National Theatre Supply Co.

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 1162 – William H. Lemle, the Early Years

William Henry Lemle (1871-1950) was an actor, theater proprietor, scenic artist, studio founder and designer. He was associated with the Hoyland-Lemle Co. in 1922, William Lemle, Inc. in 1927, and the National Theatre Supply Co. by the late 1920s. Lemle had an abundance of talent and ambition that ranged from adapting stories for the stage to creating novel decorations for business expositions. In the line of painting, his career included sign painting for glass windows, lamp shade decorations and massive panoramas. It was his brother-in-law, however, who redirected Lemle into the scenic art profession.

Lemle was born in Philadelphia on July 29, 1871, one of four children born to Francis P. Lemle and Margaret A. Wooley. His siblings were Francis E., David J., and Martha A. His father was employed in a variety of occupations, but most frequently worked as a salesman.By 1893, the Lemle family was residing at 1826 Judson St. in Philadelphia. At the time, the City Directory listed William Lemle as a salesman. Most of the Lemle family resided on Judson street over the years. The Lemles appear to have had no connection to the theatre, or any connection to a theatrical trade, until Martha A. Lemle married William Cook.

In the early 1890s, Lemle was working as a traveling salesman. This was possibly how he met his future wife. In 1893, he married Elizabeth C. Cushing in New Jersey. Cushing was 21 yrs. old at the time, only a year younger than her husband. The couple settled in Philadelphia and celebrated the birth two daughters, Ethel and Louise. Elizabeth went by both “Beth” and “Bessie.”In 1894 and 1895, the young couple was living with extended family at 1826 Judson. At the time, Lemle was working as a shade maker, painting scenes on roller shades for windows. Late nineteenth century window shades were often constructed of thick cotton or linen, and either glazed or decorated with painted scenes and ornament. This is likely when Lemle’s career as an artist commenced.

By 1898 William was working as a paperhanger.The 1900 US Federal Census listed the couple as living in their own home at 1221 Ridge Ave. with their two daughters Ethel M. (b. Jan. 1896) and Louise F (b. Aug. 1899). Lemle was listed as a window frame manufacturer that year, returning to the window shade profession the following year. Between 1901 and 1904, Lemle focused on another aspect of the window trade – decorative advertising. This was another step, that brought him closer to the scenic art profession. By 1904, he advertised in the “White Letters” section of the Philadelphia Directory. 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 worked for Thomas G. Moses in New York just prior to working in Philadelphia at this time. Lemle was actually listed twice below Armbruster, and his advertisement noted:

“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.”

In the midst of transitioning into the painting trade, Lemle suffered great loss. Between 1903 and 1906 he would lose his brother, mother, and wife. 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).

The loss of his brother may have prompted a self-evaluation of his own life and accomplishments to date. By the next year, both William Lemle and his wife were performing with an amateur theatre group. At the time, they were both in their early 30s. Lemle’s association with Philadelphia’s Criterion Dramatic Association, was that as an actor and business manager. The group seems to have been a step up from a community theatre, with some participants going on to enjoy professional careers on the stage; Lemle would be one of them. 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.” In May, Lemle’s wife “Bessie” was also listed as one of the principal players for the company (Philadelphia Inquirer, 8 May 1904, page 36).

Their life on the stage was not meant to last, as Bessie passed away by the fall. 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.”

During this time, Lemle continued to work as a painter. His advertisements were listed in the “Philadelphia Inquirer” that fall. An advertisement published two weeks after his wife’s passing stated: WINDOW SIGN LETTERS. ALL KINDS White, gold, etc.; cheap; postal; we call anywhere. Lemle, 1221 Ridge Ave” (18 Sept 1905, page 13). Whether he needed escape from the memories of his dead wife, or an opportunity simple presented itself, Lemle became a member of Fred Conrad’s touring troupe in 1906. After appearing as a lead comic role in “Not Like Other Girls,” he toured with Fred C. Conrad’s “Monte Cristo” production (Daily Republican, 8 Jan. 1907, page 1).

*From the* Bucyrus Evening Telegraph, 25 Sept 1907, page 3.

By 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, the “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 appeared in 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.”

Another article in the “Daily News-Democrat” described “A Famous Duel,” going onto state:“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.”

The 1910 US Federal Census listed William H. Lemle working as an actor in the theatre industry. He was still living in Philadelphia. At the time, Lemle and his young daughters were living with his sister’s family. The household included Lemle’s sister (Martha Cook), his brother-in-law (William Cook), their son (Charles Cook), and his father (Francis P. Lemle). William and his son Charles were both scenic artists who founded a studio. More about Lemle tomorrow.

To be continued…

Travels of a Scenic Artist and Scholar. Thomas G. Moses, the National Theatre Supply Co. and William Lemle Inc.

