George and Theresa Korb made room for Earle Ackerman in their home and provided a space for him after death. Scenic Artist Earle Van Buren Ackerman (1877-1970) shares a gravestone with George Washington Korb (1889-1957) and his wife Theresa Elizabeth Zsiday Korb (1893-1947). By 1935 all three were living in Franklin, New Jersey. Earle was thirteen years older than Korb.
Theresa “Tessie” Elizabeth Zsiday was the daughter of Joseph Zsiday (1868-1926) and Elizabeth (Elza) Absalom Faber (1871-1962). Each left Hungary and arrived on America’s shore in 1890. Joseph Zsiday was a shoemaker.
Joseph Zsiday (1868-1926)Elizabeth (Elza) Absalom Faber (1871-1962).
Their first child Theresa “Tessie” Elizabeth Zsiday was born on Sept. 28, 1893. The 1910 census listed “Tessie” as a sixteen-year-old, the eldest of four children living at home in Brooklyn, New York. Her younger siblings were Julia (Jule) Agnes (1896-1964, married Paul Julius Zaber), Charles (1899-1977, married Anna Marie Offerding) and Joseph Jr. (1904-1989, married Rose Lillian Glod) At the time, Tessie was working as an operator in a fur factory. She married George Washington Korb on Feb 4, 1913. Their marriage announcement in the Brooklyn “Chat” specified, “George W. Korb, 23, of Newark, N. J., and Theresa E. Zsiday, 19, of 187 Throop avenue” (18 Jan., 1913, page 23.) The couple celebrated the birth of two children, Ethel M. in 1922 (married Ralph Mathews) and George Earle, on March 9, 1926.
George W. Korb, Sr. was born in Harrison, New Jersey,
on February 22, 1890. The son of Ed J. Korb and Mary Ehehardt. His WWI draft
registration card lists his physical appearance as tall and slender with brown
eyes and light hair.
From 1909 to 1913, George W. Korb was working as a clerk,
and boarding at 96 Spruce in Newark, New Jersey. It was not until 1910 that
Korb partially transitioned from working as a clerk to a scenery painter. The
1910 US Federal Census listed both Korb and his brother Edward as living with their
grandmother, Chrystina Korb. At the time he was nineteen years old.
In 1916, George W. Korb was again listed in the Newark
City Directory as a clerk, living at 797
S. 13th Street. He remained at the same residence in 1917 and by 1918
he was again listed as a scenic artist. In 1918 Korb worked for Joseph A. and
Wray Physioc at Physioc Studios at 624 West 24th St in New York City.
In 1922, the Physioc studio burned to
the ground. This was the same year that Korb founded the Beaux Arts Scenic Studio
with Earle Ackerman. Of the Physioc Studio devastation, newspapers reported, “One
of the most spectacular fires seen in New York for many months last Wednesday
gutted the Physioc Studios at 449 and 451 First Avenue, and for four hours
threatened the destruction of Bellevue hospital.”
In 1920, his brother Edward lived with George and
Tessie on South 13th St. in Newark, New Jersey. By this time, George
was working for himself, listing his occupation as proprietor of a scenic
studio. He was likely working under his own name at this time.
From 1922 to 1925 the Newark Directory listed that
Korb as working at Beaux Arts Scenic Studios. I have only located one mention
of the firm. The “New York Clipper,” reported, “Earl
Van Ackerman and George W. Korb, doing business as the Beaux Arts Scenic
Studio, filed the suit against Dudley for the sum of $638 plus interest from July
8, 1922. In their complaint the plaintiffs allege, that scenery worth $1,628
was sold to Dudley, on which he paid $990, leaving a balance which they seek to
recover” (7 Feb. 1923, page 5).
Little else is known of George’s later years beyond
his obituary noting that he worked as a scenic artist for CBS in New York.
