George Pat Wood (left) and Victor Hubal (right) in 1912.
Victor Hubal & George Wood are pictured together in a 1912 photograph; each working as a scenic artist in Winnipeg at the time. The caption written on the photograph reads, “Dad [Hubal] in 1912 at Winnipeg, Canada, Scenic Studio. His Pal Scenic Artist George Wood.” At the time, Hubal was 24 and George was 21 yrs. old; both were associated with Sosman & Landis. As with many artists at the Chicago-based firm, they traveled all across North America, rapidly painting scenery as they journeyed from one venue to the next. Although Sosman & Landis was known for shipping scenery to distant locations, many of their projects still continued to be painted on site. Much had to do with the fact that despite the large size of their main studio and additional paint spaces at various annexes, some projects were still completed on site.
It has taken me quite a while to track down George Patrick Wood, as there are several George Woods who worked as artists from the mid-nineteenth century to the mid-twentieth century, including his father, George Wood Sr.
George Patrick Wood was born in Chicago on April 10, 1891, although his birth was not registered with the State of Illinois until July 31, 1891. Later in life, he would go by George Pat Wood in newspaper article. He was one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (also erroneously listed as Donahue/Donaghue/Donigan in many historical records), Della Bridget Donohue was born about 1870 and named after her maternal grandmother Bridget (McDermot) Donohue.
Wood had two younger brothers: Arthur Francis Wood, born in Feb. 1893, and Walter James Wood, born in Feb. 1895.
I have uncovered very little about their early childhood, or the Wood family’s activities between 1895-1900. However, sometime between the birth of Walter Wood in 1895 and the US Federal Census in 1900, the Wood family moved from Chicago to St. Louis, Missouri. They likely followed Della’s older brother, Lawrence E. Donohue, who worked as a scenic artist and moved from Chicago to St. Louis in 1895. L. E. Donohue was listed as an artist in the St. Louis Directory from 1895-1897. Two of his younger children were born in St. Louis, suggesting that his family also relocated from Chicago to St. Louis. By 1899, however, Donohue returned to Chicago where another child was born that fall. He continued to work as a scenic artist throughout this entire time.
It remains unclear as to whether Della Wood returned with her brother to Chicago at the same time. However, by 1900, neither George Wood nor Della Wood were living with their three children in St. Louis. They both appear to have vanished from public records, with George Sr. never reappearing in the lives of his wife or children. My gut instinct says that George Sr. passed away, Della became a single parent, and could not provide for her sons, leaving them at an orphanage. My theory is based on the 1900 US Federal Census.
St. Louis Home of Refuge where George Pat Wood, Arthur Wood and Walter Wood lived as “inmates” in 1900.
In 1900, George, Arthur and Walter Wood are all listed as “inmates” at the “St. Louis Home of Refuge.” The term “refuge” is a little misleading, as the home was well known as an abusive penal institution for juvenile offenders, as well as orphans. It remains unclear as whether all three boys were arrested for delinquent acts or committed by a family member, but their young ages suggest the latter. The ages of the three boys were listed as 9, 7, and 5 yrs. old. I have no idea how long they stayed at the St. Louis Home of Refuge or remained in the St. Louis area. They, like their parents, disappear from public records for about a decade.
By 1913, George and Arthur are again living with their mother, now in Chicago. I have no idea when they returned to the Windy City, or where their youngest brother Walter during this this time.
Newspaper accounts from 1913 indicate that George Wood worked as a scenic artist with his maternal uncle, Lawrence Donohue. Both painted scenery for the Empress Theatre in Des Moines that year; a Sosman & Landis project.
The Empress Theatre in Des Moines, Iowa, became the Pantages Theatre.
On July 8, 1913, the “Des Moines Tribune” reported:
“Rushing work for Empress Theatre.
Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
I am going to pause here as newspapers are rife with misspellings, especially last names. As this was a Sosman & Landis project, Lawrence Donahue would have been the head scenic artist, with his tow assistants – George Wood and Art Oberbeck. This was very common for the studio at the time; a master artist and two assistants on site. In many ways it was cheaper to put up three staff members, than painting and shipping scenery from Chicago, especially during busy periods.
The Des Moines article continued:
“All is activity in the Elbert & Getchell building studio. More than thirty house sets of scenery will be provided for the Empress stage in addition to the settings that are carried by larger acts on tour. The management promises that there will be no better dressed stage in the country than that of the new Empress. Elbert and Getchell leave that latter part of the month for New York and other eastern cities, where they have many of next seasons musical comedy company for the Princess tentatively under contract. It is their purpose to complete the company on this trip and to bring the members back with them about Aug. 10 when stage director Wedgewood Nowell will be here to begin rehearsals. The new company will number fifty and the management promises a surprise when the roster is announced.” The Empress Theatre opened in September 14, 1913. It was located at the intersection of 8th and Locust Street.
From 1913 to 1914, George, Arthur, and Della Wood were listed in the Chicago Directory, living at 736 Wrightwood. Della Wood was listed as the widow of George Wood, and her sons, were each listed as an “artists.”
George Wood divided his time between Chicago and New York while working for Sosman & Landis. In August 1915, he left the firm’s New York branch to take a design an painting position at the Grand in Fargo North Dakota in 1915. On Aug. 14, 1915, The Fargo Forum and Daily Republican listed George Woods in a list of individuals secured for the upcoming season (page 8). The article announced, “The scenery will be designed and painted by Geo. Wood, who comes direct from the Sosman & Landis studio, New York City.”
By the onset of WWI, however, Della and her sons all returned to St. Louis, Missouri. In St. Louis, George, Arthur and Walter all registered for the WWI Draft. Walter joined the Navy, and Arthur served in the Army for both WWI and WWII. It doesn’t appear as if George was ever drafted into the military.
The gravestone of George Pat Wood’s younger brother Arthur F. Wood.The gravestone of George Pat Wood’s youngest brother, Walter J. Wood.
Wood registered for the WWI draft in St. Louis eleven days after his wedding, listing his wife and mother as a draft exemption. His draft card listed that he was living at 2215 Benton in St. Louis, MO, working as a scenic artist for himself. Wood also requested a draft exemption to “support wife and contribute to mother.” In regard to his occupation, Wood listed his present trade as “scenic artist” and current employer as “himself.” He was described as medium height, medium build, light brown hair, and grey eyes.
George Pat Wood’s WWI Draft Registration Card, dated June 12, 1917.
It was on June 1, 1917, that George P. Wood married Alice V. Chalfont (1898-1981) in Jackson County, MO; he was 25 and she was 19 yrs. old. Their marriage was announced on Sept. 21, 1917, in the “St. Louis Star and Times” – “George P. Wood, 1825 North Garrison avenue; married June 1” (page 3). George and Alice Wood celebrated the birth of their only daughter the following year. On August 29, 1918, Joy Patricia Wood was born in Kansas City, Missouri. Unfortunately, their marriage was extremely short lived, ending in divorce by 1920. The 1920 US Federal Census listed Alice and Joy Wood living in St. Louis, Missouri, with Alice’s parents, Julian O. Chalfant (1857-1932) and Virginia “Dolly” Wetzel Chalfant (1857-1931). In 1920, George was again living with his mother.
Della Wood married her second husband, Rudolph Luedewink, by 1920. The census that year listed George Wood and Arthur Wood the Luedewink’s step-sons. At 48 yrs. old, Luedewink was also a painter, employed at the J. W. O. C. Painting Co. The same census listed George as an artist and Arthur as a paperhanger.
George’s ex-wife Alice also remarried. The first name of her second husband remains a mystery, but his last name was Knox. I have yet to locate a marriage license or anything else that indicates when Alice V. Wood and Joy P. Wood became Alice V. Knox and Joy PP. Knox, however they began using the last name of Knox by 1921. In 1930, Alice V. Knox and Joy Knox were still with Julian and Virginia Chalfant in St. Louis, Missouri.
George continued to work as an itinerant artist, going from one project. In 1921, he was working at the Orpheum Theatre in Montreal, Canada. On Sept. 24, 1921, “Billboard” announced, “George Pat Wood is again at the Orpheum Theatre, Montreal. Mr. Woods went there at the end of last season, and after a short vacation resumed work for the coming season” (page 21). This means that he arrived in Montreal during the spring of 1921 and stayed until the spring of 1922. By 1923, he relocated to Cincinnati, Ohio, and was listed in the City Directory as a scenic artist, rooming at 3422 Ibsen Av. There was no mention of his wife, but it was common for itinerant scenic artists to list themselves in a directory when working in one area for an extended period of time.
In Cincinnati Wood became associated with the Stuart Walker and his touring company. It was a successful working relationship that would last for six years. On August 26, 1924, “The Post” (Covington, Kentucky) listed Wood as the scenic designer and artist for Alice M. Bradley’s new play “Three Roses” at the Cox Theater, produced by Stuart Walker. The article reported “the scenes are designed and executed by George Pat Wood.” Peggy Wood starred in the three roles -Rose Lovejoy, Rose Payne and Rose Frely. The article reported, “Peggy Wood, guest player, who portrayed each of the three Roses …has a certain vitality, and intensity, which is of great assistance to her in interpreting the high courage and independence of the various Roses. She as in addition a charming personality, and in her acting is quite free from theatricalism.” On July 2, 1921, the “Indiana Daily Times” announced that “Mr. Walker has engaged Peggy Wood herself, to appear in her own play ‘Artist’s Life.’” (page 7). I have yet to locate that George was related to Peggy Wood in any way. However, George did remarry in the 1920s. I have no idea what her first name was or when they were married.
On July 2, 1926, an amazing article was published in the “The Kentucky Post and Times-Star that indicated BOTH George Pat Wood and his wife were working as scenic artists (page 30). It also discusses the importance of lighting on stage scenery.
I am including the article in its entirety as female scenic artists were seldom mentioned in the press at this time:
“Only three or four people were sitting in the theater Monday morning when Stuart Walker called a scene rehearsal of ‘The Swan.’ Painters, carpenters, property men, and others were rushing around putting on finishing touches or checking over lists. When on the day of an opening performance Walker orders all scenery set and the stage arranged for the various acts, nothing must be missing.
These scene rehearsals usually constitute Walker’s first view of the settings. He has conceived what they should look like, for he himself has drawn the designs, selected the furniture and properties and visualized the whole play.
He walked in, looked over the first sets, approved it with some minor suggestions and ordered the second scene put up. The work began. Two men carried out a superfluous piano. Two others dragged in a throne chair which they stood against the back drop in the banquet scene. Two others lugged in great tall pillars, apparently of black Italian marble. These they handled easily. There were six of them in all.
Then came the banquet table, covered with lacy cloths, brilliant silver candelabra and so on. A man walked in with two enormous champagne collers which caused sarcastic remarks from everybody on the stage.
Then a spontaneous touch of realism was added when the chef from the Havlin Hotel, in cap and white apron walked upon the stage with two huge platters, on which were the broiled salmon and the salad needed in the dinner scene. He proudly submitted these ‘properties’ for inspection and the praise he received delighted his artistic soul. Then he brought out the bullion and set the 10 or 12 cups on the table.
Boyd Again, property man and actor, practical person that he is called to ‘Jack,’ a stage hand, and said, ‘Put this soup some place where it won’t get dusty. Jack grinned and obeyed.
Finally, the beautiful scene, which throughout the week has evoked applause from the audience, was ready for inspection.
‘Somebody call Mr. Walker,’ directed Again and everyone stood about in expectancy mixed with some anxiety. Finally Walker, appearing from somewhere, walked down the aisle of the theater. A moment of silence, then,
‘Where’s Mr. and Mrs. George Pat Wood?’ The call was taken up by those standing at the rear of the stage. Finally it reached the place where the Woods, scenic artists, happened to be.
A droll figure walked out and stood before the footlights. It wore a cap pushed back over short hair. Its body and legs were covered with paint smeared overalls, much too large. The bottoms dragged on the floor, concealing what appeared to be very small feet. But under the visor of the cap were two very alert, if startled eyes.
The figure looked like a larger edition of Jackie Coogan. Seeing it, Walker said in a somewhat positive tone, ‘Mrs. Wood, that is not the set I designed. It is nothing like it.’ So, the little figure was a woman, it seemed.
Mrs. George Pat Wood went one step forward and said quietly, “I’m sorry. I’ll come down where you are.’ And she scrambled into the darkness of the auditorium. There was something in her bearing which suggested a shattered dream, a keen disappointment.
A few moments later two bobbing heads were seen near one of the boxes. Then the petite Mrs. Wood scrambled back onto the stage and disappeared thru a door at the rear. After that came a readjustment of the lights, a softening of the tints, a mellower effect generally. And finally the voice of Walker again.
Oh, Mrs. Wood.’ The call again was repeated and Mrs. Wood, very feminine despite her overalls, came forward.
‘I spoke too soon, much too soon,’ said Walker generously. ‘It’s lovely.’
Mrs. Wood executed a sprightly little jig, just a few steps which indicated immense relief and pleasure.
And that was that, and all of it. But it showed that Walker makes his amends just as publicly as he does his criticisms.
The whole episode was just one of those little things which are a happening constantly around a repertoire theater but which not many people see.”
Portrait of Pat Woods in the article “Born to Blush Unseen,” 1927.
On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush Unseen” (page 33). The article reported:
“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.
From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.
Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.
And so this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.
Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’
‘Pat,’ as he is known by members of the Stuart Walker Company got his start in the scene-painting business when he visited his uncle in Chicago. This uncle, one Peter Donegan, is a sort of scenic baron in the Windy City, doing the stage sets for the Chicago Opera Company and for most of the large theaters. His studio proved a fascinating place to hang out, and presently the nephew began dabbing in paint. Soon he was a regular member of the force. And so he began, rather far up the line as scenic artistry goes, by designing stage sets for the Chicago Opera. Following other successful positions, Pat was retained to assist in fashioning stage sets for Max Reinhardt’s first production of ‘The Miracle,’ the most stupendous and magnificently stages spectacle the American stage has ever seen.
In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season.
Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”
George Pat Wood pictured in the “Cincinnati Commercial Tribune” in 1928.
On July 15, 1928, a portrait of Wood accompanied an article in the “Cincinnati Commercial Tribune” entitled, “Busy Building Italian Scenes For First Play on New Stage” (page 38). The article reported, “While members of the entire Stuart Walker forces are busy preparing to move to their new home at the Taft Auditorium at Fifth and Sycamore street, one member, George Pat Wood, artist of the Stuart Walker Company, is particularly busy at the Taft designing and painting the settings for ‘The Firebrand.’ For the past few weeks Mr. Wood and Stuart Walker have been panning the final arrangements for the scenery for this lavish production.
‘We have studied many old books and looked through volumes of Renaissance art to get the correct details for the production of ‘The Firebrand.,’ said George Pat Wood. ‘We really started brushing up on our early architecture last spring, when it was decided ‘The Firebrand’ would be one of the plays to be presented in Cincinnati this summer. In designing a setting there are many details that must be perfectly worked out. Color schemes must be in harmony with the spirit of the play as well as with the costumes that will also blend with it. In a play of a period, such as ‘The Firebrand,’ arches, windows, vases, lights and all very small trinkets that are seen from the audience must harmonize with each other.
‘In a period play the exact date of the piece will determine its architecture, naturally, but all the other articles, naturally, but all the other articles in the room must also be of the same period and keep the unity. There must be no anachronism, nothing that will break the illusion.’
When asked if he ever ran out of ideas in designing stage settings Pat Wood merely replied: As no two homes are ever alike, so no two stage sets are ever alike. If we study the spirit of the play we will know very nearly how the characters think, and with a little imagination we can picture their homes. That much accomplished, all there is left to do is to execute it. So you see it isn’t so very bad.
‘The scenery for ‘The Firebrand’ is dated about the early fifteen hundreds, and as the locale is Florence it calls for some very rich settings at the time when Medicis were in all their glory. The scenery must express the feeling of age, the romance and gayety of the Court of Florence, and the richness of the beautiful city. All this must be brought out without making the audience realize that they are being told all this as the curtain goes up and brings them into a new atmosphere. We hope that the settings for ‘The Firebrand’ will do all things.’
The beautiful stage settings of the Stuart Walker productions have been one of the charmingly distinctive features. Already this season the productions have brought forth no end of favorable comment on each play. Particularly attractive sets this year have been in ‘The Jest,’ a charming costume play presented earlier in the season, ‘Interference,’ ‘Crime,’ ‘Her Cardboard Lover,’ ‘The Baby Cyclone,’ and last week’s revival of ‘The Dover Road.’
All of these sets owe their beauty and charm to the combined work of Mr. Stuart Walker, George Pat Wood, and George Kinsey, the stage manager” (page 38).
George Wood and Stuart Walker enjoyed a very successful run. I have not uncovered any additional information about Mrs. George Pat Wood at all.
However, George Pat Wood continued to work for Stuart Walker. Their working relationship was the subject of a newspaper article on Jan. 29, 1929, published in the “Cincinnati Post” (page 2):
“Venice.
Although Stuart Walker still clings to house slippers and a chair by the fire because of his flu failings, he calls his players to his house every day for rehearsal. And he has worked out in his characteristically elaborate setting for the Venetian scene of the first act of “The Big Pond” for next week.
One sometimes suspects that his sets cost Dr. Walker more beads of hearts blood than do his artists. A performer can be tossed a script early in the week, then whipped, cuffed and cussed toward steady improvement. If he or she looks deplorable on Wednesday a director can strive for a better appearance by diligent application of the lash, so that a presentable portrayal may be forthcoming by the following Monday.
But a set is different. Once “cast,” it’s done. You can’t expect it to grow doggier or any worse.
Consequently, the aesthetic Mr. Walker ties himself 18 knots every time he evolves instructions for a stage scene.
When [Stuart Walker] and his artist, George Pat Wood, conferred in the Eden Park mansion of the producer it must have been almost terrifying, considering the fury with which Mr. Wood blasts smoke and sparks from his pip even when calm and the zeal with which Dr. Walker flagellates his soul when thinking up eyeful settings.
The two of them wrestle beauty for every show, almost always turning out something convincing. One of the very few times when they have felt they missed their mark came in the set for “Treasure Island” which showed an English quay. Somehow that did not look exactly British and it seemed a trifle too lovely in a Latin way for the situation.
But since Dr. Walker knows more about scenery that your deacon ever will dream of, we take it that his quay set had in it something artistic which passed quietly over our brow. The Venetian scene for the next week is to show a palace in which lives a bizarre American family. The set must be persuasively imposing to bring out the artistic shortcomings of the Ohio people moving through it. It is exactly the thing on which Dr. Walker likes to cast up wave on wave of devotion.”
After years of existence, the Cincinnati Stuart Walker Company was incorporated on July 1, 1929, in Cincinnati. It only lasted a few years, and was dissolved on Dec. 29, 1931; it did not survive the economic downturn.
The last article that I have located about George Pat Wood as a scenic artist is from the fall of 1930. On Nov. 16. 1930, “The Cincinnati Enquirer” reported, “George Pat Wood, scenic artist at the Taft, designed and painted his settings for “Monna Vanna” from color plates used in Stuart Walker’s earlier production of the Maeterlinck play here three years ago” (page 71).
This is the last reference that I have found citing Wood as a scenic artist. As with many theatrical scene painters at this time, it is likely that Wood sought work as a decorative painter to keep afloat during the Great Depression.
At some point, Wood returned to his remaining family, as Rudolph and Della Luedewink were still living in St. Louis. His move may have been prompted by aging parents.
In regard to Wood’s mother and stepfather …
Rudolph Luedewink was still listed in the 1931 St. Louis Directory as a painter a 4245 St. Louis Ave. This is about the time that George Wood returned home.
His mother passed away in 1934, with her obituary published in the “St. Louis Post-Dispatch” on March 7, 1934 –
“Luedewink, Della (nee Donahue) – Entered into rest Mon. March 5, 1934, 4:20 PM, beloved wife of Rudolph Luedewink, dear mother of George Pat, Arthur F. and the late Walter J. Wood, our dear grandmother and aunt. Funeral from Arthur J. Donnely’s Parlors, 3840 Lindell bl. Thurs., March 8, 9 a.m., to Notre Dame Church, Interment Calvary Cemetery. Alton (Ill) and Chicago (ILL) papers please copy.”
Her son Arthur was listed as the informant on her death certificate when she passed away from pneumonia. At the time of her passing, Della was living with her son Arthur at 1328 Annie Ave. By 1930 Arthur F. Wood was employed as a mail carrier, a profession that he continued for the remainder of his life. He married Mabel Eppley late in life, celebrating the birth of a son late in life, James A. Wood.
George Wood’s WWII Draft Card listed him as running his own Interior Painting & Decorating business. His wife was listed as Frances Wood and the two were living at 5645 Summit Place, St. Louis. I have yet to locate another other significant mention or further information about the couple.
George Patrick Wood died in Dec 1980 and is Buried at Calvary Cemetery and Mausoleum in St. Louis. His first wife, Alice V. Chalfant Wood Knox, was laid to rest in the same cemetery a year later. Their daughter, Joy Wood Knox MacKinnon (1918-2007), is also buried at Calvary Cemetery and Mausoleum.
The gravestone of scenic artist George Patrick Wood.
Victor Hubal was associated with Sosman & Landis between 1905 and 1917. Hubal began working as a scenic artist at the age of 17 in 1905, starting with the firm about the same time as John Hanny and Art Oberbeck. Like Hanny and Oberbeck, Hubal’s scenic art career spanned for decades. His scenic art appeared in a variety of venues across the country.
Victor Hubal (right) pictured with George Wood (left) in Winnipeg, 1912.
Hubal’s employment at Sosman & Landis was mentioned in a Kentucky newspaper at the beginning of 1912. At the time, Hubal was painting scenery for the Garside Stock Co. at the Kentucky Theatre in Paducah, Kentucky. On January 12, 1912, Paducah’s “News-Democrat” announced, “Mr. Victor Hubal, of the Sosman-Landis studio, Chicago, has been engaged to paint all scenery and is now hard at work at the Kentucky on the first production. ‘The Devil’s Kitchen.’” Two days later, the same newspaper reported, “Mr. Victor Hubal is the scenic artist, and has been connected for several years with the Sosman & Landis Studio in Chicago – which is proof positive that theater-goers of Paducah will have an opportunity of seeing some beautiful scenery twice a week at this popular playhouse” (page 6).
This meant that in 1911 Hubal was selected from the Sosman & Landis staff to paint the new scenery for the Garside Stock Company. Operated by James S. Garside, the company secured a a fifty-week engagement at Paducah’s Kentucky Theater, performing two plays each week. Hubal painted much of the stage settings on site The Garside Stock Company’s 1912 repertoire included “The Devil’s Kitchen,” “Love and Honor,” “Dora Thorne,” “In the Rogue’s Gallery,” “Driven From Home,” “A Soldier’s Sweetheart,” “The Bowery Girl,” “Thorns and Orange Blossoms,” “The Queen of the Ranch,” “To Be Buried Alive,” “A Romance of Fort Riley,” “Brother Against Brother,” “A Struggle of Life,” “Her Cowboy Visitor,” “The Power of Woman,” “St. Elmo,” “The Embezzler,” and others. On Dec. 1, 1912, a picture of Hubal’s painted setting for “The Embezzler” was published in the “News-Democrat” of Paducah, Kentucky (page 6).
Victor Hubal’s scenic art in 1912.1912 advertisement for the Garside Stock Co. in Paducah, Kentucky,
Another article about Hubal’s scenic art for Garside was published on January 15, reporting, “Each play will be a production from a scenic point of view, as Mr. Vic Hubal, of the Sosman & Landis studio, Chicago, has been engaged to paint all the scenery, and is now hard at work at the Kentucky on the first production of ‘The Devil’s Kitchen,’ which will be the bill for the first three days, Monday, Tuesday and Wednesday.”
Throughout 1912, newspaper articles provide a glimpse into the scenery carried by the Garside Stock Co., as well as Hubal’s career. On March 28, 1912, the “Dubuque Telegraph Herald” reported, “Car Load of Scenery Arrives – The Burlington passenger train from St. Paul brought a carload of stock scenery for the plays to be presented by the Garside Stock company. The company will produce two new plays next week and return to the road tour, returning here for the summer season at the Airdome in June. Mr. Victor Hubal, the scenic artist, who made all the scenery for the Airdome productions has been with Mr. Garside all winter and will return here for the summer” (page 5). On July 29, 1912, the “Dubuque Telegraph Herald” review of Garside’s “The Heart of Arizona” production, reporting “Victor Hubal, the scenic artist of the company is deserving of praise for the scenery” (page 8).
On June 8, 1912, “The Dubuque Telegraph Herald” heralded Hubal’s scenery for “St. Elmo” at the Airdome, produced by the Rosenthal Summer Theatre. The article reported, “Victor Hubal, the scenic artist of the company outdid himself in making new embellishments for this play, and included a beautiful church interior setting showing the full figure of Christ in stained glass with lighting effects to make it stand out beautifully in the act” (page 5). He also painted special scenery for “An American Girl” at the Airdome that summer (“Dubuque Telegraph Herald” 11 July 1912, page 2).
As most Sosman & Landis scenic artists, Hubal crisscrossed the country, even venturing into Canada. Family photos picture Hubal with Fellow scenic artist George Wood, both painting for the Winnipeg theatre. At the time, Hubal was 24 years old (see first photo in this post).
Victor Hubal (left) and fellow scenic artists in front of an ad drop. No definitive date, but my guess is 1906-1909. From the family album.Victor Hubal (sitting left) and fellow scenic artists in front of a stage set. No definitive date, but my best guess is 1920. From the family album.
