded. They were like vultures, rapidly pecking away at carcass.
Hoyland-Lemle quickly became known as a major advertising curtain concern. On May 18, 1923, “The Gazette” of Cedar Rapids, Iowa, credited the Hoylund-Lemle Co. with a new illuminated street scene for the Majestic Theatre. The article reported, “The curtain was installed today by H. L. Winkler of the Hoylund-Lemle company of Chicago, one of the largest curtain advertising companies in the country. The curtain is built so that by the manipulation of lights it presents either a night scene or a day scene. An artistic coloring effect results when soft lights are turned on back of the curtain 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 ” (page 13). 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).
To clarify…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. Lee Lash became quite well known for his advertising curtains too, and raked in massive profits.
On June 17, 1924, the “Quincy Daily Herald” reported, “William Lemle, of Chicago, president of the Hoyland-Lemle company, here for the opening of Washington Square Theater, will leave Tuesday evening for Omaha. It was Mr. Lemle’s company that installed the night and day transformation street scene curtain in the new theater. Fred Loomis is the company’s local representative” (page 16).
Despite its initial success and rise to the top, the Hoyland-Lemle Co. also began to fail. By 1926, both Hoyland and Lemle begin focusing on other companies. In 1926, Lemle opened William Lemle Company, Incorporated. This is not to be confused with his 1922 firm, Lemle Incorporated. In 1926, Lemle’s firm also became associated with the National Theatre Supply Co. as a subcontractor. Just as in the past, Lemle diversified and represented a variety of interests in the advertising game. All of his firms did quite well in the beginning. Lemle’s 1927 letterhead read:
“William Lemle Inc. Theatrical scenery and drapery. Executive office and studios 417-419 South Clinton Street, Chicago. Telephone State 0619.”
Lemle continued to expand as his work for National Theatre Supply continued to increase. He continued to expand his staff. On Dec. 2, 1927, the “Chicago Tribune” published the following want ad: “Bonaz Machine Operators – Lemle Studio, 417 S. Clinton-st.” (page 41). Bonaz machines were used for embroidery, suggesting an increase in fabric draperies for theatre installations, such as main curtains.
In regard to the declining Hoyland-Lemle business endeavor. The last mention that I have located of Hoyland-Lemle in newspapers involved a lawsuit against the Strong Motor Co. It was mention on April 16, 1927 in the “Tampa Times” (page 19). About this same time, Hoyland established the Charles L. Hoyland Co. This is also around the same time that Lemle becomes deeply involved with the National Theatre Supply Co.
Early in 1927, Thomas G. Moses wrote, “Another rumor that the National Theatre Supply Co. will take over our old Studio. Lemle is interested and wants me to come with him.” By the summer of 1928, Moses wrote, “I have agreed to join Lemle at our old Studio, which will pay me from $8,000 to $10,000 a year.” Moses began working for Lemle and the National Theatre Supply Co. at this time, still painting in the old Sosman & Landis studio; the same studio space that he began working in when it was first constructed in1886.
During the summer of 1927, Lemle’s association with the National Theatre Supply Co. was also mentioned in “National Pink Sheet. On June 10, 1927, National Theatre Supply Co. announced their formation of a new scenery and drape department, managed by P. Lester Landis. Again, Perry “Lester” Landis the son of Sosman & Landis founder, Perry Landis (page 2).
The old Sosman & Landis studio was pictured on the “National Pink Sheet Cover,” now captioned: “Spacious scenic studio of William Lemle Inc. of Chicago, the entire output of which will be distributed through national service.” The “National Pink Sheet” article reported that Lester Landis was “quite well known to the trade, having been member of the original Sosman & Landis Company in Chicago. With 12 years experience in all branches of scenery production and stagecraft.” The article continued, “Arrangements have been made to distribute the entire output of the Wm. Lemle, inc. Studios, located in Chicago. This company, with one of the finest and best equipped scenic studios in existence, and in charge of Wm. Lemle, also a former associate of Mr. Landis in the original Sosman & Landis studios, will produce all of the stage curtains, both fabric and painted, house draperies and novelty stage settings of every description of the new scenic department of National’s Midwest Division.” Lemle became one of many National Theatre Supply Co. subcontractors, strategically placed across the country. National Theatre Supply Co. was a business entity that secured large theater contracts, but didn’t actually manufacture any product.