Theresa passed away on Jan. 23, 1947 at the age of
fifty-four yrs. old. Her obituary in the “Courier-New” announced, “Mrs. George
W. Korb of Howard Ave. died last night (Jan. 23, 1947) in Somerset Hospital (24
Jan. 1947, page 17). In addition to her husband, Mr. Korb is survived by her
mother, Mrs. Elisabeth Zsiday; one daughter, Mrs. Ralph Mathews; and one son
George, Korb, all of this place; and a sister and two brothers. Funeral
arrangements will be announced by the Taggart Funeral Home, Bound Brook.”
On July 22, 1957, George Korb passed away. His
obituary in the “Courier-News” announced, “South Bound Brook – George W. Korb, 68,
of Howard Ave., died Saturday (July 20, 1957) in New York following a sudden
attack. A native of New York, he was a resident here for the past years. He was
employed by CBS television in New York. Surviving him are one son, George E. of
Green Brook; one daughter, Mrs. Ralph Mathews of Franklin Township; one
brother, Edward of Pleasantville; and four grandchildren. Services will be held
Wednesday at 10 a.m. in the Taggart-Chamberlain Funeral Home, Bound Brook, with
Rev. Daniel U. Smith of the Reformed Church officiating. Burial will be in the Bound
Brook Cemetery” (22 July 1957, page 20).
Earle Ackerman passed away on April 29, 1970, in
Philipsburg, New Jersey.
Life can be complicated; more so for some. In 1897 Earle Van Buren Ackerman married Rhoda Beatrice Snell (1877-1953). Their wedding took place in Brooklyn, New York. This was the same year that Earle’s brother P. Dodd Ackerman married his first wife Margaret.
Earle and Rhonda celebrated the birth of their son Robert on August 28, 1898 in Brooklyn, NY, the same year that P. Dodd and Margaret celebrated the birth of their daughter Emma. Each couple lived in Brooklyn with infants, the men of the family trying to succeed as a scenic artist.
1916 was a turning point for each brother. That year the
marriage of each couple made headlines. Margaret divorced P. Dodd, after he had
an affair with his daughter’s friend.
Similar troubles were also brewing for his younger brother
Earle, when another woman caught his eye, also making headlines. On Feb. 12,
1916, the “Times Union” reported, “Mrs. Shean is Held. Charged with assault by
Mrs. E. Ackerman, Wife of Scenic Artist” (page 1). The article continued, Mrs.
Thomas F. Shean of 8 Glenada place, was held in $200 bail by Magistrate Naumer
in the Gates Avenue Court late yesterday afternoon on the charge of
assault…Mrs. Shean is the wife of an insurance broker and Mrs. Ackerman’s
husband is a scenic artist with a scenic studio at 531 Grand avenue. The
courtroom was crowded with a number of club women and society folk who had come
to hear the domestic troubles of the couple in court. Mrs. Ackerman testified
that she accidentally met Mrs. Shean in a Fulton streetcar Sunday night, When
Mrs. Shean got off at Grand avenue, Mrs. Ackerman followed and pursued her for
over half a mile. Finally, Mrs. Shean turned and said: ‘Do you expect to find
your husband by following me?’ Mrs. Ackerman replied that she did. Thereupon
Mrs. Shean struck Mrs. Ackerman over the eye with her handbag, so Mrs. Ackerman
testified, and she took off Mrs. Shean’s hat and pulled her hair. Mrs. Ackerman
further testified that her husband told her, after the arrest, that he would
leave her unless she withdrew the complaint against Mrs. Shean. Mrs. Ackerman
claims she is going to sue her husband for a separation.” Mr. Shean posted bail
for his wife (The Standard Union, 12 Feb 1916, page 9). Mrs. Ackerman’s suspicions
were justified, and the couple divorced two years later. The “Standard Union”
added, “In telling the story to the Magistrate, Mrs. Ackerman declared her
assailant had alienated her husband’s affections…Mrs. Ackerman said she was
unwilling to make any trouble for Mrs. Shean because her son, Robert, was an
intimate friend of the Shean children, Ethel, 18 and Edward, 16. The public
assault was ‘the straw that broke the camel’s back, Mrs. Ackerman averted” (8
Feb, 1916, page 14).