Although I have written quite a bit about Hubal in past posts, here it is again…
Victor J. Hubal was born in Chicago on May 10, 1888. His father, Felix Hubal (b. Nov. 1861), was a Czech immigrant and baker. His mother, Theresa Mary Koranda (b. 1864), was born in Illinois and worked as a seamstress. By the age of 22 yrs. old, Victor Hubal was still living with his mother and two siblings, Otto (20 yrs.) and Lucy (18 yrs.). Their address was 3528 W. Cortland St.
The 1910 census report listed that Hubal was an “artist”; he was actually working as a scenic artist. His sister worked as a stenographer, while his brother was unemployed that year. Although Hubal’s scenic art career began in 1905, little is known of his early work, but this is understandable since he was apprenticing to older artists at the time. As the Paducah newspaper article suggested, Hubal had worked at Sosman & Landis for “several years” by 1912.
Hubal continued to live in Chicago until 1917, when he married In 1917, Hubal met a married Eloise L. Strenlund (1897 – 1984). The couple’s first address was 5030 Hutchinson St. This was the same address listed on his WWI Draft Registration card. Hubal’s draft registration card listed that he was as scenic artist. Although currently unemployed, Hubal listed that he was planning to work for the Joy & Cannon Scenic Co. in St. Paul, Minnesota. He also claimed exemption from the draft due to “kidney trouble.” On August 20, 1917, Hubal’s name and address were part of the draft list published in the “Chicago Examiner” (page 12).
It was likely familial ties that prompted the Hubals to move from Illinois to Minnesota. Eloise grew up in Minnesota, daughter to a Swedish immigrant. Her father, Anton Strenlund, emigrated in 1887 at the age of sixteen. He gradually made his way west, working as a carpenter and finally settling in Minnesota where he married Alise Oberg on August 21, 1897. The couple celebrated the birth of Eloise on November 12, 1897. Two more children followed: Arthur (1900) and Ernest William (1903). By the age of 17 yrs. old, Eloise moved to St. Paul where she began working as a clerk, residing s at 1010 Euclid Ave. She was listed in the 1915-1917 St. Paul Directories. Immediately after marrying Hubal, the couple set up house in Chicago where Hubal continued to work and travel as a scenic artist.
In Minnesota, Hubal worked at three scenic studios in Minnesota – Joy & Cannon Scenic Co. (St. Paul), Universal Scenic Studio (St. Paul), and the Twin City Scenic Co. (Minneapolis). I’ll start with the obscure and short-lived firm, Joy & Cannon Scenic Co. of St. Paul. This is the firm listed on Hubal’s WWI Draft registration card.
Joy & Cannon Scenic Co. stamp on backside of roll drop at Triune Lodge in St. Paul, Minnesota, c. 1916.Joy & Cannon Signature on backside of an ad drop, now at the Anoka County Historical Society.
Joy & Cannon was established by Boyd Phelps Joy and Gerald V. Cannon, scenic artists during 1916. Their shops were located in the Metropolitan Opera House in St. Paul. Although relatively short lived, the firm was still being advertised in the “Film Yearbook of 1922-1923.” Despite the firm appearing active, the two founders went their separate ways, with Cannon working as the first United States Marine Corps. camouflage artist and Joy founding Universal Scenic Studio. Joy’s firm was first founded in Sioux Falls, South Dakota, in 1919. However, by 1920, Joy moved his operation back to Minnesota by 1920, again appearing in city directories and was listed the president of Universal Scenic Studio, Inc. in the St. Paul City Directory. Joy later opened a branch in Milwaukee, Wisconsin. A catalog from the Milwaukee branch of the Universal Scenic Studio was found among the personal belongings of Victor J. Hubal, Sr.
Hubal also worked for Joy and Cannon’s competitor, the Twin City Scenic Co. In fact, three of Hubal’s designs are part of the Twin City Scenic Co. Collection at the University of Minnesota Libraries Performing Arts Archives. The collection contains almost 2,000 items produced by the Twin City Scenic Studio, including designs for backdrops, leg drops, cut drops, borders, tormentors, painted curtains, olios, picture sheets, sample interiors, model pieces, sales books, business records, and company scrapbooks.
Scene Design by Victor Hubal for the Twin City Scenic Co.Scene Design by Victor Hubal for the Twin City Scenic Co.
The best summarization of Hubal’s later contribution to American scenic art and theater history is his 1972 obituary. Victor J. Hubal Sr. passed away on Feb. 15, 1972, and was buried at Union Cemetery in Maplewood, Minnesota. On Feb. 20, 1972, the “St. Paul Dispatch” included a lengthy article about Hubal and reported, “His work graced some 50 productions of the St. Paul Civic Opera, as the organization was then known, from the initial one, ‘Samson And Delilah’ in 1933, to ‘The Merry Widow’ in 1963. He also did the decorations and designs for a number of the International Institute’s, “Festival of Nations” at the Auditorium and was responsible for the mounting of major productions at Andahazy Ballet Borealis.” Hubal’s numerous stage settings for Lorand Andahazy and Anna Adrianova included “Slavonic Scenes,” “Les Sylphides,” “Swan Lake,” “Spectre de la Rose,” “Aurora’s Wedding,” “The Miraculous Stag” and “Scheherazade.” A 1954 article from the “Star Tribune” provides additional detail about Hubal scenery for “Les Sylphides” –
“The setting, a woodland glade, by Victor Hubal, had a spacious, semi-transparent effect which enhanced the quality of the ballet.” The article also noted that the ballet company was composed of 40 dancers and
In regard to Hubal’s “Swan Lake” scenery, an entertaining tale was later published in the “St. Paul Dispatch.” Purportedly, Andahazy accidentally upset a pail of dye onto the canvas when Hubal was painting “Swan Lake.” Andahazy immediately apologized and Hubal responded, “Never mind.” The article reported, “with deft strokes he converted the dark blotch into a rocky formation and balanced the composition by converting some trees into more rocks on the other side.” The “Dispatch” article also described Hubal in detail – “A man of artistic sensitivity and great skill and accumulated knowledge of his craft, Hubal labored largely in obscurity, for he was shy and retiring by nature and had no talent for self-promotion. But the contributions to the community to which he made in his self-effacing way for so many years were great, and they can be remembered with respect and gratitude.”
Another article about the St. Paul Civic Opera’s production of “Rigoletto” mentions Hubal’s brief work for film –
“When the curtain rises Wednesday it will be on the work of a man who might have been prominent in his field in motion pictures as Wallace Beery and Charlie Chaplin are in theirs, had it not been for the fact that he found black and white too monotonous. He is Vic Hubal, scene designer for the opera association. When the motion pictures were in their infancy, Hubal, already an accomplished scene designer for some of the largest production and road shows in the country, wandered into the old Essanay Film company’s lot in Hollywood. There he went to work on designing backgrounds against which Charlie Chaplin, Ben Turpin and Beery were to cavort. But the backgrounds were all black and white, because those were the only colors to film well. There were relieving incidents once in a while, as he when he would be called down from his scaffold to take the part of a cop, or when he was called into the dressing room to make up Turpin for his monkey roles, but on the whole, black and white was too confining for a true scenic artist.” The article also noted that Hubal trained with Fred Scott, Ansel Cook and Fred Lewis, all who worked at Sosman & Landis when Hubal was associated with the firm.
Hubal’s obituary in the “St. Paul Dispatch” mentioned Hubal’s work for the Josef Meier Passion Play, both the touring productions and the permanent one at Spearfish, S.D.” Of the Black Hills Passion Play, a 1944 article in the “Queen City Mail” noted “Victor Hubal of St. Paul, scenic artist, was in Spearfish last week redecorating the play scenes for the winter performances” (Spearfish, SD, 21 Sept. 1944). Over the years, Hubal was repeatedly connected with the production as the sets were repaired and new elements were added.
Passion play postcard that shows details of Victor Hubal’s scenic art for the Black Hills Passion Play.
Meier brought his Passion Play to the United States in 1932. Born in Lünen, Germany, he was the seventh generation of his family to portray Jesus in the biblical drama. Meier translated the production from German to English and brought a small company to the United States, premiering the show in New York and then taking the production on tour. By 1939, Meier found a permanent home for his production in Spearfish, South Dakota, building a 6000-seat amphitheater. Even after settling in Spearfish, later toured the United States and Canada until 1964. The production was performed in more than 650 cities over the years, becoming an annual event for many cities. Meier remained part of the production until 1991, when he retired after performing in 9000 performances. Meier passed away eight years later at the age of ninety-four. The Black Hills Passion Play outlived its founder, lasting until 2008 when the summer performances finally ended. For more information about the show, there are amazing photographs available to peruse online, part of the Fassbender Collection. Here is the link: https://www.historicblackhillsstudios.org/keyword/Black%20Hills%20Passion%20Play/
Interestingly, no one in the Spearfish Community seems to recall what happened to any of the Passion Play scenery…
My own life intersects with Hubal’s on many fronts. He first came onto my radar as an undergraduate at the University of Minnesota. Prof. Lance Brockman recommended me to repair some of Hubal’s work at a local ethnic hall. In 1917, Hubal painted stock scenery for the Česko-Slovanský Podporující Spolek (C.S.P.S.) Hall in Saint Paul, Minnesota. His work includes roll drops, wings, flats and profile pieces. The roll drop curtain depicting Praha (Prague), and stage settings include street scenes, landscapes, woodlands, rustic interiors and fancy interiors. The interior box sets had interchangeable flats, being double painted to provide endless variety for a number of shows.
Roll drop by Victor Hubal for the CSPS Hall in St. Paul, Minnesota.Scenic art detail by Victor Hubal at the CSPS Hall in St. Paul, Minnesota.Roll drop and cottage by Victor Hubal for the CSPS Hall in St. Paul, Minnesota.
Theatre was an integral part of the Minnesota Czech community. A third floor was added to the 1887 building in 1917, featuring a stage and auditorium/gymnasium.
The CSPS Hall with gymnasium and stage. 2016.
The auditorium/gymnasium is still primarily used for gymnastics and general physical fitness; this is part of the Sokol mission “a sound mind in a healthy body.” On the stage, Czech plays continued to be performed, preserving the language and heritage of this immigrant community. For more information on Sokol origins, please visit www.american-sokol.org/history/.”
Hubal and his family were members when he painted the beautiful roll drops for the Hall. Over the decades, many of the drops fell into a state of disrepair from constant use. During the 1990s, I restored Hubel’s roll drops, first encountering Hubel’s grandson, Victor J. Hubel, Jr. (1923-2012). Over the years I have periodically returned to repair any new damage.
Repairing damage to the bottom fabric and roller in 2016.
Hubal’s scenery is well loved and well used to this day. The drops always make an appearance at social activities, concerts and plays. However, as with many stewards of historic backdrop collections, it is difficult many members to understand the historical significance of these painted scenes. In regard to Hubal’s legacy, gymnastic equipment often brushes the delicate scenery, and this constant contact takes a toll on the longevity of each piece. The edges of roll drops fray as performers brush by during set-up and teardown of a band. Cups of beer are tipped over during musical performances, damaging the fabric and wood on the bottom roller. This is a similar scenario across the country in Czech halls. Often the well-loved scenes are treated as standard stage scenery and not large-scale artworks created by nationally recognized artists. When historic backdrops are regarded as “old backings”, their artistic value and cultural significance is diminished; their repair may seem optional. In the end, these historic artifacts are roughly handled and damage continues to occur over time. In 2016, I repaired fabric damage and re-attached rollers. When I examined Hubal’s scenery a few years ago, I noticed that much of the collection was was rapidly deteriorating from excessive contact. In fact, many of the drops were in far worse shape than when I first examined them in the 1990s.
There are things to consider when pondering the value, cultural significance, and use of historic scenery. First of all, you need to think about the creator and artistic provenance.
An entire scenery collection produced by a scenic artist is remarkable in its own right. Most scenery collections were painted by many scenic artists, with multiple hands creating the various scenes. When a piece of scenery, or entire collection, is created by a single individual, it adds to the rarity and provenance of the artworks. When that person is well-known, having enjoyed a long and successful career, especially one that is integrally linked to a variety of nationally-recognized productions, there is an added culturally significance.
Hubal was very important in the scope of American theatre history, as well as several regional histories, including Minnesota and South Dakota. His scenery at the SOKOL Hall in St. Paul may be some of the last examples of his scenic art.
Although scenery can last for decades, even centuries, the eventual deterioration is based on both environment and continued use; both are currently working against Hubal’s painted legacy in St. Paul.
Make a point of visiting the hall now to see Hubal’s scenic art. It will not survive the test of time.
James R. McNair was a scenic artist at Sosman & Landis during the late nineteenth century. On March 12, 1895, “The Standard-Herald of Warrensburg, Missouri, reported, “Mr. McNair was formerly with Sosman & Landis, Chicago, and has probably furnished more scenery for country opera houses than any man of his age in the business.” Little is known of McNair, beyond a few directory listings and a handful of newspaper articles that mention his scene painting projects from 1888-1911.
By 1887, James McNair was working as a scenic artist in Kansas City, Missouri, at L. R. Close’s firm. Both the 1887 and 1888 City Directories listed McNair’s employer L. R. Close & Co. The only difference was that McNair roomed at 516 Broadway in 1887 and 117 w. 5th in 1888. 516 was actually a studio address. Itinerant artists would designate a permanent mailing address for the year, often with their employer to ensure that their mail was delivered. Otherwise, their names were constantly listed in the uncollected letter sections of newspapers across the country.
Throughout 1886 and 1887, L. R. Close’s studio was located at 514-516 Broadway, with former Sosman & Landis scenic artist, Lemuel L. Graham’s studio at 525-527 Main. For context, the Main St, address was Close’s previous studio address in 1884, This was before his firm moved to the Broadway studio space. 1884 was also the same year that Graham left his scenic art position at Sosman & Landis to establish a studio in Kansas City and managed Sosman & Landis’ Kansas City Branch. They were all dipping into the same scene painting labor pool.
Sosman & Landis, Graham, and Close frequently employed the same scenic artists, as well as subcontracted work to one another. Again, there was a greater demand for theatre scenery than a supply of scenic artists to paint it.. Work was abundant and the profit margin quite high. In later years, Perry Landis would recall that the profit margin for theatre scenery in the 1880s was often 45% or more.
This is where McNair fits into the Kansas City scenic studio puzzle. Scenic artists employed by a firm home-based out of a studio, and also contracted individual projects. Sometimes it is hard to determine whether the artist was representing himself or the studio on the project. Many communities heralded the arrival of a scenic artist, frequently mentioning their skill and artwork in local newspapers.
Two of McNair’s 188 projects were for small opera houses in Broken Bow, Nebraska and Tombstone, Arizona. This was also considered a Sosman & Landis territory, managed by their western offices. On April 26, 1888, the “Custer Country Republican”, of Broken Bow, Nebraska, announced, “J. R. McNair a scenic artist is engaged in painting a drop curtain for the new opera house. It is the finest piece of work of that character ever done in Broken Bow and is a credit to Mr. McNair and adds much to the appearance of the scenery in the opera house” (page 8).
On July 21, 1888, the “Tombstone Weekly Epitaph” reported, “Jay McNair, a scenic artist of Kansas City, is at present at work on a new drop curtain for the Elite Theatre. It is very handsome, and will contain a number of advertisements” (page 3). The Elite Theatre was originally known as the Birdcage, built by William Hutchinson in 1881. Hugh McCrum and John Stroufe were the next owners, who in turn, sold the venue to Joe Bignon in 1886. Bignon refurbished the building and renamed it the Elite Theatre. It was during this period that McNair painted and advertising curtain for the stage. The venue closed only four years later in 1892.
Tombstone’s Bird Cage Theatre was briefly known as the Elite Theatre when J. R. McNair painted scenery for the venue.
These two projects could have been contracted by either Sosman & Landis or L. R. Close & Co. Studio artists were often sent on site for a variety of projects, with the individual artists receiving press and not their employer. This was a practice that shifted by the early twentieth century, as more and more work was completed at a metropolitan studio and shipped across the country.
Also, when the main studios were booked solid, and an adjacent annex was either cost-prohibitive or unavailable, employees and supplies were simply shipped to the venue.
In regard to McNair’s Kansas City employer in 1888…
Close operated a scenic studio in Kansas City for a full decade. Establishing his firm in 1883, Close did not remove to Chicago until 1894. In the Windy City, Close remained associated with Sosman & Landis until his passing in 1901. At Sosman & Landis, Close was listed as their agent, traveling salesman, and scenic artist over the years. His association with the firm likely started when the firm opened their Kansas City Branch Office in 1884. Close, McNair, and many other Kansas City scenic artists were often subcontracted by Sosman & Landis throughout the 1880s and 1890s.
The firm’s main studio also transported scenic artists from Kansas City to Chicago during busy periods, especially leading up to the 1893 Columbian Exposition. After the close of the World Fair, dozens of Sosman & Landis employees found themselves out of work and on their own. This was likely when McNair began working on his own, traveling as an independent scenic artist. In 1894, McNair was painting at a small theater in Kentucky.
On June 12, 1894, the “Hopkinsville Kentuckian” announced, “A traveling scenic artist, J. R. McNair, painted last week a beautiful and appropriate banner to be used in decorating the Union Tabernacle for the commencement exercises of the Hopkinsville Public Schools. The manner in which this work was executed shows him to be an artist of more than ordinary ability” (page 5). By the 1890s academic theaters representing a growing clientele. As new schools opened, their designs included theatrical stages.
By 1895, McNair was credited as a former Sosman and Landis employee, now associated with the Grand Opera House in Dallas, Texas.
On March 12, 1895, “The Standard-Herald of Warrensburg, Missouri, reported, “ The Scenery Arrives. The special scenery to be used in the production of ‘Pinafore’ at the Magnolia Opera House on April 19, arrived Monday. It consists of a backdrop, ocean horizon, with a view of Portsmouth in the distance: a cabin, bulwarks, mast and wings, and all the necessary surroundings for the proper production of the opera. It was painted by Mr. James R. McNair, one of the finest scenic artists in the country, of the Grand Opera House, Dallas, Texas, and is an everlasting credit to that gentleman’s ability. Mr. McNair was formerly with Sosman & Landis, Chicago, and has probably furnished more scenery for country opera houses than any man of his age in the business. The special setting of “Pinafore” gotten up by him for the company, which is to produce the opera in this city, will add greatly to its success, besides being a piece of work of which he may well be proud” (page 1).
McNair painted scenery for Warrensburg’s Magnolia Opera House in 1888.
On April 30, 1897, the “Centralia Fireside Guard” of Centralia, Missouri, reported, “J. R. McNair, a scenic artist of rare ability and great skill is engaged in painting a new drop curtain for the opera house. His workmanship cannot be surpassed. The curtain will be beautiful in design and a credit to the city” (page 5).
McNair’s arrival was mention in the “Centralia Fireside Guard” on April 16: “A first-class scenic artist will be here next week to paint a new advertising drop curtain for the Opera House. Mr. Rodemyre has made special arrangements to bring him here from the east” (page 5).
McNair never seemed to settle in any one place for long, but roamed throughout the country. In 1904, however, he listed Denver as his permanent residence. On March 25, 1904, “The Bainbridge Search Light” of Bainbridge, Decatur County, Georgia, mentioned McNair in an article entitled, “Opera House Improved” (page 1). The article reported, “Mr. J. R. McNair, and expert scenic painter of Denver, is now at work here on the drop curtains. He is reputed to be a very skillful artist and his work on curtains will be watched for with interest. Theatre goers have gazed upon the impossible nymphs and distorted cherubs engaged in the delightful pastime “swinging in the grape vine swing” adnauseum and will no doubt enthusiastically welcome a change of scenes. The work will be completed early April, and then perhaps some summer attractions will be put on.”
I have yet to locate him in the Denver City Directory during this time. Early twentieth-century scenic projects, however, continued to lure McNair east. On September 30, 1905, the “Bluefield Daily Telegraph” of Bluefield, WVA, reported, “J. R. McNair, a scenic artist of note, is here remodeling the interior of the opera house and when finished it will be one of the most modern and up to date playhouses in Southwest Virginia or Southern West Virginia” (page 6).
Then there appears to be a five year gap, where I have yet to locate McNair’s residency or any theatre projects. He resurfaces in 1910. On May 6, 1910, “The Mobile Daily Item” of Mobile, Alabama, reported, “Painter J. R. McNair is busy painting the new curtain for the stage in the high school. It will be completed before the commencement exercises are held” (page 12). The following year, McNair was “of New York,” suggesting that he relocated east. On April 5, 1911, the “Keowee Courier” of Pickens, South Carolina” announced, “J. R. McNair, scenic artist, of New York, is here to paint a drop curtain for the high school auditorium” (page 1).
I have yet to discover any other information about McNair until his passing in 1924. Sometime between 1911 and 1924 McNair returned to the south, relocating to Louisiana. I have yet to determine whether this was a permanent move, or just another temporary residence. He passed away mid-project, while working on scenery for the Goldonna High School.
On Jan. 29, 1924, “The Times” of Shreveport, Louisiana, announced his death: “J. R. McNair. Lake Charles, Jan. 28 – J. R. McNair, 60 years old, a scenic artist and interior decorator, dropped dead in a restaurant here Saturday night” (page 12). The Louisiana Death Index listed his birthdate as “abt. 1854,” suggesting that he may have been actually 70 yrs. old.
McNair’s 1924 obituary published in Shreveport’s “The Times” is the only one that I have located to date.
McNair’s possessions went into probate, and provide a little more information about this itinerant artist. On April 17, 1924, Louisiana Wills and Probate records state, “To the Honorable Judge of the Fifteenth District Court of the state of Louisiana, in and for the parish of Calcasieu:
The petition of E. C. House Clerk of said Court, respectfully represents that on or about the 26th day of January, A.D. 1924, one J. R. McNair, departed this life, in the City of Lake Charles, Calcasieu parish, Louisiana. That deceased was a resident of Calcasieu parish, Louisiana, and that so far as is known, said deceased left no heirs, relative or kindred to inherit his estate or to administer same; said estate consisting of personal property, to the value of about two hundred dollars and described as follows, to-wit:-
(1) Check of Goldoma [sic. Goldonna] High School, P. A. Griffon, Principal, on Peoples Bank of Natchitoches, LA, dated April 3, 1924, – for $108.20
(2) Miscellaneous lot of tools, brushes, paints, etc., per list attached, value at about $100.00”
The probate record continued with McNair’s debts:
“That said estate of J. R. McNair owes the following debts and accounts to-wit:-
To H. B. Barnes, 526 R. R. Ave., Lake Charles, La., For expenses connected with drop at Goldoma High School, per statement, $21.92
To Gill & Trotti, Undertakers, Balance due account of funeral expenses, per statement, $29.80
To Robert Dalovisio, 2 mos. Rent, 526 R. R. Ave, @$15,00 Total $30.00.”
McNair’s probate file details all of his worldly possessions, including his scenic art supplies.
List of McNair’s scenic art supplies that was included in his probate file from 1924.
The list provides an amazing snapshot into an itinerant scenic artist’s work in 1924.
Here is the transcribed list of his work supplies:
Oil stove, $1.00 [for making hide glue]
6 water buckets, $1.50
87 brushes, $10.00
2 boxes charcoal, 25 cents
7 closed pkgs color, $2.50 [dry pigment]
6 sponges, 90 cents
33 open pkgs color, $5.00 [dry pigment]
1 saw, $2.00
32 new brushes, $5.00
16 new brushes, $2.00
9 bits and braces, $2.00
1 square, 50 cents
1 hammer, 50 cents
1 chisel, 50 cents
1 cold chisel, 50 cents
1 broom, 75 cents
26 oz Bronze, $3.00
2 dividers, $15.00
2 pliers, 50 cents
1 trunk, $2.00
6 pencils, 25 cents
5 large brushes, $9.00
Package stationary, private
48 stamped envelopes, 96 cents
42 used brushes, $4.20
1 lot lumber, $3.00
5 Strips of cloth, 32 ½ yds, $28.00
Lodge banners, $5.00
bundle strips, $1.50
1 movable ladder, $3.50
Rollers, screws, rope, nails, saw benches, $2.50
1 used drop, $10.00 [possibly the old drop from Goldonna HS that they were replacing]
I am absolutely fascinated with his 182 brushes (42 used) and 40 packages of dry pigment. It makes me fill a little better about my own supply, and less like a hoarder.
“The Lake Charles American Press” also published the probate notice for McNair for seven days, beginning, April 23, 1924. Much of the handwritten list from the probate records was submitted, with the addition of clothes and other personal sundries.
When McNair passed away in 1924, he was working with fellow scenic artist H. B. Barnes. They were painting a new drop curtain project for the high school in Goldonna, Louisiana. This also gives some sense of the scenic artist’s onsite expenses at the time. Barnes submitted a request for payment by the probate court, expenses owed to Barnes at the time of McNair’s passing. Specifically, Barnes requested McNair’s estate to pay for the following debt:
Travel (railroad fares to and from Alexandria, Louisiana), lodging in Goldonna, meals, and project supplies. In the end, Barnes also submitted a bill for “Keepers fees,” as he held onto McNair’s possessions long after his passing, from Feb 1 to May 17, 1924. These items were eventually sold at auction, with Barnes hoping for some of the proceeds to pay his project expenses.
