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Copyright © 2022 by Wendy Waszut-Barrett

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.

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.

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.”

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,

“WINDOW SIGN LETTERS. ALL KINDS White, gold, etc.; cheap; postal; we call anywhere. Lemle, 1221 Ridge Ave” (18 Sept 1905, page 13).

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.”

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 63^rd 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.”

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.”

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.

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.

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 23^rd 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).

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).

Copyright © 2022 by Wendy Waszut-Barrett

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.

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.

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 24^th in bad shape and died August 7^th.  On the 10^th, 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.

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.

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.

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.

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).

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). 

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 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).

Meanwhile at Sosman & Landis, Lester continued to work as a salesman at Sosman & Landis. Moses was again working at the firm, on contract.

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.

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.”

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.”        

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.

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’ 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.

“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.”

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).

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

Joseph S. Sosman tried to interest both of his stepsons in the scenic studio business during the 1890s and early 1900s. Neither was interested in a backstage career. They wanted to shine on stage. Today I focus on the life and career of Sosman’s youngest stepson, Frederic P. Sosman.

There were two Fred Sosman’s who worked at Sosman & Landis: Frederick H. Sosman, Sr. (1866-1941), Joseph Sosman’s nephew, and Frederic P. Sosman (1882-1946), Joseph Sosman’s stepson. Here is the link to my post about the nephew – Frederick H. Sosman: https://drypigment.net2022/03/26/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-84-fred-h-sosman-sr/

On April 16, 1890, Joseph Sosman married divorcee May Pinney Jones (1858-1947). Jones was previously married to Benjamin Hodge Jones, who deserted her and the boys in 1886. Joe Sosman adopted his two stepsons in 1890. At the time, Arthur Benjamin Jones (1878-1929) was twelve years old and his brother and Frederick Pinney Jones (1882-1946) was eight years old. The boys’ names also changed at this point, becoming Arthur Burton Sosman and Frederic Pinney Sosman.  It was less of an issue for Frederick, as only the “k” was dropped from his first name; effectively erasing his connection to his paternal grandfather Frederick N. Jones.

Over the years, Joseph S. Sosman repeatedly employed the two boys, but they were more interested in the performance than any technical theatre project. Fred. H. Sosman became a vaudeville performer, and was primarily known for his comedic performances and singing. He was fortunate to be born into a wealthy family, one that could afford to nurture his musical interests at an early age. Like his older brother, Fred as also able to attend a variety of events specifically planned for children of well-to-do Chicagoans. For example, on Dec. 27, 1895, “The Chicago Chronicle” listed both F. P. Sosman and his brother on the guest list for Children’s Night at the Illinois Club (page 12). The article detailed, “Children of all ages from little toddlers in kilts to the boys and girls with their first evening dress flocked to the Illinois Club yesterday afternoon and evening, on the occasion of the annual children’s party.”  From 9 p.m. until 11p.m. the older boys and girls were given exclusive use of the dancing hall.”

By the time Fred was 22 yrs. old, he married his first wife. On Dec. 18, 1904, the “Chicago Tribune” announced, “Mr. and Mrs. Joseph S. Sosman announce the marriage of their son, Mr. Frederic P. Sosman, to Miss Elzie Holbrook in St. Paul” (page 25). Their marriage was registered in Minnesota, noting a marriage date of Nov. 3, 1904, in St. Paul. Later newspaper accounts purported that their marriage was very short-lived, purportedly lasting only eight months. It may have been his theatrical career that terminated the relationship. In the beginning, Sosman travelled quite a bit from one town to the next. He performed a solo act and was part of a touring line-up. On April 4, 1908, the “Los Angeles Herald,” announced that Sosman was performing at the Orpheum in Los Angeles. On  May 29, 1908, he was part of amateur night at Chutes Theatre in San Francisco. His time on the road ended about 1908, when he returned to Chicago and began working at a wholesale millinery company during the day. At night, he performed at the Olympic theater and a handful of other Chicago venues. On July 19, 1908, the “Chicago Examiner” reported that “Fred Sosman, a Chicago singer and impersonator” was performing at the Olympic Theatre (page 3).  I have yet to locate the name of the millinery firm he was working for about this time, and wonder if it was another business entity founded and subsidized by his stepfather, or Sosman & Landis.