And yet, Earle and Margaret continued to ride the wave of wedlock
in a sinking ship. On March 30, 1916, the “Standard Union” announced, “Mr. and
Mrs. E. Van Ackerman of 329 Halsey street, celebrated their nineteenth wedding
anniversary on Tuesday night with a social at their home” (page 9). That same
month, Mrs. P.Dodd Ackerman was awarded $30/week alimony, pending her suit for
separation (Standard Union, 17 March 1916, page 17). After two years of denying
an affair with the young stenographer, Miss Smith, he put her name on his draft
registration as his second wife. Earle Van Buren Ackerman’s WWI draft
registration card listed his physical appearance as identical to his older
brother, with fair hair, blue eyes, medium height and medium build. The
registration card listed his occupation as “theatrical scenery,” and his
employer H. Robert Law, at 502 W. 38th in New York.
About the same time that P. Dodd was writing May Smith on
his draft registration form, Earle Ackerman made headlines when the “Brooklyn
Daily Eagle” reported, “Artist Sued For Divorce” (Nov. 12, 1918,page 2). The
article continued, “Mrs. Rhonda B. Ackerman today brought suit in the Supreme
Court for a divorce from her husband, Earle Van Buren Ackerman, known in
theatrical circles as a scenic artist, naming Mrs. Martha Shean of 8 Glenada pl.,
co-respondent. The wife alleged that Mrs. Shean induced Ackerman to leave his
home and then taunted Mrs. Ackerman. Mrs. Shean is known in church circles and
was active in charitable and social welfare work. The Ackermans were married in
1897 and have one son” (page 2).
The next day, the “Times Union” reported, “Church Worker in
Divorce Case” (12 Nov 1918, page 7). The article expanded on the Ackerman’s
marriage troubles: “Artist’s Wife Names Mrs. Shean as Co-respondent. ‘Well,
I’ve got him now,’ said Mrs. Martha Shean, of 8 Glenada place, Brooklyn,
snapping her fingers under the nose of Mrs. Rhonda B. Ackerman, according to
Mrs. Ackerman’s complaint in her divorce suit filed in the Supreme Court today
against Earle Van Buren Ackerman, a scenic artist. Mrs. Ackerman named Mrs.
Shean as co-respondent. Mrs. Shean is a church worker and known in the
Stuyvesant Heights section of Brooklyn, according to Frank X. McCaffry,
attorney for Mrs. Ackerman. Mrs. Ackerman stated that she and Ackerman were
married in 1897 and have a son. The finger snapping episode occurred after Mrs.
Shean and Ackerman had met several times, Mrs. Ackermam asserted. She declared
further that the co-respondent engaged an apartment on Pacific street where
Ackerman would visit her.”
The battle between Mrs. Ackerman and Mrs. Shean continued
into 1919. That year Mrs. Ackerman wanted $20,000 for her “Lost Love.” A “Brooklyn
Daily Eagle” article reported, “Mrs. Rhonda B. Ackerman of 158 Lefferts pl. has
brought suit for $20,000 damages against Mrs. Martha Shean of 8 Glenada pl.,
whom she charges with alienating the affections of her husband. Francis X.
McCaffry counsel for Mrs. Ackerman today files notice that the case would be
moved for trial in the Supreme Court next month. Mrs. Ackerman recently brought
suit against her husband, naming Mrs. Shean as correspondent. Ackerman did not
defend the suit and Mrs. Ackerman won a decree. The two women at one time were
friends, and on one occasion when they met in the street, Mrs. Ackerman alleges
that her rival snapped her fingers at her and declared she could get her
husband away from her anytime she wanted. Mrs. Shean, who is said to be
prominent in church and social activities in Stuyvesant section, finally did
succeed in her endeavors, Mrs. Ackerman alleges, and that is why she asks
$20,000. Mrs. Shean, through Meier Steinbrink, has entered a denial of Mrs.
Ackerman’s charges” (page 18).
From “The Brooklyn Daily Eagle,” 12 Nov. 1918, page 2.