I tried to track down a little more information about Barnes, hoping that it may shed light onto his colleague’s life and scenic art career. Hiram P. Barnes was the son of Solomon D. Barnes and Susan O. Joslin. Born in New York on April 20 1862, Hiram Barnes moved to Indiana with his parents as a child. The 1870 US Federal Census listed the Barnes Family living in Union, LaPorte, Indiana. Barnes would return to LaPorte, Indiana later in life, continuing to work as a scene painter until his passing on Nov. 10, 1935. His cause of death was listed as multiple sclerosis and respiratory paralysis.
Neither Barnes, nor McNair, made the history books. Their work is only mentioned in a handful of newspaper accounts, yet they represent the vast majority who worked as scenic artists during the late-nineteenth century and early-twentieth-century. Communities across the country received many traveling scenic artists as them as heroes, raved about their artistic skills. As they passed through many left small communities a little better than they found them. Painting large-scale artworks that helped transport many to distant locations. There was something new to gaze upon each time they attended the theatre. Unfortunately, many of their artworks have failed to stand the test of time, and once celebrated artists were quickly forgotten.
Max Greenburg was a scenic artist who worked for Sosman & Landis at the turn-of-the-twentieth century. I recently stumbled across his name while cross-referencing studio projects from 1900.
Max Greenburg was the middle of three children born to Joseph Greenburgh (1833-1908) and Frances Scherek (1847-1925). His parents were both Jewish immigrants who initially settled in New York. The 1900 US Federal Census listed Joseph Greenburg’s birthplace as Poland. Frances’ was “born at sea” with her parents from German. In later years, their children simply listed “England” as their parents’ birthplace.
Of the three Greenburg children, Gilbert (1871-1931) was the oldest, born in Brooklyn in 1871. Max arrived the following year and was also born in New York. Their younger sister did not arrive until after the family relocated to Maine. Pearl Greenburg was born in 1888 in Lewiston, Androscoggin County.
I have yet to track down when, or where, Max entered the theatre industry. However, by the time Greenburg was 23 yrs. old, he moved from Maine to Massachusetts. In 1894 “Max Greenburg of Boston,” was mentioned in his brother’s wedding announcement (“Sun-Journal” on Nov 22, 1894, page 8). Sometime between 1894 and 1899, Max moved from Boston to Chicago. His move to Chicago likely coincided with his first working for Sosman & Landis.
In 1899, Greenburg married Mary “May” Higgins in Saint Joseph, Berrien, Michigan, on August 12, 1899. Both Max and Mary listed Chicago as their permanent residence on their marriage certificate. Mary was the daughter of Charles “Charlie Higgins (b. 1845) and Delia A. (Cowers) Higgins (b. 1859), both still living in New York at that time. Mary appears to be one of twelve children born to the couple in New York. I have yet to locate any further information about Max’s first wife – at all.
Shortly after marrying Mary, Greenburg began assisting Sosman & Landis scenic artist, Fred McGreer, at the firm’s Cincinnati theatre space. Sosman, Landis & Hunt were a theatrical management firm that managed Cincinnati’s Pike Theatre and Indianapolis Grand Opera House. Sosman & Landis staff painted the necessary scenery for not only the two venues, but also the touring stock companies. This was in addition to their various regional branches in Kansas City, Detroit and New York City.
During the spring of 1900, Greenburg painted stock scenery at the Pike Theatre. On April 15, 1900, McGreer and two of his fellow scenic artists (Fred and Robert McGreer) were pictured in “The Cincinnati Enquirer” (page 12). In 1900, Greenburg was listed as a scenic artist in the Cincinnati Directory, boarding at the Burnet house; the same place that housed McGreer. At the time, McGreer was working as the chief scenic artist for the Pike Theatre, having first started working at the venue in 1898 under the supervision of Thomas G. Moses. When Moses left, McGreer became the head scenic artist, with Greenburg assisting him.
Max Greenburg is pictured painting on the drop. Fred McGreer, and his little brother Robert are discussing the design.
After completing his work at the Pike Theatre, Greenburg ventured east to visit his brother in Naugatuck, Connecticut. On April 27, 1900, the “Naugatuck Daily News” reported, “M. Greenburg, a scenic artist in the employ of Sosman & Landis of Chicago, is visiting his brother, G. Greenburg of Church Street. He is a clever painter, and judging from the samples of his work shown to a News man today, is sure to acquire fame as a scenic artist. Mr. Greenburg is a young man of 27 years but he is old in experience in scene painting. He always had a fondness for painting and at the age of 12 commenced the study of scene painting. His drop curtain work is especially fine and he has painted some very realistic street scenes for some of the large theaters. He recently finished painting some of the scenery for a large theater in Cincinnati. After spending a few days with his brother, Mr. Greenburg will return to Chicago where he will resume work with the brush” (page 4). Greenburg left Naugatuck by the end of April. On April 30, 1900, the “Naugatuck Daily News” reported, “Max Greenburg, who has been visiting his brother G. Greenburg of Church street, left this morning for Chicago.” (page 4).
As with most scenic artists. Greenburg was one the road a lot, bouncing back and forth from one job to the next, going wherever his skills were needed. That summer, Greenburg painted scenery for the “Great Ruby” at the National Theatre in Rochester, New York. On June 14, 1903, the “Democrat and Chronicle” reported, “the scenic investiture that distinguished the original production of this melodrama will be richly reproduced at the National. Mr. Max Greenburg, the scenic artist, has been working on the place for several weeks” (page 16). In 1904, Greenburg was listed as a scenic artist in the Rochester Directory, boarding at 261 Lyndhurst.
He remained associated with Sosman & Landis in 1903, but was also the primary scenic artist for the Cleveland Theatre. He was credited with painting scenery for Nance O’Neil’s production of “Jewess;” her version of “Leah, the Forsaken.” On Nov. 7, 1903, Chicago’s Polish newspaper “Dziennik Chiogoski” reported, “Cleveland’s new theater – Wabash av. and Hubbard Court for next charter week on Sunday evening, November 8, Miss Nance O’Neil in the delicious and rich production of ‘The Jewess.’ This is one of the strongest and most popular plays in Miss O’Neil’s repertoire, and it is everywhere by all classes of amateur theater enthusiasts. Miss O’Neil won the greatest triumphs in the personification of the ‘Jewish woman’. Ms. E. J. Ratcliffe and the whole community will help her Cleveland Theater. Mr. Ralph E. Cummings will also perform for the first time as a member of this troupe. Scenery will be brand new and under the brush of Misters Sosman and Landis, and Max Greenburg, the stage artist of this theater. The entire production will be under the personal director Mr. McKee Rankin” (page 5).
By 1905, Greenburg was credited as the “Forepaugh scenic artist.” This was the Forepaugh Stock Company of Philadelphia, managed by George F. Fish. On Oct. 23 1905, the “Cincinnati Commercial Tribune” reviewed “Twelfth Night,” starring Miss Viola Allen, at Robinson’s proclaiming it to be “A Hit” (page 7). The article reported, “Mr. Max Greenburg, the Forepaugh scenic artist, with his assistants, produced results in pictorial embellishment of the play that exceeded in beauty and real artistic value anything ever before exhibited at Robinson’s, and it would be difficult to recall any stock mounting of a Shakespearean drama that fairly equaled this Forepaugh achievement.” Greenburg maintained a residence in Cincinnati from 1906-1907, listing, “Greenburg, Max artist bds flat 9 n e c 7th and Central Ave.”
By1908, Greenburg became associated with the Vaugh Glaser Stock Co. On April 16, 1908, the “Detroit Times” reported “Theodore Johnston, who has directed the Vaughn Glaser productions for the past four years, will still direct the stage for this company during its coming engagements in the Lyceum Theatre, while the scenic artist will be Max Greenburg, recognized as the foremost scene painter now engaged in stock work in America” (page 5). He was still with the company in 1909. On October 2, 1909, “The New York Dramatic Mirror” listed Max Greenburg, as the scenic artist for the Vaughan Glaser Stock Co. in Cleveland (page 21). He remained in Cleveland until 1911 when he temporarily relocated to St. Louis, Missouri, establishing his studio in the Princess Theatre. His focus shifted to movie screen improvements.
On July 16, 1911, the St. Louis newspapers announced, “A new picture-screen invented by Max Greenburg, formerly scenic artist at the Cleveland Hippodrome, said to be the first of its kind ever used in St. Louis, has been installed at the Princess. It brings out facial expressions and the high lights of photographs in a remarkable manner”(page 20). On August 6, 1911, the “St. Louis Star” published a detailed description of his invention (page 52).
Advertisement for the Princess Theater when it opened in 1910.
Unfortunately, the digitized copy was damaged, so much of the information is missing. What I was able to decipher notes that Greenburg was formerly the scenic artist at the Hippodrome in Cleveland. His new picture screen allowed projected images to remain visible when all of the auditorium lights were on, maintain an unprecedented clarity to the projected image. That summer, Greenburg was arranging a series of exhibitions at his studio for local moving picture exhibitors to see his new invention.
Fellow Sosman & Landis scenic artist William M. Minor also took an interest in movie screen development. On Sept. 14, 1910, the “Salt-Lake Herald-Republican” reported:
“Moving Picture Screen.
William M Minor, scenic artist at the Salt Lake Theatre, has applied for a patent on an invention which he calls Minor’s Wonder Moving Picture Screen. It is a cloth screen with a burnished metallic surface that adds distinctness to the picture that is thrown upon it. Last evening at the Orpheum theatre, preceding the regular performance, a test was made of the invention which impressed a score of invited spectators favorably. Seven by twelve feet of the entire scene was of the new material, and the remainder was the usual cotton cloth. This arrangement afforded opportunity for comparison between the two surfaces, and the mirror-like distinctness of the pictures on the metallic surface argued well for the success of the invention. Mr. Minor has experimented with the screen for about three months and since he received a receipt from the patent office, on Saturday last, has been testing the invention before private audiences. On Monday night it was tried at the Murray opera house.”
Although Greenburg purportedly filed for a patent in Missouri, he soon returned east and was living in New York by the end of the year.
In regard to his personal life, Greenburg’s first marriage failed. Sometime between 1900 and 1911, Greenburg divorced his first wife, Mary. After returning to New York in 1911, Greenburg married his second wife, Ethel Hooper. On Dec. 14, 1911, the “Baltimore Sun” reported, “Ellicott City. – Max Greenburg, of New York city and Miss Ethel B. Hooper, of Boston, were married at the parsonage of Emory Methodist Episcopal Church, this city, on Tuesday by Rev. Vernon N. Ridgley” (page 13). Miss E. Hooper was a Canadian immigrant who sailed from Halifax to Boston in 1902. At the time, she was listed as single and 19 yrs. old. By 1911, Ethel was 28 yrs. old. The couple would not celebrate the birth of a child for another decade though. In 1922, the one and only daughter, Helen Hooper Greenburg was born in Boston on Nov. 20.
Greenburg continued to bounce from one project to the next after his second marriage. In 1913, Greenburg and his wife briefly relocated to Winnipeg, where he accepted a scenic art position at the Winnipeg Theatre. On Aug 12, 1913, the “Winnipeg Tribune” reported, “Stage Director Johnston still occupies his old position with credit, and is assisted this season by John Daly, Max Greenburg is the new scenic artist, and Augustus Hughes, the music director, exploits agreeable orchestral music as usual between acts.” (page 6). The couple did not stay in Canada for long, and soon returned to New York where Greenburg became quite successful.
In 1918, his work caught the eye of Maude Fulton.
Maude Fulton, ca. 1914.
On Dec. 22, 1918, the “Oakland Tribune” announced, “Max Greenburg, the scenic artist who has been brought from New York by Maude Fulton to supervise the scenic department of the Fulton playhouse has done himself proud with the sets for ‘Sis Hopkins,’ and it is promised, that they will be a revelation” (page 43). Greenburg remained in California for about three years.
March 14, 1919 “Oakland Tribune” – “The Scenic Artist. We come now to the wizard of the paint brush, Max Greenberg, the scenic artist whose remarkable skills is in evidence each week in the painted scenes that make the frame work where shine the stars of the Fulton company. Much of the credit for the distinction of the Fulton productions belongs to Mr. Max Greenberg. Miss Fulton brought him to Oakland from Boston, where he was deemed the peer of scenic artists. His name in Boston and New York, in his line, is one to conjure with. It is a unique art – scene painting – and Max Greenberg is a master of that art” (page 10).
The Greenburgs were still living in California during the 1920 US Federal Census. At the age of 44 yrs. old, his occupation was listed as scenic artist in the theatre industry. By 1921, the Greenburgs returned to the East Coast. On July 2, 1921, “The Billboard” announced, “Max Greenburg was in New York City last week. He is working on the Plymouth Pageant to be held in August. Mr. Greenburg is planning on having several boys on from Boston, as well as several more on from New York, to form his crew when production gets to that point.”
By 1922, the Greenburg’s were again living in Boston, where his daughter Helen was born. She would also become an artist. Her 1989 obituary listed her profession as “commercial artist” (“Indian River Press Journal,” Vero Beach, 22 Feb 1989, page 3).
Helen H. Greenburg married Joseph L. Ferano in 1944, becoming Helen G. Fermano.
In the 1924 Boston Directory, Greenburg was listed as residing at 376 Riverway. His reason return east may have been partially prompted by his aging mother. In 1925, his mother, Frances Scherek Greenburg passed way in Lawrence, Massachusetts. At the time, she was living with her daughter Pearl. On August 20, 1925, the “Sun-Journal of Lewiston, Maine” reported, “Obituary. Mrs. Frances Greenberg. Funeral services for Mrs. Frances Greenberg, widow of Joseph Greenberg, formerly of Lewiston, were held in Auburn Wednesday from the Congregation Beth Jacob Synagogue. Rev. S. Segal officiated the service and interment was at the Congregation Beth Jacob Cemetery. Mrs. Greenberg died suddenly in Old Orchard on Monday. She had been in rather poor health for some years but her condition was not considered serious and so her death was a distinct shock to her family and friends. For the last 10 years she has made her home with her daughter, Mrs. James D. Brown of Lawrence, Mass. Previous to that she had made her home in Lewiston and with her husband was among the best-known and most highly respected residents of the city. She leaves two sons, Gilbert Greenberg, Naugatuck, Conn.; Max Greenberg, Boston, Mass; four grandchildren, Adrian Greenberg, Hollywood; Mrs. Clarence Leventhal, Jamaica, Long Island; Helen Greenberg, Boston; and Ruth Brown, Lawrence, Mass,” (page 12).
The following year, Max was listed as a scenic artist in the Quincy Directory, living at 160 E. Elm in Quincy, Massachusetts. For geographical context, Quincy is about ten miles south of Boston. Meanwhile, the three children closed their mother’s estate in Lewiston, Maine. In 1927, Max’s siblings, Pearl and Gilbert, sold their interest in Lewiston land and buildings to Max (Sun-Journal, 11 Feb 1927, page 15).
By 1930, the US Federal Census listed Max, Ethel and Helen Greenburg living in Boston at 36 Burroughs. St., Jamaica Plain. This would remain their permanent address for the rest of their lives. Greenburg continued to be listed as a scenic artist in the Boston Directory until his passing in 1934. On Dec. 13, 1934, “The Boston Globe” announced, “Greenburg – In Boston, Dec. 11, Max Greenburg of 36 Burroughs St., Jamaica Plain, husband of Ethel Hooper Greenberg. Services from the chapel of Jacob H. Levine, 200 Washington St., Dorchester, Thursday, Dec. 13 at 2 P.M.” (page 35). Ethel Greenburg continued to live at their home on Burroughs St., even after Helen married Joseph L. Ferano in 1944. On Feb. 12, 1952, “The Boston Globe” announced, “GREENBURG – In Jamaica Plain, Feb. 10, Ethel B. (Hooper), widow of the late Max Greenburg; Mother of Mrs. Joseph Ferano. Funeral Service from her home, 27 Burroughs St., Wednesday at 1:30. Visiting hours 2-4 and 7-10 pm. Relatives and Friends invited.”
There is one other interesting tidbit to add to the life and career of Max Greenburg. His nephew became a well-known Hollywood costumer and fashion designer. I encountered the connection while tracing the lives of Max’s siblings. While looking for information about Gilbert senior, I stumbled across his son’s passport application. On the passport application, Greenburg listed that his professional name was “Gilbert Adrian.”
His older brother, Gilbert Greenburg, had two children: Beatrice (b. 1895) and Gilbert A. Greenburg (b. 1903). Gilbert Sr. ran a milliner’s shop in Naugatuck, where both of his children worked while growing up in Connecticut. Adrian was the costumer for “The Wizard of Oz.” Many books have been written about “Gowns by Adrian” and his legacy. Adrian passed away in 1959, his obituary reporting, “Adrian, a native of Naugatuck, Conn., was head designer at Metro-Goldwyn-Mayer for many years. He designed gowns for such stars as Great Garbo, Norma Shearer, Joan Crawford, Myrna Loy, Hedy Lamarr and Rosalind Russell. In 1942 he opened his own custom dressmaking salon in Beverly Hills and the label “Gowns by Adrian” became internationally famous. He won a number of awards, including the coveted American Fashion Critic’s award for excellence in design. Adrian studied art in Paris and got his start in the designing field when Irving Berlin asked him to create costumes for the Music Box Revue in New York. His creations, in subsequent shows, caught the eye of Mrs. Rudolph Valentino, who hired him to design costumes for Valentino’s pictures. While at M-G-M he met Miss Gaynor, winner of the first Academy Award in 1928. They were married in 1939. Adrian and Miss Gaynor abandoned Hollywood in 1952 and went to live on a frontier ranch they purchased in Brazil. For five years they divided their time between apartments in New York and Beverly Hills” (Oakland Tribune, 14 Sept, 1959, page 13)
For a short read…There is a very interesting article entitled “Adrian: The Costume Designer Who Made Hollywood High Fashion. Here is the link: https://www.lofficielusa.com/fashion/costume-designer-adrian-hollywood-fashion-impact). The article reports, “After getting his start at New York City’s Parson’s School of Design, Adrian moved to Hollywood at the height of the Golden Age. He briefly worked for film director Cecile B. DeMille’s independent film studio before signing on as chief costume designer at MGM…From 1928 to 1941, Adrian designed costumes for over 250 films, collaborating with some of the biggest Hollywood icons of the time…screen credits usually read as ‘Gowns by Adrian.’”
Charles C. Craig worked as a stage carpenter at Sosman & Landis in 1895. He was part of the firm’s regional branch in Kansas City, Missouri. Craig’s association with the firm was mentioned in the “Kansas City Times” on February 20, 1895 (page 2). Charles Craig and Rufus Brainer were credited with constructing “A Day in the Alps,” described as “an attractive spectacle in miniature at the Gillis Theatre.”
The “Kansas City Times” article reported:
“Of the various side attraction at the World’s fair none were more popular than the miniature representation of cities on both sides of the ocean. Since then, some of these attractive little shows have been exhibited in various parts of the country, and always with widespread popular favor.
Mr. Charles C. Craig of this city, who has been for some time an attaché of the studios of Sosman & Landis, scenic artists of Chicago, and Mr. Rufus Brainerd, electrician at the Gillis Opera House of this city, have been spending their spare time during the past two months in constructing one of these spectacles, which is now completed and is being exhibited to their admiring friends at the Gillis.
It represents a Swiss Village in the Alps and is a marvelously beautiful work of art. The traditional cathedral and the ever present castle are there with the lofty mountain peak, the babbling brook, the dwellings, the bridge, and all accessories. By the manipulation of the electric lights they represent sunshine on the mountain, storm clouds, rain, and finally stars. During the day processions move over the bridge, and the whole comprises a panorama of rare excellence.
It is entitled a Day in the Alps, and so far as the casual observer can figure it out there is nothing missing to complete the picture.”
Before I explore the life and career of Craig, I am going to share a little information about electric scenic theaters produced by Sosman & Landis at this time. The firm initially produced “A Day in the Alps” in 1893 for the Columbian Exposition. Located in the Midway Plaisance, the alpine setting transitioned from day to night for each performance, and was purportedly seen by 300,000 people during the fair (“St. Louis Post-Dispatch” 13 Oct, 1894, pg. 2). The concessionaire for the Electric Scenic Theatre was Mr. Arthur Schwarz. Placards placed outside the theater’s entrance advertising, “Every phase of an Alpine Day is produced with startling realism,” “The Most Intellectual, Absolutely Interesting Spectacle of the Midway Plaisance,” and “Do not miss this chance of a lifetime.” World Fair guidebooks reported, “The stage picture is a beautiful Swiss Alpine scenery, depicting in a realistic way every change of nature shown from dawn to night, as each gradually appears, and representing some of the most wonderfully realistic light effects ever produced by electric lamps. It is almost beyond belief that the visitor is not looking at a marvelous production of nature itself, instead of a picture created by an ingenious and artistic display of electric lights. The scene represents ‘A Day in the Alps.’ Tyrolean warblers perform on their various instruments, and sing their tuneful lays. Their renowned ‘yodels,’ as sung at each performance, are applicable to the scenery. The entire scenic effects are produced by about 250 electric incandescent lamps, operated from in front of the stage, in full view of the audience, by switches. The interior of the theatre is handsomely furnished with comfortable chairs. There are nine electric fans, producing a permanent current of fresh air, keeping the whole room at a low temperature and as refreshing as a sea breeze, it matters not how hot it may be outside.”
Other description noted, “The scenic production begins with sunrise, and over the mountain top appears the ruddy glow of early sunlight. Then, as morning advances, and the volume of light increases, the beauties of the mountain become more apparent until their full glory flashes upon the beholder. The shepherd boys and girls are seen with their herds, and every feature of Alpine life is faithfully portrayed. Then a storm arises, and the effects here produced by electricity are surprisingly beautiful. After the storm dies away and the clouds vanish Nature smiles again. Then the day begins to fade, and at last it is night, with the stars brooding over all.”
A “Western Electric” article described that the mechanical apparatus used red, blue and white lamps that were arranged alternately (vol. 12, pg. 322). The article reported, “Each color and each locality in the setting was wired on a separate circuit, so that, by the introduction of resistance, it only becomes a question of skillful manipulation to give light of any shade or intensity desired. Of course, none of the lamps are visible, as they are arranged in the footlights and wings as well as overhead and behind the setting. The motion of the moon is produced by a tiny motor.”
A Day in the Alps at the Columbian Exposition, 1893.
So popular was “A Day in the Alps” that the attraction was immediately replicated, appearing in numerous venues across the country. On Oct. 13, 1894, the “St. Louis Post-Dispatch” published an advertisement for “A Day in the Alps,” featured in the Small Hall for Wheelman’s Day at the Exposition (page 2).
When the Columbia Exposition closed, Sosman & Landis leased the Masonic Temple Roof Garden in Chicago and constructed two new electric scenic theaters for the Masonic Temple Roof Garden in Chicago. At the same time, Sosman and Landis played integral roles in establishing the American Reflector & Lighting Co. (Chicago). They had a vested interested in manufacturing a variety of lighting equipment. During this period, C. D. Baker was identified as the firm’s master electrician and responsible for the electrical engineering at the Masonic Temple Roof Garden.
The Masonic Temple roof garden was described in a “Scientific American” article entitled “A City Under One Roof,” (Feb 10, 1894). The article reported, “The twenty-first story is properly the roof. It is a roof garden, and is devoted to purposes of observation, and may be used for commemorative or festival occasions. It forms a great platform, enclosed by walls and ceiling of glass, with oak panels, steam heated, and capable of accommodating 2,000 people at one time. It is the highest point of observation in the city, and gives grand views in all directions.”
On June 9, 1894, and article in “Western Electrician” further detailed “Electric Scenic Theaters in the Masonic Temple, Chicago (Vol. XIV No. 23). Pictures accompanied the article, showing the settings for each stage.
The 1894 Electric Scenic Theaters manufactured by Sosman & Landis for the Masonic Temple Roof Garden, 1894.
“The love of the American people for anything that is novel and pleasing to the eye was abundantly exemplified last year at the electric scenic theaters at the World’s Fair. These places of amusement were among the most popular places at the exposition, and they have since been widely imitated and reproduced, sometimes with extended improvements and with more attention paid to detail. Those in Chicago who did not enjoy the opportunity at the fair of seeing the scenic effects which were produced upon stage pictures by the aid of electricity, and who were not able to avail themselves of the chance offered by Steele MacKaye’s spectacle, the “World Finder,” at his suddenly terminated venture in the “Scenitorium,” may gratify their tastes for amusement of the sort in the recently opened summer garden on the roof of the Masonic Temple. The garden in itself, 302 feet from the ground, is a sufficient at traction to draw crowds. Interest, however, centers in the two scenic theaters which are located in small houses, reminding one/forcibly-in style of decoration of the general idea of the World’s Fair buildings. Each theater is designed to accommodate about 75 persons comfortably, and opera chairs to that number are provided. In the first theater an Alpine scene is presented, the scenery of which, although very pretty, recalls too forcibly the theaters which were made familiar last summer. A mountain stream forms the motive of the picture. Upon its banks the houses are built; a church stands nearby, while a mill in the foreground presents an opportunity for a waterfall, after the water has passed over the mill-wheel. A bridge spans the stream, over which villagers pass to and fro; upon a mountain side stands a castle ,while snow-capped peaks stand out in relief against the sky. The scene is called ‘A Day in the Alps’ and begins with midnight, by the tolling of the bell. The break of dawn and the heralding of day present a faithful resemblance to the original and is particularly well done. After the day has been begun, a thunder storm approaches and passes over, accompanied by vivid flashes of lightning and the roll of heavy thunder. The evening is accompanied by the lighting of the street and house lights, and the moon rises, until the clock again announces twelve…Back of the scenes a complicated mass of electrical apparatus explains many of the pretty atmospheric changes. It is not the intention of this article to describe in detail any of the devices employed, for many of them were devised to suit the requirements of this particular case, and the others have been already mentioned in the columns of this journal. Focusing lamps, rheostat boxes, switches, reflectors and many devices of a similar character are present in abundance and are confined in an extraordinarily small space for the many effects produced. The second theater presents as a stage setting the view of the Court of Honor at the World’s Columbian Exposition, looking northwest from the west end of the agricultural building, and is most perfect in point of detail. The scene is introduced in the morning, and the sunlight illumines the buildings, including the Palace of Mechanic Arts, Administration Building, Electricity Building, as well as the MacMonnies and the two Electric Fountains. The lagoon is well supplied with gondolas and electric launches, which, although stationary, add much to the scene. In detail the scene is perfect. The statues are faithfully reproduced, and one has but to close one’s eyes and listen to the music which accompanies the scene, to imagine that the band in the band-stand really is playing and that the crowds are not mere paste-board fancies, but are living beings admiring in a wondering way the beauties of the departed White City. The approach of evening presents the finest opportunity for a display of the resources of electricity in the presentation of this scene; as dusk advances the lamps scattered throughout the grounds are lighted, the stars begin to shine, now one building after another is illuminated, and soon the border of cornice lights, which extended around the Court of Honor and which was so much admired at night, adds its long lines of light to the scene.”
