Allardt Advertising Co. – Drypigment.net

Tales from a Scenic Artist and Scholar. Part 1163 – William H. Lemle, the Later Years

William H. Lemle worked as a paperhanger and sign painter in Philadelphia at the turn-of-the-twentieth century. During this time, he also worked as a performer, starting his career as an amateur actor in 1904. Over the next few years his career soared after gaining notoriety for his performance in the touring production “Monte Cristo.” By 1908, the touring production of “Monte Cristo” was presented by the W. H. Lemle Company (Jefferson County Republican, De Soto, Missouri, 3 Jan. 1908, page 5). By 1910, Lemle was presenting the production. Like many of his predecessors, he transitioned from the performance side of theater to management and production. Between 1911 and 1916, Lemle moved from Philadelphia to Chicago, where he worked as a scenic artist, salesman, and manager. In Chicago, he became involved with the Sosman & Landis Co., Allardt Advertising Company, the Hoyland-Lemle Advertising Co. and the Lemle-Barrett Company, Inc.

Lemle was able to adapt his skills as both a performer and artist for many business endeavors, allowing him to passionately communicate an idea and successfully sell a product. This did not mean that any of his ambitions lasted long.

Tracing Lemle’s history is difficult, as he was involved in so many business ventures, and many simultaneously by the 1920s. The world of scenic art and design, however, was likely introduced to him by his brother-in-law William H. Cook. Lemle lived with Cook for several years in Philadelphia. When Lemle’s wife passed away in 1905, his touring with a production offered a much-needed escape during his grieving. Lemle and his two young daughters moved in with the Cooks. Prior to his wife’s passing, Lemle performed with the Criterion Dramatic Association in Philadelphia. Although he initially advertised as a painter, performing became his passion. Lemle toured as an actor from 1905 to 1911 before moving into management and production. For many performers, this was a natural progression, performing and then establishing their own company, often performing as the lead with their company. Many of these companies did not last at the dual responsibilities of performance and administrative duties were overwhelming. During this period of Lemle’s life, his sister likely raised his young daughters. In 1905, they were only 6 and 9 yrs. old. His permanent residence was cited in Philadelphia, at his sister Martha’s home. Martha was five years younger than her brother, born on June 4, 1876.

Martha Christina Lemle married William Harman Cook in 1896. The couple settled in Philadelphia, just up the street from most of the Lemle relations. Cook’s WWI draft registration card in 1918 described his physical appearance as medium height, medium build, black hair and light grey eyes. The draft record also listed Cook’s business address as 1914 Judson St. By 1920, census reports listed both William H. Cook and his son Charles W. Cook working as scenic artists, operating their own business. Their business, Lemle picture studio building, made papers when a telephone pole crashed into the building that year (Philadelphia Inquirer, 3 Nov. 1920, page 19). Previously, Cook and his son worked as scenic artists with the Lubin Motion Picture Co. Lemle was also associated with the Art Film Co., holding one of the first-class licenses issued for operating a motion picture machine.

In regard to Lemle’s transition from performance to management, the shift occurred between 1910 and 1911. In 1909, Lemle was starring in “Moses, the Prince of Egypt,” a biblical romance by Henry Thorn Hum (“The Pemiscot Argus,” Caruthersville, Missouri, 16 Sept. 1909, page 1). His performance was commended in many newspaper articles. The 1910 US Federal Census still listed Lemle as an actor and still living with the Cooks. That same year, Cook working as an artist working in the studio industry. 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” (27 Sept. 1911, page 7).

Lemle continued to work as a touring manager until 1916 when he encountered financial difficulties. In 1916, William Lemle and Daniel L. Martin were managers of the “September Morn” musical comedy company. Their business endeavor did not go so well when 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 be a definitive moment when Lemle left the road and began diversifying his business interests. He became an officer in multiple organizations by 1922. Between 1920, Lemle was intimately involved with the Allardt Advertising Co., the Hoyland-Lemle Advertising Co., the Lemle-Barrett Company, and the Lemle Company.