Little is known of Ackerman’s life or career or personal
life in the post-WWI years. Very seldom did his name appear in print. He did do
some design work, such as the scenery for “Tia Juana,” at the Schubert
Playhouse (Wilmington, DE, page 13). In
1934, he was listed as an art director, supervising the production of murals in
the Broadway Theatre (Courier-Post, Camden, New Jersey, 28 Aug. 1934, page 9).
There seemed to be a little black cloud that was forever
over Earle Ackerman’s head. By 1939, he made headlines after a car collision.
The “Courier-News” reported, “Car driven by Isador Gelbard, 43, of Davidson
Ave., Franklin Township, was in collision with a car driven by Earle Van B.
Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in front of the
Brooks Theater Saturday afternoon. No one was hurt and no complaints have been
made. Mrs. Isador Gelbard was in the car with her husband” (Bridgewater, CT,
page 4). His life trudged along for the next few decades.
By 1940, Earle was living in Franklin, New Jersey; lodging in
Franklin, New Jersey, with scenic artist George Washington Korb (1889-1957) and
his wife Theresa E. Zsiday Korb (1893-1947). At the time, Ackerman had already
lived with the couple for five years and his marital status was still listed as
divorced. The Korbs always made room for Ackerman, even after death; their
gravestone marked a place for Earle.
The Korbs are a fascinating couple in their own right
and will be the topic of my post tomorrow.
Philip Dodd and Earle Van Buren were the sons of Joseph Van Buren Ackerman (1848-1882) and Frances Talulah Dibble (1842-1916). Earle was two years younger than his older brother Philip, born on January 29, 1877, in Pensacola, Florida. Throughout the duration of his career, Ackerman was identified by a variety of names, including Earle Van Ackerman, Earle V.B. Ackerman, E. V. B. Ackerman and E. V. Ackerman and E. Van Ackerman. There is no indication of how, or why, the world of theater beckoned both Philip and Earle, luring each to New York. However, when they entered the scenic art profession opportunities were abundant and financial prospects high. Earle completed four years of high school before venturing north to New York.
The first mention that I have located of Earle’s scenic work
was in 1897. That year, “E. Van Ackerman” was credited with painting a new drop
curtain for B. F. Keith’s Union Square Theatre. The “New York Times” reported
that Ackerman’s drop curtain depicted a “handsome interior with a view of a
drawing room and distant conservatory” (Dec. 8, 1897, page 4). This was the
same year that Earle married Rhoda Beatrice Snell in Brooklyn (1877-1953). His
brother Philip also married his first wife Margaret in 1897.
Earle and Rhonda celebrated the birth of their son Robert on
August 28, 1898 in Brooklyn, NY, the same year Philip and Margaret celebrated
the birth of their daughter Emma. The two couples lived in Brooklyn, each man trying
to succeed in the theatre business. The brothers sporadically worked together
over the years, eventually forming Ackerman Bros. Scenic Studios by 1914.
Unfortunately, the partnership never lasted long.
When they did work together, Earle functioned as a scenic
artist and Philip as the supervising designer. It was Philip’s career that really
took off by, with “P. Dodd Ackerman” appearing in one newspaper article after
another. This may have prompted the two brothers to part ways; very little was
published about the younger Ackerman’s scenic art and designs.
In 1909, however, the “Brooklyn Citizen” reported that E.
Van Ackerman prepared twenty floats for the big Mardi Gras Carnival on Coney
Island. Ackerman was working with Llewellyn J. Bruce on the project, and the
carnival procession was estimated to be over a mile long, with 250 horses pulling
floats and over ten thousand electric lights (Brooklyn Citizen, 25 Aug 1909,
page 6). The 1910 US Federal Census listed Ackerman’s occupation as “artist” in
“studio” as his industry. He was living
with his, wife, son and a boarder, John J. Redmond, who listed as a thirty-six
yrs. old musician.