The two electric scenic theaters were still drawing crowds the next year. However, in the spring, the Masonic Temple Roof Garden venue was slightly rearranged. On May 20, 1895, the “Chicago Tribune” reported “TEMPLE ROOF GARDEN REOPENS.
Several Novelties Provided for Visitors to the Lofty Amusement Place.
The Masonic Temple roof garden reopened last night under the management of George A. Fair. Everything connected with the roof garden is new, and the visitor last night saw but little to remind him of the same place last year. The electric scenic theater still remains, but the other stage has been moved around to the northeast corner of the roof. The present location affords a good view of the entertainment from every part of the roof. Directly In front of the stage are 3,510 opera chairs. while the rest of the floor space is given up to refreshment tables. A new feature of the garden is the concrete walks built around the dome of the roof, where an excellent view of the city and surrounding country can be obtained. It is the intention of the management to remove part of the glass roof, affording the opportunity of enjoying the view and listening to the entertainment going on below. A large crowd gathered in the garden yesterday afternoon to listen to Brooks’ Second Regiment Band. and last night an excellent vaudeville entertainment drew another large crowd. The second part of the program is aimed to attract the after-the-theater crowd, as the roof garden expects to have its largest patronage after the regular places of entertainment have closed.”
Early in 1895, Sosman & Landis began manufacturing electric scenic theaters for other venues and events.
On March 29, 1895, “The Times-Picayune” of New Orleans reported that “A Day in the Swiss Alps promises in itself much that is interesting. Such was the subject portrayed last night in the little electric scenic theatre opened at the old No. 156 Canal Street, near Baronne. The theatre cannot be well described, as it is unique in its way. The proscenium is very handsomely arranged, with an opening 10×9 feet in size. The set scenery occupies a space some 15 feet deep, and a specially designed drop curtain gives it the appearance of a regular theater, which, in fact, it is. A view of the Swiss Alps is presented, the mountains rising abruptly into snowy peaks. In the foreground a village nestles beside a mountain stream, There is an antique Gothic bridge, battlemented, and with heavy castellated tower at one extremity. At the other rise the clustered roofs and steeples of the town. A purling brook leaps from the heights and falls into the main street, turning a millwheel as it goes. The action opens and hour before dawn, and the dim and heavy mists of night gradually brighten as the sun rises. The sky reddens; the cheerful day begins; people appear in the street, and a company of soldiers march over the bridge. A circus comes into town, and the crowds gather. The morning advances rapidly, and soon the clocks chime noon. A cloud appears on the horizon, a storm approaches and the reverberating thunder is speedily followed by a heavy rain. This, in turn, dies away among the heights, accompanied by very realistic lightning among the hills. The afternoon again grows bright. By-and-by evening comes on; the lights appear in the windows of the village; the busy millwheel stops. Soon the moon rises over the purpling heights, and the presentation closes in the mild light of the silvery orb. The scenery is effectively painted, and is artistic in the highest degree. It is the work of Sosman & Landis, of Chicago, and formed part of the electrical exhibit at the Columbian Exposition. The mechanical and electrical effects are manipulated with ample appreciation of the rare importance of light and shade, and the varying changes are each consummated in their proper order, producing an entertainment which is well worth seeing” (page 9).
On May 23, 1895, the “New Bern Weekly Journal” of New Bern, North Caroline, reported “At a meeting of the Committee on Privileges and Concessions, of the Cotton States and International Exposition, on last Friday, Messrs. Sosman & Landis, of Chicago, were granted the privilege of operating an electric theatre in the Terraces. They will erect a beautiful building if their own, in which will be reproduced, by electricity, a magnificent scenic panorama of a day and night in the Alps. There will be a fine perspective, showing the various moving features of the landscape, the trains in motion, sunrise, daylight, sunset in succession, by electrical effects. It will be one of the most beautiful features of the Exposition” (page 4).
1894 Advertisement for “A Day in the Alps,” St. Louis, Missouri.“A Day in the Alps” advertisement in New Orleans, Louisiana.
“A Day in the Alps” was still being featured as an attraction in 1908. It was listed in an advertisement for Kansas City’s Big Winter Garden at the Hippodrome (Kansas City Star 27 Dec 1908, page 21). Over the years Sosman & Landis continued to manufacture electric scenic theaters, including “A Day in Japan.” In 1908, it was featured at the Exposition in Pittsburg, Pennsylvania. Prior to the close of the exposition, Sosman & Landis listed the attraction for sale in “The New York Dramatic Mirror.”
On October 3, 1908, Sosman & Landis advertised:
“Electric Scenic Theatre For Sale.
A Beautiful entertainment called “A Day in Japan,” now one of the features of the Pittsburgh, Pa., Exposition. Can be seen there until October 24th. Suitable for an Amusement Park or Exposition of any kind.
Sosman & Landis Co.
236-238 So. Clinton St., Chicago. Ill.”
This provides a little context for Craig and Brainerd’s project at the Gillis Theatre in 1895.
Craig was born on Nov. 15, 1863, in Palmyra, Marion County, Missouri. For geographical context, Palmyra is located about 13 miles northwest of Hannibal, Missouri (or 120 miles northwest of St. Louis). He was the son of Charles H. Craig and Mary Agnes Stewart. I have yet to discover any information about Craig’s childhood or his introduction to theater. However, by 1880 Craig was living in Kansas City, about 200 miles east of Palmyra. Craig was listed in the 1880 Kansas City Directory as a laborer, boarding at 405 E. 6th St. Sometime between 1880 and 1887, Craig became a stage manager.
In 1887 he had relocated to Wichita and was working as a stage manager at the Main Street Theatre. It was in Wichita where he met his future wife – actress Genevieve Lowell. On Jan. 6, 1888, “The Weekly Eagle” of Wichita announced, “Charles Craig, the stage manager, and Miss Minnie Lowell, a soubrette, both of the Main Street theater, were married yesterday” (page 6).
Genevieve Lowell as Mercedes.
Another wedding announcement was published on Jan. 8, 1888, in Wichita’s “The Democrat”:
“Mrs. Genevieve Lowell, leading lady at the Main Street Theatre, and a great favorite with the patrons of this popular resort, was married Thursday to Mr. Charles Craig of this city. The Growler joins with the many friends of Mr. and Mrs. Craig in wishing them much joy and happiness” (page 5).
Years later, their meeting was described in Lowell’s obituary, published in “The Kansas City Star” on Nov. 3 1932 (page 2):
“[Craig] met Genevieve Lowell at Wichita in 1885. The road company she was with was deserted in that city by the manager, and Genevieve Lowell was befriended by Craig, stage manager for another theater. They were married that year. Genevieve Lowell was the daughter of a country doctor living near Hannibal, Mo. She was born in a summer cottage on an island in the Mississippi River near Hannibal. She married young and lived for a period in California. Her husband died and she arrived in New York a young widow in 1876, seeking a career on the stage. After months of work she became the understudy to the leading lady in a road show. Her first big chance came as Lady Audley in “Lady Audley’s Secret” and later she played Lady Isabel in “East Lynne.” Those were the days when actresses were correctly termed “leading ladies,” in the handbills and publicity.
Genevieve Lowell was Lady Mercedes in “The Count of Monte Cristo” and wore tights on the American stage for the first time as Queen Titania [sic] in “The Black Crook.” In Chicago she played with Joseph Jefferson in “Rip Van Winkle.”
Historical records and newspaper accounts paint a slightly different picture of Lowell’s life before marrying Craig in 1888. “Genevieve Lowell” was her stage name. Her maiden name was Isabella “Bella” Atherton Lyon. She was the daughter of Dr. John W. Lyon (1816-1866) and Sarah Heald (1828-1881). Dr. Lyon married his first wife, Julia Ann Dobbins, in Putnam County, Indiana, 1836, but I have yet to discover when she passed away, or when he remarried.
In 1850, however, John W. Lyon (37 yrs.) was living with his second wife, Sara B. Lyon (23 yrs.), and children Sugen Lyon (10 yrs., son) and Isabel Lyon (6 yrs., daughter). The Lyon family was living in Greencastle, Putnam County, Indiana. Isabel/Isabella (Genevieve) was the eldest of three girls; her younger sisters were Emma Douglas Lyon and Amanda Lyon. She also had a younger brother, Montiville “Mont” Adair Lyon. To recap, there are five Lyon Children: S. B. Lyon, Genevieve Lowell, E. D. Lyon, Amanda Lyon, and M. A. Lyon.
By 1861, the Lyon family moved from Indiana to Croton, Iowa, where John W. Lyon enlisted in the Union Army. As part of the 3rd Calvary,. Mustering out on Jan. 8, 1962. He returned to his family in Iowa, but passed away by 1866. Shortly after his passing, Sarah Lyon remarried Joseph Hassler, becoming Sarah Hassler (also recorded as Hasler or Hesler in some records). By 1870, the US Census listed that Sarah Hassler was living with two children from her first marriage (Emma and Montiville), her second husband and six step children in Farmington, Iowa. By the way Farmington was only 5 miles upstream from Croton, Iowa where Dr. John Lyon enlisted in the Union Army in 1861. The Hassler household included: Joseph (54 yrs.), Sarah (41 yrs.), Joseph (19 yrs.), Frederick (15 yrs.), John (13 yrs.), Charles (11 yrs.), Lewis (7 yrs.), Christie (4 yrs.), E. D. Lyons (“Emma” 15, Iowa) and M. A. Lyons (“Mont” 9, Illinois).
The 1880 Census listed the Hassler household included: Joseph Hassler (64), Sarah Hassler (50), Joseph L. Hassler (30 yrs.), John Hassler (24 yrs.), Charles Hassler (21 yrs.), Louis Hassler (17 yrs.), Christie Hassler (15 yrs.), Emma Lyon (24 yrs.) and Amanda Lyon (18 yrs.). By this time, their brother Montiville Lyon was living with his maternal uncle, William Heald, in Scotland County, Missouri.
Meanwhile, Genevieve married her first husband, Henry O. Derr, on June 15, 1862 in Clark County, Missouri. She was 15 years old. They celebrated the birth of a son, George W. Derr, three years later, on June 24, 1865 in Carroll County, Illinois. Birth records list his parents as Henry O. Derr and Bella Atherton Lyon, suggesting that her first name was Isabella. Again, “Genevieve Lowell” appears to be simply a stage name. When Genevieve Lowell planned for her passing in 1927, she built a mausoleum in Elmwood Cemetery, Kansas City. The “Kansas City Times” reported, “The mausoleum already contains the body of George W. Derr, a son by former marriage, who died Nov. 23, 1923, Mrs. Craig personally inscribed the tablet on his vault. Mrs. Craig is the wife of C. C. Craig, a stage mechanic at the Newman theater, who was a stage mechanic with road shows until his wife’s health failed” (5 Oct 1927 pg. 6.).
Back to the 1860s…
Henry, Bella and George Derr temporarily relocated from Illinois to California during the latter part of the decade. Henry Derr was last mentioned in the “Sacramento Bee” in 1869. By 1870, however, US Census records indicate that the Derrs had returned to Illinois and settled in Metropolis, Massac County. That year, the Derr household included: Henry O. Derr (41 yrs.), Bella (25 yrs.), George (6 yrs.), George Taylor (24 yrs.) and S. B. Lyon (29 yrs.). S. B. was likely Bella/Isabel/Genevieve’s older brother, first listed in the 1850 census as 10-yrs.-old Sugen Lyon.
I have yet to discover when Henry Derr passed away, but it was likely during the early 1870s. His name was listed in “The Promulgator” on 19 April 1873 (pg. 1) for his Massac addition property; 1872 taxes were due and unpaid. By 1873, Bella and Geo. W. Derr had relocated to Cairo, Alexander County, Illinois. On April 4, 1875, the “Cairo Bulletin” announced, “Mrs. Derr, proprietress of the Railroad House, corner of Eighteenth Street and Commercial avenue is desirous of obtaining the services of a first-class colored cook. For particulars, apply to her.” They were still in town five years later. The 1880 US Federal Census listed that Bella and George W. Derr were still living in Cairo and boarding at 638 Cedar Street. By now, she was listed as 34 yrs. old. This remains consistent with an 1846-1847 birth date.
The last mention of her son in a Cairo newspaper was from Feb 4, 1882; George W. Derr was part of the Letter List from Jan 28, 1882. He later moved to Kansas City, marrying in 1898.
I have not located any records of Genevieve Lowell an actress before 1885. It makes me question whether she was performing under another name. Although later biographical accounts suggest that she moved to New York in 1876 and immediately began an acting career, I have no proof of that stage career. The earliest newspaper account that I have encountered is from 1885. That year she appeared in “Hazel Dell,” starring Helen Desmond, at the Dime Museum in Richmond, Virginia (Richmond Dispatch, 25 Jan 1885 page 2). By that summer, Lowell was touring with “Leah, the Forsaken,” starring Joan Cravan. The show at the Opera House was mentioned in the “Evansville Journal” of Evansville, Indiana on June 4, 1885 (page 5).
By 1886, Miss Genevieve Lowell, actress, was listed in the Kansas City Directory, rooming at 907 Wyandotte. On August 13, 1886, the “Concordia Times” of Concordia, Kansas, reported that Genevieve Lowell, of the Simon Comedy Co. was joining a troupe in Kansas City (page 3). The new company that Lowell joined was the Little Duchess Combination Co., starring Matie Williams. Also billed as the Williams Company, in 1886 Lowell appeared in the combination company’s productions of “Little Duchess,” “East Lynne,” “All Fool’s Day,” and “Ten Nights in a Barroom.” Stops on their 1886-1887 tour included Fredonia, Howard, Ashland, Kansas, and Fort Scott, Kansas. By the summer, Matie Williams was reportedly struggling with throat and lung troubles (Fort Scott Daily Tribune and Fort Scott Daily Monitor 4 June 1887, page 8). At some point in 1887, Lowell became associated with the Main Street Theatre in Wichita, Kansas. On August 28, 1887, Wichita’s “The Democrat” announced, “Mrs. Ponteix in Naval Engagement at the Main Street Theatre” (page 5). Lowell met her second husband Charles C. Craig at the Main Street Theatre, where he worked as the venue’s stage manager. At the time of their wedding in January 1888, Craig was 25 yrs. Lowell was fourteen years his senior, at 41 yrs. old This age gap greatly decreased over the years, with few ever knowing the actress’ age. At the end of her life, Lowell told reporters, “There won’t be any date of birth on the vault. The only persons who care about us when we’re dead are our friends, and they will know all of that. The inscription will simply say “Genevieve Lowell, died (date).”
The year before her marriage to Craig, Lowell received her first big break. By the fall of 1887, Lowell was performing in a supporting role in “Lady Audley’s Secret,” starring Mamie Earles, at the Main Street Theatre (Wichita Beacon 17 Oct 1887 page 4). On Dec. 10, 1887, the “Wichita Beacon” announced, “Miss Genevieve Lowell takes the leading roles, giving great satisfaction during the temporary absence of Miss Mamie Earles, at the Main Street Theatre.” This seems to have been Lowell’s transition to star status. On June 16, 1888, the “Wichita Star” announced that Lowell was relocating to Kansas City, leaving Wichita’s Main Street Theatre (page 4). Interestingly, Lowell soon returned to Wichita to star in “Outcast” at the New Musee (Wichita Star 10 Nov 1888, pg. 1).
By the beginning of 1889, both Lowell and Craig were working in St. Louis at different venues. Lowell was part of the Pope’s Theatre company, while C. C. Craig became associated with People’s Theatre. Despite making St. Louis news, marital difficulties made Wichita news. On April 19, 1889, the “Wichita Eagle” reported, “In the district Court Genevieve Lowell Craig prays for a divorce from Charles C. Craig on the grounds of neglect and failure to provide” (page 8). In 1889, Charles C. Craig was still listed in the 1889 Wichita Directory, his residence listed as 214 S. Fern. Neither Craig nor Lowell were listed in the 1890 Wichita directory
The next few years remain a bit of a mystery. This is likely when Lowell made a name for herself. Both Craig and Lowell end up in Kansas City. By 1893, Genevieve Lowell is listed as an actress in City Directory, living at 522 East 12th St. By 1894, both Lowell and Craig were listed in the 1894 Kansas City Directory, living together at 520 East 12th St. They would continue to appear in the City Directory, often living at the same address for over the next three decades. Lowell was consistently listed as an actress, while Craig shifted occupational listings from carpenter to stage carpenter to machinist to stage mechanic to electrician to stage manager. The couple’s addresses included 1301 Troost (1896-1897), 1815 Independence Blvd (1898-1900) and 1219 Denver Ave. (1901). Their final home was the Denver St. residence, each residing there until their respective deaths in 1932 and 1934.
Lowell’s health declined over the years. By 1927, she received bad news that prompted her to plan for the worst. Newspapers across the country published similar stories. On October 5, 1927, Ohio’s “Portsmouth Daily Times” reported, “Actress prepares for death; distributes souvenirs to friends.” The article continued:
“Kansas City, Oct 5.- Accepting the verdict of surgeons that she has but a short time to live, Mrs. C. C. Craig, stage star of 50 years ago under the name Genevieve Lowell, has started distribution of souvenirs of her actress days to friends. Included in the memoranda of her appearance in New York five decades ago, are several life-size paintings showing her as the queen in ‘The Black Crook.’
‘That was the only time I ever wore tights,’ Mrs. Craig explained. One of her favorite paintings shows her as Mercedes in ‘The Count of Monte Cristo.’ A scrap book recording events of the year she played opposite Oswald Tearle, father of Conway Tearle, motion picture actor, was sent to the movie star. While she was not finished classifying gifts for her friends at her home here, she has completed a mausoleum in Elmwood cemetery over which a bronze reproduction of the picture of Mercedes has been places. He husband, a stage mechanic with stock companies until his wife’s health forced her retirement continues to follow his trade at a local theatre” (page 5).
Meanwhile, Craig continued to work. The 1930 Kansas City Directory listed his occupation as property man at the Midland Theatre, still living with Lowell at 1219. Lowell’s listing as an actress continued to appear in the Kansas City Directory until her passing in 1932. C. C. Craig was listed as the informant in his wife’s death certificate. She passed at 10:10 PM on Nov. 2, 1932. Oddly, her father’s surname (Lyon) was listed, but no birthplace nor maiden name were provided. The primary cause of her death was reported to be “cancer of the uterus.” No known birthdate was provided.
On Nov. 3, 1932, newspapers across the country mourned her passing and carried similar articles of her meticulous preparation for the afterlife:
Portrait of Genevieve Lowell that accompanied many articles in both 1927 and 1932.
“Kansas City, Nov. 3 – One grand finale, and then the last curtain for Genevieve Lowell, star of “The Black Crook,” the famous production that entertained and shocked theatre-goers in the nineties.
Lying in the research hospital here, Miss Lowell issued the stage directions for her exit, and died, last night, as she desired.
“All the world’s a stage to Mrs. C. C. Craig, famous half a century ago as Genevieve Lowell, the star of America’s first musical comedy, “The Black Crook,” leading lady with Joseph Jefferson on “The Count of Monte Cristo” and Gretchen in “Rip Van Winkle.”
And a stage she would have at the very end.
“I’m ready. It will be my final role. All the plans are made – the stage is set,” she peacefully replies to doctors who warned of impending death.
Daily an intimate friend went to her bedside to dress her hair, to attend the details of the “makeup” for the final “Appearance.” Mrs. Craig selected the costume she would wear; chose pallbearers and honorary pallbearers, and notified them.
And in Elmwood cemetery she has built a monument, over which is a bronze figure of Mercedes, the part she played in “Monte Cristo” at the height of her career when she was 40 years old.
“There won’t be any date of birth on the vault,” she told friends. “The only persons who care about us when we’re dead are our friends, and they will know all of that. The inscription will simply say “Genevieve Lowell, died —.”
“The Daily Northwestern of Oshkosh, WI, announced her passing and added, “She was 85 years old.”
The gravestone of Genevieve Lowell Craig in Kansas City, Missouri.
The “Kansas City Star” named her active pall bearers as James A. Raily, Louis W. Shouse, Ray Severance, Roy Severance, Frank E. Benson and George B. Denzel. Lowell’s honorary pallbearers were Dr. W. J. Frick, Anthony P. Nugent. Joseph McCormick, B.N. Simpson, Joseph Walton, Otto Doide, Walt Filkin, W. A. Repp, W. H. Tindall, D. Austin Latchaw, Dr. A. R. Greenlee, and M. P. Yates. Of the latter list, Missouri Poet, Walt Filkin wrote the passage for her gravestone. Although I am unable to transcribe the entire epitaph in a www.findagrave photo, the last portion reads:
“She sees the golden footlights shine
Beneath the stage of his playhouse divine
And then she will arise, again appear
To fill each soul with joy as she did here
To add her share of light, she knew the way
To make one’s earthly pathway smooth and gay.
-Walt Filkin.
The 1940 Us Federal Census listed Charles C. Craig as 76 years old, living with his 50-yrs. old housekeeper, Julia Perria, at 1219 Denver Ave. Craig passed away on Dec. 9 1944 at KC General Hospital. The cause of death was reported to be bronchopneumonia due to benign hypertrophy of prostate. At the time of his passing, Craig’s occupation was listed as “stage employee.”
Two Sosman & Landis employees were listed as guests at a Chicago Commerce event in 1914. They were J. C. Johnson and Chas. H. Szcesney. At the time, Johnson was listed as the firm’s secretary. Szcesney likely worked in the office with Johnson.
Charles “Charlie” Herman Szcesney was the son of Frederick “Fritz” Sczesney and Emilie Zilke. Both were European immigrants who left their homeland to start a new life in America. Illinois marriage records list that Fredrich Sczesny and Emilie Zihlke were married in Chicago on June 5, 1886. Born on October 31, 1893, Charlie was one of five Szcesney children to grow up in Chicago. By the way, the spelling of their surname varies from Szcesney to Szcesny to Chesney.
The 1900 US Federal Census listed the Szcesney household as including:
Frederick (b. Aug 1855, head)
Amelia (b. June 1862, wife)
Martha (b. Feb 1887, daughter)
George (b. June 1889, son)
Emma (b. Aug 1891, daughter)
Charles (b. Oct 1892, son)
William (b. March 1898, son).
That year the Szcesney home was located at 527 Melrose, Chicago. I have uncovered very little about Szcesney’s childhood in Chicago. However, for geographical context, Melrose St. was located halfway between Lincoln Avenue and the Chicago River. In other words, they lived a little northwest of what we consider the Lincoln Park Neighborhood today.
A decade later, the Szcesneys were still located on the same street, but their address was listed as 1821 Melrose. Amazingly, this old home is still standing.
The old Szcesney home in 1910, Chicago.
In 1910, the Szcesney household included Fred (57 yrs.), Emily (48 yrs.), George (20 yrs.), Emma (19 yrs.), Charles (16 yrs.), William (12 yrs.), Mamie (7 yrs.). Charlie was working as an office boy that year, with his father employed as a RR flagman and his eldest brother George as a machinist in the auto industry.
Sometime between 1910 and 1914, Charlie began working in the Sosman & Landis office. His time at the studio only lasted a few years though. Only his father, Frederick Sczesny was listed in the 1917 Chicago Directory, working as a gateman and living at 1821 Melrose St. However, Charles Szcesney, was still listing Chicago as his home in 1918.
His WWI Draft Registration Card listed the home address of Charles Herman Sczesney as “Y.M.C.A. Chicago, Illinois.” At the time he was working as an accountant, listing “himself” as his employer. Szcesney’s physical appearance was described as medium height, medium build, brown hair and brown eyes. By the end of 1918 he was living in to Boston, Massachusetts and working as an accountant. Szcesney remain an accountant for the rest of his life, and possibly worked as an accountant at Sosman & Landis.
Szcesney continued to work as an accountant over the years, although he shifted from one industry to the next. When Szcesney moved east and married, he changed the spelling of his name from Szcesney to Chesney. His name change is understandable; “sz” really confuses Americans. I say this as my own name – Waszut – always makes people stop and wonder about the correct pronunciation. Changing your last name from Szcesney to Chesney simply helps people pronounce it correctly – shchez-nee.
It also changed his perceived nationality, making it sound a little more Norman, French in origin. This may have helped fit in with his future in-laws.