Advertisements for National Theatre Supply Co. that year detailed:
“The National Theatre Supply Company manufacturers nothing, nor has it any direct control over factory costs or factory list prices of any article it sells. It is strictly a sales organization and service representative of a majority of manufacturers of theatre equipment and supplies. It is therefore obvious that the establishment of selling process is not within its power, except insofar as quantity purchasing and increased consumption are concerned. Quantity production and distribution governs the price of everyday commodity or service, regardless of its nature. The same conditions apply to the theatre supply industry and any readjustment of prices must necessarily result from the patronage and support. And when manufacturers are given a suitable volume of business, their products serviced promptly and reliably and their bills paid in accordance with terms there is very little likelihood of an increase in price of these products.”
In 1928 Thomas G. Moses wrote: “Called on the National Theatre Supply Company of San Francisco in order to assist Abrott in contracting for some of their building, as we did in Chicago. I believe they will give up their Studio in Seattle, as I understand it is a losing proposition.” National Theatre Supply Co. made a hefty profit. This was not always the case with their subcontractors, as Lemle and Moses discovered a few years later when they delivered scenery to the Scottish Rite Theatre in McAlester, Oklahoma.
Although Moses was periodically working for Lemle, he was still running the second iteration of Sosman & Landis, encountering one obstacle after another. Clients were not paying their bills. In 1928, Moses wrote, “Found everything at the Studio at ‘sixes and sevens’ – terrible shape. $38,000 still uncollected. I have had enough! I have put back into the business $25,000 and I don’t see any chance of getting it out without remaining in the business; so I had to apply for a dissolution of the business [Sosman & Landis]. This took effect July 1st, and I have agreed to join Lemle at our old Studio, which will pay me from $8,000 to $10,000 a year.” Moses later added: “Have sold my Sosman and Landis Company stock to Lemle, which will be paid to me monthly. I am at last free from that trouble. Landis has also sold his to Lemle.”
Lemle’s business was continuing to expand. On May 8, 1928, Lemle placed a want ad in the “Chicago Tribune” for drapery workers (page 48). The ad stated:
“DRAPERY WORKERS. Experienced; permanent position. William Lemle, Co., 417 S. Clinton-st.”
Hoyland-Lemle, however, was not quite dead, but circling the drain. In 1928 the capital stock of Hoyland-Lemle was reduced from $50,000, consisting of 500 shares of the par value of $100 each to $5,000 consisting of 500 shares of the par value of $10.00 each.
On a personal front, Lemle’s daughter, Eloise Lemle Andrews, passed away on Dec. 29, 1928. She was only 29 years old at the time. His sister, Martha Lemle Cook, had passed away the year before 1927, only two years after their father in 1925. This was somewhat reminiscent of twenty years earlier when Lemle lost his wife, brother and mother over the course of three short years.