I wrote about Earle V.B. Ackerman in a past post while
exploring the studio fire at Harley Merry’s old space in January 1912. The incident had prompted me to track down a
little information about Earle, the final renter of the studio space. His brother
P. Dodd Ackerman had been on my radar for a while, but Earle was new to me. In 1911
Earle Ackerman partnered with J. Katser, also listed as Kapher and Kopher in
newspaper articles. The two were renting Harley Merry’s old studio. Harley Merry
was the scenic artist alias for British actor Ebenezer J. Britton. “The Brooklyn
Citizen” reported “The Harley Merry Studios had been located on Franklin avenue
for more than forty years. Harley Merry was an old-time actor and built scenery
for Booth, Barrett and other well-known old-timers. Six months ago, Merry died
and the business has since been carried on by E. Van Ackerman and J. Kopher” 9 Jan.
1912, page 12).
Here is a recap on the studio fire:
On January 9, 1912, the “Brooklyn Daily Eagle” reported,
“The Harley Merry scenic studio in Franklin avenue, near Malbone street, in
which the scenery for many of the greatest dramatic productions was painted,
was destroyed by fire today. The entire contents of the building, including the
completed scenery for one production and the partly finished scenery for
another play, was lost. The building
loss is estimated at $3,000, while the loss of the contents will amount to
$10,000. The building and contents were
uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27
Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the
building at the time. Stabile was in the cellar under the studio when he heard
a noise which sounded like the drop of a heavy weight. He ran up to the second floor, and as he
opened the door leading to the stairway a cloud of smoke burst into his
face. He called for help and a policeman
sent in an alarm. Battalion Chief
O’Hare, who was in charge of the fire engine companies to arrive, feared that
the fire would spread to the adjoining building, which are all of frame
construction, and to the Consumers Brewery across the street, and he sent in a
second alarm. Six engines and two truck
companies were soon on the scene, but the fire was beyond control and their
efforts were devoted to saving surrounding property. The roof fell an hour
after the fire was discovered. Ten
foremen were in the building when the roof tottered and were warned by the call
of Deputy Chief O’Hara. All escaped
before the roof collapsed. The flammable nature of the contents and the high
wind are given as causes for the building’s rapid destruction. The building was
originally used as a scenic studio by E. J. Britton, retired actor and scenic
artist, who painted under the name of Harley Merry. After his death last September, the building
passed into the hands of his daughter Mrs. George Kennington. It has recently been rented as a studio to E.
Van Ackerman and J. Katser.”
In the fire, Ackerman and Katzer lost scenery for an
upcoming production of “The Real Girl.” The article reported, “The [studio] contents
included the completed scenery for the production of ‘The Real Girl,” a musical
comedy which is to be produced on Broadway within a few weeks, and also the
partly finished canvas for the farcical comedy, “Class,” which also has a
Broadway booking…The loss of these two sets is estimated between $6,000 and
$7,000.” It was possible that this heavy
loss without the safety net of insurance ended the Ackerman and Katser [Kapher/Kopher]
partnership.
By 1913, Earle was working with his brother again, a likely result from financial devastation. They partnered to deliver scenery for “The Privateer” at the Star Theatre. Then Earle branched out again on his own, designing “Mlle. Modiste,” at the Globe Theatre. There was also a 1913 that advertisement that announced, “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.” This suggests a split, or the temporary departure of his brother. Yet his advertisement listed an address at 1576-1578-1580 Bushwick Avenue; his brother’s studio.
Earle Van Buren Ackerman’s scenic studio. Advertisement in Gus Hill theatrical Directory.
The 1913 advertisement also noted that the Earle’s studio was
established in 1890. This date is extremely doubtful based on the ages of the
brothers in 1890; they would have been 15 and 13 years old. In fact, in 1890,
Earle V.B. Ackerman was working as an office boy for Kiser & Sparks while boarding
at 242 Whitehall in Atlanta, Georgia. Keep in mind that attaching an earlier establishment
date was not uncommon for scenic studios. Sosman & Landis and Volland Studio
also added a few years to their establishment dates over the years, boosting
the levels of their experience and longevity.
