Category: Service Studios

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 83 – Art Oberbeck

Copyright © 2022 by Wendy Waszut-Barrett

Art Oberbeck worked at Sosman & Landis from approximately 1902 until 1920.  Of all the scenic artists who I have written about, Oberbeck is unique; I have listened to his voice on a cassette tape.  His recollections were recorded on Nov. 4, 1972, when asked to give a speech at the Southwest Theatre conference in Dallas, Texas.  At the time, Oberbeck was 86 years old and still painting on a vertical frame at Peter Wolf Studios at the Texas State Fair Grounds. A cassette of his 1972 speech was gifted to me by Lance Brockman a few years ago. This meant that I was able to hear Overbeck tell a few of his own stories.

Art Oberbeck’s 1972 Speech.

In addition to the cassette tape, a substantial amount of information was gathered from Oberbeck during the 1970s. The combined efforts of Dr. John Rothgeb, Randi Givercer Frank, and Peter Wolf  preserved many of Oberbeck’s memories about his work as a scenic artist in Chicago.  Representing the University of Texas, both Rothgeb and Frank personally interviewed Oberbeck. In later years, Peter Wolf of Peter Wolf and Associates enticed a retired Oberbeck to relocate to Dallas, Texas, and again work as a scenic artist. 

Now they gathered what Oberbeck wanted to remember, and we all know that time tints memories. I will supplement Oberbeck’s recorded recollections with information from historical documents. 

Arthur Walter Oberbeck was born on Feb. 14, 1887, in Chicago, Illinois. His parents were Heinrich “Henry” Oberbeck (1848-1916) and Wilhelmine “Minnie” Ehlert Oberbeck (-1921). At the time of his birth, his father was working in a shoe store at 210 S. Clinton St., just a few doors down from Sosman & Landis at 236-238 S. Clinton.

Art’s father, Heinrich, sailed from Hamburg, Germany, to New York during the fall of 1868. At the age of 19 yrs. old, Heinrich “Henry” was accompanied by his four younger brothers aboard the S.S. Gutenberg: Ludwig “Louis” (17 yrs.), Fredrick (15 yrs.), Charles (12 yrs.) and Ernst Oberbeck (7 yrs.). After their arrival in New York, the Oberbecks continued west, settling in Chicago. By 1871, Heinrich “Henry” Oberbeck married Wilhelmine Ehlert and the two celebrated the birth of their first child, Louise. in 1873. By 1874, Henry Oberbeck was listed as a malster in the Chicago Directory, residing at 358 Church. For context, malsters worked in the beer brewing industry. His brother Frederick C. Oberbeck was also listed in the Chicago Directory, working as a carriage painter and living at 54 Sigel.

In 1880 the US Federal Census listed that Henry Oberbeck’s home was located at 186 Clybourne Pl in Chicago. The Oberbeck’s family home remained at Clybourne Place for the next few decades. In 1880, the Oberbeck household included Henry Oberbeck (31 yrs.), Wihelmine Oberbeck (28 Yrs.), Louis Oberbeck (7 yrs.) and Henry Oberbeck Jr. (5 yrs.). At the time, Henry Sr. worked in a cabinet shop. When Art Oberbeck was born seven years later, his father was working in the boots and shoes business. At this same time, Art’s uncles, Louis and Frederick C. Oberbeck, were operating Oberbeck Bros. at 210 S. Clinton. The Oberbeck Bros. furniture store was located just a few doors down from the newly constructed Sosman & Landis studio at 236-238 S. Clinton St. Sosman & Landis opened their new building in 1886.

Little is known of Art Oberbeck’s early childhood before the age of 12 yrs. old, nor did he elaborate in later years. In some instances, Oberbeck explained that he began working at the age of 12 yrs. old. In other instances, Oberbeck explained that he began working as a paint boy when he was fourteen years old. The 1900 US Federal Census, however, did not list any occupation for the 13-yrs.-old Art.   That year, the Oberbeck home at 199 Clybourne included Henry Oberbeck (50 yrs.), Minnie Oberbeck (48 yrs.), Fred Oberbeck (19 yrs.) and Arthur Oberbeck (13 yrs.).  Only Henry and Fred were listed as employed; Henry was employed as a machinist and Fred was employed as a packer of notions.

Regardless of when Oberbeck began his career in scenic art, he started as a paint boy at Daniels’ Scenic Studio in Chicago and remained there for approximately 18 months. About the time Oberbeck began working for the firm, a WANT AD was published in the “Chicago Tribune.” On Aug 29, 1902, the “Chicago Tribune” published a want ad: Boy – Strong. 16 years old. Daniel’s Scenic Studio, 2321 Wabash-av.” (page 9). For context, Daniel’s Scenic Studio was located on the Chicago Opera House block.

Alonzo P. Daniels, namesake of Daniels’ Scenic Studios, of Chciago.

Daniel’s Scenic studios of Chicago was incorporated in 1903 with a starting capital of $40,000; manufacturing and painting scenery and stage accessories; incorporators, Alonzo P. Daniel, Charles J. Tietzel and Edward Beiderman” (3 Jan. 1903, page 9). I was lucky enough to discover a detailed article in “The New York Clipper” about the firm’s founder from 1903.

On Aug. 29, 1903, A. P. Daniels was listed as No. 19 in part of the “New York Clipper” series “Men Who Have Developed Western Amusements” (page 2). Here is the article in its entirety, as it sets the stage for Oberbeck’s scenic art training:

“Numbered among those who developed and extend the vogue of theatrical the scenic artist has rightful place. Of the numerous company of knights of the brush A P. Daniels ranks in prominence with the best artisans in his line. Under his management, and because of his industry, the Daniel’s Scenic Studios of Chicago are known far and wide. Examples of his workmanship and the products of his studios are to be found in theatres in every State in the Union. Mr. Daniels entered theatrical life as a member of Lawrence Barrett’s company, playing boys’ roles, and was with that organization when Mr. Barrett achieved the then remarkable feat of playing two towns in one day – New Orleans and Mobile. In New Orleans, where, in 1858 he was born, he first started to learn the art of scenic painting, working on the paint bridge at La Varieties Theatre, as a paint boy. His first serious essay at theatrical life was in 1885, when he joined J. H Haverly’s forces, in Chicago. After several years with Mr. Haverly he took Robert

 Fulton (now manager of Trocadero, Chicago) upon the road as a boy magician. Later he formed a partnership with James Mass, a clever comedian of his day. Afterward he, for the first time, left the show business and entered the employ of the National Cash Register Co., as their first travelling salesman, and for three years made considerable money. He was thus enabled to form a partnership with Robert Manchester, and put upon the road the Night Owls. During the second year of his partnership with the late James A. Herne, opening the Casino Theatre, Chicago, as a vaudeville house. Later they closed out their interest to Snellbaker & Hopkins, Mr. Daniels arranging to continue with Mr. Herne, He, however, decided to remain in Chicago, and engaged in several theatrical enterprises. Finally he entered into a scenic painting partnership with Ruben Merrifield, which continued until Mr. Merrifield went to New York. The Daniels Scenic Studio was continued as a firm until Jan. 1 last, when it was converted into a corporation, the heads of the various departments being taken into the concern” (page 2).

Although Oberbeck recalled that Daniels’ Scenic Studio was only a small studio and sideline business for its namesake, the firm was much more. In 1904 the Chicago Directory listed only a handful of scenic artists in the business section:

Buhler & Mann (276 Sedgwick)

Cook & Donigan (60, 87 Clark)

Daniels’ Scenic Studios (906 Opera House blk. And 2321-2325 Wabash av.)

Richard A. Green (1046 W. Van Buren)

Guthermann & Goodrich (rear 107-115 Throop)

Shepard & Slipper (86 Locust),

Sosman & Landis (236 and 238 S. Clinton)

Wood, Risser & Bevis (rear 3020 Cottage Grove av.)

Of the firms listed above, only Daniels’ Scenic Studios and Sosman & Landis were printed in large font bold.

Chicago Directory, 1904.

In 1905, the Chicago Directory listed only two studios in the Scenic Artists Section: Daniels’ Scenic Studio and Sosman & Landis. The competition between Daniels’ and Sosman & Landis continued in the Chicago Directory continued for the next several years.

Chicago Directory, 1905.

Oberbeck’s 18-mths. Stint at Daniels’ Scenic Studio likely lasted between 1902 and 1903. I say that, as Sosman & Landis were very adamant that they would not hire boys younger than 16 yrs. old. Oberbeck explained that he was 15 ½ yrs. old when he began working at Sosman & Landis.  That means that he started at Sosman & Landis during August 1902.

Working backwards, Oberbeck began at Daniels’ Scenic Studio in approximately Feb. 1901 and continued until August 1902. At Daniels’ Scenic Studio, Oberbeck worked a 48-hour-week building scenery and painting. His job as a paint boy not only included tacking the canvas to frames, washing brushes and other menial tasks, but also included some lay-in and lining work. In other words, Oberbeck got to paint at Daniels’ Scenic Studio between the ages of fourteen and fifteen yrs. old. However, the aspiring artists as Daniels’ Scenic Studio were mistreated by a manager that Oberbeck identified as “Mr. Tissell.” He was actually referring to Charles Julius Tietzel (1874-1936)/ Tietzel was well versed in scenic design, painting and stage machinery, having worked in both Chicago and Columbus, Ohio. His 1918 WWI Draft Registration card described him as tall and thin, with red hair and grey eyes. Again, in 1903, Alonzo P. Daniel, Charles J. Tietzel and Edward Beiderman, were listed as incorporators of Daniels’ Scenic Studio in Chicago. This is not when the firm was founded, but incorporated. It was likely founded around 1900, although I have yet to confirm that the unincorporated-firm was in existence at that time.

Oberbeck had a very difficult time at Daniel’s Scenic Studio, and did not leave with fond memories. He did not like Tietzel and shared the following story at the 1972 Southwest Theatre conference in Dallas, Texas, and in an interview with Rand Givercer Frank for her BA Thesis at the University of Texas, entitled “The Sosman & Landis Studio, A Study of Scene Painting in Chicago, 1900-1925.”  Here is an excerpt from Frank’s paper, as she heard it first hand:

“Mr. Tissell [sic.]. the man in charge of the studio, exploited the young boys he hired. He would keep them until midnight for only fifty cents overtime pay. Often they were kept after midnight and would miss the last bus or trolley and have to sleep in the studio, ready to start at eight. As Oberbeck was the oldest [??!!] One night the boys, led by Oberbeck went on strike. They demanded a dollar overtime when they stayed past twelve. Thereafter. On the occasions that they did work late, Tissell [sic.] kept them up all night working.”