On my return trip home from the League of Historic American Theatres conference in Philadelphia, I stopped by the Egyptian Theatre in DeKalb, Illinois. While examining the old fire curtain, I spotted not only the Union stencil, but also a stencil with “National Theatre Supply Company” above it. Over the years, National Theatre Supply Co. has popped up on my radar, time and time again.

The Egyptian Theatre in DeKalb, Illinois

The fire curtain for the Egyptian Theatre in DeKalb, Illinois, painted by William Lemle Co. and delivered by the national Theatre Supply Co.

As I peered at the faint type above “National Theatre Supply Company” on the asbestos curtain, I first made out the word “Lemle,” and then “Painted by William Lemle Co.” The Egyptian Theatre fire curtain is extremely significant in the course of American Theatre history for this stencil alone, as it links together two significant scenic studios in 1929.

Back of Egyptian Theatre fire curtain noting, “Painted by William Lemle Co. in Chicago for National Theatre Supply Co.”

I immediately thought of another project delivered by the two studios the same year, a second Egyptian-themed theater that was built in McAlester, Oklahoma. National Theatre Supply Co. and Wm. Lemle Co. delivered one of the largest Scottish Rite scenery collections in the United States to the Scottish rite Theater in McAlester, Oklahoma. In a newspaper article from November 1929, Moses was noted as a representative for both the Lemle Co. and the National Theatre Supply Co. in regard to the McAlester Scottish Rite project. Moses designed and painted the entire collection, recording that the stage settings were 40’-0” high by 60’-0” wide and the stage was 140’-0” deep.

While researching these two studios in 1929, I encountered a letter sent to Moses at “Wm. Lemle Co., Chicago, Ill.” Penned by William H. Fuller, Venerable Master of the Albert Pike Lodge of Perfection in McAlester, he mentions that the scenery was damaged en route to the McAlester Scottish Rite theater, and specifically requests for either the Lemle Co. or the National Theatre Supply Co. to write a letter recording their grievance.

So what do we know about the National theatre Supply Co. and Moses’ involvement with the firm? Let’s start with the end of Sosman & Landis in 1923. That year the studio is liquidated, their space rented to another firm and the name sold. Moses partners with Fred Megan of the Kansas City Scenic Co. and they attempt to purchase the name of the company. Before they are able to legally use the name “Sosman & Landis,” they work under the studio name Moses & Megan. Hoyland and Lemle purchased the Sosman & Landis studio contents at that same time. Later William Lemle Inc. would use the old Sosman & Landis studio space.

Moses & Megan lease the Fabric Studio in Chicago, the same company that delivers the Joplin Scottish Rite scenery. Moses & Megan produce the 1926 Salt Lake Consistory scenery, as well as the 1927 Oakland Scottish Rite scenery. Moses and Megan would continue working together until 1931, but Moses would also begin representing both the William Lemle Co. and the National Theatre Supply Co.

Why is Moses so adamant to retain the studio name? Because Moses has been a major player in Sosman & Landis scenery production since the very beginning. The studio name is synonymous with quality and Moses is integrally linked to the company. One could even surmise that Moses was the face of the company, as his reputation was intertwined with their work since 1880. In 1904 after Moses returned to Chicago after a successful career in New York City (Moses & Hamilton), he assumed all control over all Sosman & Landis design, painting, construction and installation. He becomes the vice-president and was even rewarded $5,000 in stocks in addition to control over production. He later becomes company president after the death of studio founder Joseph S. Sosman. Moses had an incentive to remain connected with the studio name until quite late in his career. In later years, he is listed as the artistic director of Sosman & Landis.

However, there are a few things to keep in mind as National Theatrical Supply is established in the shadows of Sosman & Landis’s close. In 1920, six Sosman & Landis scenic artists leave to form Service Studios. Many of the black and white photographs in their sales books are exact replicas of Sosman & Landis Masonic models. In other words, they are peddling the same designs without the Sosman & Landis name. Service Studios is soon sold and becomes ACME studio. The ACME studio also uses the Sosman & Landis designs in their sales catalogues.

This all happens after a big upset at Sosman & Landis. Two key figures responsible for the Scottish Rite connection pass away just before WWI; founder Joseph S. Sosman and M. C. Lilley representative Bestor G. Brown. Their passing causes the alliance between a major regalia company and a significant scenic studio to cease, allowing another studio takes the reins of Masonic degree production – Toomey & Volland. Under the leadership of Hugo R. Volland, St. Louis Scottish Rite backstage director and president of Toomey & Volland, this St. Louis-based scenic studio is awarded dozens of Masonic contracts in the post-WWI years.

Now back to the another firm delivering Scottish Rite scenery in the 1920s – the National Theatre Supply Co. Founded in 1926, the National Theatre Supply Company advertised as the “largest theatre equipment and supply service organization,” with “31 well managed, well stocked branch store in operation throughout the country, doing a volume of business considerably in excess of what was transacted when the field was being served by individual dealers. And, too, more dependable and satisfactory service is in evidence on every hand.”