In 1909, Sosman performed at the Majestic Theatre and was billed as “a Chicago boy who has made a name for himself as a singer” (“Arlington Heights,” 5 Nov. 1909, page 5). He primarily played in ballrooms and other dining establishments. By 1910, Sosman was part of the entertainment at the Café Savoy, located on Harrison and Wabash (Chicago Examiner 27 March 1910, page 52).

When he was 30 yrs. old, Sosman married his second wife. Their wedding made theatrical news. On Tuesday, May 7, 1912, the “Chicago Examiner” reported, “Jest Hurries Up a Wedding. Back to Stage for Funds.” The article continued, “Mrs. Frederick P. Sosman, until last Saturday Miss Evelyn Leckie. Forty friends of Mr. and Mrs. Frederick P. Sosman – they were married unexpectedly last Saturday – assembled last night in the Willard Theater, Calumet avenue and Fifty-first street, and gave the bridegroom a rousing reception when he reappeared behind the footlights, in a determined effort to furnish a flat for his bride in a hurry.

Mrs. Sosman formerly was Miss Evelyn Leckie of 4512 Racine avenue. Her husband was a vaudeville performer, but two years ago gave up the stage to engage in business.

Meeting a year ago, the couple announced their engagement, several months since, at the marriage of Miss Harrier Gorman, daughter of James Gorman, vice-president of the Rock Island Railroad, to D. A. Hack. Their friends believed the wedding was to take place in June, but last Saturday afternoon the two attended a luncheon at the Hotel La Salle, and then one of the guests rallied them on deferring the ceremony Mr. Sosman left the table, saying he would return shortly.

He did – with a marriage license. Half an hour later after the luncheon party was assembled before a South Side clergyman as a wedding party, and then came dinner, at which Mr. ad Mrs. Sosman were guests of honor. Meanwhile Mr. Sosman was doing some quick thinking. His plans for June wedding had included the furnishing of a dainty little flat at 4645 Hazel avenue, for which he had signed a lease. The hasty marriage rendered ready cash imperative, so he hied himself to a theatrical manager and quickly got a two weeks’ booking at local theaters at his old profession – character singing. Last night was his opening. During the day he attends to his business with a wholesale millinery concern and for two weeks he will tread the boards. Friends last night sought to encourage both Mr. Sosman and the management of the theater.

This is Mr. Sosman’s second matrimonial venture. Three years ago, he married a St. Paul girl, and they were divorced eight months later” (Vol. 10, no. 118, page 5).

Later that summer, Sosman’s performance at the Lincoln Theatre in Chicago was announced in the June issue of the “Clipper” (page 12). His performance was assisted by Clay Coolidge. Sosman continued to sporadically perform at a variety of establishments for the next few years. By 1913, he was performing with “professional dancers” at the Moraine’s open air cabaret in Highland Park (Highland Park Press, 14 Aug 1913, page 12). This, like many others, was a short engagement, and nothing that prompted rave reviews.

In 1914, Sosman was billed as “King of the Cabaret.” On June 9, 1914, the “Detroit Free Press” reported, “With a whole flock of new ‘Broadway Hits,” Fred Sosman, justly styled ‘King of the Cabaret” comes to Edelweiss for a limited summer engagement. Many vaudeville devotees will recall Mr. Sosman as a Keith headliner, for it was not so long ago that Sosman adorned the boards along with Bert Williams and other celebrities. Fred Sosman has the ability which folks along New York’s ‘Big White Lane’ term the ‘Speed ‘em Up Stuff.” You can’t keep from shuffling your feet when Sosman is working. Mr. Sosman’s entertainment does not consist of coarse comedy. His fun is of the clear, sparkling kind – in short, the work of an artist. The  ‘King of Cabaret’ handles dialect work as cleverly as straightaway stuff and, during his Edelweiss stay will feature some humorous talking songs.” Speed became his hallmark for the next decade. His performing career eventually began to take off by 1915, putting a little more spending money in Sosman’s pockets. On Jan. 26, 1915, the “Chicago Examiner” listed Fred P. Sosman, 803 Wilson Avenue, as the owner of three Hupmobiles (page 18). Sosman’s automobiles offered other performance opportunities too. On May 17, 1915, Sosman was mentioned as part of a prank in the “Chicago Examiner.” The article reported, “Actors Stage Auto Drama in Street. Several performers at the Wilson Avenue Theater, near Broadway staged a little drama on the street last night. Mrs. Frederick Allen, appearing at the theater, walked in front of an automobile driven by Fred Sosman, 803 Wilson avenue. Allen, when he saw his wife struck, seized Sosman and started to beat him, but ceased when he found Mrs. Allen was uninjured”  (page 25). I wonder how badly Sosman was injured before he was able to explain everything was a prank.