In his 1972 speech, Oberbeck elaborated about his early career, stating, “I had a very poor education to start with. I never graduated from a grammar school.” He further explained that his starting salary at Daniels’ Scenic Studio was only $4 a week, and there were eight boys who did all laying in and painting of scenery the best they could, with Tietzl finishing the work. Oberbeck’s stories suggest that Tietzel hired a group of young boys between the ages of 12-15 yrs. old to do the majority of the work, with a journeyman artist adding the finishing touches to the composition. I have to wonder what Daniel’s was doing at this time, as he was also well-known as a scenic artist. Maybe he was focusing on sales.  Between 1903 and 1910, Daniels’ Scenic Studio was credited with some rather large projects. The firm’s projects included scenery for touring productions such as the Orpheum Circuit’s “Ferry, in Ferryland,” Joseph E. Howard’s “Love and Politics” and Billy Kersands’ minstrels, as well as stock scenery collections for stages across the country, including the Hagemeister Park Theater (Green Bay, Wisconsin), the Memorial Building (Dayton, Ohio), Phillips Opera House (Richmond, Indiana). Daniels’ Scenic Studio was also credited with the decorations for Chicago’s Auto Show at the Coliseum and First Regiment Armory in 1907.

Oberbeck’s speech in 1972 also described his transition from Daniels’ Scenic Studio to Sosman & Landis. Oberbeck explained, “My mother insisted I was ruining my health.” She was concerned about his long hours at Daniels’ Scenic Studio, suggesting that he work for Sosman & Landis. Oberbeck detailed that Sosman & Landis was “the biggest scenic studio in the part of the country at that time” and “They offered me $6 a week. I accepted and quit the other place.” Although the pay was better, Oberbeck began at the firm washing palettes; a job he felt was beneath him, by this time.  After the first day, Oberbeck told his mother he wasn’t going backwards.  His mother disagreed, explaining that it was a better opportunity and he should stay.  Oberbeck left home for two weeks, returning to Daniels’ Scenic Studio.  In the end, he returned to Sosman & Landis, and slowly worked his way up the line. He continued washing buckets and completed a variety of other menial tasks at the firm until he was assigned as Fred Scott’s paint boy. It was around this time that Oberbeck began to work beside Scott, copying the older artist on a smaller canvas. After several months, Scott advocated for Oberbeck’s advancement, arguing, “You’re losing money by having this boy wash pots and pans. I want him as my assistant.” In an interview with John Rothgeb in 1973, Oberbeck stated, “Being with [Scott] and helping him and doing him and all his ways and methods have proven today to be of value to me. I used a lot of his judgements and things that he has told me.”

Oberbeck remained at Sosman & Landis for eighteen years, approximately from 1902-1920. It is possibly that Oberbeck’s dates were a bit off, but he likely left the Sosman & Landis during the midst of the mass exodus between 1918 and 1919. Keep in mind that when Sosman passed away in 1915, Thomas G. Moses was elected president. Moses did not last for long and resigned by the fall of 1918. Although Moses returned in 1920, he was boarding a sinking ship.  That years five former Sosman & Landis scenic artists formed Services Studios.

This is where Oberbeck’s memory gets a little sketchy. So far, Oberbeck’s timeline at Sosman & Landis goes from washing buckets during the summer of 1902, to working as Fred Scott’s paint boy by 1904.  In 1905, Oberbeck purportedly became Scott’s Assistant, replacing Victor Higgins, Scott’s previous paint assistant. This means that between 1905 and 1915, Oberbeck went from Scenic artists assistant to a full-fledged scenic artist with his own palette. Similarly, John Hanny was hired by Moses in 1906 as a paint boy, and was still working as an assistant in 1912. Hanny inherited Fred Evans palette at Sosman & Landis when he passed away.

Oberbeck’s big break at Sosman & Landis was when Sosman’s nephew left a partially-completed set of tormentors on the frame. After Oberbeck completed the pair of tormentors, he was given another set and soon inherited his predecessors palette. My gut instinct says that this is around 1910. My rationale is that Oberbeck’s move from scenic art assistant to full-fledged scenic artist came with a slight increase in pay.  The 1910 US Federal Census listed Oberbeck still living at home with his parents and a niece. The household included: Henry Oberbeck (61 yrs.), Minnie Oberbeck (58 yrs.), Arthur Oberbeck (23 years) and Lillian Belke (Henry and Minnie’s 16 granddaughter. Henry was employed as a millwright, Arthur as an artist, and Lillian as a clerk.  On April 16, 1910, Art married Edna W. Trinkhaus (1889-1968) and the two celebrated the birth of their first child, Arthur William Oberbeck, on Jan. 13, 1912.

Oberbeck’s time at Sosman & Landis was summarized very concisely by Frank in her paper:

“Oberbeck was a very versatile painter, painting everything except landscapes. He was considered by his colleagues as one of the fastest painters of his time. His versatility and speed, combined with his aggressiveness and desire to learn from anyone he met, made him one of the best painters in Chicago…He was one of the first artists at Sosman & Landis to earn more than thirty-five dollars a week. He took advantage of the arrival of a man who had come from New York to find painters, by telling Sosman he was interested in the job than when in fact he had no desire to leave. He was interested in more pay. Sosman raised his pay to forty dollars a week, more than even Scott was getting.” This is questionable there was a direct correlation between subject specialty and pay grade at Sosman & Landis. Landscape painters were at the top of the food chain, and Oberbeck did not specialize in landscapes.

Also, Oberbeck surmised that Scott was bitter about the pay discrepancy and therefore refused to give any more advise to the younger artist. Understandable from a variety of standpoints, but also a little questionable. Scott was dealing with a lot of his own problems at this time, as his marriage crumbled and his personal life fell apart.  I have yet to recover a departure date for Scott from the studio or even an obituary, but it was likely around 1911. Here is the link to Scott’s story: https://drypigment.net2021/04/29/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-27-fred-scott/

My previous research suggests that Oberbeck was not the top-paid artist at Sosman & Landis. However, it was very possible that Oberbeck was TOLD he was the highest paid artist on staff, if only to end any foreseeable requests for pay increases and future negotiations. This is one of the reasons that some employers are not always eager for their employees to know the salaries of others. It you think you are making more than everyone else, you typically don’t cause trouble.

Sometime between 1918 and 1920, Oberbeck left Sosman & Landis. For perspective, in 1920, the US Federal Census listed Oberbeck living with his wife Edna and two sons, Arthur (7 yrs.) and Robert (4 weeks) at 4051 Kilbourne in Chicago. At the time he left the firm, Oberbeck was invited to join the five other former Sosman & Landis employees to establish Service Studios. He declined, because he didn’t think it would work. Instead, he secured painting work at Peltz & Carsen.

At this time, Oberbeck explained that he worked for both Herman Peltz (1869-1919) and Robert Carsen (1876-1958) at Peltz & Carsen. This means that he left Sosman & Landis pre-1919, as that was the year that Peltz passed away. Oberbeck also explained that he remained with Peltz and Carsen for about a year, before establishing his own studio. Of the new studio, Oberbeck described that after the death of Peltz, Carsen shared that he couldn’t make money on painting projects, only construction.  Every time he hired a scenic artist he went over budget. Oberbeck proposed the following: “If you Give me the use of your studio, I’ll by my own paint. I’ll do the work for cost you take your profit off of the job before I do if. But I said, “Don’t expect me to do a two-day job for one-day pay…That’s the way I started in the business. I was still making profit in his cost, turning it out fast. I was there for about three years.” This means that Oberbeck worked at Peltz & Carsen from about 1919 until 1922. This coincides with the first appearances of scenery produced by Acme Scenic Studios in the newspaper.

Of the name, Oberbeck recalled that the name ACME was suggested by his father-in-law because of its meaning: the top. As defined in the dictionary, acme is the point at which someone, or something, is the best, perfect, or most successful. Oberbeck aspired to be the acme of scenery. It was also a strategic choice as the name ACME Scenic Studio placed it first in any list or directory. The earliest mention of the studio that I have located to date is from 1922. On Nov. 28, 1922, “The Democratic Banner” of Mount Vernon, Ohio, reported that the stage settings for the three-act comedy “Hello Algy” were designed and painted by the Acme Artists Scenic Studio of Chicago (page 4).

By 1926, Service Studios sold out to ACME. That year, Oberbeck moved ACME Studios from 36 West Randolph Street to the Service Studios space at Van Buren and Sacramento Street (2919 W. Van Buren). Of the acquisition, Oberbeck explained, “I bought them out for $6,000.” He purchased the renovated stables from the old Jewel Tea Company. In 1920, Service Studios had invested $11,000 to renovate the old barn.

From an old ACME Scenic Studios sales book, showing previous ownership by Service Studios. Private Collection.

The 1920s were an incredibly successful time for Oberbeck and ACME, despite the decline in demand for painted scenery. On Aug. 22, 1926, the “Detroit Free Press” announced: “Acme Scenic Productions Specified in the New Michigan Theater.” The announcement continued, “It was only natural that in seeking the very best in equipment for the great new Michigan Theater, its sponsors should select Acme Scenic effects, found in many of the country’s largest theaters. All of Acme’s scenic work is personally supervised by a scenic artist of international reputation, and its productions are universally recognized to be quite without equals anywhere. Theater managers everywhere understand that scenic work entrusted to the Acme Studios will command their sincerest approbation and respect. We are equipped to handle the largest and the smallest contracts”  (page 87). The studio’s address was listed as 2919-23 W. Van Buren Street.

1926 advertisement.
Acme sales book showing a design for an interior setting.

Oberbeck recalled 1927 as the firm’s biggest year, completing $187,000 of work and gaining $54,000 in profits. That year his studio was also pictured on a page in the First Annual Scenic Artists Ball in Chicago. The entire ACME Scenic Studios staff was also listed: Acme’s scenic art department included Peter Darges, William A. Smart, Louis Huebner and Louis Zingarelli; the Fabric Department included Anna Klumpp, Fred Oberbeck, Mrs. Daniels, Mrs. Dillinger, and Nick Koffmann; the Carpenter Department included Herman Peltz Jr.; and the Office Staff included Mr. Bishop and Mr. Olsen. W. G. Sherfese, W. A. Anderson and Ann Silverstein.

Acme Scenic Studios Page in 1927 Souvenir Book for the Scenic Artists Ball in Chicago.