I’ll start with the Allardt venture. In Feb. 19, 1920, the number of directors for the Allardt Advertising Co. increased from 3 to 4. The four directors included William Lemle, Mabel Shearer, Charles L. Hoyland and Carrie Hoyland. By March 1922, Allardt Advertising Company increased capital stock from $5,000.00 to $50,000.00. The same month, the name of the firm also changed from the Allardt Advertising Company to the Hoyland-Lemle Company, and by April moved offices to from 56 West Randolph Street to 417 South Clinton Street, Chicago, Illinois.

When the firm’s name was changed additional information was added to the company’s objective, and now stated:

“To engage and carry on a general advertising business by the circulation and distribution of display cards, signs, posters, dodgers, handbills, programs, 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 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. To carry on the business of advertising contractors and agents and any other business which may be usually carried on in connection with such businesses; to lease property and real estate for the purpose of exhibiting advertising signs; to make, manufacture and display advertising curtains in theatre, halls and other places of amusement; to carry on the business of originating, composing and devising forms of advertising matter for others and publishing and securing the publication of the same and all other matters thereto pertaining. To manufacture, but, 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 or representative of corporations, forms and individuals and as such to develop and extend the business interests of firms, corporations and individuals.”

The same year that Lemle and Hoyland established the 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. That same year, Lemle Inc. was also incorporated. Lemle capitalized on all of his talents and diversified his business interests, establishing advertising, production and management firms. In many ways, he reminds me of Joseph Sosman of Sosman & Landis who always seemed to have a few more irons in the fire than he could adequately handle.

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. at 6219 S. Halsted St. William Lemle, John P. Barrett, M. Schearer; $5,000, motion pictures. Cor.; Hoyland-Lemle Co., 417 S. Clinton St.” Lemle invested in the motion picture industry shortly after his brother-in-law William H. Cook did the same 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 cinema stages. Sadly, Lemle-Barrett did not last and soon filed for bankruptcy, leaving Lemle with the Hoyland-Lemle Co. until 1926.

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). By 1923 the Lemle-Barrett Company, Inc., was located at 1539 Milwaukee Ave. in Chicago, and did not last long after that.

The Hoyland-Lemle Co. also failed, with mentions in newspapers greatly diminishing by 1925. The following year both Hoyland and Lemle begin to seek other opportunities, each establishing their own firms. In 1926, the William Lemle Co., Inc. was incorporated. By 1929, the firm’s name changed to Lemle Studios, Inc. Again, the name change was shortly before the company dissolved. There seems to be a pattern. When a firm began to fail, the name was changed so that a new iteration of the company could immediately reopen. It was almost a seamless process. That same year that the William Lemle Co. in Illinois changed its name to Lemle Studios, a William Lemle Co., Inc. was registered in Delaware.

All during this time, the Hoyland-Lemle company was still open, just primarily lying dormant. By 1927 “National Pink Sheet” announced a new scenery and drape department was formed for the National Theatre Supply Co., with P. Lester Landis in charge (June 10, 1927, page 2). This was the son of Sosman & Landis founder Perry Landis. The article mentioned that Lester 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 reported, “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.

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 chares of the par value of $10.00 each.

In 1930, both W. H. Cook and his son Charles were listed as proprietors in the US Federal ccenus. Each was listed as a proprietor in the “artist and sculpting” industry. Ten years later they were still painting, but now working as artists in the decorative painting industry in 1940. A little information is gleaned from Cook’s obituary.

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 8^th 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).

To be continued…

Tales from a Scenic Artist and Scholar. Part 1159 – Charles L. Hoyland, the Allardt Advertising Co. and the Hoyland-Lemle Co.