As with most vaudeville acts, newspaper reviews were not always kind, some considered his performance mediocre at best. On August 27, 1915, he was mentioned in the “Stage Jottings” section of the “Daily Tribune” in Terre Haute, Indiana: “Fred Sosman has a couple of very good songs which he reserves for the finish of his otherwise so-so act.” It may have been the critic, or the timing, but it was a difficult period for Sosman. Two weeks prior to this performance, his stepfather passed away in Lake Bluff, Illinois. The death of Joseph S. Sosman meant that everyone put their own lives on hold to manage the estate and assume certain business responsabilties. Until his passing, no one truly understood the financial balls that Joe Sosman had continued to juggle over the years. Initially, Fred’s older brother was appointed vice-president of Sosman & Landis. However, their mother, May P. Sosman, assumed the role by 1916. During this time, Thomas G. Moses was elected president of the firm, a position he occupied until 1918. In 1915, Moses wrote, “It is very strange to me that I had never given this change of the business a thought.  I had never thought of Sosman dying.”

By fall of 1916, Fred left Chicago, temporarily relocating to Detroit. On October 22, 1916, the “Chicago Examiner” reported, Mrs. Frederic P. Sosman and son, Frederic Jr., departed yesterday for Detroit to join Mr. Sosman, They will pass the Winter in Detroit in their new home, 1601 West Grand boulevard” (page 23). It was about this time that Sosman began touring in earnest again, and soon found a partner.

Sosman’s WWI draft registration card listed him as tall, slender with brown eyes and dark brown hair.  At the time he was an actor with the Western Vaudeville Managers Association, with a permanent residence at 4540 Clarendon Chicago. In 1917, Sosman partnered with Gladys Sloan. Sloan was a musical prodigy. She first studied music in Centralia, Illinois, but in 1916, temporarily relocated south to St. Louis, Missouri, where she continued post-graduate classes at the Beethoven Conservatory of Music (Centralia Evening Sentinel, 8 July 1916, page 3). By the fall of 1916, Sloan was performing at the Winter Garden in Chicago (“Chicago Examiner, 5 Nov. 1916, page 95). The next year, she had partnered with Sosman and the two performed at the Empire room in the Grand Pacific Hote, located on Jackson Boulevard and Clark St.  (“Chicago Examiner, 18 Sept 1917, page 3).

An advertisement placed in the “Chicago Examiner” on Oct. 15, 1917, reported that they were performing “old and new songs” in the Empire Room, stating, “Here our guests can enjoy dinner of supreme quality, and an entertainment of the Highest order in an environment of quiet elegance. They continued to perform at the Empire Room, billing Fred Sosman at “king of the entertainers” and Gladys Sloan as “the girl with the personality” (“Chicago Examiner, 20 Jan 1918, page 33). By the end of the year, Sosman & Sloan appeared at the Bismarck Garden. On Dec. 9, 1917, the “Chicago Examiner” reported, “Fred Sosman & Gladys Sloan in a varied program of new song ‘hits’ and old time favorites will begin an engagement at the Marigold room Monday night. Mr. Sosman wins his audience at every performance. Miss Sloan is noted for her beautiful soprano voice, attractive personality and artistic gowns” (page 46). Sloan was even pictured in the “Chicago Examiner” on Dec. 16. 1917. It was captioned, “A Marigold Merrymaker.” The caption below Sloan’s picture explained that Sloan was one of the attractions at the North Side Garden, “which forgets name of Bismarck.” The newly named Marigold Garden was described as “the Bismarck under its new name,” and announced, “Fred Sosman and Gladys Sloan share hoors with Muriel De Forrest, the latter introducing several new dancing specialties” (page 44).