On April 8, 1928, the “Indianapolis Star” included an advertisement about ACME Studios, noting, “Handling the largest amount of scenic work in Chicago and the United States, the ACME Studios products must necessarily reflect quality and completeness. The advertisement added, “Startling effects in color, design and execution have been achieved by the Acme Scenic Studio on the stage dressings of the new Granada Theatre. You’ve perhaps heard of the Acme Scenic Studios before, because the quality of workmanship and thoroughness of detail have made an enviable name for the Acme Company. Handling the largest amount of scenic work in Chicago and the United States, the Acme Studios’ products must necessarily reflect quality and completeness. The scenic work don for the U. I. Theatre Circuit Inc., theatres is the best ever executed scenic company. The highest standard is maintained at Acme, both in coloring, tone and technique. All work is personally supervised by A. W. Oberbeck, himself a scenic artist of ability who has spent more than twenty years in the profession. The firm delivered ‘stage dressings’ for the new Granada Theatre of the U. I. Theatre Circuit, Inc.” The Acme Studios have been in existence in Chicago for many years, and the name is synonymous with quality scenery and draperies. They execute the stage scenery and draperies for the U. I. Theatre Circuit, Inc., and they furnish stage settings and draperies for numerous other large photoplay and legitimate theatres, such as Balaban & Katz, marks Bros., and others. The name of the Acme Studios has spread out over the entire United States, and theatre owners well know that their scenic and draper problems placed in the hands of the Acme Studios, will be highly satisfactory. Their new and most modernly equipped studio is located at 2919-23 West Van Buren, Chicago. Ill.” (page 74).

In 1972, Oberbeck shared a story with the audience at the Southwest Theatre Conference, noting that it would have probably been against the law at the time. This ties neatly into the tale of Leo A. Star, art director for Balaban & Katz, as well as previous Sosman & Landis employee No. 82.

Here is his tale…

Oberbeck was bidding out a project for the Oriental Theatre, competing against Becker Bros. and Eugene Cox. Each was provided with a list, and each submitted a price.  After some discussion behind closed doors, Leo A, Stahr came out and said, “Boys we want you to itemize all these items.” Oberbeck leaned over to Becker and said, “Ray, they’re going to pull something. If you want to stick with me, I won’t cut my price. I won’t itemize it. Because what you think is high, I may think is easy and go low, but as an average we come out the same.” Ray retorted, “We can’t do that, we’ll have to itemize.” And they did.

Oberbeck explained that Stahr took the cheapest item from each bid, effectively cutting the overall price in half. This would have been bad enough, but the stagehands had a good laugh and chided Oberbeck about it.  That was the mistake.

Oberbeck then held a meeting with Becker and Cox, proposing a new approach to all future bids. He said that these big jobs typically run $1000 to $3000 each and the Client would never miss $300. That amount would be split three ways, giving each $100. Oberbeck surmised that Acme,  Becker Bros., and Cox, each made $5,000 over the course of the next five years; the client never was the wiser.

Not commenting.

Oberbeck’s success, however, came at a cost, as he gradually withdrew from painting and solely focused on the management of the studio. At the end of his career, Oberbeck explained, “[there was] so much busines that I couldn’t work, I didn’t paint scenery for about 30-35 years. I had about seven of the best artists that I could get in the west. Just directing the thing.”

In 1930, the Oberbeck’s were living at 3435 Harding Ave. in Chicago. The Oberbeck household included Arthur (43 yrs.), Edna (41 yrs.), Arthur Jr. (18 yrs.) and Robert (10 yrs.). Despite an economic depression, ACME Studios plugged along. Not everything was rosy as the country struggled through the Great Depression. On June 14, 1930, the “Chicago Tribune” reported, “Bandits Trail Manager of Studio; Seize Pay Roll. Trailed from the Cosmopolitan State bank, Clark street and Chicago avenue, to the Acme Scenic studios, by two Negroes in a green sedan, R. H. Morrison, manager of the studios, was held up and robbed of an $841 pay roll as he alighted from his own car” (page 14).  

And this is where it gets a bit odd, there is a second set of Oberbecks in Missouri. Arthur W. and Edna Oberbeck are listed in the St. Louis Directory during the early 1930s. In 1932, Oberbeck is working for Goodwill Industries and living at 4404 N. 20th., The next year Art W. Oberbeck is working for Volunteers of American, now living at 3837 Washington Blvd. They remain in Missouri for the remainder of the decade. It is likely that their relocation had to do with aging parents and siblings. I realized that this was a different couple, when the obituary for Arthur W. Oberbeck’s father, Henry W. Oberbeck, was published in the “St. Louis Post-Dispatch” on May 30, 1937: “Henry W. Oberbeck of 4138 Pleasant St., entered into rest Sun., May 30, 1937, 8:15 a.m., beloved husband of Minnie Oberbeck (nee Brockfield), dear father of Arthur W. Oberbeck…” Art’s parents had passed away years ago.

By 1942, Art Oberbeck’s WWII draft card listed his home address as 2919 W. Van Buren; that was the ACME business address, not his home address. Oberbeck listed his employer as “Scenic Artist,” listing his place of employment as 2919 W. Van Buren. At the time, Oberbeck was described as 5’-7 ½”, 160 lbs., with gray hair and light complexion. I have uncovered very little about the Oberbeck’s during the 1930s and 1940s.

Thirty years later, Oberbeck explained he retired when they tore the studio down for the Eisenhower highway. He added that although his young son was interested in art there was no desire to take over the business. Therefore Oberbeck sold out and retired. On March 14, 1950, “The Pantagraph” of Bloomington, Illinois, reported, “Allyn Purchases Part of Stage Setting Firm. Oliver Allyn, 611 East Walnut street, said Monday he is one of four dramatic students who have purchased the Acme Studios in Chicago, a firm which makes stage sets. Mr. Allyn has attended Illinois Wesleyan university and the Goodman Dramatics school in Chicago. He is joining three other students of the Goodman school in the venture” (page 15). On May 4, 1950, the “Oak Park Leaves” announced, “CAL. NO. 9-50-Z. “I” Business District Applicant Acme Scenic Studio: Owner, Wm. H. Bromann; premises affected Southeast corner South Boulevard and Marion Street, Oak Park, Illinois, Subject; Application under the Zoning Ordinance to permit the first floor of premises to be used as display studio and workshop” (page 11).

Oberbeck only retired for twelve years. During that time, he moved to Canada, built a log cabin, and purchased a motor boat. I think that he quickly grew bored too. In 1952, at the age of 65 years old, he began flying airplanes and logged about 2600 hours in the air over the next nine years.

In the midst of retirement Oberbeck was contacted by Ray Becker. Becker had quit Becker Bros. moved south to Texas where he began working for Peter Wolf and Associates. Becker asked Oberbeck to paint for a few weeks on the summer musical.  For the next two years, Oberbeck painted scenery for 4 to 5 weeks every summer. Oberbeck was an immediate success and soon Wolf suggested that Art relocate Texas. That was he could work whenever he felt like it.

By 1964, Oberbeck was living in apt. 206, 1021 Knob Oak Dr. He remained at that address for the next several years.

On June 10, 1966, the “Fort Worth Star-Telegram” reported, “Retired 18 Years Ago. At 80, He’s Active Painting Scenery” (page 56). The article continued, “Peter Wolf said it: When Art Oberbeck quits painting stage scenery, it’ll be the end of an era. The Chicago native who will be 80 years old Feb. 14, 1967, ‘retired’ from the stage designing business 18 years ago.

But to a man of Oberbecks vitality, ‘retirement’ is a dirty word. Staying active as a scenic artist is his way of ‘keeping alive:”

“It keeps me active and in pretty good health,” he said recently in Dallas, setting aside for a moment his paint brush and characteristic cigar for a Star-Telegram interview. Oberbeck who took up flying at the age of 65, is the most respected employee of Peter Wolf Associates, Inc. He was one of many Wolf employees who helped put together Fort Worth’s Heritage Hall, the ‘Living Museum of the Old West.”

Oberbeck has been in the set designing business more than 40 years when he ‘retired.’

After retiring, he came to Dallas for three consecutive summers to work as scenic artist for the State Fair Musicals. About four years ago, Wolf asked Oberbeck to consider settling in Dallas and working for Wolf. The veteran craftsman didn’t have to think it over for too long before taking Wolf up on his offer.

When you’ve been in the business as long as Oberbeck, to stop working is to stop living. The scenery paint gets into your blood.

In one instance, it has proven hereditary, you might say:

One of Oberbeck’s two sons – Robert, 47 – is a scenic designed for the movie industry in Hollywood, where he was associated with Metro Goldwyn – Mayer Studios for a long time, his father said.

The other son – Maj. Gen Arthur W. Oberbeck, Jr., 53 – held on graduation from West Point in 1937 a grade average second only to that of Douglas MacArthur, who achieved the highest in academy history. General Oberbeck, who now resides in Paris, France, is three years away from retirement, his father noted.

Wolf thinks highly of his eldest employee: “He has a real sharp mind. He’s a valuable asset to us.”

How much of an asset can be demonstrated by the lengths to which Wolf has gone to make working comfortable for the elder-statesman scenic artist:

Most scenery painting is done, because of the huge size of backdrops to be painted in a kneeling or bending-over position with the canvas on the floor.

A bad back, however, won’t allow Oberbeck to bend as other scenic artists do.

So Wolf built for Oberbeck a sort of mobile scaffold that moves back and forth, up and down, so the veteran artist can reach an ‘hidden corner of the upright backdrop.”

Younger men in the craft conceded there is little Oberbeck hasn’t learned in more than half century of scenery painting. At one time, he handled all the work for Balaban & Katz theaters in Chicago.

“But at 62 I didn’t care to re-establish in another location,” he said,” so I retired.” He built a log cabin in Canada so he could hunt and fish more easily.

Through a friend who owned a lodge in Canada, Oberbeck met a Chicago flying instructor who invited him to take a plane ride.

Oberbeck, looking the instructor squarely in the eye said, “Give me a lesson.”

After 4 ½ hours of instruction, he made his first solo flight – at the age of 65.

“I’ve driven a car over 55 years and I feel safer in my plane,” said Oberbeck.

He noted that a flyer has to have a physical every two years.

“My doctor told me I’ll be flying when I’m 90.” Oberbeck said with a grin.

And painting backdrops, hopes Wolf” (page 56).

1966 article about Art Oberbeck.

In his 1972 speech, Oberbeck credited Wolf as the “most wonderful man that ever lived.” Oberbeck’s adoration for Wolf should be of little surprise: Wolf gave Oberbeck purpose again.

Oberbeck passed away on Dec. 24, 1978, in Dallas, Texas, yet his legacy lived on.