In 1922 the Allardt Advertising Co. changed its name to the Hoyland-Lemle Co. with business offices located at 417 S. Clinton St. in Chicago. 417 S. Clinton was the same location as the Sosman & Landis studio. The new company was named after Charles L. Hoyland and William Lemle. Hoyland had worked for the Allardt brothers in a variety of capacities for well over a decade.

Charles Leroy Hoyland was born on Sept. 24, 1885, in Illinois. He was the only child of James Andrew Hoyland (1861-1918) and Carrie Major (1866-1931). The two were married in Sangamon, Illinois in 1883. Charles arrived only two years later. By 1900, the small family was living in Springfield, Illinois. Carrie’s sister and servant lived with the Hoylands. At this point, his father was working as a recorder for an insurance company. The next ten years were like a roller coaster, both on the personal and business front. Charles’s father left both Springfield and his mother, remarrying by 1910. In the meantime, however, Charles switched professions, leaving the manufacturing and entered the theater industry.

In 1904, Chas. L. Hoyland was working as a manufacturing firm. His first appearance in the paper in associated with a want ad. He placed an advertisement in the “Herald and Review” of Decatur, Illinois, announcing, “WANTED – Capable young man as district manager for manufacturing for manufacturing concern. Apply to Chas. L. Hoyland, room 51. St. Nicholas hotel, between 9 and 11 a.m. Saturday and Sunday” (page 7). That year, he also became a member of the Knights and Ladies of Security, Springfield Council. They met in the Redman’s Hall on 5^th and Monroe and upon initiation, Hoyland was listed as a bookkeeper.

*The issue in which Charles L. Hoyland was mentioned as an initiate in the Knights and Ladies of Security,*

This was his last profession before transitioning to theater the next year. He soon began working at the Chatterton Opera House in his hometown of Springfield, Illinois. Local jeweler, George W Chatterton, invested in the Chatterton Opera House and turned the management of the venue over to his son. Chatterton became a central Illinois theater developer, became known as “the opera house man of Springfield” (The Champaign Daily, 3 Feb. 1906, page 5). For the many theaters that started up, shut down, and changed hands, Hoyland has picked a good one. He was in the right place, at the right time, and met all of the right people.

*The Chatterton Opera House in Springfield, Illinois.*

In Springfield, Hoyland was hired to work in the box-office at Chatterson’s flagship theater. On January 28 of that year, 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). Here is a link to one history about the venue: https://sangamoncountyhistory.org/wp/?p=2456

Hoyland quickly moved from box office assistant into management. For the next few years moved from one theatrical endeavor to another. By 1907, he was working in Wayne, Michigan. There, he married his first wife Frances. On June 21, 1907, Hoyland married Frances H. Thompson, and older woman. Marriage records listed the groom as a resident of Los Angles, currently working as a clerk. The bride was a resident of Moline, Illinois and five years his senior, having been born in 1881. Frances’ maiden name was Putnam, suggesting there may be a previous marriage.

In 1910, the US Federal Census reported the couple living now in Danville, Illinois. At the time, they were living with four lodgers, one of whom was theatre musician named Roy A. Morrison. It is during this time that Hoyland becomes associated with the Allardt Bros. and their theaters.

Hoyland’s personal life was also tumultuous at this time too. His father left his mother and remarried in Palmyra, Missouri. On Nov. 2, 1910, the Marion County Herald announced a marriage license was granted to J. A. Hoyland of Springfield, Ill. And Helen E. Schwebel of Utica, Ill. (page 4). He would live another eight years, passing away in 1918. For his first wife, he died in 1910, and upon his leaving, listed herself as a widow. By 1912, she was living with their only son in Superior, Wisconsin. Both were listed in the city directory for Superior, living at 1003 Ogden Ave. Hoyland was listed in the Superior Directory as the proprietor for the Broadway Theater Hotel. In 1911, the Allardts acquired another theatre in Superior Wisconsin. That year, the firm opened several new theaters, including a the Orpheum in Munster, Indiana and another in Fort William, Ontario (The Times, Munster, Indiana, 26 Dec 1911, page 5). Their motion pictures expert, Joseph Dokes, was constantly busy installing machines in new Allardt houses throughout the region.