By the end of the 1919, Sosman & Sloan performed a new act – “Down Nonsense Lane.” Their tour that winter included stops at both the Columbia Theatre in Davenport and the Palace Theatre in Rock Island.  On Dec. 20, 1919, the “Rock Island Argus” reported, “’Down Nonsense Lane,’ which is the offering of Fred Sosman and Gladys Sloan, is a neat singing and character act that will no doubt be one of the hits on the new bill”  (page 8). Other reviews for their act at the Palace Theatre reported, “Fred Sosman and Gladys Sloan have a rapid fire line of chatter, shot through with some classical tomfoolery” (Rock Island Argus, 22 Dec. 1919, page 5).

Sosman & Sloan were still performing “Down Nonsense Lane” in the spring of 1920, appearing at the Empress Theatre in Decatur (Decatur Daily Review, 17 March 1920, page 5).  Sosman continued to perform on his own too. Later that year, Fred Sosman was advertised as “a lively boy with good shape and good clothes, and he, too, has a personality.”

Meanwhile, Sosman was still married on paper. The 1920 US Federal Census Report listed Evelyn and Fred Sosman as part of the William Leckie household – this was Evelyn’s father. At the time, members of the household included: William Leckie (64 yrs.), Anna Leckie (60 yrs.), Evelyn Sosman (31 yrs.), Frederick Sosman (36 yrs.) and Frederick Sosman Jr. (4), William was working as a bank teller, with Frederic P. Sosman listed as a vaudeville actor.

Sosman continued to tour with Sloan until 1923. In 1921, Sosman and Sloan were crossing the country, performing “Just Us” to vaudeville audiences as part of the B. F. Keith circuit. (Lowell Sun 3 Jan 1921, page 26).  That spring they played in theaters that spanned from Lowell, Massachusetts to Helena, Montana. At some point, Sosman left his wife, became blind, and remarried, but it was not to Sloan.

They two performed together until the spring of 1923. On Jan. 5, 1923, the “Ogden Standard Examiner” reported, “Between Dances” is the title of the diverting offering of Fred Sosman & Gladys Sloan, in which a lovers’ violent quarrel is aired to the delight of the entire crowd, Before the affair is over, however, the quarrel is amicably settled and in fact forgotten in the midst of some appealing songs” (page 10).  On Feb. 10.1923, “The Commercial Appeal” in Memphis, Tennessee, reported, “Miss Gladys Sloan, charming and vivacious song and patter star of Pantages circuit, and Mr. Fred Sosman, her partner, life and otherwise, featured the splendid concert. Their song and monolgue numbers were thoroughly enjoyable” (page 4).

On Feb 21, the “Indianapolis Star” reported:

“In Between Dances,” a comedy act presented at the Lyric this week by Fred Sosman & Gladys Sloan, is a combination of repartee and songs. Mr. Sosman and Miss Sloan recently entered vaudeville after extended engagements at the Moulin Rouge and Café DeParnee, New York, and the Marigold Gardens, Chicago. Miss Sloan was formerly engaged in concert work. Mr. Sosman is the son of Sosman of the famous firm of scenic artists Sosman & Landis. For several years he specialized in landscape painting, and has been awarded prizes for his work at exhibits in New York, Chicago and London.”

The advertisement for Sosman & Sloan that I have located is from March 18, 1923, in the “Detroit Free Press” (page 64). They were performing at the Chas. H. Miles Theatre.

His relationship with Sloan ended during the spring of 1923. By fall, Gladys Sloan & Co. was performing at Loew’s Delancey Street Theater in Nashville (“The Tennessean, 11 Sept. 1923, page 8). It was about this time, that Sosman briefly retired from the stage and met his third wife, Zelma. She convinced him to return to acting, despite his disability.

On Nov. 3, 1924, “The Indianapolis Star” reported, “’I’m sure there could be no objection to that,” is the assertation of Fred Sosman when he offers his skit which was written by Aaron Hoffman, the author of ‘Welcome Stranger’” (page 3).