Their advertisements explain, “chain store operation in other American industries is one of increased efficiency in service and pronounced economy in merchandising, reacting directly and favorably to the advantage of those who buy. This condition is being exemplified in the operation of the National Theatre Supply Company.” This paragraph is hard to read without thinking of the massive theatrical complexes targeted by this new company and not think, “Super-size me.”

In 1927, the National Theatre Supply Company noted that a new scenery and drape department was formed under its direct supervision. The new department was paced under the direction of Mr. P. L. Landis, “a specialist in stage technique with headquarters in the general offices of the Company in Chicago.” Landis was credited with being “well known to the trade, having been a member of the original Sosman & Landis Company in Chicago. With 12 years of experience in all braches of scenery production and stagecraft, he is particularly fitted to head the new department.” When Moses was elected Sosman & Landis Co. president in 1915, Arthur Sosman was elected vice-president and Perry Landis treasurer.

National Theatre Supply Co. advertisements note the following:

“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 s very little likelihood of an increase in price of these products.”

The same National Theatre Supply catalogue included a photograph with the caption, “Spacious scenic studio of William Lemle Inc. of Chicago, the entire output of which will be distributed through national service.” The problem is that the photograph actually depicted the Sosman & Landis studio prior to WWI, complete with Joseph Sosman in the center and Moses painting one of the drops. The Lemle company was simply using an old photograph of the space.

Image brought to my attention by Bob Foreman, courtesy of Rick Zimmerman

To be continued…

Travels of a Scenic Artist and Scholar. The Egyptian Theatre in DeKalb, Illinois, July 19, 2019

Brochure of the Egyptian Theatre in DeKalb, Illinois

My visit to the Thomas G. Moses’ Oak Park home and the gravesite of Walter W. Burridge took more time than anticipated on Friday, July 19. This prevented my traveling north to Fox Lake where Palette & Chisel club members once congregated during the summer. I came up with a quick “Plan B.” Looking at rush-hour traffic on a Friday afternoon, I decided to simply head to my final destination for the evening in Genoa, Illinois, by way of DeKalb. On a whim, I decided to contact the executive director of the Egyptian Theatre to see if I could stop by and see the theater.

I met both the executive director and architect who are in the midst of a major renovation, expanding the theater to expand restrooms, concessions, storage and add air conditioning. Representatives from theater had actually attended my session on researching historic venues at the League of Historic American Theatre’s conference that week.

Signs explaining the major renovation at the Egyptian Theatre in DeKalb, Illinois.

I arrived a few minutes early for my meeting, allowing me the opportunity to walk around the block and examine the “L-shaped” structure of the building from various angles. Fortunately, it was a small block, preventing me from suffering heat stroke on my short walk. It was one of those ridiculously hot and humid days. The earlier trek about the Forest Home Cemetery had just about done me in that afternoon.

View of the Egyptian Theatre’s fly tower

Alley between the auditorium and nearby buildings, the structure is “L-shaped.”

I had never stopped in the area, but downtown DeKalb is lovely with colorful floral displays dotting every corner. The front of the Egyptian Theatre is really an anomaly when compared with other buildings on the street. Opening in 1929, the exterior and interior was decorated in the popular Egyptian theme, a trend that picked up speed after the discovery of Tutankhamen’s tomb in 1922.

View of the Egyptian Theatre form the stage

As I entered the building, I examined by the narrow lobby that led to the auditorium on the right; no wonder the need for expansion. Not quite sure of what to expect in the auditorium, I was surprised by large murals on the house left and house right sides.

Looking at the rows of refurbished seating, I had to wonder what local audiences thought when the theater first opened to the public. I made my way to the stage, curious to see if any original machinery still remained. Nope.

When the building was constructed, however, the focal point of the auditorium’s Egyptian decor was a colorful fire curtain. Removed, encapsulated, and repositioned in the early 1980s, the painted composition is now difficult to see under work lights. My host graciously pulled up an image of the curtain on his phone. The scene reminded me of one in the scenic collection database at the University of Minnesota Performing Arts Archives. I went to the backside of the fire curtain to see of there was a studio stamp.

The fire curtain at the Egyptian Theatre

The fire curtain at teh Egyptian Theatre

The fire curtain under stage lights during my visit

What I discovered made my brief stop completely worthwhile. Above a very faint union stamp, was the name of the studio. The executive director was completely unaware of the stencil as I attempted to read the script. After a few moments of squinting and taking pictures to enlarge the font, it became clear that the name of the studio was “National Theatre Supply Co. Chicago.” Wow.

National Theatre Supply Co. of Chicago was one of the many theatre firms that Thomas G. Moses (1856-1934) worked for during the late 1920s and early 1930s. He passed away in 1934. He not only worked for National Theatre Supply Co., but also Armstrong Studios and William Lemle and Co, dividing his time between studios in Chicago, Illinois, and Oakland, California.

More on the National Theatre Supply Co. tomorrow.

To be continued…