Examples of Oberbeck’s scenic art were shared by designer George L. Pettit, in a booklet entitled “Art Oberbeck, Samples of the Art of Scene Painting.” The small twenty-one-page handout was published by Cortec Corrugated Cardboard Technology for the Theatre, It included twenty-one examples of scenic art techniques, painted by Oberbeck on 3’x3’ squares of heavy-weight muslin. The caption below each scenic art example on the following pages included a picture of Pettit showing him holding the samples alongside the caption: “I acquired them in the bankruptcy sale around 1978. At the time, Art was in his later 80’s or early 90’s.

The cover page depicted a tree trunk painted by Oberbeck with the caption, “Art painted these 3’x3’ examples on heavy muslin while working at Peter Wolf Associates, Dallas, TX, in the 1970s. Painted for the USITT conference in Dallas [1971], they were painted on a vertical paint frame when he was, I believe, in his late 80s.”

Booklet with samples of Art Oberbeck’s painting.
First page in booklet with Oberbeck’s work.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 71 – John Hanny

Copyright © 2022 by Wendy Waszut-Barrett

John Hanny was a scenic artist at Sosman & Landis from 1906 until 1919. In 1920, Hanny and four other former Sosman & Landis employees formed Service Studios. Before his passing in 1984, Hanny shared some of his memories about Sosman & Landis with Dr. John R. Rothgeb, a professor at the University of Texas, Austin. The University considers Dr. Rothgeb a founding faculty member of the scene design program at the University of Texas Department of Theatre and Dance. He was also an inaugural member of U.S.I.T.T. (United States Institute for Theatre Technology). Unfortunately, Dr. Rothgeb passed away on Dec. 3, 1986, and never had the opportunity to share his conversations or written correspondence with Hanny. Much of his research formed the John R. Rothgeb papers in the Harry Ransom Center.

I planned a visit to the Harry Ransom center during the fall of 2016. On October 27, I slowly sifted through materials sent from John Hanny in the late 1970s and early 1980s. One letter penned by Hanny on October 8, 1979, was in response to a request for a biography. Although Hanny wrote many letters and sent a variety of materials, this one was special. I am including as much of Hanny’s original letter when possible, filling out his details along the way. I want to honor Hanny’s legacy as best I can. After all, I feel like he left a trail of bread crumbs about Sosman & Landis for me to follow;  it’s the least that I can do. I’ll start with the opening paragraph of the five-page letter:

“Dear John,

Thank you for being so patient! Your request for a bit of biography surprised and stunned me. My first thought was – what can I contribute to a biography? That only applies to someone of distinction, etc. However on second thought it is only a record of one’s activities, life style, saint or sinner, accomplishments, if any, important or not. With this thought in mind I will submit the following facts. If there is anything of merit you can use, please feel free to do so. On separate sheets I have listed the variety of work in which I have been involved – but handled by contractors.”

At the bottom of the first page, Hanny wrote, “I like music – especially orchestral. I like painting both oils and water colors. I enjoy subtle humor, good mystery stories and western movies. I enjoy good friends.” Dr. Rothgeb had become a friend. The two visited in person, by telephone and written correspondence until Hanny’s passing in 1984.

Of his personal life, Hanny wrote very little, but his story started:

“1890  Place and date of birth – Fort Madison, Iowa, Dec. 31, 1890.”

Hanny left a gap from his birth until 1906, when he was 16 yrs. old and started at Sosman & Landis.  To date, I have located dozens of genealogical records about his relatives, all littered with misspellings and incorrect dates. Hopefully this post will help several family trees connect with one another. His family history needs to be posted somewhere, especially as he left this world without any direct descendants to tell his story.

As with past biographies, I am going to start with Hanny’s family history and early life, sharing the stories of his parents and grandparents. This information helps set the stage for Hanny’s later life and career.

John Hanny was the only son of William Rudolph Hanny (1861-1900) and Catharine Reichert (1867-1964). Both William Rudolph Hanny and his father, Heinrich Rudolph Hanny, went by their middle name – Rudolph. I am going to start with John Hanny’s grandfather, Heinrich Rudolph Hanny, a German immigrant who came to America at the age of 20. Heinrich was born in Karlsruhe, Baden, Deutschland, in 1834. After emigrating to the United States in 1854 he married Philomena Willem (1840-1868) on June 8, 1857 at St. John’s Church in Burlington, Iowa (This is the Church of St. John the Baptist Catholic Church). Much of the following information was taken from the Willem family bible as submitted to ancestry.com by a descendant. However, everything they entered correlates with other historic records. Philomena’s parents were listed as Ignatius Fay Willem (1792-1875) and Marianna Dietrich (1798-1878). Her parents and many siblings were born in Alsace, France. In later census reports, Philomena’s birthplace was also listed as France. Keep in mind that the areas of Alsace and Lorraine are on the French/German border, and depending upon the decade census reports reflect whether individuals listed their birthplace as France or Germany.

It remains unclear as to when the Willem’s family emigrated to the United States, but it was during the 1840s. Philomena’s older brother, Matthias Willem, was the first to arrive in Iowa, approximately 1844. The rest of the Willem family followed five years later in 1849. The 1856 Iowa State census listed all of the Willem’s living at the home of Matthias Willem (1829-1901), who was employed at a “bar house” in Burlington, a profession that her husband (William Rudolph Hanny) would also go into. At the time, Philomena was 16 yrs. old; she would marry William Rudolph Hanny the following year.

In 1858, the William Rudolph and Philomena Hanny celebrated the birth of their first child, Mary A. Hanny in Burlington. Mary A. was named after her maternal grandmother, Mary A Willem. The young couple remained in the Burlington area for at least two years. The 1860 Census reported the couple living in Burlington, Iowa, with their 2 yrs. old daughter Mary.  At the time, Heinrich listed as a saloon keeper.

Sometime between 1860 and 1861, the Hannys moved from Burlington, Iowa, to Beardstown, Illinois, where they celebrated the birth of their second child, William “Rudolph” Hanny (John Hanny’s father). Then there is seven-year gap where I have yet to discover the family’s whereabouts. Philomena passed away on May 9, 1868, and was buried at St. John the Baptist Church in Burlington on May 11, possibly in or near the Willem family plot. She was only 28 years old at the time, leaving a 10-yrs.-old daughter and 7 yrs. old son. It is very likely that the Hanny’s returned to Burlington, where the extended Willem family helped care for the children.

Mary A. Hanny was married in Burlington, Iowa. On Feb. 6, 1877, she married John Herman Ebbesmeier at St. John the Baptist Church in Burlington. By 1880 Mary and her husband were living in West Point, Lee County, Iowa, where Ebbesmeier worked as a section boss for the railroad. By 1885, the Iowa State Census listed Rudolph Hanny living with the Ebbesmeiers at 6th street in Fort Madison, Iowa. They were all living in the home Catherine Ebbesmeier. The household also included Herman and Mary’s children: Kate Ebbesmeier (5), William Ebbesmeier (3) and Philomena Ebbesmeier (1).

[Cyanotype by Henry P. Bosse, 1885. The J. Paul Getty Museum. Here is the link to the image: https://www.getty.edu/art/collection/objects/164570/henry-p-bosse-fort-madison-iowa-american-1885/

By 1889, William Rudolph was living on his own and had moved to Quincy, Illinois. There he boarded at Fletcher’s Tremont House and worked in the saloon next door, known as “The Cabinet.”  The Cabinet was two years old, having first had opened in 1887. On Dec. 13, 1887, “The News” reported, “Messrs. E. G. Bauer & Co. opened their new place, ‘The Cabinet,’ to-day, on Hampshire street. One door east of the Tremont House. It is one of the most handsomely fitted up places in the city and they are popular with all. Stop this. Evening and see their new place” (page 4). By 1891, the Quincy Directory listed “Rudolph Hanny” as the proprietor of The Cabinet Sample Room, and living at 210 N. 4th Street.

1889 Picture of Fletcher’s Tremont House. Here is the link: http://www.idaillinois.org/digital/collection/qpl/id/620/rec/4


Here is link to photograph of Tremont Hotel: http://www.idaillinois.org/digital/collection/qpl/id/621/rec/5

Between his arrival in Quincy and his lease of The Cabinet, William “Rudolph” Hanny married Catherine “Kate” Reichert. The two celebrated the birth of John Hanny on Dec. 31, 1890. However, John was not born in Quincy, he was born in Fort Madison, Iowa, that year; likely at the Ebbesmeier’s home. For geographical context, Fort Madison was just up the Mississippi River from Quincy.

John’s maternal family, the Reicherts, were living in Beardstown, Illinois; the same town where William Rudolph Hanny was born and buried. Kate Hanny’s parents were Fred J. Reichert (1836-1924) and Catherine Anna Derohn/Rohn (1840-1911). The Reichert’s haled from Darmstadt, Germany; a city near Frankfurt. Her father emigrated to the United States as a young man, between 1852-1854. Her mother emigrated to the United States in 1841 as an infant. Her parents were married in Cass County, Illinois, on April 4, 1860, and farmed near Beardstown. Kate was named after her mother, and one of seven children born to the couple. Her siblings were Mary A. Reichert, Louisa H. Reichert, Anna M. Reichert, Matilda “Tillie” Reichert, Fred Reichert and Nellie Reichert.

Life was looking good in 1891 for the Hanny’s as they settled into life along the Mississippi. Rudolph was elected Financial Secretary of the Quincy Liquor Dealers’ Association and began planning for Quincy to host annual meeting of the Illinois State Liquor Dealers’ Protective association. The convention, planned for the summer of 1892” was anticipated to bring over 1,000 members to Quincy for 4-5 days.”

Business was looking up, and on July 24, 1892, the “Quincy Daily Herald” reported, “Harry Pool has accepted a position with Rudolph Hanny, at the Cabinet” (page 5).

At the beginning of 1893, the “Quincy Daily Herald” announced that Rudolph was elected financial secretary for Saloon Keepers Protective and Benevolent association (Feb 4, 1893, page 5). 

Then tragedy struck when his sister became gravely ill. On March 31, 1893, the “Quincy Daily Herald” reported, “Rudolph Hanny left for Rock Island on Wednesday on telegraph information that his sister was not expected to live” (page 5). On April 14, 1893, the “Quincy Daily Herald”
 reported, “Mrs. Rudolph Hanny is expected sometime to-day or to-morrow, accompanied by her husband’s sister, Mrs., Ebbesmeier, who has been seriously sick. She is recovering and will convalesce in Quincy.” (page 5). A few days later the two arrived in Quincy. On April 19, 1893, the “Quincy Daily Journal” reported, “Mrs. Rudolph Hanny and her sister-in-law, Mrs. Ebbesmeier, arrived from Ft. Madison last evening. Mrs. Ebbesmeier has been very sick and still is weak, but with change of scene down here will doubtless soon pick up and be herself again” (page 4). This was Mary A. Hanny Ebbesmeier (1858-1893). [ancestry.com shows that a Catherine “Katie” Ebbesmeier was the daughter of John Herman Ebbesmeier (1854-?)and Mary A. Hanny (1858-1893). In 1880 she was living in West Point, Lee, Iowa and her brother William Rudolph Ebbesmeier (1882-1967) was born in West Point two years later; Katie Ebbesmeier (daughter, Rudolph’s niece) lived in Ft. Madison in 1895; Katie lived in Burlington, Iowa in 1897 where she passed away on Jan. 18.