On Nov. 9, 1924, “The Star Press” of Muncie, Indiana, mentioned Sosman’s new vaudeville act. The article reported, “When  you want anything done it is a good plan to  go to an expert. That is what Fred Sosman, the irresistible comedian did when looking for a new vaudeville vehicle. Fred wanted a new act, so after careful deliberation he applied to Aaron Hoffman, author of :Friendly Enemies” and “Welcome Stranger.” Mr. Hoffman’s effort for Fred Sosman has been called, “I’m sure there could be no objections to that” and is said to be one pf the cleverest monologues being used in vaudeville. Mr. Sosman also renders a couple of comedy songs that are said to be on par with the spoken lines” (page 15). His new act was entitled, “Songs and Chatter.” Written by Dolph Singer and Harry Von Tilzer, authors of many song hits and vaudeville skits.

On Nov. 24, 1924, the Lima News (Ohio) reported, “It is heralded as one of the cleverest monologues being used in vaudeville today. Sosman also renders a couple of comedy songs that are said to be on par with the spoken lines” (page 7).

He continued to perform solo. On Oct. 25, 1925, “The Indianapolis Star” reported that Sosman was performing at the Palace Theatre: “Fred Sosman is the eccentric comedian who, in black face, chatters and sings” (page 45).

By 1926, the Sosman’s moved East, settling in Montclar, New Jersey. Sosman’s health continued to fail, prompting his wife Zelma to open a tea room at 49 Park Manor to supplement their income. The last newspaper advertisements that I have located for Sosman’s vaudeville act are from  1927. On Jan. 28, 1927, Sosman performed at the Grand Opera House in Webster Groves, Missouri. He was still performing “Songs and Chatter.” An article in the “News-Times” reported, “‘Songs and Chatter’ is the title of the vehicle of Fred Sosman, and irresistible comedian, and the offering is said to be one of the cleverest monologues in vaudeville. Sosman also sings several screamingly funny numbers written especially for him by Dolf Singer and Harry Von Tilzer” (page 3).

By the spring of 1929, Fred and Zelma Sosman were living in Montclair, New Jersey. On April 20, 1929, the “Montclair Times” announced a dinner party hosted by Mr. and Mrs. Frederic P. Sosman of 49 Park St.”  (page 1). Mrs. Frederic P. Sosman hosted a birthday lunch and bridge party a few weeks later. However, Sosman was listed as a bling theatrical actor in the 1930 US Federal Census. In 1930,The Sosman household included Frederick P. Sosman (42 yrs.) Zelma W. Sosman (34 yrs.), Iris W. L. Sosman (44 yrs.), and Bonnie Ferie (22 yrs.). Ferie was listed as a roomer and actress. Fred listed that he married at the age of 37, suggesting that he and Zelma married in 1923, the same year his eyesight failed and his vaudeville act with Sloan ended.  

Interestingly, the 1929 Aurora Illinois Directory listed Evelyn Sosman as the widow of F. P. Sosman, now residing at 437 N. Highland Ave. Fred didn’t die, he just remarried. I find it fascinating that this was the same thing Fred’s mother did when his own birth father deserted them in 1886; mother May had declared herself a widow. Keep in mind that it was often more respectable to explain you were a widow, than deserted or divorced.

By the end of 1930, the Sosman’s closed their tea room in Montclair and temporarily headed south to Zelma’s home in Atlanta, Georgia. On Dec. 13, 1930, “The Montclair Times” announced, “Park Manor at 49 Park street, which for the past four years has been conducted by Mrs. Zelma Sosman, closed yesterday. Mr. and Mrs. Sosman, and the latter’s sister, Mrs. Iris Lewis, are motoring to Atlanta Ga., where they will make their new home” (page 19).

I was a bit shocked when I first encountered the 1930 census listing for Sosman as a “blind theatrical actor,” wondering what exactly happened; specifically, how he lost his sight and managed to keep performing. Although his performance career ended in the 1930s, I was able to locate Sosman in WWI draft records, realizing that he eventually returned to Chicago. In 1942, Sosman’s WWII draft registration described him as 6’-2” tall, with brown hair, gray eyes, and light complexion. He was listed as Blind – non ambulatory paralysis. He wrote that the person who would always know where he was  Mrs. Zelma Sosman 800 Buena Ave. Chicago. He passed away four years later at the age of sixty years old.