Charles Herman Chesney married to Bernadette “Blanche” P. Boucher (1893-1974) in Fitchburg, Massachusetts in 1923. Blanche was the only child born to French-Canadians Frank and Josie Boucher. The couple’s wedding was announced on September 5, 1923, in the “Fitchburg Daily Sentinel:
“Chesney-Boucher
Miss Bernadette Blanche Boucher 85 Holt street and Charles H. Chesney of Boston, were married Tuesday at Christ Episcopal church by Rev. Arthur J. Gammack, rector. They were attended by Mr. and Mrs. Ellsworth O. C. Hill of Whalom and Mrs. Sarah Dyson of this city. Mrs. Chesney has been employed at the downtown bank of the Fitchburg Bank & Trust Co. and Mr. Chesney is a public accountant. Mr. and Mrs. Chesney will make their home at 380 Riverway Street, Boston.”
By 1930, the Chesneys relocated to New Jersey, settling in Teaneck. They would continue to live in the township for the remainder of their lives. For context, Teaneck is due east of Hackensack, just across the Hackensack River; an 8-minute drive. Chesney continued to work as a public accountant, now managing his own firm. In 1931, he was listed in the Hackensack Directory, doing much of his business there.
The 1940 US Federal Census listed Chesney as an accountant in the distilling industry, still living at the same address with Blanche.
His WWI Draft card from 1942 still listed Chesney’s address as 535 Wyndam Rd., Teaneck, New Jersey. That year he listed Brewster Aeronautical Corp., Long Island, as his employer. I have uncovered very little about Chesney’s life after moving east.
Chesney passed away in 1958 at the age of 65 yrs. old. His obituary was published in “The Record” of Hackensack, New Jersey, on July 18, 1958 (page 4):
“CHESNEY – Charles H. Suddenly on July 16, 1958, of 535 Wyndham Road. Teaneck. Beloved husband of Blanche Chesney, Devoted brother of Martha Plourd, Mamie Harlquist and William Chesney, Service at the Volk Colonial Home, 789 Teaneck Road, Teaneck, Saturday, at 1 P.M. Interment George Washington Memorial Park, Paramus.”
Sosman & Landis employee, J. C. Johnson, was listed as guest at a Chicago Commerce event in 1914.
That same year, the Chicago Directory listed Jos. C. Johnson as Secretary for the firm, indicating that Johnson’s first name was Joseph. In 1914, Johnson was living at 730 Waveland av. He was again listed as the secretary for the firm in 1915.
1914 Chicago Directory, listing Jos. C. Johnson as Secretary at the Sosman & Landis Co.
I have put off posting about Johnson for quite some time, despite jotting his name down a few years ago. Trying to locate Johnson is like looking for a needle in a haystack.
What I do know is that Johnson was already working at Sosman & Landis in 1913. On July 21 of that year, he placed the following want ad in the “Chicago Tribune”:
“For sale – or rent – Twelfth-st. Theatre, located on Twelfth-st., near Halsted-st. Seats 600. J. C. Johnson, 417 S. Clinton-st.” (page 17). 417 S. Clinton Street was the address for the main studio at Sosman & Landis. This suggests that Johnson was working in an administrative capacity at the studio that year. For context, in 1913, Sosman & Landis listed two business offices: 417 S. Clinton and 17 W 20th. Johnson was working in the main studio building.
Although Johnson was listed as the firm’s secretary in 1914 and 1915, there is little else to go on. Did he solely work in an administrative capacity, or did he enter the theatre industry though a trade? If I were to assume that Johnson was a painter, he was one of several working in Chicago around the same time.
I have spent countless hours trying to track down the lives and careers of several Chicago-based J. C. Johnsons; each one a viable candidate who may have been employed at Sosman & Landis. The names include Joseph C. Johnson, James C. Johnson, and John C. Johnson – all working in the same region at the same time. This means that articles mentioning “scenic artist Johnson” or “J. C. Johnson, scenic artist,” could be any one of the them. To further complicate matters, if I look beyond Chicago, there are many, many more J. C. Johnsons working as scene painters on a variety of projects.
Although Johnson was secretary of a scenic studio firm it doesn’t mean he could paint. Such was the case with his predecessor at Sosman & Landis, David H. Hunt, a consummate salesman and theatrical manager.
Finally, it is extremely difficult to track down any individual without knowing an approximate age. I really am at a loss here and have to end my search for now, unless more information comes to light.
In 1922, Thomas G. Moses wrote, “Henry Sieker passed away on the 7th, all very sudden.”
Moses was referring to scenic artist, Henry Ernest Sieker (1886-1922). Sieker was only 36 yrs. when he passed away and I have yet to identify the cause, or any details surrounding his passing.
Henry was born on Feb. 10, 1886, in Cleveland, Ohio. He was one of five children born to German immigrants, Franz Sieker (1849-1890) and Katherine Kemper Sieker (1852-1901). His older siblings were Christian Fred Sieker (1876-1929), Helena C. Sieker Ford (1881-1916), Martin Sieker (1885-1931) and August F. Sieker (1887). None of the Sieker men lived very long lives. Henry’s father passed away when he was only four years old, buried at Woodland Cemetery there. By 1900, Henry enter the work force at the age of fifteen and was working as a messenger boy. He and three of his brothers were living with his three of his mother at 29 Lufkin St. in Cleveland, Ohio.
Shortly after this, Henry and his youngest brother, Martin, relocated to Chicago, where they continued living together.
It remains unclear, as to when Sieker began to work as a scenic artist at Sosman & Landis. It is possible that he began as most, between the ages of 16 and 17 yrs. Old.
In Chicago, he married Nattley “Natty” Baselski (also spelled Bazelski and Buselski in records), the daughter of Polish immigrants Mathias Baselski (1843-1901) and Johanna Grostowski (1851-1928). Nattley was one of four children: her siblings being Stacia, Ronette and Peter. Henry and Nattley were the same age, both born in 1886. They celebrated the birth of their only when they were 23 yrs. old. Irene Florence Sieker was born on Nov. 19, 1909.
The 1910 US Federal Census listed Siecker as a scenic artist in the scenic studio profession, likely at Sosman & Landis. At the time, he was still living with his brother, Martin who worked as a candy maker in a candy factory. At the time, their home was located at as 2222 Sacramento Ave. in Chicago. The Sieker household included Henry E. (24 years), Nattley (23 years), Irene (5 months) and Martin (25 yrs.), Henry’s brother (25).
Sieker did not consistently appear in the Chicago Directory. However, in 1913, his address was listed at 4010 W. 21st St. This remained his address for the next five years. He listed it again in 1918 when he registered for WWI Draft. His draft registration listed his occupation as a sign painter, now working at Sosman & Landis, 417 S. Clinton St. In 1918 Sieker was described as tall, with a medium build, blue eyes and blond hair.
Henry E. Sieke’rs WWI Draft Registration Card listing his employment at Sosman & Landis Co., 1918.
A few years later, the 1920 US Federal Census listed Sieker’s home address on the same street in Chicago. His household still included, Nattley, Irene, and Martin. His brother Martin was now working as a grocer and butcher.
Sieker passed at the age of 36 yrs. old on July 7, 1922. At the time, his address was listed as 4023 W 21 St., just a few doors up the street from where he lived in 1920. He was buried on July 10, 1922 at Elmwood Cemetery and Mausoleum in River Grove, Illinois. I not yet located any details or cause of death. River Grove is on the outskirts of Chicago, just northeast of Oak Park where Thomas G. Moses lived at the time. When Sieker passed away, his daughter was only eleven years old. He never saw his daughter grown into a young woman or get married
By the time the next US Federal Census was taken, Sieker’s wife and daughter were still living in Chicago, still on W. 21st St., now 4026. Nattley was working as a seamstress, and Irene as a switchboard operator. The following year, Irene married Walter Hasselbring and moved to Fountain Creek, Illinois. For geographical context, Fountain Creek is approximately 40 miles due south of St. Louis, Missouri. Nattley also moved to Fountain Creek with her daughter. The1940 US Federal Census recorded the Hasselbring household as including Walter Sr. (38 yrs.), Irene (30 yrs.), Walter Jr. (7 yrs.), and Nattley (53 yrs.). In Fountain Creek, Walter Sr. worked as a blacksmith.
The Hasselbring family expanded, and the 1950 census included: is living with Irene (40 yrs.), Walter Sr. (48 yrs.), Walter Jr. (17 yrs.), LeRoy (9 yrs.), and Nattley (63 yrs.). Walter Sr. was now employed as an assistant manager in the oil and grain industry.
Sadly, Irene’s own husband also died quite young, only five years later. Irene, however, enjoy a very long life, living until the age of 81 yrs. old.
Here is Irene’s obituary:
“Irene E, Hasselbring, 81, Watseka, died at 3:20 p.m. Thursday, Oct. 3, 1991, at Watseka Healthcare Center, Watseka.
She was worn Nov. 19, 1909, in Chicago to Henry and Nattalie Sieker. She married Walter (Pete) Hasselbring in November 1931 in Watseka. He preceded her in death in April 1955.
She is survived by two sons, Walter (Duke) Hasselbring of Watseka and LeRoy Hasselbring of Bermuda; six grandsons: Chip of Danville, Robin, Skyler and Kenton, all of Watseka, Douglas of Champaign, and Timothy of Bermuda; two granddaughters, Julie Hasselbring of Watseka and Gretchen of Bermuda; and nine great grandchildren.
Mrs. Hasselbring was preceded in death by her parents.
She worked at the Variety & News for 15 years.
Funeral Services are 11:30 a.m. Saturday at the Segur-Knapp Funeral Home, Watseka, with Rev. Hubert Lytle officiating. Burial will be in Amity Cemetery near Milford.
Visitation is from 9 a.m. to the time of the Service Saturday.
Memorials to be made to the Roberts Friendship Home.”
William H. Lemle worked as a scenic artist at Sosman & Landis shortly after WWI ended. He then established his own scenic studio, still renting space in the Sosman & Landis main studio on Clinton St. He would remain in the space for over a decade, as the first iteration of Sosman & Landis closed its doors, and a second iteration of the firm began under the management of Thomas G. Moses and Fred R. Megan. In the end, it was Lemle who purchased the last remnants of Sosman & Landis stock from Moses and P. Lester Landis.
The scenic studio shuffle is complicated, and Lemle was in the right place at the right time. Sosman & Landis Scene Painting Studio closed its doors by the end of 1923. This ended the first iteration of the firm; the main studio on S. Clinton Street was built in 1886 and considered one of the best shop spaces in the country. In 1924, the Sosman & Landis name (and goodwill) was sold to Moses and Megan, but they did not lease the studio space. Instead, the second iteration of Sosman & Landis established their business offices at Kedzie Ave.
Several parties vied for the highly coveted main studio space at 417-419 S. Clinton St. Prior to the firm’s closure, both William H. Lemle and Chicago Studios rented space at Sosman & Landis’ main studio. Lemle remained in the space after the firm’s closure, eventually becoming a subcontractor for the National Theater Supply Co.
The main studio for Sosman & Landis, later marketed as the scenic studio of William Lemle, Inc. This image was brought to my attention by Bob Foreman. It is part of the Rick R. Zimmerman Collection on Theatrical Stage Lighting Equipment (https://library.osu.edu/collections/spec.tri.0012 ): National Theatre Supply Company Pink Sheet vol. 1 no. 7, 1927 May 10, Box Accession No. TRI.2018.0036.001. Sosman & Landis main studio on S. Clinton St., pictured in 1910.From the Waszut-Barrett Theatre Collection.The exterior of the Sosman & Landis studio on S. Clinton St. in Chicago.From the Waszut-Barrett Theatre Collection.
Lemle’s early painting career included sign painting, lamp shade decoration, panoramas, and advertising curtains in Philadelphia, Pennsylvania. He was a bit of a Renaissance Man, always on the verge of something new, an innovator, with an abundance of talent and ambition. Like many of his predecessors, Lemle entered the theatre industry as a performer, and immediately tried his hand at playwriting and production. All the while, he continued to work as a decorative painter and scenic artist.
I have written about Lemle past posts, exploring his early life and later accomplishments. This post for Lemle, as Sosman & Landis Employee No. 90, gives me a chance to piece everything together that I have uncovered to date. His life and career are incredibly complex and difficult to decipher as he accomplished so much in a relatively short period of time.
William Henry Lemle was born in Philadelphia on July 29, 1871. The son of Francis P. Lemle (1841-1925) and Margaret A. Wooley (1847-1906), he was one of four children born to the couple. His siblings were Francis E. Lemle (b. 1864), David J. Lemle (b. 1865), and Martha Lemle (b. 1876). His father, Francis P. Lemle, tried his hand at a few professions when Lemle was young, but primarily worked as a salesman. By the early 1890s, Lemle followed in his father’s footsteps and also worked sales; a skill that would repeatedly benefit him over the years. Throughout his career, Lemle successfully marketed his skills as a painter, performer and producer.
He remained close to his family in the early years, staying in Philadelphia when he entered the workforce. By the age of 22 yrs. old, Lemle was still living with his family at 1826 Judson St. In 1893, the “Philadelphia Directory” listed William Lemle as a salesman. That same year he married Elizabeth “Bessie” C. Cushing (1872-1905) in New Jersey. Despite marrying in another state, the young couple returned to live in Philadelphia where they set up house with Lemle’s extended family. They remained in the family home until 1895. In 1896, William and Bessie Lemle celebrated the birth of their first child, Ethel M. Lemle. At the time, Lemle was working as a shade maker, painting a variety of scenes on the shades. For a little context, late-nineteenth-century window shades were constructed of thick cotton or linen, and often glazed or decorated with painted scenes and ornament.
While working in the decorative arts industry, Lemle came in contact with scenic artist William Cook – soon to be his future brother-in-law. The same year that Ethel was born, Lemle’s sister, Martha Christina Lemle married William Harman Cook. On June 21, 1896, the “Philadelphia Times” announced, “COOK-LEMLE – At 2589 Montgomery avenue, Philadelphia, June 4 by Rev. S. G. Shannon, William H. Cook to Miss Martha C. Lemle, both of this city.” (page 12). Cook made quite a name for himself in the scenic art field, with his own son continuing in the trade. It makes sense that Lemle also worked with his brother-in-law over the years and was thus introduced to the Philadelphia Theatre scene.
From 1896 to 1898, Lemle continued to work as a decorative painter and paper-hanger, seldom straying from the window shade industry. By the fall of 1899, a second daughter was born to the couple. On September 27, 1899, Eloise F. Lemle, arrived, prompting her family to seek larger living accommodations.
The 1900 US Federal Census listed the William H. Lemle family living at 1221 Ridge Ave, in Philadelphia. In addition to an expanding family, Lemle also began to expand his business interests. By 1900 Lemle had established two companies – the Novelty Window Shade Co. and Lemle & Hemple. Both firms were listed in “Boyd’s Co-Partnership and Residence Business Directory of Philadelphia City” that year. 1221 Ridge Ave. was listed as the business offices for both firms. Interestingly, Lemle & Hemple was a company that specialized in gas machines, having nothing to do with scenic art or the theatrical trade. Hemple was only a few years younger than Lemle, but was also lived in the Lemle home at 1221 Ridge Ave. The Lemle & Hemple firm was very short-lived.
Lemle’s Novelty Window Shade Co. at 1221 Ridgeway Ave.Lemle & Hemple at 1221 Ridgeway Ave.
In 1901, Lemle established another partnership, forming a scenic art concern. Lemle’s new business partner was Philadelphia sign painter D. H. C. Warren. As with Hemple, Lemle’s relationship with Warren was also short-lived.
Lemle and Warren made headlines after the failure of a New Year’s Eve display. On Jan. 2, 1902, “The Philadelphia Inquirer” announced, “Winds Rattled Figures.” The article continued, “The two most disappointed men over the failure of Father Time and the Angel of Peace to perform their proper duties are D. H. C. Warren and William H. Lemle who designed the feature and suggested it to the committee. They suffer not only artistic loss, but financial as well by the interference of the roaring winds with the working of the illuminated figures. What was designed as a picturesque and imposing feature was turned into a grotesque display. Father Time and the Angel of Peace hung from the tower and coquetted, with each other in the most amusing way. They looked for all the world as though they were in the death embrace. While being hanged in effigy from the top of City Hall Tower. The financial loss for the failure, it was explained by Jacob E. Henderson, a member of the committee, will fall on the contractors and not on the city. “We were doubtful about the success of the scheme when it was suggested,” he said, “but the men who proposed it were so earnest that we determined to give it a trial. Our agreement was that if it worked we would pay $350 agreed upon, while if it was not a success we would merely defray the cost of the materials used” (page 2).
On January 3, 1902, the ”Philadelphia Inquirer” reported, “Designers Demonstrate That Only High Winds Prevented Display” (page 2). The article continued, “In order to demonstrate that the angel of peace, which failed to take flight in the New Year’s Eve display, was in proper working order, D. H. Warren and William H. Lemle, designers of this feature of the display, yesterday afternoon gave a special demonstration on North Broad Street. At a given signal, the figure, illuminated with candles, left City Hall and started on its journey toward Vin Street. A wire stretched across the street above Race street halted the figure for a minute or so by did not stop its journey, It only required a few twists of the main cable and the angel, with horn on her lips floated triumphantly to her destination. In every respect the exhibition was a success, and the projectors of the scheme expressed regret that the same favorable conditions did not prevail on New Year’s Eve. They ascribe their failure to properly manipulate the figures on that occasion to the high winds and an accident to one of the wires.
Fully a thousand persons witnessed the triumphant descent of the angel yesterday and lustily cheered when the figure landed safely at Broad and Vine Streets. Both Lemle and Warren devoted considerable time and money to the construction of Father Time and the Angel of Peace, and were deeply disappointed at the failure which attended their portion of the celebration of the New Year. They contend that the weather conditions were such as to make it impossible to carry out their plans.”
The dissolution of Lemle and Warren’s partnership occurred just prior to period of great loss. Between 1903 and 1906 Lemle’s older brother, mother and wife passed away. His brother, David Lemle, was the first to go. On Nov. 20, 1903, the “Philadelphia Inquirer” reported, “On the 19th last, David J. Lemle, son of Francis P. and Martha A. Lemle, in his 39th year. Due notice of the funeral will be given, from his late residence, 1847 North Judson street” (page 7).
During this time, Lemle continued to work as a scenic artist and sign painter. He advertised in the “White Letters” section of the “Philadelphia Directory” in 1904. Interestingly, Lemle’s name was listed just below that of scenic artist Otto Armbruster, son of the famous scenic artist Mathias Armbruster of Columbus, Ohio. Otto also worked with Thomas G. Moses over the years, and possibly at Sosman & Landis.
Lemle was actually listed twice below Armbruster, and his second listing advertised:
“Sign Letters of all kinds. Enameled, Gold, Wood, &c. Sole agent for Stamped Aluminum Letters, Wholesale and Retail. Agents wanted. Phone PO La8 2487 0 1221 Ridge Ave.”
William H. Lemle’s firm at 1221 Ridgeway Ave.
Lemle also became associated with the Criterion Dramatic Association. Both Lemle and his wife began performing with this amateur theatre group. It remains unclear as to whether Lemle painted the sets or not. However, Lemle soon became the Criterion Dramatic Association’s business manager.
On April 10, 1904, the “Philadelphia Inquirer” reported, “The Criterion Dramatic Association is one of the oldest and most widely known amateur dramatic associations in Philadelphia. The Criterion was founded several years ago by a few young people merely to satisfy their ambition in ways of amusement.” The group performed their productions at the New Mercantile Hall. That spring, Lemle played the role of Col. Bonham in “Arizona.” On May 8, 1904, the “Philadelphia Inquirer” reported that Lemle’s wife, Bessie, was also one of the principal players for the company (page 36).
Lemle’s wife, Bessie, passed away the next year. On Sept. 4, 1905, the “Philadelphia Inquirer” announced, “BETH C. wife of William H. Lemle (nee Cushing). Relatives and friends are invited to attend the funeral services, at her late residence, 1221 Ridge Ave on Tuesday, at 2PM, Interment private at Greenwood Knights of Pythias Cemetery.” She was buried at Greenwood Cemetery in Philadelphia on September 6, 1905. Church records for her burial note that cause of death was “albrumurod”; I have yet to locate what that medical term is, and wonder if it was misspelled. Two weeks later Lemle posted an advertisement in the “Philadelphia Inquirer.” On Sept. 18, 1905, Lemle advertised,
Soon after his wife died, Lemle moved to the home of Martha Lemle Cook and William Cook. Martha was five years younger than her brother, born on June 4, 1876. Instantly, she became a surrogate mother for two young nieces. Lemle continued to work as both a painter and performer during this time, securing whatever work he could find. However, it was his stage career that took off like a rocket.
By 1906, Lemle was also performing as the lead in numerous comic roles, including Deacon Coleman and Judge Schneider in “The Bronco Buster.” At the time, he was part of English actress, Alyce Kee Kan’s company. Advertisements for this “high class musical comedy drama by Ed deCorsia” were placed across the region, including the Chronicle Hall in DeKalb, Illinois. On Dec. 17, 1906, “The Daily Chronicle” advertised that the production traveled with “special scenery, proper costuming and novel stage effects” (page 5). “Not Like Other Girls,” starring Alyce Kee Nan and Lemle was also performed that winter. Lemle soon caught the eye of Fred C. Conrad and began touring with his company as the starring actor. With Conrad’s Company, he not only performed, but also penned the play adaptation of “Monte Cristo.” In the fall of 1907, Lemle was mentioned in newspapers across the country for his contributions to the popularly received production. When the company performed at the Opera House in Paris, Kentucky, “Bourbon News” reported, “Mr. Conrad has had unlimited experience in producing ‘Monte Cristo’ and his especial care is shown in his use of Wm. Lemle’s arrangement of the play. Mr. Lemle will be remembered by most people interested in the drama, as one of the most talented and scholarly actors on the American stage. In his thoroughness and high ideals, he belongs virtually to the old school, and it was in this way of thinking and doing that he prepared and starred in ‘Monte Cristo’ under Mr. Conrad’s management. When we go to the theatre to see this famous character, we want to see him in the play as prepared by Mr. Lemle and presented by Mr. Conrad’s Company, we can expect to see him step from the pages of romance to the footlights in the full power and dignity of his personality.”
1907 advertisement for Paris, Kentucky.
When the production toured to Huntington, Indiana, the “Daily News-Democrat” reported, “the production which is to be seen at the New Theatre has the authority of one of the most thoroughly trained and accomplished leading actors on the American stage, William Lemle who through presentations of the play in all the leading cities and during several entire seasons has brought his part of Dantes and the play to a finely complete and finished condition. Wm. Lemle who is a scholar, as well as an actor and stage director, has provided a production of ‘Monte Cristo’ which may well be expected to reveal the full power that made it famous at the New theatre Monday night.”
On September 18, 1907, the “Van Wert Daily Bulletin” reported, “Mr. William Lemle, who handles the lead in the company to appear here; it is said that he is exceptionally clever in this character and his support unusually good” (page 3). Other articles heralded Lemle’s staging of the duel scene. The “Daily News-Democrat” published an article entitles “A Famous Duel,” reporting, “The memorable duel scene in ‘Monte Cristo,’ as well as such climaxes as ‘The World is Mine’ will be irresistible magnets for the coming engagement of the play at the new theatre September 16. The duel scene in this production was introduced by William Lemle, who presented the play with great success in all the leading cities and it is as exact a reproduction as possible of the most thrilling combat that ever took place on a field of honor, the ‘meeting’ of Del Frenchi and Chateau Renaud in the Fountainbleau Forest, near Paris. It is a deadly duel with all the details closely following the historical combat described by Benjamin D’Isreali.”
By 1908 Lemle was listed as the producer for “Monte Cristo.” On Jan. 3, 1908, the “Jefferson County Republican” (De Soto, Missouri) reported that the W. H. Lemle Company was presenting “Monte Cristo” (page 5).
The next year, Lemle was associated with another touring production. In 1909, Lemle starred in Henry Thorn Hum’s biblical romance, “Moses, the Prince of Egypt,” (“The Pemiscot Argus,”Caruthersville, Missouri, 16 Sept. 1909, page 1). As with “Monte Cristo,” Lemle’s production toured throughout the Midwestern region, playing in a dozen states. On Sept. 17, 1909, “The Commercial Gazette,” of Union City, Tennessee, reported, “The company presenting this splendid play is said to the one of uncommon excellence and is headed by that finished actor, William Lemle, who portrays the part of Moses” (page 7). On September 24, 1909, the “Weekly Citizen Democrat,” of Poplar Bluff, Missouri, announced, “On October 9 a really notable engagement has been contracted for. On that date the ‘Moses Prince of Egypt’ company, controlled by Fred G. Conrad, will present the sterling Biblical drama of that name…The company is said to be one of uncommon excellence, headed by William Lemle, who portrays the part of Moses” (page 5). The show traveled with elaborate scenery. On Oct. 1, 1909, the “Weekly Citizen Democrat” detailed, “It will be seen at the opera house Tuesday, September 21, and is said to be a gorgeous spectacle with a wealth of special scenery, electrical effects, and historically correct costumes” (page 2). By 1910, several amateur groups were featuring the production, so Lemle returned to star in “Monte Cristo.”
On March 10, 1910, “The Hope Pioneer” of Hope, North Dakota,” reported, “The Drama, Monte Cristo presented at the Opera House Monday evening by Wm. Lemle and company may have been the best play of the season under different conditions. The play, with the exception of the first act which was played in the most lifeless manner, was above the average. However, owing to the long waits between acts and the late start, most people lost interest and left before the last act” (page 4).