The William Lemle Company was incorporated on January 16, 1929. Incorporation papers show list William Lemle as president and treasurer, with Mary J. Phelan as Secretary. Directors were William Lemle and May Bell Shearer of 2512 Lake View Avenue, and Mary J. Phelan of 4439 W. Monroe. Some of the same players, but a different year. Business offices were listed as 160 West Tenth Street. And the games continued…
In 1929, William Lemle Company, Inc. changed its name to Lemle Studios, Inc. Not a big surprise, as their space on Clinton Street was repeatedly referred to as the Lemle Studio. However, the company was dissolved the same year of the name change – 1929. Likely a decision to avoid corporate taxes and increase their overall profit margin. In January 1929, William Lemle Company, Incorporated, was registered as a Delaware Corporation. On Jan. 17, 1929, “The Morning News” of Wilmington, Delaware, (page 15) listed: “William Lemle Company. Deal in stage scenery. $10,000. A. V. Lane, C. S. Peabbles, L. E. Gray, Wilmington, Del. (Corporation Trust Company of America). Lemle’s business license was later revoked in 1933. Lane, Peabbles and Gray of the Corporation Trust Company of America, were involved with dozens of Delaware corporations that year. For example, on March 26, 1929, “The Morning News” of Wilmington, Delaware, announced “27 Companies Granted Articles of Incorporation” (page 12). Of those 27 firms, Lane, Peabbles and Gray were involved with fourteen:
N. R. Feltes & Co. (Deal in stocks bonds); Admirality Coal Corporation (deal in minerals of all kinds); J. Newman & Co. (deal in brick, terra cotta); Myron C. Herrick Royalty Co. (deal in oils, petroleum); Pittsburgh Smoketeria Corporation (deal in tobacco products of all kinds); P. H. Saunders Company, Inc. (deals in stocks bonds); The Bulah Coal Corporations (deal in coal, coke, charcoal); Stephen M. Foster & Co. Incorporated (deals in stocks, bonds, securities); Alabama State Fair Company (to hold agricultural, mechanical, educational, and other types of fairs); M. C. Trading Corporation (deals in stocks, bonds); North Central Distributors (deal in all kinds of communication and receiving sets); Typekrafters, Inc. (deal in printers and publishing supplies); Avenue Agency Corporation (general real estate agency); Business Corners, Inc. (deal in stocks, bonds). Lemle’s registering his business in Delaware was a calculated choice, yet he continued manufacturing product in Illinois.
The name change was also a refined business tactic for many scenic studios at the time. For context when examining early-twentieth-century studio name changes, I add the following:
When a firm began to financially fail, the name was often changed so that a new iteration of the company could immediately reopen with the previous name. It was almost a seamless process, especially if the firm was juggling several ongoing projects. Minimal changes to the name, with alternative addresses, despite work continuing as usual in the same shop.
In 1929, Moses represented William Lemle, Inc., when he painted the scenery for the Scottish Rite Theatre in McAlester, Oklahoma, 1929. He was also representing the National Theatre Co. at the time. The Scottish Rite backdrops were quite large, measuring 40′-0″ high by 56′-0″ wide. Reflecting on the project In 1930, Moses wrote: “The National Theatre Supply Company are the only ones that made any money on the McAlester job. Everything went 30% higher than what I figured, all because of the enormous size. Not so much in material, as to the expense of handling. I was way off painting, something that I am as a rule pretty close in estimating. There is one redeeming feature and that is, I did a job that Mr. Fuller said was, ‘Wonderful, more satisfactory,’ and that expressed the sentiments of the whole crowd.”
Although Lemle acquired the last remnants of Sosman & Landis stock from Moses and Landis, Fred R. Megan continued to use the Sosman & Landis name. I have yet to determine whether Megan and Lemle were working together, or at odds. The Sosman & Landis name sporadically appeared in papers until 1930, but that was it, the end of a scenic studio empire. Moses continued to work for Lemle, primarily on Masonic theater projects by late 1920s. Regardless, the name, Sosman & Landis, still held sway with some Freemasons. Most work was done on site, as it had been in the beginning.
The last mention that I have encountered for Sosman & Landis scenery dates from 1930. On Sept. 25, 1930, the “Altoona Mirror” credited Sosman & Landis with the scenery for the Jaffa Shrine Temple in Altoona, Pennsylvania (page 28). The article reported, “The [William F.] Gable company supplied the equipment for the big stage of the auditorium and it was installed under the direction of the firm’s special artist, Frederick Megan. One of the features of the equipment is the big asbestos drop curtain, weighing 900 pounds. It bears a painting that is in keeping with the organization and entitled ‘The City of Jaffa’ and is very artistically done. It and the other furnishings were secured through the Sosman & Landis company of Chicago and include stage sets, drops, lights and everything necessary to the modern stage. Mr. Megan directed the furnishing of the stages in the Shriner’s mosques at Cleveland, Chicago, and other cities.
I have to wonder, if Lemle was divesting himself of Sosman & Landis product. After all, he was still working out of the old studio on S. Clinton St.
Moses continued to also work with F. R. Megan, until 1931, representing the William Lemle Co., the National Theatre Supply Co., and even the Armstrong Studios of Los Angeles. His memoirs reveal a frustrated individual who continued design Masonic scenery, hoping to reignite the passion for painted illusion on stage. Unfortunately, much of the work was refurbishing or repainting old scenery. Such had been the case for quite some time.