Between 1910 and 1913, the Allardt circuit increased exponentially, growing from one theater in Terre Haute, Indiana to twenty-four theatre throughout the Midwest and Canada; a circuit was composed of both vaudeville and legitimate theaters. 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).

Already in 1910, Hoyland was working at the Allardt’s Lyric Theatre in South Bend, Indiana. His connection with the brothers was cemented when he was the Allardt’s guest at the theatrical Mechanic Association. 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. Hoyland cotinued with the Allardt Bros. and by 1913 was managing their New Orpheum Theatre in Racine, Wisconsin by 1913. He began working for the right people at the perfect time. Ultimately, his success during this period paralleled that of his employer.

*The Orpheum Theatre in Racine, Wisconsin.*

On Dec. 21, 1913, the “Inter Ocean” included an article on the Allardt Bros., reporting, “ 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 Alladart Advertising company. At the time Allardt Advertising Co. featured advertising curtains and was considered of the biggest firms in vaudeville.” Hoyland was already associated with the Allardt Advertising Co. managing the Chicago firm by 1913. On Feb. 1, 1914, the “Inter Ocean” mentioned Charles L. Hoyland as the head of the Allardt Advertising Company, and treasurer of Allardt Bros. The Allardt Advertising Co. continued to expand, filing incorporation articles in Milwaukee in 1916. On Dec. 30, 1916, the “Wisconsin State Journal” reported, “Foreign corporations licensed to do business in Wisconsin are: Allardt Advertising Co., of Chicago, Illinois. The firm was still expanding branch offices five years later, just before the named changed to Hoyland-Lemle Co.”

He was still working as an advertising agent after the onset of WWI. In 1918, Hoyland’s WWI draft registration card listed his working at the Allardt Advertising Co., located in 316 Westminster Building. The record also listed his residence as 922 Sunnyside Ave. His physical appearance was described as tall with a medium build, brown hair and dark brown eyes.

As with other studios, the firm struggled with collecting payment. On September 16, 1921, the “Alton Evening Telegraph” included an advertisement for a collector. The advertisement stated, “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). This may have been one of the reasons that the Allardt Bros. divested themselves of the advertising company in 1922 the firm became the Hoyland-Lemle Co. Before the name-change, the official address for the Allardt Advertising Co. was listed as 417 S. Clinton St – the same address as the Sosman & Landis studio. When the Hoyland-Lemle Co. opened, they also listed 417 S. Clinton St. at their address. By 1923, their offices moved to 6751 Sheridan Rd. Moses & Megan would also use this address while waiting to purchase the Sosman & Landis name.

1922 was a year of change for Hoyland, he not only started a new company, but also remarried. On May 17, 1922, Charles L. Hoyland married Anna E Kentnick (also spelled Kentnich). Kentnick was the daughter of Allardt employee, William J. Kentnick. She was very much a sign of the times, independent, and employed as a stenographer in a law office. In many ways, Anna was the polar opposite of his first wife, as well as two decades younger. The next decades, however, was full of surprises, both good and bad. Money became an issue, the company struggling to collect debts in a country struggling after a recession. They were constantly in court, trying to collection final payments from clients.

The Hoyland-Lemle Company lasted less than five years. The last mention of Hoyland-Lemle in newspapers was associated with a lawsuit against the Strong Motor Co. in Florida during the spring of 1927 (Tampa Times, 16 April 1927, page 19). That year, the firm closed and Hoyland left to establish the new Charles L. Hoyland Co. Lemle also founded William Lemle, Inc. and became associated 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.”

*Picture of old Sosman & Landis main studio, used by William Lemle, Inc. for the National Theatre Supply Co. in 1927.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1158 – The Scenic Studio Shuffle

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.*

To be continued…