Mary A. Ebbesmeier died on April 29, 1893.

On April 30, 1893, the “Quincy Daily Herald” reported:

“MORTUARY.

Several Deaths Reported in the City Yesterday.

Mary A., wife of Herman Ebbesmeier, of Fort Madison, died at the home of her brother, Mr. Rudolph Hanny, No. 715 North Seventh street, at 1 o’clock yesterday morning of consumption, after an illness of fifteen weeks. She was born at Burlington and there spent her girlhood days and the days of her young womanhood and married Mr. Ebbesmeier. Afterwards, she removed with her husband to Fort Madison, and that city was her home until three weeks ago, when she came to Quincy in hope that at the home of her only brother, she might find improvement of health. At her death she was 35 years and 1 month of age and leaves besides her husband five bright children to mourn the loss of the best of wives and dearest of mothers. The children are Katie, William, Philomena, Joseph and John. Her mother’s sister, Mrs. C. Work, of Burlington, has been here during Mrs. Ebbesmeier’s sickness attending her. Those who knew her here and her friends at Burlington and Fort Madison sincerely mourn the death of this estimable lady.” (page 2). Mary was buried at Saint Boniface Cemetery in Quincy, Adams County, Illinois.

By that fall, an announcement in the “Quincy Daily Herald” on Sept. 16, 1893, gave a little more background about Rudolph’s youth in Fort Madison. “Frank Helling, the leading grocer and saloon keeper of Ft. Madison, was here yesterday, visiting his friend Rudolph Hanny. Sixteen years ago Hanny and Helling, boys then, clerked together in the store of Helling’s uncle and they have been fast friends ever since” (page 5).

Rudolph’s father had worked as a successful saloon keeper. Rudolph’s close friend Frank Helling worked as a saloon keeper. The luck did not last for Rudolph in Quincy. On March 17, 1894, the “Quincy Daily Herald” reported, “The Cabinet Closes. The Saloon shut tight under a mortgage for $739. Late yesterday afternoon Mrs. Mary Hagenbuch, mother of Will Hagenbuch, the cigarmaker, closed Rudolph Hanny’s Cabinet Saloon, 517 Hampshire, foreclosing a mortgage on the fixtures for $732.90. The Wahl Brewing Co. have an attachment against stock for $610, but neither they nor Mrs. Hagenbuch will realize the value of their claims” (page 4). On March 28, 1894, the “Quincy Morning Whig” announced, “Sold at Auction. The stock and fixtures of the Cabinet saloon, located just east of the Tremont house, was sold at auction yesterday under a chattel mortgage given by Rudolph Hanny to Mary A. Hangenbruch [sic.]. The outfit was sold to John Ryan on his bid of $725.” (page 3). Two weeks later Rudolph resigned as the financial secretary of the Saloonkeeper’s Association. By November of 1894, Rudolph was sued by Wahl Brewing Co. and lost.

By 1897, the Hanny Family relocated to Chicago where Rudolph was listed as a painter in the City Directory, living  at 170 Townsend. In 1898, Rudolph was listed as a trunk maker, now living at 405 N. Wells. He would remain at this address until 1900. That year, the census listed that the Hanny’s were living at the same address on Wells. Their household included Tillie Schukraft (b. 1869), Louise Schukraft (b. 1899), Nellie Sage (25, b. 1874) and Henry Dackerman (30, b. 1870).  Nellie Sage was actually Nellie Reichert Sage (later Nellie Duker), Kate’s youngest sister.

“Tillie” Schukraft was actually Mathilda Reichert Schukraft, Catharine Reichert Hanny’s sister. Both Tillie and Nellie worked at a laundry while their sister Kate watched the kids at home. She was recently married when the census was taken, having married John F. Schukraft on June 15, 1900. Tillie had met the Schukrafts in Quincy, before she moved to Springfield, and later Chicago. On Aug. 22, 1894, the “Quincy  Daily Herald,” reported “A surprise and farewell party was given in honor of Miss Tillie Reichert at the residence of H. G. Schukraft [sic. this is John G. Schukraft, her future father-in-law], 615 Oak street, last evening…Miss Reichert leaves for Springfield in a few days to accept the position of a forelady in a laundry. She has been a resident of Quincy for two years and has become a very popular lady” (page 1). On June 15, 1898, Mathilda “Tillie” Reichert (1869-1943) married John F. Schukraft (1869-1908) in the church study at Holy Trinity Evangelical Church in Chicago; they were issued a marriage license on the same day (The Inter Ocean, 16 June, 1898, page 10). They two had already celebrated the birth of their daughter Louise in March 1899.

This was the living situation in 1900 when John Hanny’s father passed away. He was attending school and living with his two aunts, a young cousin, and a boarder. His parents had been married for ten years and he was nine years old. Withing then next six years his life would drastically change, yet he would continue living in Chicago. His mother remarried, his step father adopted him, and he begin working at Sosman & Landis as a paint boy. On Jan. 10, 1905, Kate Hanny married John Roedder in Chicago. Like the rest of Hanny’s family, Roedder was a German who emigrated to the United States (1881).  Roedeer was a shoe salesman.

In Hanny’s 1979 letter to Dr. Rothgeb, he wrote:

“1906. Hired by Tom Moses (Sosman & Landis – age 16 years at $6 a week. Attended night classes Art Institute two nights a week under Albert Fleury.” Hanny was following the pattern as most of the boys who worked at Sosman & Landis. When he wasn’t working in the studio, he was taking art classes or going on sketching trips; anything to improve his skill set.Albert François Fleury was a French emigrant from Le Havre who settled in Chicago by 1888 where he was commissioned  to decorate Chicago’s new Auditorium Building. By 1907, Fleury was one of the founders to establish the Chicago Water Color Club. There is a lovely post about Fleury at Chicagology (https://chicagology.com/goldenage/albertfleury/). It includes an article written by Fleury for “Brush and Pencil,” Vol. 6, No. 6 (September 1900) and an article written about Fleury by Maude I. G. Oliver. By the way, I have written about Oliver in the past, here is a link to my post: https://drypigment.net2020/01/01/tales-from-a-scenic-artist-and-scholar-part-888-palette-chisel-club-1914/

In 1904, Oliver wrote, “It is with unusual pride that Chicago alludes to her resident French artist, Mr. Albert Fleury, who finds his inspiration in the city’s apparent ugliness, and who, through the medium of an exceptionally sensitive touch, has happily recorded beauties and even poetry itself, which native artists have failed to discover. Mr. Fleury is preeminently the painter of Chicago; but it is Chicago idealized which animates his brush. He knows just how to appropriate a telling composition from amongst some bits of smoke begrimed architecture or mud-besmeared streets, to select an effective arrangement of an imposing- looking warehouse, held as a firm, skillful note in juxtaposition with the proverbially “dirty Chicago River.” The commercial life of the river, showing its airy drawbridges, its solid embankments, its busy little tugboats, together with its groups of sailing craft, enhanced, as they are, by the commanding dignity of their fine old masts, is a favorite theme for this appreciative artist. He loves also to employ the material of a crowded thoroughfare, depicting its surging, teeming, metropolitan spirit by well- considered masses of restless humanity, cleverly balanced by the unique feature of the notorious Chicago ‘skyscraper.’”




Screen shot from Chicagology. Here is the link: (https://chicagology.com/goldenage/albertfleury/).

John Hanny could not have picked a better individual to study with, especially one who was so well connected with the scene painters in Chicago. By 1910, he was still living with his mother and step-father. The 1910 census listed Hanny as a scenic artist working on his own account, boarding with John Roedder and Catherine Hanny Roedder.  In his 1979 letter to Dr. Rothgeb, Hanny wrote:

“1912. In six years my salary increased from $6 a week to Journeyman pay – $35. Came up the line by painting tormentors and grand drapery borders, AD curtains – lettering excepted, surroundings for Front Curtains, Streets, and Olios, etc. Later completed Front Curtains surroundings and picture – figures excepted.” For a little financial perspective, $6 in 1906 is the monetary equivalent of $185 in 2022. $35 in 1912 is the monetary equivalent of approximately $1000 in 2022.  This is a substantial pay increase for a young man, providing the much-needed discretionary income for artistic study.

Although Hanny continued to work at Sosman & Landis, he also began picking up work at other studios. By 1917, he listed Peltz-Carsen as his employer on his WWI Draft Registration card.  At the time, Peltz-Carsen was located at 1507 N. Clark Street in Chicago, with Hanny was living at 920 Buena Ave. I have written about Herman M. Peltz and Robert Carsen in the past; here is a link to one of the posts: https://drypigment.net2020/05/31/tales-from-a-scenic-artist-and-scholar-part-1007-peltz-and-carsen-studio-1918/

In 1918, Sosman & Landis subcontracted some construction work for frames to Peltz and Carsen Studio. It would make sense that Peltz and Carsen, in turn, hired some of the scenic artists at Sosman & Landis for other projects. Hanny was also working for David H. Hunt, head of Sosman & Landis’ eastern affiliate New York Studios. My guess is that Hanny’s work outside fueled any dissatisfaction that he had with Sosman & Landis at the time. There was trouble brewing at Sosman & Landis, with many of the employees not particularly happy with their work situation. Troubles began when Thomas G. Moses resigned as President of Sosman & Landis to work for New York Studios during the fall of 1918.  He wrote, “September 1st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service.  I joined the New York Studios and expect to get a studio and an office to do business.”  This must have signaled the end for his fellow scenic artists at the firm.

Advertisement from “The Player,” Feb. 23, 1912.

In 1919, Moses wrote, “We have lost John Hanny and Otto Schroeder, our two best men.  They do not want to stay with Hunt.  He is such an awful fault finder.”

The 1920 Census listed John Hanny as still living with his parents, noted as the adopted son of John Roedder. They were still living on Buena Ave. Roedder was listed as a commercial salesman in the shoe industry, and Hanny as an artist in the scenic studio industry. However, on Jan. 16, 1920, John married Ella May Tillou (1891-1958) in Chicago. He began a new life and started a new business the same year.