By 1914, “Ackerman Bros. Scenic Studio” is advertised in “Gus
Hill’s Theatrical Directory.” The new firm is at the same location on Bushwick
Avenue in Brooklyn. The advertisement
offers, “Scenery Painted and Constructed, Productions, and Motion Picture
Theatre Settings.” Their partnership did not last long, and soon Earle was on
his own again, partnering with other scenic artists to compete projects. On
Oct. 19, 1916, “The Vermont Tribune” reported, “Two scenic artists from
Brooklyn, N. Y., E. Van Buren Ackerman and Henry Schmidt, are boarding at W. D.
Livingston’s.” (19 Oct. 1916, page 8). About this time, both Ackerman brother’s
encountered marital problems, each separating from their wives. Earle never
remarried.
Earle Van Buren Ackerman and Philip Dodd Ackerman established Ackerman Bros. Scenic Studio by 1914. From Gus Hill’s Theatrical Directory.
Earle’s WWI draft registration card listed his physical
appearance as similar to his older brother’s, fair hair, blue eyes, medium
height and medium build. At the time, his occupation was noted as theatrical
scenery and his employer H. Robert Law, at 502 W. 38th in New York. Little
is known of Ackerman’s life or career or personal life in the post-WWI years. Very
seldom did his name appear in print; this was a marked departure from his older
brother’s very public persona.
By the late 1920s Earle is working as a designer. In 1927 Earle
designed the setting for “Tia Juana,” a melodrama at the Schubert
Playhouse. On November 5, 1927, the “Morning
News” reported, “The Company is capable, the scenery elaborate, and there are
no dull moments” (Wilmington, DE, page 13).
Ackerman’s design was built by the Vail Scenic Construction Company.
Then he disappears again until the mid-1930s. By 1939, Earle only made headlines
after a car collision. The “Courier-News” reported, “Car driven by Isador
Gelbard, 43, of Davidson Ave., Franklin Township, was in collision with a car driven
by Earle Van B. Ackerman, 57 Howard Ave. South Bound Brook, in Hamilton Ave. in
front of the Brooks Theater Saturday afternoon. No one was hurt and no
complaints have been made. Mrs. Isador Gelbard was in the car with her husband”
(Bridgewater, CT, page 4).
In 1940, Earle was living in Franklin, New Jersey; lodging
with another scenic artist and one-time studio owner, George W. Korb. Ackerman
listed that he had been at the same residence since 1935, with his marital
status still listed as divorced. The Korbs, however, became Ackerman’s new
family and he would live with them for years.
In the end Earle outlived them all, his wife, son, brother ad both Korbs. Earle Ackerman passed away on April 29, 1970, in Phillipsburg, New Jersey. Ackerman shares a grave stone with George W. (1889-1957) and Theresa E. (1893-1947) Korb.
Grave stone that Earle Van Buren Ackerman shares with George Washington Korb and Theresa Korb in Phillipsburg, New Jersey.
Four months after Harley Merry’s death his old studio was destroyed by fire. I find this fascinating as the story reads like a mystery. The January 9 issue of the Brooklyn Daily Eagle reported a substantial loss for the current occupants.
It published, “The Harley Merry scenic studio in Franklin avenue, near Malbone street, in which the scenery for many of the greatest dramatic productions was painted, was destroyed by fire today. The entire contents of the building, including the completed scenery for one production and the partly finished scenery for another play, was lost. The building loss is estimated at $3,000, while the loss of the contents will amount to $10,000. The building and contents were uninsured. The fire was discovered at 10:30 o’clock by Michael Stabile of 27 Coffey street, who, with Frederick Snell of 8905 Fifth avenue, was in the building at the time.
Stabile was in the cellar under the studio when he heard a noise which sounded like the drop of a heavy weight. He ran up to the second floor, and as he opened the door leading to the stairway a cloud of smoke burst into his face. He called for help and a policeman sent in an alarm. Batailion Chief O’Hare, who was in charge of the fire engine companies to arrive, feared that the fire would spread to the adjoining building, which are all of frame construction, and to the Consumers Brewery across the street, and he sent in a second alarm. Six engines and two truck companies were soon on the scene, but the fire was beyond control and their efforts were devoted to saving surrounding property.