In 1931, Moses again mentioned Lemle and the Clinton Street Studio, writing, “Rupert and I started for Dubuque on the 23rd of January. We closed the contract for work at $850.00, and brought all the old drops that are to be repainted back with us in the car. It took but a few days to get started on the old and new work at Clinton Street, where it was good and warm, as Lemle had some old advertising curtains on the frames.” Moses remained connected with the National Supply Co. in the early 1930s. In 1932, Moses wrote: “Have had several small designs to make for the National Theatre Supply Company, none of which has ever gone through. While I don’t like to waste much time, I feel that I can’t afford to miss a chance to get some work, no matter how small.”
Back to Lemle…
The 1930 US Federal Census listed William Lemle as living in the Pine Grove Apartment Hotel at 2828 Pine Grove Ave. Lemle was listed as a proprietor in the stage draperies industry. Maybell (May Belle) Crispell Shearer and Joseph T. Shearer (1874-1955) also lived at this address, along with several others employed in the theatre and advertising industry. The name Shearer should ring a bell – May Bell Shearer. Remember that in 1920, the four directors for the Allardt Advertising Co. were William H. Lemle, Charles L. Hoyland, Carrie Hoyland, and Mabel Shearer. Shearer was also involved with the Lemle-Barrett Company, Inc.; the officers of the corporation were William Lemle, John P. Barrett, and M. Shearer. Again in 1929, Shearer was involved with the William Lemle Co., Inc. When it was incorporated on January 16, 1929, William Lemle was president and treasurer, with Mary J. Phelan as Secretary. Directors of the firm were William Lemle and Maybell Shearer, both of 2512 Lake View Avenue. Despite how her name was spelled, it was the same gal. Interestingly Maybell Shearer, Joseph T. Shearer and Emil Feldman were listed as incorporators for the Felshea Co. This was a firm that engaged in general advertising, publicity, printing and sign-painting. With business addresses at 159 North State St., Chicago, the starting capital was $8,000 (“Editor & Publisher, July 12, 1924, page 18). This was a period of time when one advertising business after another opened its doors.
Shearer had worked with Lemle since 1915, since before her husband entered the fray. In 1930, Joseph T. Shearer was listed as the proprietor of a Theatrical costume shop. He was previously employed as a lithographer in the printing/advertising industry, although May Bell had designed and built costumes for years. She, transitioned from performance to costumes prior to WWI, a decade after they were married. By 1915, May Bell was listed as the wardrobe mistress (“Daily Arkansas Gazette, Little Rock, 20 Oct 1915, page 4).
For additional context, the Shearers were married in 1903 and celebrated the birth of a daughter in 1904. Between 1915 and 1916 May Bell Shearer toured as a principal with “September Morn.” This was the same show managed by Martin & Lemle, Inc. Shearer not only performed as a principal, but also functioned as the wardrobe mistress for the company (“Springfield Leader and Press, Missouri, 24 Oct. 1915, page 6). The 1920 census listed that their 16-yrs.-old daughter, Mary J., was working as an actress, following in her mother’s footsteps.
However, May Bell left the stage and began a career in theatrical costume design. Even backstage, May Bell was a shining star and gained quite a reputation as a costume designer. She and her husband maintained close ties with Lemle over the years, even sharing their home. The two were proprietors of the May Bell Shearer costume shop, located at 62 E. Lake St. An article published on Nov. 1, 1944, in the “Chicago Tribune,” reported that they had an apartment at the same address. Their establishment was burglarized that year on Halloween. When Joseph Shearer passed in 1955, his obituary announced, “He is survived by May Belle Shearer, Loop theatrical designer” (“Chicago Tribune,” 20 Aug 1955, page 35). May Bell Shearer’s obituary was published in the “Chicago Tribune” on Nov. 25, 1972: “May Bell Shearer, theatrical costumer, 615 ½ Washington Blvd, Oak Pk., Ill., wife of the late Joseph Shearer. Services John Carroll Sons for Funerals, Erie and Wabash Av., Monday Nov, 27, 1972, 10 a.m. Interment Evergreen Cemetery, Visitation Sunday after 4 p.m.” (page 69).