In Hanny’s 1979 letter to Dr. Rothgeb, Hanny wrote:

“I stayed with Sosman & Landis until 1920 when four other men and myself decided to go it on our own and formed Service Studios. We remolded – with borrowed money, a Jewel Tea Co. barn of 18 horse stalls into a Studio of five 24’x48’ – and one 24’ x 38’ paint frames, plus floor space of 50’x50’- This was the best equipped studio in Chicago – Sosman & Landis excepted. We rented several frames to Hoylund and Lemle company on which to paint their Ad curtains.

Back of a rendering showing John Hanny Stamp and Service Studios stamp.
Back of photograph in sales book, showing both Service Studios and Acme Studios stamps. Private Collection.

Service Studios was initially located at the corner of State and 20th street in Chicago in a building that was previously known as the Marshall Field Store. The firm soon moved to 2919 W. Van Buren and set up an impressive space after when the Marshall Field estate sold the building. On June 26, 1921, the “Chicago Tribune” reported: “Old Time Marshall Field Store Building is Sold. The Marshall Field estate has sold the southwest corner of State and 20th. 155×120, to L. R. Warshawsky, for $75,000. After the Chicago Fire Marshal Field & Co., then Field, Leiter & Co., used part of the property for their retail store for some time. Later they used it for wholesale purposes. It is now used for a scenic studio by the Chicago Service Studios. The property is improved with a four story building contains eight stores and eighteen flats with a two story building on the rear. Mr. Warshawsky intends to make extensive alterations and will use a portion for his automobile accessory business. S. C. Iverson of Hubbard, Porter & Brother, represented both parties” (June 26, 1921, page 26). The scenic studio in the old Marshall Field Store, must have been a temporary situation as the new studio was prepared in 1920.

In 1924, the Hoyland-Lemle business address was listed as 6751 Sheridan Road in Chicago, the address as William Lemle’s residence (certified List of Domestic and Foreign Corporations for the year 1924). Hoyland and Lemle would continue to rent frames after Service Studios closed in 1926.

In his 1979 letter to Dr. Rothgeb, Hanny wrote:

“When we sold out to Art Oberbeck in 1926, he agreed to continue renting frames to Hoylund & Lemle Co. I mention this because after my trip to Oklahoma City – my record show that I was on the Hoylund-Lemle staff as third man 48 weeks during the following two years when extra help was needed.” By 1926, the demand for painted scenery was beginning to wane and the firm was struggling. Service Studios sold out to Art Oberbeck of ACME Studios. Oberbeck had also started as a young artist at Sosman & Landis, two years before Hanny in 1904. In 1926 Oberbeck moved ACME Studios from 36 West Randolph Street to the Service Studios at Van Buren and Sacramento Street (2919 W. Van Buren).

Hanny had gone to work for Oklahoma City Scenic Co. after selling Service Studios. Aldo known as Oklahoma Scenic Co., the firm had been around for quite some time. Already in 1903,the firm was being managed by a Mr. Patterson, who was also construction theaters for the Southwestern Circuit (Daily Democrat, Anadarko, OK, 7 Feb 1903, page 4). Times were changing and scenic artists began to scramble for work by the mid-1920s. Of this change, Hanny wrote, “About this time it was becoming evident that scene painting, as such, was on its way out. Almost every artist automatically was becoming a free lancer, picking up odd jobs perhaps a day or two here and there – “touch ups” and the like.”

In an undated letter to Dr. Rothgeb, Hanny wrote:

“After the Depression of 1929 which lasted about five years, conditions were extremely bad. Studios disappeared, many artists had to find other kinds of jobs. I was not spared in this but was very fortunate to get on staff of the Ravinia Park Grand Opera. They put operas during the summer month with stars form the New York Metropolitan Opera Company. During the summers of 1928-29-30-31 I put in some 50 weeks. With open time on my hands I became interested in oil painting. I joined a sketch class led by Mr. Frank Peyraud and also took some private instruction from him from time to time. Mr. Peyraud was referred to as the Dean of Landscape painters of Illinois and as lived near Ravinia Park and got much of his subject materials in and around Skokie he took his classes there to sketch. Skokie was at that that time natural open country and beautiful trees.”

[I have written about Frank C. Peyraud quite a bit; he was Sosman & Landis Employee No. 11. Here is the link to my post about him: https://drypigment.net2021/04/08/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-11-frank-c-peyraud/ ]

Frank Peyraud in 1946. Here is the link to the image: https://paletteandchisel.wordpress.com/2012/02/03/frank-peyraud-1858-1948/

In an undated later letter written to John Rothgeb, Hanny wrote, “The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musicals, etc., if any, were being produced in New York and Hollywood. At this point all of the studios disappeared but the scene painters just couldn’t disappear and had to become free lancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay. Most of the following years were really tough and 1929 proved to be a big change in our business. In purpose, in design, paint and other materials.” The 1930 Census listed John and Ella Hanny living at 901 Cornelia in Chicago. He listed his occupation as a scenic artist in the “Scenery” industry. Ella was still working for the telephone company.

As with many scenic artists at this time, the poured a lot of energy into their easel art. By the mid-1930s, Hanny was associated with several fine art groups and exhibiting throughout the area. In 1936, Hanny exhibited an oil painting with the Business Men’s Art Club of Chicago. On Feb, 27, 1936, the “Chicago Tribune” reported, “’Late Summer,’ by John Hanny is rich in color with a suggestion of Peyraud in its composition and quality” (page 15). At another Business Men’s Art Club event entitled the “Art for Art’s Sake Exhibition” Hanny’s “At Ease” was mentioned as a picture of merit (“Chicago Tribune,” 10 Mar 1937, page 19). That same year, Hanny’s oil painting “Drying the Nets” was featured at the third formal opening and tea of Northwest Art League, Inc. The exhibition was held at the Edgewater Beach Hotel (“Chicago Tribune,” 21 Nov 1937, page 32).

For some, their financial situation improved as the economy slowly crept back. In an undated letter to Dr. Rothgeb, Hanny wrote:

“As the economy improved – work was to be had on industrial exhibits, Home shows and Auto shows, etc. These were contracted for by such firms as Bromels Detroit, Dramaturgy Cleveland, Wildings Chicago and a few others. These were not scenic studios but rather combinations of carpenters and machine shops equipped to turn out booths, revolving turn tables, electrical effects and so on. The biggest change to us painters was our paints, Luminal Casein was pretty well established as a very practical and useful medium so, it, and show card color was the norm. So – no more ‘dry’ colors – no more soup bowls or hot size and of course no more paint frames. Drops, if any, were painted on the floor. The house painter’s sash brushes came into use and many of the former ‘tools’ such as snappers, and center-poles and others were no longer needed. The folding 2 ft. brass bound rule gave way to the yards stick.”

Just as life began to improve for the Hanny family, another disaster struck. Hanny’s step-father passed away at the beginning of 1938, three days shy of his thirty-third wedding anniversary. Roedder’s  obituary published in the “Chicago Tribune” on Jan. 8, 1938, announced, “ROEDDER – John Roedder, Jan. 7, of 3000 Sheridan road, beloved husband of Kate, father of John. Services at Rosehill chapel Monday at 2:30 p.m. Remains at chapel, 3419 N. Clark street”  (page 14). Hanny’s mother, Kate Reichert Hanny Roedder, went to love with her sister Louis Reichert Thomas at North Sheridan Rd, In Chicago. His mother would live for another two decades.

Hanny continued to work in his easel art between scenic jobs. On May 5, 1940, the “Chicago Tribune” reported, “Nine north side artists are among those exhibiting this month at the Club Women’s Bureau at Mandel Brother’s department store”; Hanny was one of them (page 126). He also began to share his artistic knowledge with other aspiring fine artists.

On June 2, 1940, the “Chicago Tribune” reported, “North Shore Art Guild. Members will meet at 1:15 o’clock this afternoon in the Webster hotel, 2159 Lincoln Park West. John Hanny, artist, will demonstrate the art of landscape painting” (page 37). 

By the fall of 1940, Hanny was finally beginning to win awards and advance in fine art organizations. On Nov. 20, 1940, the “Chicago Tribune” reported, “The gold medal for the best work in oil was given to ‘Wet Snow, Michigan Avenue,’ by John Hanny” at The All-Illinois Society of the Fine Arts exhibit in the Stevens Hotel. That same year, Hanny was listed as the second vice president of the North Shore Art Guild in 1940 (“Chicago Tribune,” 8 Dec 1940, page 120). The next year he was the first president of the Guild (“Chicago Tribune,” 2 Nov. 1941, page 21).

In 1941, Hanny exhibited with the “Spare Time Painters Open Loop Exhibit.”  On March 16, 1941, the “Chicago Tribune” described the group as “A little cluster of men who’d rather spend spare time setting down tranquil sunsets, smiling faces, and the vibrant sea on canvas than playing poker, golfing, or gulping highballs had their big day yesterday, Fourteen of them, members of the Business Men’s Art club, opened an exhibit in the club of women’s bureau at Mandel Brothers of water colors and oils which they created after office hours” (page 21). The article noted that John Hanny was a scenic designer.

Hanny’s WWII Draft Registration Card from 1942 listed his address as 901 Cornelia, Chicago, Illinois.  His mother, Mrs. Kate Roedder of 2550 Leland, Chicago, was listed as the person who would always know where he lived. Odd that he did not list his wife Ella.

During the war, Hanny continued to exhibit his easel art. On April 25, 1943, the “Chicago Tribune” mentioned Hanny as one of the artists whose work was exhibited with the North Shore Art guild in the club women’s bureau: “A clever work is seen in ‘Victory Tableau’ by John Hanny” (page 67). In addition to fine art, Hanny made a name for himself as a mural painter in the region. In 1947, Hanny painted the murals in the new Terrace Roo of the Italian Village, designed by George Bonaguide, in Madison, Wisconsin (Wisconsin State Journal, 24 Jan. 1947, page 8). John Hanny was described as a “well-known mural painter” who “came from Chicago to do the walls.” Hanny painted a series of Italian murals. The article described, “At one end is a panorama of the city of Florence, while on the sides are views of the Villa Carlotta at Lago di Como, Pallanza from Isola Bella Lago Maggiore, and the front entrance to the Pallanza.” For historical context, The Italian Village restaurant was started in 1947 at 651 State St. by Mateo Lombardino, who immigrated from Sicily in 1921. When Dean Martin and Frank Sinatra would perform in Madison, they often ate at Italian Village, as did other well-known singers such as Vic Damone and Liza Minnelli. Here is a fun article about the restaurant:

After the war ended, Hanny became associated with the Amphitheatre of Louisville, Kentucky, where he worked with Technical Director Rollo Wayne. On July 8, 1949, “The Courier-Journal” of Louisville, mentioned Hanny’s work at the Amphitheatre in Louisville (page 54). It reported, “One of his crew is painter John Hanny who worked on the original “Song of Norway” set in Los Angeles. Hanny explained that ‘Norway’ was one of four productions put out every spring by the Curan studio, playing for two weeks in San Francisco and two weeks in Los Angeles, “Nobody had any idea we had such a terrific hit on our hands at that time,” Hanny said, over a table of paint cans at the Stanford studio-hangar yesterday. “But Lee Schubert came out to California and took the show to New York. Then it really made history. Handy said that the Louisville sets resemble quite closely the Hollywood originals. He has been an Amphitheatre painter for the past four seasons. He was working with technical director Rollo Wayne. The article noted, “Wayne used the first revolving stage ever seen in America when in 1926 he designed sets for Lee Schubert’s “Pinafore”. At the Amphitheatre, Wayne uses revolving stages which he explains, “give a chance for greater originality and speed up scene shifts.”