The roof fell an hour after the fire was discovered. Ten foremen were in the building when the roof tottered and were warned by the call of Deputy Chief O’Hara. All escaped before the roof collapsed. The flammable nature of the contents and the high wind are given as causes for the building’s rapid destruction.
The building was originally used as a scenic studio by E. J. Britton, retired actor and scenic artist, who painted under the name of Harley Merry. After his death last September the building passed into the hands of his daughter Mrs. George Kennington. It has recently been rented as a studio to E. Van Ackerman and J. Katser.”
I wondered about the history of these recent renters, Ackerman and Katser.
Ackerman sounded familiar to me, so I checked my scenic artist database. I only found a very brief notation about P. Dodd Ackerman, so I started searching newspapers from the period. In 1897 E. Van Ackerman painted a new drop curtain for B. F. Keith’s Union Square Theatre, depicting a “handsome interior with a view of a drawing room and distant conservatory” (New York Times, Dec. 8, 1897, page 4). He also painted the scenery for “The Privateer” at the Star Theatre with P. Dodd Ackerman. In 1913, he designed “Mlle. Modiste” at the Globe Theatre.
Advertisement from Julius Cahn’s 1913 Theatrical Guide.
I then found an advertisement in 1913 of “E. Van Ackerman, Scenic Studio, successor to P. Dodd Ackerman.” This suggested a split in the partnership, or possible death. The advertisement also noted that the studio was established in 1890. He advertised services for the painting and building of productions at 1576-1578-1580 Bushwick Avenue, Borough of Brooklyn, New York City. It also noted that Ackerman’s studio was only “Thirty Minutes from Broadway.” The “Ackerman Bros. Scenic Studio” had been at the same location, yet the advertisement in Gus Hill’s theatrical directory was from 1914, a year later. This was curious. Ackerman Bros. Scenic Studio, however, mentioned their production of Motion Picture Theatre Settings.
Advertisement in Gus Hill’s 1914 Theatrical Guide. Other pages in the publication noted that Hill absorbed Cahn’s publication.
As I examined the production history for both E. Van and P. Dodd, they primarily functioned as a scenic artist and scenic designer, respectively. I was more familiar with P. Dodd as he had numerous entries of designs in the Broadway Database (https://www.ibdb.com/), being listed as a designer for ninety-one productions from 1897-1939. His career really took off in 1908 and I had to wonder if his success as a scenic designer caused the two partners, possibly brothers, to briefly part ways. Obviously, their time apart was short-lived as E. Van Ackerman’s rental of Merry’s studio could have only been for a few months. Maybe the disaster and lack of insurance has caused E. Van and P. Dodd to partner again?
Comparatively to P. Dodd Ackerman, E. Van Ackerman had only two productions listed in the Broadway database – 1897 and 1927. That was a thirty- year separation and he had almost a non-existent paper trail for theatrical productions. Very little was published about E. Van Ackerman’s scenic art or designs, but in 1927 he designed the setting for “Tia Juana,” a melodrama at the Schubert Playhouse. The November 5 Morning News (Wilmington, Delaware) reported, “The Company is capable, the scenery elaborate, and there are no dull moments” (page 13). Ackerman’s design for the show was built by the Vail Scenic Construction Company.
In the Old Harley Merry Studio fire during 1911, the newspaper article noted, “The contents included the completed scenery for the production of “The Real Girl,” a musical comedy which is to be produced on Broadway within a few weeks, and also the partly finished canvas for the farcical comedy, “Class,” which also has a Broadway booking.” I have been unsuccessful in finding that either of these productions was finalized. The article also noted “The loss of these two sets is estimated between $6,000 and $7,000.” That would have been a heavy loss at the time.
I then read the last line of the article and experienced butterflies in my stomach. It read, “The studio contained the original models of the “Johnston Flood,” “The Eruption of Mount Pelee,” “The Deluge,” and twenty-two other similar productions.” I knew those productions! But they weren’t Broadway shows – they were disaster spectacles for Coney Island! Maybe E. Van Ackerman’s focus had been producing attractions for amusement parks. They could also have been Merry’s work left over from previous years; items that had not been cleared out of the studio before the renters arrived on site.