On April 14, 1910, the “Turtle Mountain Star” of Rolla, North Dakota, reported, “Monte Cristo still holds its own and sways its old fascination over the theatre going public is proven by the remarkable success of William H. Lemle as “Edmund Dantes” in Fred G. Conrad’s production of that play. Mr. Lemle is now in his fourth season appearing in that part, and bids fair to rival Charles Fechter and James O’Neil in reputation as Dumas’ romantic hero. Mr. Lemle will appear at the opera house in Rolla, N. D. on April 15, 1910.
In 1910 the US Federal Census still listed Lemle’s occupation as an actor in the theatre industry. Lemle and his daughters were still living with his sister and her family. The Lemle-Cook household included William H. Cook, Martha Lemle Cook, Charles Cook (their son), Lemle, Lemle’s two daughters, and his father (Francis P. Lemle). Both William Cook and his son Charles Cook ran a scenic art studio.
Lemle’s next two productions were “The Rosary” and “Rock of Ages.” “Rock of Ages” was written by Edward E. Rose. With eight speaking parts, the play centered around the white slave trade and the power of faith. Both productions found a stronghold in a variety of theaters across the country. Although Lemle continued to meet with a certain amount of success, touring with a company began to take its toll. Lemle’s interests began to drift elsewhere as he contemplated leaving the road. In 1911, the “Indianapolis Star” reported, “William Lemle, manager of ‘Rock of Ages,’ coming to the Park tomorrow, has struck upon a novel idea to add to the many souvenirs that he has gathered while touring the country in the capacity of a theatrical manager, Mr. Lemle is desirous of securing the autograph of the mayor and the chief of police in every city that he visits. Mr. Lemle proposes to bid farewell to the show business next season and retire to his farm in Oklahoma. He was last in Indianapolis as manager of “The Rosary” company last season” (27 Sept. 1911, page 7).
Lemle relocated to Chicago, not Oklahoma. In the Windy City, Lemle continued to work as a performer, but began to expand is business interests. On May 3, 1912, the “Chicago Englewood Times” listed Lemle as part of the cast for “Thelma” at the National Theater (page 8). The production starred Irene Summerly.
From 1912 until 1915, Lemle tried his hand at a variety partnerships. All the while, he continued to financially struggle. He partnered with Daniel L. Martin in 1914 to establish, Martin & Lemle, Inc. One of their touring showing included “September Morn” (”The Post-Crescent, Appleton, WI, 25 Aug 1915, page 3). In 1915, this partnership expanded to include Edward J. McArdle to establish Lemle & Martin by 1915. Their firm was listed in the “National Corporation Reporter” that summer. In 1916, William Lemle and Daniel L. Martin were managers of “September Morn” musical comedy company. Their business endeavor did not go so well after they failed to pay the necessary royalties. The box receipts of their company were seized in Larned, Kansas. The “Hutchinson Gazette” reported, “an attachment on their property for $781.98, claimed to be due for royalty on the play” (27 Feb. 1916, page 9). Half of the box office receipts were collected for payment due to the corporation that owned the copyright.
This seems to have been a definitive moment for Lemle. He left the road and began diversifying his business interests in both Chicago and Philadelphia. In short, Lemle established and became an officer in multiple organizations. At first, he invested in silent films.
I’ll start in Philadelphia where Lemle invested established a film studio. In 1920, William H. and Charles Cooks were working as scenic artists at the Lemle picture studio building. The firm made newspapers that year when a telephone pole crashed into the building (“Philadelphia Inquirer,” 3 Nov. 1920, page 19). Previously, Cook and his son worked as scenic artists for the Lubin Motion Picture Co. Lemle was also associated with the Art Film Co., another motion picture machine company.
In Chicago, Lemle was linked to a variety of Chicago firms, including Sosman & Landis Co., Allardt Advertising Company, the Hoyland-Lemle Advertising Co., and the Lemle-Barrett Company, Inc.
Lemle’s career at this point is intertwined with that of Charles L. Hoylund and the Allardt Advertising Co. Lemle’s entry into advertising is what kept him financially afloat for the next few decades.
For context, here is a little background on both Charles Hoylund and their introduction to the Allardt Bros., as they are part of Lemle’s history.
Charles Leroy Hoyland was born on Sept. 24, 1885, in Illinois. So he was fourteen years younger than Lemle. Hoyland was the only child of James Andrew Hoyland (1861-1918) and Carrie Major (1866-1931). By the time he was twenty years old, Hoyland was working at a theater in Springfield, Illinois. In 1905, Hoylund began managing George W. Chatterton’s Opera House. He was in the right place, at the right time, and met all of the right people while working for Chatterton. On January 28, 1905, the “Herald and Review” reported, “Manager George W. Chatterton of the Chatterton Opera House, Springfield, Ill., has decided to dispose of his jewelry store that he may devote his entire time to his rapidly increasing theatrical interests. His large stock of jewelry is being sold and Manager Chatterton will hereafter be found either in the box office of the Chatterton or in his private office on the second floor. George Hickock, treasurer, and C. L Hoyland, assistant, will have charge of the box-office” (page 19). For several years, George W. Chatterton Jr. managed opera houses for his father.
Hoyland quickly moved from box office assistant into theatre management. This is likely where he first encountered Lemle, as he toured with “Monte Cristo” throughout the region. By 1907, Hoylund relocated to Wayne, Michigan, where he continued managing theaters. In Michigan, Hoyland married Frances H. Putman Thompson. He and his bride went from one project to the next. By 1910, the Hoylunds were living in Illinois, and this was when Hoyland became associated with the Allardt Bros. Circuit. His timing was impeccable. Between 1910 and 1913, the Allardt circuit grew from one theater in Terre Haute, Indiana, to twenty-four theatres throughout the Midwest and Canada. Their circuit was composed of both vaudeville and legitimate theaters.
In 1910, Hoyland was working at Allardt’s Lyric Theatre in South Bend, Indiana. His connection with the brothers was cemented, however, when he was invited as their guest at the Theatrical Mechanic Association in 1911. On Jan. 9, 1911, “The South Bend Tribune” reported that Hoyland was initiated into the Theatrical Mechanical Association, South Bend Lodge, No. 120, the guest of Messrs. C. J. and Louis F. Allardt of the Orpheum. In 1911, the Allardt Bros. acquired the Broadway Theater Hotel in Superior, Wisconsin. Hoyland began managing the venue in 1912. Hoyland became the Allardts’ “right-hand man” and business boomed throughout the region.
On Feb. 23, 1912, the “Virginia Enterprise” in Minnesota reported, “The Allardt circuit will, with the opening of the new house here, be divided into two circuits, the southern and the northern. All the theaters north of Chicago will be in the northern division. The acts that will appear here will be routed not only though the Allardt houses but into several of those owned by close allies of the big firm. It is planned to open every act in the Northern division of the circuit at the Lyric. From here the shows will proceed to Fort William and then back to Superior, St. Paul and Minneapolis and south to the southern points on the big wheel” (page 4). By 1913 Hoylund managed the Allardts’ New Orpheum Theatre in Racine, Wisconsin. He continued to climb in the Allardt enterprise, becoming both treasurer, and managing their new advertising firm. On Feb. 1, 1914, Chicago’s “Inter Ocean” listed Hoyland as not only Allardt Bros. treasurer, but also Allardt Advertising Company director.
On Dec. 21, 1913, the “Inter Ocean” published an article about the Allardt Bros. rise to fame. The article reported, “The firm was founded by three brothers with H. J. (senior partner of the firm) and L. F. Allardt in Chicago and C. J. Allardt directing affairs in South Bend, Indiana. The firm diversified, investing in Boyle Woolfolks, Inc. (producer of musical comedy tabloids), Robert Sherman (dramatic tabloid producer), the Alamo Film company, and the Allardt Advertising company.” At the time, Allardt Advertising Co. was considered of the biggest firms in vaudeville.”
Hoylund continued his association at Allardt Advertising Co. for the next several years. His 1918 WWI Draft Registration card listed that he was an advertising agent for the Allardt Advertising Co., then located in 316 Westminster Building.
Enter, Lemle.
By Feb. 19, 1920, Lemle was listed as one of four directors for the Allardt Advertising Co. when the number of Directors was increased from three to four. The other three were Charles L. Hoyland, Carrie Hoyland, and Mabel Shearer. When exactly he actually began working for the firm remains a mystery. The 1920 US Federal Census listed William H. Lemle as a salesman for a Manufacturing concern, living at 211 Ellis Ave. in Chicago. He was listed as a lodger of Vera J. Bales at the address.
As with other studios, the Allardt Advertising Co. struggled with collecting payment from their clients. This became increasingly common throughout the 1920s, and many scenic studios folded, despite the phenomenal profits provided by advertising curtains. Collecting money owed became a full-time job. On September 16, 1921, Allardt Advertising Co. published the following Want Ad in the “Alton Evening Telegraph”:
“Party whose present occupation will permit him to act as collector for a Chicago concern. Only a very small part of time required. Accounts are payable quarterly and will aggregate about $500.00 each quarter. 5 per cent commission. Good references or bond necessary. Address Allardt Advertising company, Inc. 417 S. Clinton street, Chicago, or call Mr. Kentnick at Illini Hotel” (page 13). That address was the same address as the main studio for Sosman & Landis; Allardt Advertising Co. was renting space from Sosman & Landis, likely subcontracting some work too.
In 1922, the Allardt Advertising Co. business offices were located at 1100-1109 N. Dearborn St., Chicago, but the firm still rented space on S. Clinton St. That February Allardt Advertising Co. increased its capital stock from $5,000.00 to $50,000.00, and then changed its name to Hoyland-Lemle Company. In April 1922, the Hoylund-Lemle Co. offices relocated from their temporary 56 West Randolph Street to 417 South Clinton Street in Chicago. Again, 417 S. Clinton St. was the main studio and business offices for Sosman & Landis. Before the name-change in 1922, the official studio address for the Allardt Advertising Co. was listed as 417 S. Clinton St. Charles Hoylund and William Lemle worked closely with Sosman & Landis on a variety of projects. As the demand for scenic illusion for the stage declined, the demand for advertising products and services increased. Hoyland and Lemle saw an opportunity, bridging the gap while staying in the same prime location – 417 S. Clinton St. This space remained the one of the best shops in the country to manufacture a painted product. As Sosman & Landis work dwindled, Hoyland-Lemle Co. work skyrocketed. Back to 1922…
Certificates were granted for both of capital stock and name changes on March 4, 1922. In addition to a name change, the objective of the company also changed. The original object of the company:
“To engage in and carry on a general advertising business by the circulation and distribution of display cards, signs, posters, dodgers, handbills, programmes, banners and flags, to be placed in and on railroad cars, street cars, steamboats, cabs, hacks, omnibuses, stage, and all kinds of conveyances used for passengers or any other purpose. To display stationary or movable or changeable signs, cards, pictures, designs, mottoes, etc., operated by clockwork, electricity or any other power, to use, place and display the same in theatres, depots, hotels, halls and other public places. To make contracts with individuals and corporations for the exclusive use of their property and to purchase, control and use individual rights, easements and contracts, and to have all the rights, powers and privileges and franchises incident to and granted to corporations organized by virtue of the law of Illinois.”
The new objective in 1922 stated:
“To carry on the business of advertising contractors and agents and any other business which may be usually carried on in connection with such business; to lease property and real estate for the purpose of exhibiting advertising signs; to make, manufacture and display advertising curtains in theatres, halls and other places of amusement; to carry on the business of originating, composing and devising forms of advertisements and advertising matter for others and publishing and securing the publication of the same and all other matters thereto pertaining. To manufacture, buy, sell, import, export and deal in advertising novelties and devices of every kind and description, including raw materials used in the manufacture thereof and to conduct the business of printing, stamping, lithographing, engraving, and binding in connection therewith. To act as agent of representative of corporations, firms and individuals and as such to develop and extend the business interests of firms, corporations and individuals.”
At the time, certificates for the change were signed by Charles L. Hoyland, Carrie M. Hoyland William Lemle, and Maybelle Shearer. M. Shearer would become a key player in another Lemle business endeavor. The Lemle-Barrett Co. The same year that Allardt Advertising Company became Hoyland-Lemle Co., Lemle partnered with John P. Barrett.
Barrett was the manager of Chicago’s National Theatre. The Lemle-Barrett Company, Inc. was a corporation established to manage movie houses in 1922. On Oct 5, 1922, the “Blue Island Sun Standard” reported, “The National Theater on the south side has been leased by John P. Barrett and William H. Lemle for a term of years and opened its season Sunday with “Why Wives God Wrong”…Mr. Barrett, who has been manager of this theater for the past twelve years” (page 9). The new company of was formed manage to moving picture venues, or “picture theaters” (“Moving Picture World, Nov-Dec 1922). The offices for the Lemle-Barrett Company, Inc. were located at 6219 S. Halsted St. This is the same address for the National Theatre and future National Theatre Supply Co. The primary focus of the business was motion picture production. The new company was listed in the New Corporations section from the Oct. 26, 1922, issue of “Manufacturer’s News. “Lemle-Barrett Company, Inc., 6219 S. Halsted St. William Lemle, John P. Barrett, M. Schearer; $5,000, motion pictures. William Lemle, John P. Barrett, M. Shearer. Cor., Hoyland-Lemle Co., Inc. 417 S. Clinton St.” The address, 6219 S. Halsted, was in the Englewood neighborhood, between West 63rd Street and Peoria Drive; it was the address for the National Theater. The venue had opened in 1904 as a vaudeville theater known as the Avenue Theatre. In 1908, it was refurbished, becoming a movie theater until the early 1930s. Over the decades, then venue was known as the Ace Theatre and Kim Theatre, until it permanently closed in 1966.
Lemle invested in the motion picture industry in Chicago and with his brother-in-law William H. Cook in Philadelphia. Keep in mind that motion picture theaters not only purchased equipment, but also painted settings that framed a projection surface and necessary draperies. Many scenic artists began specializing in designing a variety of cinema stages.
On Sept 29, 1922 the “Englewood Times” ”reported, “National Theatre is to reopen Oct. 1. The National Theatre in the south side, has been leased by John P. Barrett and William H. Lemle, for a term of years and will open its season on Sunday, October first with “Why Wives Go Wrong.” A phenomenal hit, that is fairly coining money for its producers, Ralph Ketterling and C.S. Primrose. The company presenting the play at the National has been especially organized and will tour the vicinity surround Chicago, while the company which has been playing the piece on the road will start eastward with Boston for the Thanksgiving destination. While the opening of the National will be given to this road show, it is the intention of Mr. Barrett, who has been manager of this theatre for the past twelve years, to install a high class and dramatic stock company which will begin its season immediately following the termination of the engagement of “Why Wives Go Wrong” (page 7). In 1923 the Lemle-Barrett Company, Inc., was located at 1539 Milwaukee Ave. in Chicago. The firm did not last much longer after that, and Lemle began to focus much of his energy on other business endeavors.
But wait, there’s more! Lemle also established Lemle Incorporated in 1922. This business continued for over a decade, operating in the background until 1934. As with the various Sosman & Landis business, they all look very separate on paper, but they are all part of one big operation.
1922 was not only the beginning of new partnerships, but also the beginning of a new chapter in his personal life. On May 17, Charles L. Hoyland married his second wife, Anna E Kentnick (also spelled Kentnich). Kentnick was the daughter of Allardt employee, William J. Kentnick, and very much a sign of the times. Kentnick was quite independent, employed as a stenographer in a law office.
Keep in mind that stockholders at Sosman & Landis decided to liquidate all of their assets in 1923. This is when the first iteration of the company closes. In 1923, Moses wrote: “On our return to Chicago we had a little chat with Fred Megan about buying into the company and getting Hoyland and Lemle out. D.S. Hunt is also bobbing about for the lease of the studio.” Now, Hunt was doing a similar thing as Hoyland and Lemle. He was deeply involved with Sosman & Landis, New York Studios (their eastern affiliate) and Chicago Studios (also using space at 417 S. Clinton St.). So this makes a couple individuals representing completing business entities racing around to acquire the coveted Sosman & Landis address and assets as the firm folded. They were like vultures, rapidly pecking away at carcass.
Hoyland-Lemle quickly became known as a major advertising curtain concern. On May 18, 1923, “The Gazette” of Cedar Rapids, Iowa, credited the Hoylund-Lemle Co. with a new illuminated street scene for the Majestic Theatre. The article reported, “The curtain was installed today by H. L. Winkler of the Hoylund-Lemle company of Chicago, one of the largest curtain advertising companies in the country. The curtain is built so that by the manipulation of lights it presents either a night scene or a day scene. An artistic coloring effect results when soft lights are turned on back of the curtain so that it appears as a panoramic view of the city at night. Many local business firms have reserved space on the curtain which provides an excellent background for their advertisements. The curtain will be shown for the first time Sunday when the Dixon Players open an engagement here ” (page 13). The “Gazette” article’s use of “illuminated” indicates translucent sections on the ad drop with backlighting. In other words, street lamps, windows, or stars in night sky would glow for the nighttime depiction. The street scene was a success. On June 2, 1923, the Gazette reported, “Last night was the first time the boys had seen the new illuminated curtain at the Majestic and when it was shown, they burst into a round of applause” (page 15).
To clarify…this is a translucent street scene with advertising spaces placed in the composition. The advertisements were incorporated into the architecture of buildings, street signs, walls, marquees, windows, etc. This also means that the ads were visible during the production, an appealing prospect for any merchant. In a way, it’s similar to a brand name product appearing in a television show or movie. Traditionally, advertising curtains were lowered at specific times during a production, coming in between scenes or acts. Ad spaces traditionally created a border around a central composition. They were also incorporated into the ornament of the surround. Over time, the number of ad spaces multiplied, greatly encroaching upon the central picture and reducing its dominance in the overall composition. Lee Lash became quite well known for his advertising curtains too, and raked in massive profits.
On June 17, 1924, the “Quincy Daily Herald” reported, “William Lemle, of Chicago, president of the Hoyland-Lemle company, here for the opening of Washington Square Theater, will leave Tuesday evening for Omaha. It was Mr. Lemle’s company that installed the night and day transformation street scene curtain in the new theater. Fred Loomis is the company’s local representative” (page 16).
Despite its initial success and rise to the top, the Hoyland-Lemle Co. also began to fail. By 1926, both Hoyland and Lemle begin focusing on other companies. In 1926, Lemle opened William Lemle Company, Incorporated. This is not to be confused with his 1922 firm, Lemle Incorporated. In 1926, Lemle’s firm also became associated with the National Theatre Supply Co. as a subcontractor. Just as in the past, Lemle diversified and represented a variety of interests in the advertising game. All of his firms did quite well in the beginning. Lemle’s 1927 letterhead read:
“William Lemle Inc. Theatrical scenery and drapery. Executive office and studios 417-419 South Clinton Street, Chicago. Telephone State 0619.”
1929 Lemle letterhead.1930 Lemle letterhead.
Lemle continued to expand as his work for National Theatre Supply continued to increase. He continued to expand his staff. On Dec. 2, 1927, the “Chicago Tribune” published the following want ad: “Bonaz Machine Operators – Lemle Studio, 417 S. Clinton-st.” (page 41). Bonaz machines were used for embroidery, suggesting an increase in fabric draperies for theatre installations, such as main curtains.
In regard to the declining Hoyland-Lemle business endeavor. The last mention that I have located of Hoyland-Lemle in newspapers involved a lawsuit against the Strong Motor Co. It was mention on April 16, 1927 in the “Tampa Times” (page 19). About this same time, Hoyland established the Charles L. Hoyland Co. This is also around the same time that Lemle becomes deeply involved with the National Theatre Supply Co.
Early in 1927, Thomas G. Moses wrote, “Another rumor that the National Theatre Supply Co. will take over our old Studio. Lemle is interested and wants me to come with him.” By the summer of 1928, Moses wrote, “I have agreed to join Lemle at our old Studio, which will pay me from $8,000 to $10,000 a year.” Moses began working for Lemle and the National Theatre Supply Co. at this time, still painting in the old Sosman & Landis studio; the same studio space that he began working in when it was first constructed in1886.
During the summer of 1927, Lemle’s association with the National Theatre Supply Co. was also mentioned in “National Pink Sheet. On June 10, 1927, National Theatre Supply Co. announced their formation of a new scenery and drape department, managed by P. Lester Landis. Again, Perry “Lester” Landis the son of Sosman & Landis founder, Perry Landis (page 2).
The old Sosman & Landis studio was pictured on the “National Pink Sheet Cover,” now captioned: “Spacious scenic studio of William Lemle Inc. of Chicago, the entire output of which will be distributed through national service.” The “National Pink Sheet” article reported that Lester Landis was “quite well known to the trade, having been member of the original Sosman & Landis Company in Chicago. With 12 years experience in all branches of scenery production and stagecraft.” The article continued, “Arrangements have been made to distribute the entire output of the Wm. Lemle, inc. Studios, located in Chicago. This company, with one of the finest and best equipped scenic studios in existence, and in charge of Wm. Lemle, also a former associate of Mr. Landis in the original Sosman & Landis studios, will produce all of the stage curtains, both fabric and painted, house draperies and novelty stage settings of every description of the new scenic department of National’s Midwest Division.” Lemle became one of many National Theatre Supply Co. subcontractors, strategically placed across the country. National Theatre Supply Co. was a business entity that secured large theater contracts, but didn’t actually manufacture any product.
Advertisements for National Theatre Supply Co. that year detailed:
“The National Theatre Supply Company manufacturers nothing, nor has it any direct control over factory costs or factory list prices of any article it sells. It is strictly a sales organization and service representative of a majority of manufacturers of theatre equipment and supplies. It is therefore obvious that the establishment of selling process is not within its power, except insofar as quantity purchasing and increased consumption are concerned. Quantity production and distribution governs the price of everyday commodity or service, regardless of its nature. The same conditions apply to the theatre supply industry and any readjustment of prices must necessarily result from the patronage and support. And when manufacturers are given a suitable volume of business, their products serviced promptly and reliably and their bills paid in accordance with terms there is very little likelihood of an increase in price of these products.”
Map with branch office locations of the National Theatre Supply Co.
In 1928 Thomas G. Moses wrote: “Called on the National Theatre Supply Company of San Francisco in order to assist Abrott in contracting for some of their building, as we did in Chicago. I believe they will give up their Studio in Seattle, as I understand it is a losing proposition.” National Theatre Supply Co. made a hefty profit. This was not always the case with their subcontractors, as Lemle and Moses discovered a few years later when they delivered scenery to the Scottish Rite Theatre in McAlester, Oklahoma.
One of the backdrops painted by Thomas G. Moses for the McAlester Scottish Rite.
Although Moses was periodically working for Lemle, he was still running the second iteration of Sosman & Landis, encountering one obstacle after another. Clients were not paying their bills. In 1928, Moses wrote, “Found everything at the Studio at ‘sixes and sevens’ – terrible shape. $38,000 still uncollected. I have had enough! I have put back into the business $25,000 and I don’t see any chance of getting it out without remaining in the business; so I had to apply for a dissolution of the business [Sosman & Landis]. This took effect July 1st, and I have agreed to join Lemle at our old Studio, which will pay me from $8,000 to $10,000 a year.” Moses later added: “Have sold my Sosman and Landis Company stock to Lemle, which will be paid to me monthly. I am at last free from that trouble. Landis has also sold his to Lemle.”
Lemle’s business was continuing to expand. On May 8, 1928, Lemle placed a want ad in the “Chicago Tribune” for drapery workers (page 48). The ad stated:
“DRAPERY WORKERS. Experienced; permanent position. William Lemle, Co., 417 S. Clinton-st.”
Hoyland-Lemle, however, was not quite dead, but circling the drain. In 1928 the capital stock of Hoyland-Lemle was reduced from $50,000, consisting of 500 shares of the par value of $100 each to $5,000 consisting of 500 shares of the par value of $10.00 each.
On a personal front, Lemle’s daughter, Eloise Lemle Andrews, passed away on Dec. 29, 1928. She was only 29 years old at the time. His sister, Martha Lemle Cook, had passed away the year before 1927, only two years after their father in 1925. This was somewhat reminiscent of twenty years earlier when Lemle lost his wife, brother and mother over the course of three short years.
The William Lemle Company was incorporated on January 16, 1929. Incorporation papers show list William Lemle as president and treasurer, with Mary J. Phelan as Secretary. Directors were William Lemle and May Bell Shearer of 2512 Lake View Avenue, and Mary J. Phelan of 4439 W. Monroe. Some of the same players, but a different year. Business offices were listed as 160 West Tenth Street. And the games continued…
In 1929, William Lemle Company, Inc. changed its name to Lemle Studios, Inc. Not a big surprise, as their space on Clinton Street was repeatedly referred to as the Lemle Studio. However, the company was dissolved the same year of the name change – 1929. Likely a decision to avoid corporate taxes and increase their overall profit margin. In January 1929, William Lemle Company, Incorporated, was registered as a Delaware Corporation. On Jan. 17, 1929, “The Morning News” of Wilmington, Delaware, (page 15) listed: “William Lemle Company. Deal in stage scenery. $10,000. A. V. Lane, C. S. Peabbles, L. E. Gray, Wilmington, Del. (Corporation Trust Company of America). Lemle’s business license was later revoked in 1933. Lane, Peabbles and Gray of the Corporation Trust Company of America, were involved with dozens of Delaware corporations that year. For example, on March 26, 1929, “The Morning News” of Wilmington, Delaware, announced “27 Companies Granted Articles of Incorporation” (page 12). Of those 27 firms, Lane, Peabbles and Gray were involved with fourteen:
N. R. Feltes & Co. (Deal in stocks bonds); Admirality Coal Corporation (deal in minerals of all kinds); J. Newman & Co. (deal in brick, terra cotta); Myron C. Herrick Royalty Co. (deal in oils, petroleum); Pittsburgh Smoketeria Corporation (deal in tobacco products of all kinds); P. H. Saunders Company, Inc. (deals in stocks bonds); The Bulah Coal Corporations (deal in coal, coke, charcoal); Stephen M. Foster & Co. Incorporated (deals in stocks, bonds, securities); Alabama State Fair Company (to hold agricultural, mechanical, educational, and other types of fairs); M. C. Trading Corporation (deals in stocks, bonds); North Central Distributors (deal in all kinds of communication and receiving sets); Typekrafters, Inc. (deal in printers and publishing supplies); Avenue Agency Corporation (general real estate agency); Business Corners, Inc. (deal in stocks, bonds). Lemle’s registering his business in Delaware was a calculated choice, yet he continued manufacturing product in Illinois.