As far as Lemle’s in-laws, the Cooks…
In 1930, both Lemle’s brother-in-law and nephew (W. H. Cook and his son Charles) were listed as proprietors in the US Federal census. Each was listed as a proprietor in the “artist and sculpting” industry. Ten years later they were still painting, working as artists in the decorative painting industry.
By the mid 1930’s, Lemle was heralded in newspapers as a “noted theatrical scene designer” (“Forest Parker,” 20 Dec 1935) and a “leading Chicago scene designer (“Wilmette Life,” 19 Dec 1935, page 58). On Jan. 9, 1936 (page 19), the “Wilmette Life” noted Lemle’s participation in Chicago’s third annual Business Exposition: “A striking decorative scheme evolved by Melville Chatten, prominent architect; and William H. Lemle, well known Chicago scenery designer, will provide an especially attractive background for the show, according to William V. MacGill, chairman of the exposition committee.”
By 1938, Lemle’s studio space on S. Clinton St was liquidated. The contents of the space were listed in the “Merchandise.” Section if the “Chicago Tribune” on Feb. 25, 1938 (page 29). The listed contents gave insight into studio equipment:
“Radley stencil cutter. Glass top desks, Singer sewing machines, French embroidery machine, Remington typewrite, motors, ext. ladders, 20 and 50 gal, crocks, orange juice pumps, artist’s drawing table, 2 large gas chicken fryers [for cooking hide glue], balance scales, large coffee grinder [for dry pigment], 25 gallon butter churn’s, 5 gal milk cans, burlap bags, gas and electric stoves, antique tables, stage curtains, letter files, sprocket chain, automatic typewriter, reducing gears, large electric liquid agitator, and 3 and 4 inch wood battens. 417 S. Clinton. 12-7 daily.”
The 1940 US Federal Census reported that Lemle was a 68-yrs. old widower, living at 200 Jackson Blvd. in Chicago. He was listed as the proprietor of a drapery business.
And then Lemle fades from print…until his obituary was posted in the “Chicago Tribune” on March 29, 1950 (page 35).
It simply announced: “LEMLE – William H. Services March 29, 2 P.M., at Graceland cemetery.”
At the time of his passing. Lemle was running an upholstery shop. On April 9 and 10, 1950, the “Chicago Tribune” announced the sale of his business:
“UPHOLSTERY SHOP.
By order probate court, will sell at public auction upholstery shop, consisting of materials, machines, etc. on premises, 525 W. Roosevelt-rd. Tues., April 11, 1950, at 2 p.m. Est. of William Lemle, dec’d. Inspection from 1 p.m. to time of sale. Sale in bulk for cash. Thomas D. Nash, Public Admin’r.” (page 54).
Lemle was not actually buried in Chicago.
Lemle’s ashes were brought home to Greenwood Cemetery in Philadelphia, buried in the Lemle family plot on May 4, 1950. Greenwood Cemetery is located at Addams Ave. & Arrot St. in Philadelphia. Lemle was placed in the same family plot as his parents, Martha H. and Francis P. Lemle. He shares the same grave as William E. Lemle (Feb. 15, 1903) and Christian Lemle (June 2, 1883). Other family members in the plot include Elizabeth C. Lemle (September 6, 1905) and William E. C. Lemle (August 20, 1895).
Lemle’s brother-in-law, William H. Cook, died three years later and is also buried at Greenwood Cemetery. Adjacent to the Lemle’s is the Cook family plot, containing the remains of William Cook, Martha Lemle Cook and Frank E. Lemle.
In 1953 the “Philadelphia Inquirer” reported, “Services for William H. Cook, a scenic artist with the old Lubin Motion Picture Co., were held yesterday at Mulligan’s funeral home, 1119 W. Lehigh Ave. Burial was in Greenwood Cemetery. Mr. Cook, who was 77 lived at 548 E. Dupont St. He died Tuesday. He was employed by the movie company at 8th and Market Sts. And later became associated with the Art Film Co. He also held one of the first-class licenses issued for operating a motion picture machine. Surviving are his wife, Martha A.; a son, Charles W., and two grandchildren” (The Philadelphia Inquirer, 27 Oct. 1953, page 8).