Hanny remained with the venue for quite some time. In 1955, Hanny was the scene designer for the Louisville Park Theatrical Association’s production of “South Pacific” at the Iroquois Amphitheatre in Louisville (Courier-Journal, 9 Aug 1955, page 15). On June 19, 1955, Hanny was mentioned in an article about the scenery for the Amphitheatre published in Louisville’s “Courier-Journal.” The article was entitled “Green Does Scenery Job,” with Hanny being  noted as the scenic artist who “creates the design of the whole structure.” Dexter Green was also noted as having been associated with the Amphitheatre since 1838 – “In fact, scenery has been the trade of the Green family since 1887. The business has been handed down over the years and has become the special profession of Dexter Green, local craftsman who resides at 731 Harrison Ave, Clarksville, Ind.” I only included this information about Rollo Peters and Dexter Green, as hopefully this will assist someone else’s research. Many of Hanny’s sketches, technical drawings, and photographs from his Amphitheatre days are now part of the John Rothgeb papers at the Harry Ransom Center, University of Texas, Austin. Hanny sent a variety of his work to Rothgeb before his passing in 1984.

Some of John Hanny’s work in the Rothgeb Papers at the Harry Ransom Center.

By 1958, Hanny suffered the loss of his wife. On March 18, 1958, the “Chicago Tribune” published Ella’s obituary: “HANNY – Ella May Hanny, 901 Cornelia avenue, March 16, 1958, beloved wife of John Hanny; sister of Carl; W. Tillou and Marion E. Walker. At chapel, 2121 W. 95th street, where services will be held Wednesday, March 19 at 1 p.m. Interment Rosehill, Member of Telephone Pioneers of America” (page 22).  His mother died six years later, on Nov. 2, 1964.

During this time, Hanny continued to work for a variety of television stations. In his 1979 letter to Dr. Rothgeb, Hanny wrote:

“I answered some 15 of these calls between 1934 and 1965. In between, filling in at the T.V. studios – ABC – NBC – CBS and Mutual part time until 1957 when I was employed steady at CBS for three years, Due to company policy regarding age at 65 retirement and pension considerations, I was taken off permanent payroll and retired- (fired) in 1960 at the age of 70. However I put in a lot of time there after that being called when a second man was needed and always to take over while #1 man was on vacation. With the above work and what I did for General Exhibits I was kept in the ring until 1972. By that time I was 82 years old and my last salary check came from General Exhibits in 1972.

1972.   I had to get all the above data from a notebook in which I listed all my earnings for income tax purpose, and I must say I found jobs I had long forgotten and am amazed at the number of projects I got involved with. There are even more. I do hope I haven’t bored you with so much detail but in relating my activities I found it difficult to separate then from the history of the business itself. Perhaps some of this will serve to round out your own research.

1979. As we take note of how scene painting has contributed and maintained the aesthetic quality of the Drama through the years, we should regret that it must lean so heavily on the commercial for survival. As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful. No doubt you have finished your shows by now. I hope they have come out the way you wanted. Will be glad to hear.

Most sincerely, John Hanny October 24, 1979”

On May 14, 1984, the “Chicago Tribune” published Hanny’s obituary: “John Hanny. Services for John Hanny, 93, a retired scenic artist, will be at 10 a.m. Monday in chapel at 430 E. Roosevelt Rd., Wheaton. Mr. Hanny of Wheaton died Thursday in a nursing home in the suburb. There were no immediate survivors” (page 29).

It was very brief and gave no inkling of his theatrical contributions. I have to wonder who wrote it, if it was his nephew Bruce William Walker, a retired naval officer, who cared for him later in life.  The last correspondence between Dr. Rothgeb and John Hanny was managed by Walker. Unfortunately, Walker passed away a decade ago. Here is a link to Hanny’s nephew’s obituary: https://www.legacy.com/us/obituaries/dailyherald/name/william-walker-obituary?id=25627526

I am going to end this post with one last undated letter written by Hanny to Dr. Rothgeb:

“Dear John,

As usual I must say ‘sorry to be late,’ but I am slowing up somewhat and I hope you will be patient with me. Your inquiries of your last letter of Nov. 1 are important and related to the great change in the painting and production of stage scenery from the early 1900s to the early 1930s. This era has gone forever and as most of the old timers have passed on, it may just be possible that I am the only one around to record it.”

Hanny’s contribution is priceless, as he left far more than just a few written memories. He left sketches, technical drawings, photographs and detailed accounts of scenic art practices the Sosman & Landis studio from 1906-1919.  We have Dr. Rothgeb to thank for his persistence in helping Hanny reminisce about his early career in Chicago. Of particular interest are Hanny’s drawings of scenic tools and palette arrangement.  Both Hanny and Rothgeb left a theatrical legacy that will be valued for generations to come. Here is a lovely article about John R. Rothgeb published in ENCORE Fall 2013 (The University of Texas at Austin Department of Theatre and Dance Alumni Newsletter): https://issuu.com/uttad/docs/encore_fall2013_v6

Here are some of Hanny’s drawings, sent to Dr. Rothgeb before his passing.

Sketch by John Hanny showing scenic art tools at Sosman & Landis.
Sketch by John Hanny showing scenic art tools at Sosman & Landis.
Sketch by John Hanny showing a scenic artist’s palette at Sosman & Landis Studio.
Painting by John Hanny, gifted to Dr. John Rothgeb and now at the Harry Ransom Center.
Painted detail. Painting by John Hanny, gifted to Dr. John Rothgeb and now at the Harry Ransom Center.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1157 – The Joe Bren Production Co., 1923

Copyright © 2020 by Wendy Waszut-Barrett

In 1923 Thomas G. Moses wrote, “Joe Bren’s work came in early this year, and we will try and give him a good job.  It is not apt to be paid for very soon as usual.” 

The Joe Bren Company was a Chicago-based theatrical production company that partnered with fraternities and civic groups to stage fundraising shows. Bren became a Sosman & Landis client in 1916 and continued to order scenery on an annual basis until the early 1920s. By 1922, however, the amount of scenery purchased by Bren from Sosman & Landis began to dwindle.

Bren Company representatives traveled from town to town, working with local talent to organize minstrel reviews, vaudeville frolics and “Jollies.”   They were especially popular with the Kiwanis Club, Lions, American Legionnaires, United Commercial Travelers, Elks, and Shriners. The Bren Company provided sketches, jokes, and songs, even supplementing some of the local talent with professional acts. The Joe Bren Company not only provided instruction, but also all of the technical trappings, including scenery, lighting equipment and costumes.

By 1922, however, the Bren company began purchasing much of their scenery from another source – Service Studios, also known as the Scenic Service Studio of Chicago.  On Dec. 10, 1922, the “Leader-Telegram” included a announcement about a  Bren production reporting, “Scenery for the Bren company constructed and painted by the Scenic Service Studio of Chicago” (page 8). The Service Studios was completely composed of previous Sosman & Landis artists, so they new what Bren needed for his production. In 1920, a group left Sosman & Landis to form Scenic Studio. Service Studios rapidly made inroads in the theatre industry, winning projects from many competitors, including Sosman & Landis.  Here is a past post about Service Studios: https://drypigment.net2020/05/05/tales-from-a-scenic-artist-and-scholar-part-981-john-hanny-and-the-chicago-service-studios-1918/

The primary Bren production for 1922 to 1923 was a musical revue in two acts and six scenes, under the direction of Ralph Hamilton and Alex Robb of the Joe Bren Production Co., Chicago. The production staff for the event included: Delos Owen  (orchestrations and musical direction), Joe Bren (Dialogue and Lyrics), Geo. L. Ownes (staged musical numbers), Scenic Service Studios, Chicago (scenic design and execution), and New York Costume Co., Chicago (costumes).

In 1925, Scenic Services Studios was still producing scenery for Joe Bren, now the “Jollies of 1925” (Hamilton Evening Journal, 10 March 1925). This all changed in 1926 when Service Studios sold out to Art Oberbeck of ACME Studios. Interestingly, Oberbeck had also started out at Sosman & Landis scenic artist in 1904.

By the early 1920s, Bren hired Sosman & Landis for production elements, no longer the main design for the primary stage show. With Sosman & Landis struggling, clients may have hesitated, fearing the fir would closed before their scenery was delivered.  In 1923, Sosman & Landis provided booths and lighting fixtures for a Bren-produced Shriner charity event; it did not end well.

On March 30, 1923, the “Chattanooga Daily Times” reported, “Booths and fixtures at the Shriner’s fun festival, now in progress at the Billy Sunday tabernacle, were attached yesterday through a chancery court action started by Sosman, Landis & Co., of Chicago, Ill., for the collection of $2,000 due by reason of an alleged breach of contract. The bill asserts that Joe Bren, named as defendant with the local Shriner’s organization and others, acting as purchasing agent for the fun festival management, contracted to buy certain supplies from the plaintiff. This contract, according to the bill, was breached to complaintant’s damage. The attachment was run merely to prevent the sale or removal of the fixtures attached and will not interfere with the operation of the show (page 4). Bren was branching out beyond his musical reviews and directing all kinds of events, including trade shows and circuses.

Jollies from 1923.

By the late 1920s, Bren Production company events began to dwindle, and by 1930 Bren became department head for the Music Corporation of America.

To be continued…

Tales from a Scenic Artist and Scholar. Part 981 – John Hanny and the Chicago Service Studios, 1918

Copyright © 2020 by Wendy Waszut-Barrett

Chicago Service Studios stamp.