The name change was also a refined business tactic for many scenic studios at the time. For context when examining early-twentieth-century studio name changes, I add the following:
When a firm began to financially fail, the name was often changed so that a new iteration of the company could immediately reopen with the previous name. It was almost a seamless process, especially if the firm was juggling several ongoing projects. Minimal changes to the name, with alternative addresses, despite work continuing as usual in the same shop.
In 1929, Moses represented William Lemle, Inc., when he painted the scenery for the Scottish Rite Theatre in McAlester, Oklahoma, 1929. He was also representing the National Theatre Co. at the time. The Scottish Rite backdrops were quite large, measuring 40′-0″ high by 56′-0″ wide. Reflecting on the project In 1930, Moses wrote: “The National Theatre Supply Company are the only ones that made any money on the McAlester job. Everything went 30% higher than what I figured, all because of the enormous size. Not so much in material, as to the expense of handling. I was way off painting, something that I am as a rule pretty close in estimating. There is one redeeming feature and that is, I did a job that Mr. Fuller said was, ‘Wonderful, more satisfactory,’ and that expressed the sentiments of the whole crowd.”
Although Lemle acquired the last remnants of Sosman & Landis stock from Moses and Landis, Fred R. Megan continued to use the Sosman & Landis name. I have yet to determine whether Megan and Lemle were working together, or at odds. The Sosman & Landis name sporadically appeared in papers until 1930, but that was it, the end of a scenic studio empire. Moses continued to work for Lemle, primarily on Masonic theater projects by late 1920s. Regardless, the name, Sosman & Landis, still held sway with some Freemasons. Most work was done on site, as it had been in the beginning.
The last mention that I have encountered for Sosman & Landis scenery dates from 1930. On Sept. 25, 1930, the “Altoona Mirror” credited Sosman & Landis with the scenery for the Jaffa Shrine Temple in Altoona, Pennsylvania (page 28). The article reported, “The [William F.] Gable company supplied the equipment for the big stage of the auditorium and it was installed under the direction of the firm’s special artist, Frederick Megan. One of the features of the equipment is the big asbestos drop curtain, weighing 900 pounds. It bears a painting that is in keeping with the organization and entitled ‘The City of Jaffa’ and is very artistically done. It and the other furnishings were secured through the Sosman & Landis company of Chicago and include stage sets, drops, lights and everything necessary to the modern stage. Mr. Megan directed the furnishing of the stages in the Shriner’s mosques at Cleveland, Chicago, and other cities.
Shriner building in Altoona, Pennsylvania.
I have to wonder, if Lemle was divesting himself of Sosman & Landis product. After all, he was still working out of the old studio on S. Clinton St.
Moses continued to also work with F. R. Megan, until 1931, representing the William Lemle Co., the National Theatre Supply Co., and even the Armstrong Studios of Los Angeles. His memoirs reveal a frustrated individual who continued design Masonic scenery, hoping to reignite the passion for painted illusion on stage. Unfortunately, much of the work was refurbishing or repainting old scenery. Such had been the case for quite some time.
In 1931, Moses again mentioned Lemle and the Clinton Street Studio, writing, “Rupert and I started for Dubuque on the 23rd of January. We closed the contract for work at $850.00, and brought all the old drops that are to be repainted back with us in the car. It took but a few days to get started on the old and new work at Clinton Street, where it was good and warm, as Lemle had some old advertising curtains on the frames.” Moses remained connected with the National Supply Co. in the early 1930s. In 1932, Moses wrote: “Have had several small designs to make for the National Theatre Supply Company, none of which has ever gone through. While I don’t like to waste much time, I feel that I can’t afford to miss a chance to get some work, no matter how small.”
Back to Lemle…
The 1930 US Federal Census listed William Lemle as living in the Pine Grove Apartment Hotel at 2828 Pine Grove Ave. Lemle was listed as a proprietor in the stage draperies industry. Maybell (May Belle) Crispell Shearer and Joseph T. Shearer (1874-1955) also lived at this address, along with several others employed in the theatre and advertising industry. The name Shearer should ring a bell – May Bell Shearer. Remember that in 1920, the four directors for the Allardt Advertising Co. were William H. Lemle, Charles L. Hoyland, Carrie Hoyland, and Mabel Shearer. Shearer was also involved with the Lemle-Barrett Company, Inc.; the officers of the corporation were William Lemle, John P. Barrett, and M. Shearer. Again in 1929, Shearer was involved with the William Lemle Co., Inc. When it was incorporated on January 16, 1929, William Lemle was president and treasurer, with Mary J. Phelan as Secretary. Directors of the firm were William Lemle and Maybell Shearer, both of 2512 Lake View Avenue. Despite how her name was spelled, it was the same gal. Interestingly Maybell Shearer, Joseph T. Shearer and Emil Feldman were listed as incorporators for the Felshea Co. This was a firm that engaged in general advertising, publicity, printing and sign-painting. With business addresses at 159 North State St., Chicago, the starting capital was $8,000 (“Editor & Publisher, July 12, 1924, page 18). This was a period of time when one advertising business after another opened its doors.
Shearer had worked with Lemle since 1915, since before her husband entered the fray. In 1930, Joseph T. Shearer was listed as the proprietor of a Theatrical costume shop. He was previously employed as a lithographer in the printing/advertising industry, although May Bell had designed and built costumes for years. She, transitioned from performance to costumes prior to WWI, a decade after they were married. By 1915, May Bell was listed as the wardrobe mistress (“Daily Arkansas Gazette, Little Rock, 20 Oct 1915, page 4).
Lemle’s production of “Spetember Morn,” with mention of May Bell Shearer.
For additional context, the Shearers were married in 1903 and celebrated the birth of a daughter in 1904. Between 1915 and 1916 May Bell Shearer toured as a principal with “September Morn.” This was the same show managed by Martin & Lemle, Inc. Shearer not only performed as a principal, but also functioned as the wardrobe mistress for the company (“Springfield Leader and Press, Missouri, 24 Oct. 1915, page 6). The 1920 census listed that their 16-yrs.-old daughter, Mary J., was working as an actress, following in her mother’s footsteps.
However, May Bell left the stage and began a career in theatrical costume design. Even backstage, May Bell was a shining star and gained quite a reputation as a costume designer. She and her husband maintained close ties with Lemle over the years, even sharing their home. The two were proprietors of the May Bell Shearer costume shop, located at 62 E. Lake St. An article published on Nov. 1, 1944, in the “Chicago Tribune,” reported that they had an apartment at the same address. Their establishment was burglarized that year on Halloween. When Joseph Shearer passed in 1955, his obituary announced, “He is survived by May Belle Shearer, Loop theatrical designer” (“Chicago Tribune,” 20 Aug 1955, page 35). May Bell Shearer’s obituary was published in the “Chicago Tribune” on Nov. 25, 1972: “May Bell Shearer, theatrical costumer, 615 ½ Washington Blvd, Oak Pk., Ill., wife of the late Joseph Shearer. Services John Carroll Sons for Funerals, Erie and Wabash Av., Monday Nov, 27, 1972, 10 a.m. Interment Evergreen Cemetery, Visitation Sunday after 4 p.m.” (page 69).
As far as Lemle’s in-laws, the Cooks…
In 1930, both Lemle’s brother-in-law and nephew (W. H. Cook and his son Charles) were listed as proprietors in the US Federal census. Each was listed as a proprietor in the “artist and sculpting” industry. Ten years later they were still painting, working as artists in the decorative painting industry.
By the mid 1930’s, Lemle was heralded in newspapers as a “noted theatrical scene designer” (“Forest Parker,” 20 Dec 1935) and a “leading Chicago scene designer (“Wilmette Life,” 19 Dec 1935, page 58). On Jan. 9, 1936 (page 19), the “Wilmette Life” noted Lemle’s participation in Chicago’s third annual Business Exposition: “A striking decorative scheme evolved by Melville Chatten, prominent architect; and William H. Lemle, well known Chicago scenery designer, will provide an especially attractive background for the show, according to William V. MacGill, chairman of the exposition committee.”
By 1938, Lemle’s studio space on S. Clinton St was liquidated. The contents of the space were listed in the “Merchandise.” Section if the “Chicago Tribune” on Feb. 25, 1938 (page 29). The listed contents gave insight into studio equipment:
“Radley stencil cutter. Glass top desks, Singer sewing machines, French embroidery machine, Remington typewrite, motors, ext. ladders, 20 and 50 gal, crocks, orange juice pumps, artist’s drawing table, 2 large gas chicken fryers [for cooking hide glue], balance scales, large coffee grinder [for dry pigment], 25 gallon butter churn’s, 5 gal milk cans, burlap bags, gas and electric stoves, antique tables, stage curtains, letter files, sprocket chain, automatic typewriter, reducing gears, large electric liquid agitator, and 3 and 4 inch wood battens. 417 S. Clinton. 12-7 daily.”
The 1940 US Federal Census reported that Lemle was a 68-yrs. old widower, living at 200 Jackson Blvd. in Chicago. He was listed as the proprietor of a drapery business.
And then Lemle fades from print…until his obituary was posted in the “Chicago Tribune” on March 29, 1950 (page 35).
It simply announced: “LEMLE – William H. Services March 29, 2 P.M., at Graceland cemetery.”
At the time of his passing. Lemle was running an upholstery shop. On April 9 and 10, 1950, the “Chicago Tribune” announced the sale of his business:
“UPHOLSTERY SHOP.
By order probate court, will sell at public auction upholstery shop, consisting of materials, machines, etc. on premises, 525 W. Roosevelt-rd. Tues., April 11, 1950, at 2 p.m. Est. of William Lemle, dec’d. Inspection from 1 p.m. to time of sale. Sale in bulk for cash. Thomas D. Nash, Public Admin’r.” (page 54).
Lemle was not actually buried in Chicago.
Lemle’s ashes were brought home to Greenwood Cemetery in Philadelphia, buried in the Lemle family plot on May 4, 1950. Greenwood Cemetery is located at Addams Ave. & Arrot St. in Philadelphia. Lemle was placed in the same family plot as his parents, Martha H. and Francis P. Lemle. He shares the same grave as William E. Lemle (Feb. 15, 1903) and Christian Lemle (June 2, 1883). Other family members in the plot include Elizabeth C. Lemle (September 6, 1905) and William E. C. Lemle (August 20, 1895).
Lemle’s brother-in-law, William H. Cook, died three years later and is also buried at Greenwood Cemetery. Adjacent to the Lemle’s is the Cook family plot, containing the remains of William Cook, Martha Lemle Cook and Frank E. Lemle.
In 1953 the “Philadelphia Inquirer” reported, “Services for William H. Cook, a scenic artist with the old Lubin Motion Picture Co., were held yesterday at Mulligan’s funeral home, 1119 W. Lehigh Ave. Burial was in Greenwood Cemetery. Mr. Cook, who was 77 lived at 548 E. Dupont St. He died Tuesday. He was employed by the movie company at 8th and Market Sts. And later became associated with the Art Film Co. He also held one of the first-class licenses issued for operating a motion picture machine. Surviving are his wife, Martha A.; a son, Charles W., and two grandchildren” (The Philadelphia Inquirer, 27 Oct. 1953, page 8).
Advertisement in “The Indianapolis Star”, 15 Jan 1916, page 9.
Perry Lester Landis was the son Perry Landis, Sosman & Landis co-founder. When Joseph S. Sosman passed away in 1915, Sosman & Landis stockholders elected Thomas G. Moses president, Arthur Sosman vice-president, and P. Lester Landis secretary and treasurer.
P. Lester Landis ten years later, 1926.
Perry Landis Sr. met Joseph Sosman in 1875. The two became fast friends and traveling companions. In 1879, they moved to Chicago and opened up a scenic studio on Clark Street. Perry was the first to marry in 1881. His bride was Nora Fessler, and the two celebrated the birth of Viola Elizabeth Landis in 1884 and P. Lester Landis in 1892. The year that Lester was born, the Landis family moved from Chicago to Evanston, Illinois. Lester grew to adulthood along the shores of Lake Michigan, with Chicago only a short train ride to the south. Despite the financial success of the Landis family in the 1890s, tragedy soon followed. Lester’s father became gravely ill around the turn-of-the-twentieth-century, forcing him to withdraw from almost all business responsibilities at Sosman & Landis and the American Reflector and Lighting Co. The 1900 US Federal Census listed that the Landis household was located at 1235 Judson Ave. in Evanston and included: Perry, Nora, Viola, Lester, Katharine Landis (Perry’s mother), Ada Fessler (Nora’s sister), and two servants.
In 1905, both Perry Landis Sr. and his daughter, Viola Landis, passed away; their deaths were only six months apart.
On June 11, 1905, the “Chicago Tribune” reported, “Miss Viola Elizabeth Landis, daughter of Perry Landis of Evanston, died yesterday in Colorado Springs, Colo., where she had gone for her health. Her father and mother were with her at the time of death. She recently was graduated from the Evanston High school” (page 6).
On Dec. 13, 1905, the “Chicago Tribune” published Perry Landis” obituary: “Perry Landis, Evanston, died yesterday at his residence, 515 Dempster street, following a long illness. He was born in Clifty, Ind., in 1850, and came to Chicago when 17 years old. He was well-known among artists of the United States. A widow and one son, Lester Landis, survive. Interment will be at Graceland this afternoon” (page 5). On Dec. 16, 1905, “The Evanston News” added “[Perry] had been a sufferer from nervous prostration for more than three years…Perry Landis was born at Clifty, Indiana, in 1848, He married Miss Nora Fessler, Jan. 13, at Shelbyville, Indiana, and their home was in Chicago from that time until coming to Evanston eleven years ago…Besides the widow, the decedent leaves one son, Lester Landis, Miss Viola Landis, the only daughter in the family, dies last June in Colorado.”
Both Perry and his daughter were buried in a family plot at Graceland Cemetery, purchased by Joseph S. Sosman that year.
The gravestone of Perry Landis, Sr. in Graceland Cemetery.The gravestones of Perry’s wife and daughter at Graceland Cemetery.
In between his sister’s passing and his father’s passing, Lester turned twelve years old. He would spend the next decade with his mother, attending school in Evanston and then entering the family business. His passion, however, remained automobiles. Lester and his mother remained at 515 Dempster in Evanston until 1910 when they moved to 931 Judson. The family home remained on Judson until 1939. The 1910 US Federal Census listed Nora Landis’ household at 931 Judson included her 17-yrs.-old son, P. Lester, her sister 45-yrs.old sister, A. G. Fessler, and a servant.
In 1912 and 1913, the Evanston City Directory listed Lester Landis as a student, still living at home with his mother. During this time he began buying and selling a series of cars. Although I am uncertain as to when Lester started at Sosman & Landis, he was elected as the firm’s secretary and treasurer in 1915. He likely entered the scenic profession at this time. In 1915, Thomas G. Moses wrote, “I received a wire from Sosman requesting me to return at once, as he was going away for a trip in his car. He returned July 24th in bad shape and died August 7th. On the 10th, a stockholders meeting was called and I was elected president of the Sosman and Landis Company. Arthur Sosman was elected vice-president and P. Lester Landis, secretary and treasurer.”
By the end of the 1915, Moses wrote, “I hope within a year that Lester will get into the office work so I will not have much of that to do.” Lester was slow to take on the company reigns; likely a result of his recent marriage to actress Jessie Medbury (1896-1972). The young couple was married on June 7, 1915. This was just prior to Sosman’s passing and Lester’s advancement to vice-president at Sosman & Landis on August 10. Thos. G. Moses and P. L. Landis were soon running the firm. One of their more notable projects was the Strand Theater in Indianapolis, Indiana. On Jan. 15, 1916, “The Indianapolis News” Sosman & Landis placed an announcement, supporting the opening of the Strand, a new photoplay theatre at Capitol Ave. and Washington St. They were one of many sponsors to celebrate the opening announcing that their firm “designed, built and painted the beautiful stage settings.” Thos. G. Moses was listed as President and Designer, with P. L. Landis as Secretary and Treasurer.
P. L. Landis listed as secretary and treasurer for the firm. From “The Indianapolis News”, 15 July 1916, page 17. Their project was the Strand Theatre in Indianapolis, Indiana.
In addition to managing work, Lester was settling into married life with an intelligent, vibrant and attractive actress. Jessie was the daughter of symphonic musician, Paul B. Medbury (b. 1869), and Ella Gill (b. 1869). Over the years, her father had also worked as an actor, while her mother rented out rooms in the Ellis Park neighborhood. Later in life, Jessie described that she had a “hankering for the stage since childhood.” In a 1961 interview for “Stars and Stripes Newsletter” Jessie later explained, “When other children were playing with their dolls, I would be playing theater. I do remember I used to put on little shows in the backyard.”
She was very fortunate as doors opening up for this aspiring performer. An article published in the “Evanston Review” in 1926 summarized Jessie’s early training and stage career. It reported, “Miss Landis won a scholarship in the Chicago Musical college, where she studied voice, dramatic art, and instrumental music. Graduating from that institution she embarked for New York and was placed in charge of William Wade Hinshaw for voice training, and M. V. Hinshaw and Hamilton Coleman for dramatic art and stagecraft. However, the urge for real dramatic work was not to be denied her and immediately upon her return home she allied herself with the Evanston Stock company, then under the direction of Harry Minturn and playing what is now the New Evanston theater” (11 Nov 1926). It was while performing with the Evanston Stock Company, that Jessie met Lester Landis.
So, consider the circumstances…a young actress is on the brink of a successful career, she marries into a very wealthy and well-connected family, with close ties to the entertainment industry. It seems like a dream, until married life sets in and she immediately becomes a mother. This is a period of time when married women left careers and raising children signaled the end of professional ambitions.
Picture of Jessie Royce Landis in her book “You Won’t Be So Pretty (But You’ll Know More)”, 1954.
In Jessie’s 1954 autobiography, “You Won’t Be So Pretty (But You’ll Know More),” she described her son’s early years and the collapse of Sosman & Landis. Of her son’s birth, Jessie wrote, “And when it was over – the pains had stopped. My eyes were shut tight when I heard the piercing cry of a baby – my baby! Medbury (for my father), Perry (for Lester’s), Landis was bathed, dressed, wrapped in a lovely blanket and put in my arms. It was a beautiful day. From my bed I could see the syringa bushes in the garden in full bloom. Life for me at that moment was perfect and complete.” I had to look up syringa bushes; they are lilacs.
Meddie was born with down’s syndrome, and the Landis family began to grapple with their future obligations and options.
Jessie wrote, “Meddie was a beautiful baby and almost too good to believe. He seldom cried. During the first two years of his life everything went wrong in the Landis home. The business from which they derived their incomes began to fail and it was disclosed for many years the dividends had been paid out of capital. Lester tried to nurse it back, but he knew nothing about the business and it was all pretty hopeless. The family had never had to economize and couldn’t believe that it was necessary to do so now.
‘It will turn out right somehow,’ Mother Landis would say and they continued to live as they had always lived.
I, who had known the ups and downs of fortune, seemed to be the only one to worry.”
Shortly after giving birth, Jessie was asked to play to the role of “Miss Phoebe” in the Evanston Country Club’s play, “Quality Street.” She accepted, and immediately returned to acting and directing. Years later, newspaper articles would repeat the following story, “Miss Landis began her theatrical career as an Evanston amateur when she played the Country club productions under the direction of Blanch Bannister Arnd. She later appeared in a stock company at what is now the Valencia theater and there won the attention of Joseph Schildkraut, who engaged her for the touring company of ‘The Highwayman.’” An article published in the “Evanston Review” detailed that “she interpreted plays, and Joseph Schildkraut chanced to be in the audience one night. He engaged her to play the flirtatious countess in ‘The Highwayman.’ Same story, with a few variations from one newspaper to the next. The point is that her career began to take off, and no one could contain her, or convince her to stay home and raise a child. Understandably so, she had a rare gift and amazing drive.
Jessie Royce Landis. “The Chicago Tribune”, 21 April 1920, page 17.
As Jessie’s career began to soar, her husband’s career began to fail. This dynamic was accentuated by the struggle of raising a newborn. It is one thing to marry a young, beautiful, talented and aspiring performer. That is the thing that dreams are made of. It is something else to watch you wife take center stage while your own career fails. Lester Landis was in a financial free-fall; trying to rescue a company with minimal experience. He must have felt extremely inadequate as he watched his father’s business empire crumble before his eyes. All the while, his wife was spending an increasing amount of time away from own and gaining much well-deserved recognition. His mother was left to raise their child; Nora represented their sole support network.
Thomas G. Moses remained at Sosman & Landis until the fall of 1918. He simply could not overcome the loss of Sosman, nor successfully manage the firm. In 1916, Arthur Sosman stepped down as vice-president, with his mother, May P. Sosman, briefly taking on the role. The Sosman heirs (two stepsons) had their own concerns and ambitions, none of which really involved managing a scenic studio. Both Arthur and Fred Sosman were interesting in the theatrical management and performance aspect of vaudeville, not necessarily the back stage work. This left Thomas G. Moses and Lester Landis on their own to bail out a sinking ship. In the end company sales rapidly declined, likely the result of an inexperienced sales team.
Moses could not effectively manage both sales and manufacturing on his own. Lester Landis’ WWI Draft Registration card, dated June 5, 1917, listed his occupation as “manufacturer of stage scenery” and his employer as Sosman & Landis Company, 417 So. Clinton St., Chicago. At the time, his physical was described as medium height, medium build, brown eyes and brown hair. With America’s entry into WWI, Sosman & Landis struggled to secure work, and soon began accepting government contracts. This work was not promptly paid, ultimately contributing to the firm’s dire financial straits. In 1918, Moses wrote: “Lester Landis went to New York and finally got a settlement with Law for our government work. It has cost us a good bit to get it settled.”
Moses even traveled with Landis, in hopes of landing more work. My guess is that this was a last ditch effort to help train Landis in sales. That summer, Moses wrote, “July 2nd, Lester, his wife and myself started for Battle Creek by the way of South Bend in his auto. We had a delightful trip, spending the 4th of July in South Bend and coming away with a $1,200.00 contract.” Despite Moses’ loyalty to the Landis family and his friendship with Lester, Moses could not stay at the failing firm.
By the fall of 1918, Moses 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…The Sosman and Landis Company have only done $85,000.00 worth of work for the past year. We should have done about $116,000.00 worth to make money.”
It was also around this time that Jessie returned to full-time work in Chicago, leaving Meddie in the care of her in-laws. Jessie became head of the Dramatic Art and Production Department of Hinshaw Conservatory. Keep in mind, that in 1919, Jessie was 23 yrs. old; this says quite a bit about her ambition and skill set. The Hinshaw Conservatory was located at the southwest corner of Wabash Ave. and Jackson Blvd in Chicago, a short train ride south of Evanston. Built in 1917, the new Kimball Hall building was a sixteen-stories structure with 500-seat auditorium. William Wade Hinshaw was the director of the school, with J. A. Hinshaw as the Manager.
Hinshaw Conservatory advertisement from the same year that Jessie Royce Landis started as a student. “The Chicago Tribune”, 1 Sept 1910, page 11.William Wade Hinshaw from “The Times” of Streator, Illinois, 1 Aug 1910, page 6.
Previously, Hinshaw sang with the Henry W. Savage Grand Opera Company as the leading baritone for three seasons (1899-1901). Interestingly, Hinshaw sang for Savage during the same time that Thomas G. Moses worked as the company’s scenic designer/artist. After Hinshaw left Savage’s employ he relocated to Chicago to establish his conservatory.
From 1919 to 1921, Jessie Royce Landis was listed as working at was listed in the Chicago Directory as one of many employees at “Wab 8335, 910 Kimball Hall Building;” this was the address for the Hinshaw Conservatory of Music & Dramatic Art. Other Hinshaw employees who worked at the building included John Arno Hinshaw; Marvin V. Hinshaw (voice and dramatic art); Mabel Lewis Howatt (elocution); M. McFarland Marino; G. Magnus Schutz (music teacher); Edna Whitmore (music teacher); Laurinda Bredshall (music teacher); Ralph Ginsburg (music teacher); and G. Flynn.
The 1920 US Federal Census listed the couple still living at the home of Nora Landis on 931 Judson in Evanston. Her household included Lester P. (27 yrs.), Jessie R. (23 yrs.), Medbury (3 ½ yrs.), A. Gertrude Fessler (56 yrs.) and servant Alice Sulser (32 yrs.). Lester’s occupation was listed as a “president” in the “scenic artists” industry. Landis remained at the firm as his wife continued to excel as both an actress and director. In 1921, she became a director for the North Shore Players in Evanston. At this same time, Jessie began working as a reader and dramatic coach, part of the Radio Broadcasting news program (KDKA, KYW, WJZ and WGY Westinghouse and General Electric Broadcasting). During the spring on 1922, she was listed as a radio reader for “If You Would Love Me” and many other short stories at the Westinghouse Station, KYW, Chicago, Illinois (“New York Times,” 24 April, 1922, page 27).
Jessie Royce Landis in 1922. From “The Chicago Tribune”, 13 April 1922, page 21.
By 1922 Jessie established her own firm, known as Landis Studio. From 1922 to 1925, the Chicago Directory listed Jessie Royce Landis’ work address 1525 in the Kimball Building. Her employees included Albertine Nelson (music teacher) and Hilma Franz. This was really a turning point for Jessie After a series of charitable performances, she begins working as an actor and director for the North Shore Players. On March 17, “The Lake Shore Players” published “Seeks Candidates For Tryouts in 3 Plays” (page 1). The article reported, “Mrs. Jessie Royce Landis, who recently has assumed an active interest in the North Shore Players and who gave special readings at the performance a few weeks ago, is to do the ‘casting’ for the forthcoming plays. Mrs. Landis is well known to north shore playgoers for her stellar work in ‘Daddy Long Legs,’ ‘Tangle’ and other important theatrical productions of the past years. She is a leader in dramatics and the North Shore Players are considered to be very fortunate in having claim upon at least a portion of her time.”
Between 1922 and 1923 “The Lake Shore News” published a series of placed by Jessie Royce Landis for her Studio of Dramatic Art. Her ad noted, “Instruction may be had in Evanston as well as Chicago” (page 17). She was still placing the same advertisement in a variety of local paper the following year, including the “Evanston Lake Shore News” (13 April 1923, page 7).
In addition, to teaching, acting, and directing, Jessie began to write. On April 22, 1922, “The Lake Shore News” published an article written by Jessie Royce Landis entitled “Wherein is Defined Amateur Dramatist” (page 4).
Jessie Royce Landis. “The Lake Shore News”, 30 March 1922, page 17.
She wrote, “Deep in the heart of almost every individual lies an inborn conviction that a great artistic spirit seeks expression. Nearly every one of us at some time or the other has secretly felt the urge of expressing big thoughts through the medium of printer’s ink. The painter’s palette or the mummer’s art. Almost any man thinks that he could add some touch of improvement to almost any play that he ever witnessed. It is so easy to sit back comfortably and critically watch a story unfold and suggest where here and there the plot might be twisted and turned a bit.
Someone has said that almost everybody has carefully hidden away in some pigeon hole, nook or corner a play, poem or dramatic sketch with which he hopes some time to startle and amazed and appreciative world.
The psychology of all this is probably what makes amateur theatricals as unusually known the dreariest form of indoor sport.
Most folks start by coxed, persuaded, cajoled, and coerced into their first amateur dramatic appearance. It usually requires the ‘hook’ to stop their adventures.
Nothing is so interesting to watch as they progress of the average staid, dignified man of affairs hesitatingly accept and stumblingly repeating his first few lines in his first amateur appearance until he blossoms forth in the full regalia and panoplied gladiator fondly imagining himself an imposing, impressive reincarnation of another Booth.
Of course, all of these performances are given before friends, relatives or loving enemies, so all is congratulation, all is fulsome praise, and it is only the outsider or stranger that can fully appreciate in all its excruciating agony the wonderful and typical amateur performance.
Everybody imagines that if they just had a few hours someday all by themselves with plenty of paper they could write a perfectly wonderful story or play, while others fondly hug the illusion that the mere donning of a character costume miraculously clothes them in the ability to tread the boards.
They fail to understand that they can hardly acquire in a few short weeks of usually quite equally amateurish direction and rehearsal even the least inkling of an art that requires a lifetime of study in its perfection. That is probably why the word ‘amateur’ as applied to dramatics is the term that usually brings forth, at best, the quiet smile of amused tolerance. Perhaps the greatest compliment that any group of such players have received from the audience is the remark, ‘Pretty good for a bunch of amateurs.’
Yet no one ever thinks of the word ‘amateur’ as applied to a baseball organization as indicating in the least degree a lack of first class ability and skill. Practically all football is amateur football and no better football is played. Nobody feels inclined to make excuses for an amateur golf champion or tennis player. The word ‘amateur’ receives in these fields its true meaning; the doing or accomplishment for love of the thing done.
So I have many times longed for a word that might truthfully and fairly designate meritorious theatrical productions apart from purely commercial enterprise.
I have in mind a group of earnest, capable and talented people in our own community who best express my idea of what ‘Amateur theatricals really should mean.’
The North Shore Players are not in the accepted theatrical sense amateurs. All have had stage careers. In that respect we would call them professionals. They never attempted anything beyond their own capacity to express, or beyond the limits of possible stagecraft where the productions are given. They are amateurs in the highest sense, carrying on the work not for personal gain, but for the pure love of the thing. Their performances easily rank with high grade commercial attempts.”
On April 28, 1922, the “Evanston Lake Shore News” reported, “Before her marriage Mrs. Landis appeared on the professional stage with large road and stock companies in plays such as ‘Get Rich Quick Wallingford,’ ‘The Blindness of Virtue,’ etc. In moving pictures she played opposite Francis X. Bushman for some time. Of late, Mrs. Landis has only been doing semi-professional work and has appeared in the following plays on the North Shore: ‘Quality Street,’ ‘The Two Sisters,’ ‘Fourteen,’ ‘Tea for Three,’ ‘Daddy Long Legs,’ and ‘Tangle.’ For three years Mrs. Landis was head of the Dramatic Art and Production Department of Hinshaw Conservatory and now maintains her own studio in the Kimball Building – Landis Studio” (page 8).
The Kimball Hall Building, from the 1920 Chicago Directory.
”The North Shore Players include in their organization, Robert Andrews, who has made a special study of scenery at the Academy of Fine Arts and the Hickox Studios.”
On Feb. 2, 1923, the “Evanston Lake Shore News” reported, “The North Shore Players have been exceptionally fortunate in securing the services of Jessie Royce Landis as director for the season. Under her capable supervision, the North Shore Players have always been successful, and the fact that Mrs. Landis is directing their coming performance, it is felt, assures success” (page 1). On June 1, 1923, Jessie Landis was pictured in the Evanston Lake Shore News (page 6). She played the title role in “St John Irvine’s “Jane Clegg” by the North Shore Players at Kuppenheimer Memorial Hall in the New Trier high school auditorium. It was given under the auspices of the benefit of the Winnetka Post, American Legion. The article reported, “The part of ‘Jane Clegg’ is to be portrayed by Jessie Royce Landis, who has been in charge of all the direction of the North Shore Players’ productions for the past two seasons, and whom all these youthful dramatist declare, is due all the credit for the success of their numerous ventures. Mrs. Landis has appeared on the professional stage in a number of important productions, and since her marriage has been doing only semi—professional work as sell as giving instruction in dramatic art.” (page 6).
Jessie Royce Landis directed the North Shore Players’ production of “The 13th Chair” in 1923. From “Subrbanite Economist, 28 Dec 1923, page 7.Jessie Royce Landis in 1923. “The Indianapolis Star”, 26 March 1922, page 80.
Meanwhile at Sosman & Landis, Lester continued to work as a salesman at Sosman & Landis. Moses was again working at the firm, on contract.
The Sosman & Landis main studio on Clinton Street in Chicago (1886-1923).
In 1922 Moses wrote, “…got a train for Davenport, Iowa. Some fine daylight ride. Met Lester Landis and we set our model up for the new Scottish Rite Bodies. No chance to close for some time.” The firm continued to lose work to their competitors, as they frequently were outbid. This, combined with a decline in the demand for painted scenery, contributed to the firm’s rapid decline. In 1923, plans were implemented to liquidate all Sosman & Landis assets, closing its doors for good. Moses saw an opportunity and partnered with Fred Megan, former salesman at the Kansas City Scenic Co., to purchase the name. They hoped to open a new iteration of Sosman & Landis, and succeeded early in 1924. In 1925, Moses wrote, “On Sunday, [Fred] Megan and Lester Landis drove out to see me, as Fred had just returned home from a trip. We tried to induce Lester to come with us, but he wanted too much salary.”
I wonder if Lester was simply not interested, and priced himself out of the picture. His wife’s career was soaring, and their marriage began to faulter. An article entitled “Jessie Royce Landis is Leading Lady with Otis Skinner at Blackstone” was published in “The Evanston Review” on Nov. 11, 1926. The article described her training and career up to her landing the role of the countess in “The Highwayman.” Then it continued, “After that she appeared in John Golden’s ‘Wages for Wives’ and ‘Seventh Heaven,’ also as a member of ‘The Werewolf’. Vaudeville also claimed Miss Landis for a time. She appeared opposite Jacob Ben Ami, in the second act of ‘Sampson and Delilah’ at the Palace theater. After this she played in Detroit, Mich., in Adolph Klauber’s ‘Wings of Chance,’ in which Jessie Bonstelle saw her, and when Miss Bonstelle decided to produce ‘Little Women’ she engaged Miss Landis for the part of Jo, in which this young actress scored so heavily that she was listed to play leading parts only with the Bonstelle Stock company during all of last summer, after having secured her release from A. H. Woods with whom she had signed a contract previously. Miss Landis is now appearing in the role of Flora Brazier, in Mr. Skinner’s present vehicle ‘The Honor of the Family,’ and although the part is of an unsympathetic nature, she nevertheless revels in it because it gives her an opportunity to display all human emotions.” “The Honor of the Family” at the Booth Theatre was Jessie’s Broadway debut in 1926 . The production was immediately followed with a tour, featuring her in the same role. After completing the tour, she returned to New York and would land one role after another, including the role of Princess Katherine in the 1928 production of “The Command Performance.” In all, Jessie would perform in 35 Broadway productions between 1926 and 1964.
Unfortunately, joy and sorrow often go hand in hand. The year that Jessie performed in “The Command Performance” her 11 yrs. old son passed away from influenza. Meddie Landis died on March 17, 1928. At the time, he was living in Indianapolis at an institution (2259 N. Alabama).
Purportedly, Lester and Jessie greatly disagreed on how they should raise a child with special needs. Lester wanted Jessie to stay at home and care for their son, whereas Jessie believed that he should live at an institution specifically created for those with Down syndrome. Unfortunately, this was a period in American history when the majority of individuals with Down syndrome were kept in inhumane institutions. First of all, here is a link to the Down Syndrome Human and Civil Rights Timeline: https://www.globaldownsyndrome.org/about-down-syndrome/history-of-down-syndrome/down-syndrome-human-and-civil-rights-timeline/
I am going to provide a little context to place how inhumanely the world looked at special needs individuals…
In the 1920s, some of the United States were passing laws to sterilize certain individuals without consent; those perceived as “feebleminded,” insane, depressed, mentally handicapped, epileptic, and some others who simple suffered from various addictions (alcohol and drug abuse). In 1927, the Supreme Court case, Buck vs. Bell ruled that it was not a violation of constitutional rights of disabled people to forcibly sterilize them against their will. Even in “Mein Kampf,” Adolph Hitler cited U.S. eugenics laws and ideology, writing, “I have studied with great interest the laws of several American states concerning prevention of reproduction by people whose progeny would, in all probability, be of no value or be injurious to the racial stock.”
Meddie was considered by some to be “of no value.” Therefore, It is understandable why any parent, such as Lester, might hesitate to send their child to any institution, especially one that was far away from home. So what were the options without a network of support for parents with a Down syndrome child? In all reality, someone had to stay at home as a primary caretaker. If neither parent was willing to do this, nor a close family member, the options were very limited. Family members were customarily sent away and placed institutions for a variety of reasons, often perceived as inconveniences.
There were risks in sending Meddie to an institution, but most children with Down syndrome were not allowed to attend public schools and confined to a private residence. In the Landis household, there remained the question as to WHO was going to raise a special needs child. Within a patriarchal structure, the responsibility fell to Jessie. Yet she a career that was taking off, and arguably much more successfully than her husband by 1922.
Their differing opinions about Meddie caused a fissure that ultimately divided their lives and ended their marriage in divorce. After Meddie’s death, Jessie threw herself into her art and succeeded. Meanwhile, Lester just tried to survive, going from ones sales position to another. Throughout the 1920s he remained in the theatre industry, staying with the scenic trade.
By 1927, Lester secured a position as the head of the scenery and drapery department at the National Theatre Supply Company.
P. L. Landis in “National Pink Sheet”, 1926.
An article about P. L. Landis was published in the “National Pink Sheet” on June 27, 1927 (page 2). Here is the article in its entirety:
“New Scenery and Drape Department Formed.
Distributing Entire Output of Midwest’s Finest Scenic Studio, National is Now in Position to Render Unusually Efficient Service.
-P. L. Landis Placed in Charge.
The idea of specialization throughout its various departments has been further augmented by the National Theatre Supply Company in recent formation of another new department which will have under its direct supervision all matters in connection with the distribution of stage scenery, house draperies and floor coverings for theatres in the Central States.
This department has been placed under the directions of Mr. P. L. Landis, a specialist in stage technique and with headquarters in the general offices of the Company in Chicago, he will cooperate with an assist all National branch managers and their salesmen in rendering a scenic service to exhibitors, unusual in both the extent of preliminary service and quality of finished products.
Mr. Landis is quite well known to the trade, having been a member of the original Sosman & Landis Company of Chicago. With 12 years of experience in all branches of scenery production and stagecraft, he is particularly fitted to head the new department.
Arrangement have been made to distribute the entire output of the Wm. Lemle, Inc. Studios, located in Chicago. This company, with one of the finest and best equipped studios in existence, and in charge of Wm. Lemle, also an associate of Mr. Landis in the original Sosman & Landis studios, will produce all of the stage curtains, both fabric and painted, house draperies and novelty stage settings of every description for the new scenic department of National’s Midwest Division.
Similar departments are already in operation in the Southern Division, under the direction of Joe Shear, located at the National district offices in Atlanta, Ga., and in the West Coast Division, under A. M. Larsen of the National Interior Decorating Department in Seattle, Wash. Another scenic department is now being formed for the Eastern Division and will be announced shortly by officials of the district in New York City.
The scenic, drapery, floor covering and interior decorating departments represent one of the final steps toward perfecting the National One-Contract Equipment Plan, which has already achieved nation-wide popularity. These departments will function in connection with the National Engineering Department.
It is now possible for the builder of a new theatre, or the exhibitor who wishes to improve the efficiency of his present theatre to avail himself of a complete technical service for the preliminary plans, and finally to group his entire needs into one contract. Thus simplifying the process of selection, establishing one single source of responsibility, minimizing the possibility of errors and greatly facilitating the problem of financing.”
Lester continued to live with his mother at 931 Judson in Evanston throughout the 1920s and 1930s. From 1920 until 1925, Lester was listed as a manager. His 1926 listing changed to salesman, a position that he continued for the remained of his career, despite shifting industries. The 1931 Evanston City Directory listed his wife as Jessie R. and his employment as “theatrical supplies, Chicago.” Two years later, Lester’s wife was still listed as Jessie R. Landis.
In 1935, Lester Landis was listed a s a salesman for North Shore Buick Co., but he was still living with his mother in Evanston. His life dramatically changed. It was not as if he suddenly decided to sell cars. Since 1913, P. L. Landis had been buying, selling, and trading a variety of vehicles. In 1913, he placed the following advertisement in the “Chicago Tribune”:
SACRIFACE – 1914 PAIGE EQUIPPED WITH spare tire. Gray & Davis starting and lighting system, shock absorbers, etc., run less than 2,700 miles. Owner. P. L. Landis, Phone Evanston 1698.” In 1915 he placed a similar ad in the “Chicago Tribune” on Aug. 1, 1915: SACRIFACE – 1912 5 PASSENGER SELDON, fully equipped and ready for immediate driving; just overhauled. Must have money inside of 24 hours. Call Evanston 1698. P. L. Landis.” By 1921, his advertisements in the “Chicago Tribune” carried bold and larger fonts: “Auto Credits for Sale. NEW CAR. WILL SACRIFICE DEPOSIT ON ANY MODEL ELGIN 6. P. L. Landis Ph. Evanston 1698.”
From “The Chicago Tribune”, 11 Sept 1921.
When Lester left the theater business in the mid-1930s, he returned to his first love – cars.
Both Lester Landis and Jessie Royce Landis remarried in 1937.
Lester’s second wife, Elsie C. Karger. The two were married on September 27, 1937, in Galesburg, Kalamazoo, Michigan. This date various, however, and some records suggest Oct. 4, 1937, as their wedding date. This was the same year that Jessie Royce Landis married her second husband Rex Smith, editor, writer, and playwright. Their marriage only lasted until 1944 when the couple was divorced. Jessie married her third husband, Maj. Gen. J. F. R. Seitz in 1954, but never changed her name.
Elsie Cammille Karger (b. 1901) was the eldest of three children born to George Harrison “Harry” Harper (1874-1969) and Jennie Elizabeth Quinn (1879-1964). Born in Fairfield, Illinois, Elsie grew up in St. Louis, Missouri. Elsie married her first husband, Oliver J. Karger, on Nov. 9, 1920, in Marion County, Indiana, but the two returned to raise a family in St. Louis, Missouri. They celebrated the birth of one child, Jacqueline Karger, in 1923. When Elsie married Lester, she was 35 yrs. old, with a 14 yrs. old daughter.
Lester and Elsie Landis were last listed as living with Nora Landis in the Evanston Directory in 1939. The two were living in Indianapolis when Lester’s mother passed away in 1942. On March 26, 1942, “The Evanston Review” published “Mrs. Nora Landis, widow of Perry Landis, and an Evanston resident for 50 years, died Wednesday of last week at her home, 914 Crain Street, following an illness of several months. The later Mr. Landis was formerly in the theatre scenery business in Chicago, as a member of the firm Sosman & Landis. Mrs. Landis was a former member of the Women’s Club and was a member of the First Church of Christ, Scientist. She is survived by a son, Perry L. Landis of Indianapolis, and a sister, Miss Ada G. Fessler, with whom she lived. Funeral services were held Friday afternoon at Hebblethwaite Funeral Chapel. Burial was in Graceland Cemetery.” Mother’s obit – His mother, Nora Landis, March. 18, 1942, at her home, 914 Crain Street, Evanston, Ill., wife of the later Perry Landis, mother of Perry L. Landis, sister of Ada G. Fessler; service 2 p.m. Friday at chapel, 1567 Maple av, Evanston, Interment Graceland” (Chicago tribune, 19 March 1942, page 26).
Jessie Royce Landis’ last performance in Chicago was during 1945 when she appeared in the Theater guild production of Shakespeare’s “The Winter’s Tale.” Newspaper accounts report that after this performance when went onto Hollywood and made several movies, including “It Happens Every Spring,” “My Foolish Heart” and “Mother Didn’t Tell Me” (“Evanston Review, 30 March 1950). In 1950, she was heralded for her London performance of Somerset Maugham’s “Larger Than Life.”
During this time, Lester and Elsie Landis moved from Indianapolis, Indiana, to O’Fallon, Illinois, and then to Belleville, Illinois. In 1950 Lester Landis was listed in the Belleville Illinois Directory as “dept mgr. Herman G. Wangelin Inc (used car lot) rRD 1 O’Fallon” The company was located at 500 E. Main Street in Belleville, established by I. H. Wangelin of 221 Abend and A. H. Wangelin of 1117 Olive St.). In 1951, P. L. Landis was again placing advertisements,; this time in the “Belleville Daily Advocate.” On July 3, 1951, he advertised, “CLEAN ’41 DODGE SEDAN. $495. Fluid drive, radio and heater. Private owner. P. L. Landis. 600 East Main St. Phone 2740.”
From “The Belleville Daily Advocate”, 6 July 1951.
Lester remained an automobile salesman until his passing in 1955.
Landis passed away on August 17, 1955, in Belleville, Illinois. On August 20, 1955, the “Chicago Tribune” published his obituary (page 35):
“Landis – Perry Lester Landis, formerly Evanston, Aug 17, 1955, at Belleville, Ill. Husband of Elsie Landis, father of Mrs. Jacqueline Schultz. Resting at chapel 1567 Maple avenue. Evanston after 10 a.m. Sunday where services will be held at 2 p.m. Interment Graceland.”
Lester’s passing also made Evanston news in 1955:
“Perry Lester Landis, 62, of Belleville, formerly of 931 Judson avenue, died Wednesday of last week in St. Elizabeth’s hospital in Belleville A long-time Evanstonian. Mr. Landis, an automobile salesman moved to Belleville four years ago. He formerly lived in O’Fallon. Surviving are his wife, Elsie, and stepdaughter, Jacqueline (Mrs. Charles) Schultz of Columbia, Ill. He was preceded in death by a son, Medbury P. Services were conducted Monday afternoon at the Hebblethwaite chapel by the Rev. Fred E. Luchs, minister of the First Congregational Church, with interment in Graceland Cemetery.
Both of Lester’s wives long outlived him.
Photographs and memorabilia pertaining to Jessie Royce Landis remain in high demand. Here is a photograph that recently sold in an online auction.
Jessie continued to work in both film and live theater, with her last role being Muriel Chadwick in “Roar Like a Dove” (May 21, 1964-June 6, 1964). Here is the link to her listing in the Internet Broadway Database: https://www.ibdb.com/broadway-cast-staff/jessie-royce-landis-15358 Today, she is primarily remembered for her film performances in “To Catch a Thief,” “The Swan,” “North by Northwest,” “Goodbye Again” and “Critic’s Choice.” Much has been written about her film career, but little of her early marriage to Landis. She passed away in 1972 at 76 yrs. old, although newspapers erroneously cited her age as 67. As she matured, Jessie’s birth year shifted from 1896 to 1904, a common practice for women performers at the time.
Jessie Royce Landis next to Cary Grant in the film “North by Northwest“ 1959.
Jessie Royce Landis’ obituary was published in the “New York Times” on Feb. 3, 1972. I am going to include it, as it provides a little background for the rest of Lester Landis’ tale.
Jessie Royce Landis’ obituary, published in “The New York Times” on Feb. 3, 1972.
“DANBURY, Conn., Feb. 2—Jessie Royce Landis, the actress, died this evening in Danbury Hospital at the age of 67.
She leaves her husband, Maj. Gen. J.F.R. Seitz, to whom she was married in Teheran in 1956 when he was in command of the United States Military Mission” with the Iranian Army. That couple made their home in Ridgefield.
A graveside service will be held in Branchville on Sunday at 2:30 P.M.
Just Back From Hollywood
Miss Landis had just returned from making a film in Hollywood when she was taken ill.
An international star, she appeared over the years on the New York and London stage and in other capitals throughout the world. She also appeared in many films and on television and even found time to write her autobiography, “You Won’t Be So Pretty,” in 1954.
In London, she received an award for the best performance of the year (1950) in “Larger Than Life,” a dramatization of Somerset Maugham’s novel, “Theatre.”
Miss Landis had a run of full year (1951–52) in the musical, “And So to Bed,” in London. In this play she sang the prima donna role.
Among the New York plays in which she starred were “Solid South,” “Merrily We Roll Along,” “Love From a Stranger,” “Richard II,” “Sing Me No Lullaby,” “I Knock at the Door” and “Roar Like a Dove.”
For the Theater Guild she starred in “Love’s Old Sweet Song” and “Papa Is All,” among others.
In ‘Kiss and Tell’ 2½ Years
Miss Landis’s longest run in New York was in “Kiss and Tell,” which was on the boards for two and a half years in the early forties.
Her film credits included “To Catch a Thief,” “The Swan,” “North by Northwest,” “Goodbye Again” and “Critic’s Choice.”
Miss Landis was born in Chicago on Nov. 25, 1904. She made her stage debut at the Playhouse there in 1924, as the Young Countess in “The Highwayman.”
Her first appearance in New York, following a stock engagement in Detroit, was in 1926, at the Booth Theater as Flora Brazier in a revival of “The Honor of the Family.” This was followed by a tour in the same part and then came a succession of New York engagements.
She succeeded Estelle Winwood as Fern Andrews in “The Furies,” and her reputation as a dramatic actress grew steadily.
In rapid succession Miss Landis played Princess Katherine in “The Command Performance,” in 1928; Satire in “Young Alexander” in 1929, Caroline Goodwin in “Stripped,” the same year; Cydalise Waring in “Damn Your Honor” later in 1929 and Leila Mae in “Solid South” the next year.
There were many other plays, among them “Colonel Satan,” two revivals of “Peter Ibbetson,” “Marriage for Three,” Jo in a revival of “Little Women,” “Domino,” “Before Morning,” “Hard Boiled Angel,” “The Dark Tower,” “The Old Maid,” “Substitute for Murder,” “Pre-Honeymoon,” Noel Coward’s “Tonight at 8:30,” “Dame Nature” and “Where There’s Will.”
Jessie Royce Landis picture next to Cary Grant and Grace Kelly in “To Catch a Thief“, 1955.
Lester’s second wife Elsie lived another 33 yrs. after his passing. Her obituary was published on June 4, 1988, in “the Indianapolis News”:
“Graveside services for Elsie Harper Landis, 87, Indianapolis, will be at 3 p.m. Monday in St. Paul Evangelical Cemetery, Columbia, Ill. There will be no calling. Flanner & Buschanan Fall Creek Mortuary is handling the arrangements. The widow of Perry Landis, she died Friday. Survivors – sister Dorothy Webb; three grandchildren” (page 12).