When there is a major disruption in production, industries change for the better or worse. WWI, the measles epidemic, the Spanish flu and the 1920-1921 recession all hit in a relatively short period of time. Factor in prohibition and it may have seemed like the end of the world. Many studios did not weather these storms. One dying company could fuel another in times of trouble, and such was the case when five Sosman & Landis employees left to form Chicago Service Studios in 1920. Troubles began with Thomas G. Moses resigned as President of Sosman & Landis to work for New York Studios during the fall of 1918. He wrote, “September 1st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service.  I joined the New York Studios and expect to get a studio and an office to do business.”  This must have signaled the end for his fellow scenic artists at the firm.

Service Studios was initially located at the corner of State and 20th street in Chicago in a building that was previously known as the Marshall Field Store. The firm soon moved to 2919 W. Van Buren and set up an impressive space after when the Mashall Field estate sold the building. On June 26, 1921, the “Chicago Tribune” reported: “Old Time Marshall Field Store Building is Sold. The Marshall Field estate has sold the southwest corner of State and 20th. 155×120, to L. R. Warshawsky, for $75,000. After the Chicago Fire Marshal Field & Co., then Field, Leiter & Co., used part of the property for their retail store for some time. Later they used it for wholesale purposes. It is now used for a scenic studio by the Chicago Service Studios. The property is improved with a four story building contains eight stores and eighteen flats with a two story building on the rear. Mr. Warshawsky intends to make extensive alterations and will use a portion for his automobile accessory business. S. C. Iverson of Hubbard Porter & Brother, represented both parties” (June 26, 1921, page 26). The scenic studio in the old Marshall Field Store, must have been a temporary situation as the new studio was prepared in 1920.

Design by John Hanny for the Chicago Service Studios.
Design by John Hanny for the Chicago Service Studios.
Back of design by Design by John Hanny for the Chicago Service Studios.

Much of what we know about the founding of Service Studios was recounted by scenic artist John Hanny decades later. Hanny was one of the firm’s five founders. Originally a Sosman & Landis artist, Moses hired Hanny in 1906 at the age of 16. Near the end of his life, Hanny would write, “As I look back over the years, I now realize that I have had a full and exciting life – hopefully a productive one – and have known and rubbed elbows with some wonderful generous people including Tom Moses and Wm. Nutzhorn for which I am most grateful.”

In six years, from 1906 until 1912, Hanny progressed at Sosman & Landis’ to become one of their journeymen painters, going from a salary of $6 to $35 a week. Hanny recalled, “Came up the line by painting tormentors and grand drapery border, AD curtains – lettering excepted, surroundings for Front Curtains, Streets, and Olios, etc. Later complete Front Curtains surroundings and picture – figures excepted.”

Hanny wrote a brief biography of his career when asked about his experiences in 1979. On October 8, 1979, he wrote a letter to Dr. John Rothgeb, stating, “I stayed with Sosman & Landis until 1920 when four other men and myself decided to go it on our own and formed the Service Studios. We remodeled – with borrowed money, a Jewel Tea Co. barn of 18 horse stalls into a studio of five 24’ x 48’ and one 24’ x 38’ paint frames, plus floor space of 50’ x 50’ – This was the best equipped studio in Chicago – Sosman & Landis excepted.” Hanny’s mention of the remodeled space would have been the Marshall Field space described in the aforementioned “Chicago Tribune” article. Hanny went on to write, “We rented several frames to Hoyland and Lemle company on which to paint their Ad Curtains.”  In 1924, the Hoyland-Lemle business address was listed as 6751 Sheridan Road in Chicago, the address as William Lemle’s residence (certified List of Domestic and Foreign Corporations for the year 1924). Hoyland and Lemle would continue to rent frames after Service Studios closed in 1926.

By 1926, the demand for painted scenery was beginning to wane and the firm was struggling. Service Studios sold out to Art Oberbeck of ACME Studios. Oberbeck had also started as a young artist at Sosman & Landis, two years before Hanny in 1904. In 1926 Oberbeck moved ACME Studios from 36 West Randolph Street to the Service Studios at Van Buren and Sacramento Street (2919 W. Van Buren).

Sales book page with both Service Studios and ACME studios stamp. ACME purchased Service Studios in 1926. Private collection.
Sales book page with both Service Studios and ACME studios stamp. ACME purchased Service Studios in 1926. Private collection.

On April 8, 1928, the “Indianapolis Star” included an advertisement about ACME Studios, noting, “Handling the largest amount of scenic work in Chicago and the United States, the ACME Studios products must necessarily reflect quality and completeness. The advertisement added, “All work is personally supervised by A. W. Overbeck [sic.], himself a scenic artist of ability who has spent more than twenty years in the profession. The firm delivered “stage dressings” for the new Granada Theatre of the U. I. Theatre Circuit, Inc. The company was credited with executing stage scenery and draperies for the U. I. Circuit, Inc., and furnishing stage settings and draperies for “numerous other large photoplay and legitimate theatres, such as Balaban & Katz, Marks Bros. and others” (page 74). ACME Studios was still located at 2919-23 Wes Van Buren St. in Chicago.

To be continued…

Tales from a Scenic Artist and Scholar. Part 68 – Service Studios

Service Studios

I was in the middle of constructing the databases, collecting unemployment, and looking for work when something wonderful appeared out of nowhere.

Over the years, amazing fraternal artifacts have found there way to my door, usually journeying north from Chicago. It always came from my friend, Brian. We had initially met over the phone in the mid-1990s. This was when I started doing research for Lance Brockman, tracking down information for the museum exhibit, “Theatre of the Fraternity.” We touched base again during 2000 when I was assigning metadata to the Scenery Collection Database at the Performing Arts Archives. Both times, Brian was my link to information on early-twentieth century scenic artists in the Chicago area, especially if the belonged to the Union.

A decade later in 2010, Brian contacted me again when he heard of the Peoria, Illinois Scottish Rite scenery collection. We both frantically tried to come up options that could provide the scenery collection with a new home. Then, I realized that if it was going to be saved, I would have to personally finance the project and rescue the collection.  It became clear that the drops were destined for a dumpster. A year later, Scottish Rite pounces ended up on my doorstep and a Thomas Moses oil painting (1926) rolled up in a tube. Then came the installation records for several Northern Masonic Jurisdiction Scottish Rites. A year after that, all of the leftover dry pigment and aniline dyes he had stored were sent back with a family member and a message for me to pick up.

I finally was able to visit with Brian at the Chicago Lyric Opera shops while I was attending a League of Historic American Theatre conference in 2014. Once again, I returned home with my arms full of abandoned records that Brian had carefully collected and stored, waiting for the right moment to find a new home for the artifacts. You see, Brian was a kindred spirit, one of the few people who was also intimately familiar with life and art of many the Chicago-area artists from the early twentieth century onward. He was a scenic artist and historian who also had a driving desire to preserve our past. So when I started to create my Scenic Artist Database during the Fall, Brian was a recipient as he would be able to add information to my records.

Most recently, he shared a book of Masonic designs from the 1920s when he travelled to the Twin Cities. I was speechless as I paged through the book of black and white photographs of Masonic models during lunch with Brian and my son in St. Paul.

Service Studios book of Masonic designs for Scottish Rite, York Rite, Blue Lodge, Mystic Order of the Veiled Prophets of the Enchanted Realm (MOVPER) Grotto, and Ancient Arabic Order of the Noble Mystic Shrine (AAONMS).

These images were all Sosman and Landis designs yet stamped “Service Studios.” These designs filled in many of the compositions that weren’t included in the Holak Collection (Sosman & Landis, Chicago Studios, and New York Studios), Twin City Scenic Co. Collection, and the Great Western Stage Equipment Co. Collection.

Stamp for Service Studios of Chicago, Illinois.

I tried to recall all of the information that I knew about Service Studios of Chicago. Amazingly, I had learned quite a bit during my trip to the Harry Ransom Center in Austin, Texas. The origin of the Service Studios is a fascinating one and depicts the struggle between the first wave of scenic artists who started their careers between 1880-1900 and the second wave of scenic artists who started their careers between 1900-1920.

You see, by 1920 the artists who started working during the second wave began founding their own scenic studios. This was no different that what the first wave of artists had done, but the actual artists were different. There was always the internal battle for the scenic artist between freedom and steady paycheck.

But there was something different for the studios started by the second wave artists as they were founding companies just before the crash. The money wave that everyone had been riding started to slow down for a variety of reasons, one being the diminished demand for painted illusion and the other had to do with early appearance of “paint it yourself” scene painting manuals for academic institutions. I previously discussed the crumbling of old alliances between studios and the passing of many original founders in the 1920s (see part 60).

So this was the business landscape when Service Studios emerged onto the scene in 1920. You see, several top artists left the Sosman and Landis studio (not just one or two) to start their own business. Among them was the scenic artist John Hanny, who had worked for the company since 1906. Hanny, as was the case with many other young hires, started out his studio career as a “pot boy” – filling the pots on the paint palettes with color. Hanny very slowly worked his way to becoming a scenic artist.

Thomas Moses had actually been the one to hire Hanny. This was just two years after Moses had returned to Sosman & Landis from NYC where he had been working from 1900-1904. He had left Chicago to paint Broadway shows, even creating scenery for amusements at Luna Park on Coney Island.
I appreciate and relate to Moses’ outlook on life, his artistic drive, and work ethic. It is obvious that he worked his tail off – all – the – time – and took pride in everything he did. That being said, I doubt that he was an easy man to work for, especially if you were a studio “pot boy.” Moses was extremely fast, a hard worker and, most of all, a perfectionist. This never bodes well for others unless they share these same characteristics.

Interestingly, the Service Studios artists seem to have created their own sales book of black and white photographs, depicting Masonic designs. The only problem is that the designs were those from Sosman and Landis installations. The designs in the Service Studios book depicted the exact compositions found in many Southern Jurisdiction Scottish Rite Theaters, such as Santa Fe, New Mexico, Grand Forks, North Dakota, Tucson, Arizona, Winona, Minnesota, and many other Masonic locations.

Service Studios book with photograph of design for the 5th degree.

Pasadena, California Scottish Rite drop for the 5th degree. This scene was originally created for the Scottish Rite in Little Rock, Arkansas (first scenery collection there (1896-1901).

Service Studios photograph depicting 9th degree design.

Tucson, Arizona scene depicted in Service Studios Masonic design book.

Grand Fork, North Dakota scene depicted in Service Studios Masonic design book.

What’s the possibility that the artist’s starting Service Studios pirated pictures of the model as they would start with an “instant inventory?” It was looking very likely.

To be continued…