On Nov. 30, 1946, the “Chicago Tribune” reported, “Frederic P. Sosman, 60, former vaudeville monologist and character singer, died yesterday in a sanitarium in Lake Zurich, Lake country. He is survived by his widow, Zelma; a son, Frederic Jr. and his mother, May. Services will be held at 10 a.m. Monday in the chapel at 5501 N. Ashland av.” (page 20). On Dec. 1, 1946, the “Chicago Tribune” published his obituary:

“SOSMAN – Frederic Pinney Sosman, Sr., of 800 Buena avenue, Nov. 29, 1946, beloved husband of Zelma Sosman, fond father of Frederic P. Jr., dear son of May P. Sosman. At chapel, 5501 N. Ashland avenue, where services will be held Monday, Dec. 2, at 10 a.m.. Interment Graceland.” (page 79).

It was not until I started to track down the life of his third wife, Zelma, that the story of Sosman’s life from 1923 to 1946 years came to light. I am going to include the entire article about Zelma Sosman, as I find her life both fascinating and inspiring. The article was written by Jean Tyson and entitled “Aunt Zel,” published in “The Atlanta Constitution” on April 28, 1974 (page 117). The caption above her picture read, “She can’t find time to complain; life is beautiful.”

The article continued:

“Zelma Sosman is too busy enjoying life to complain about anything – even the fact she has difficulty seeing.

“I have done everything I ever wanted to do,” Aunt Zel, as she prefers to be called, said. “I have gone everywhere, and I tell you kid, I have had a good time, and I’m still having a good time.

“I would be an ungrateful old woman if I sat here and complained about anything. I haven’t missed a thing. Of course I have gone through reverses, illnesses and things like this, but I can’t complain. I don’t know a woman who has more love and friends.

Aunt Zel began her life 82 years ago May 8, in Atlanta. She grew up on her grandfather’s, Dr. Joseph Hollingsworth, farm of 100 acres.

“The farm was at Highland and Virginia – that was out of the city. I watched them pave Ponce de Leon. I still have scars on my knees,” she said pulling up her long purple dress far enough to show them, “from falling on my bicycle on that pavement.”

The years in between her growing up in Atlanta, and her return in 1957, were filled with travel. She first married a doctor in Birmingham, Ala., which ended in divorce.

She followed this with marriage to Gene Dumont, a silent movie film actor. After Dumont’s death, she married Fred Sosman, who told jokes, stories and sand in every Vaudeville house in the United States.

“When I left the doctor, I went to Chicago and got a job on a newspaper called the Women’s Press. It was a William Jennings Bryant paper (printed no liquor ads). I had never worked a day in my life, but I started out selling subscriptions to the paper over the telephone. Then I became circulation manager and started writing a fashion notes column called Mademoiselle Chica. I wasn’t a fashion columnist, just wrote fashion notes.

She went to California and met Dumont at a baseball game.

“My brother was on the stage. He had to change his name because Grandfather wouldn’t have liked it. He wanted me and my sister, Iris, to come out. So we went just because we had never been to California.

“We were at a baseball game and Fatty Arbuckle was in the box next to us. This man sitting there kept blowing smoke over me. Finally he leaned over and said, “Is this smoke bothering you?” I said, “Oh, goodness no, I’m enjoying it.”

“He wanted to know if he could join me and my sister and I said yes. The next day he came and took us for a ride and we were thrilled.

“He wanted to marry me, but I said I didn’t want to marry him, because if I did something would happen to our relationship. I left and returned to Chicago, and told him not to call. But he did call and said he was going on location for a movie and wanted me there. I went back to California and married him. “We had a grand time, and everything was so exciting, but he died, and I returned to Chicago again.

“I met Fred Sosman through his sister-in-law. We worked together in the same department store. Fred had left the stage because he had become blind.

“I didn’t see any reason why he shouldn’t be on stage. He was a very handsome and talented man, and you would never know he was blind.

“His audience didn’t even know it. I put a little raised fringe on a rug and it was placed at the footlights. When Fred got to this, he knew he was in the right place.

“You could eat a meal with him and never know he was blind. In a restaurant, he would be carrying on a conversation with you and all the time you could see his hands going over the eating utensils. He was learning which fork and which spoon was where. When the meal came, he would pick up the proper utensil and eat, never making a mistake.

“We traveled the vaudeville circuit about ten years. One year I played piano accompaniment for him, but it made me too nervous and I had to give it up.

“We were in Montclair, N. J. when I saw the handwriting on the wall. I knew Fred was sick and we would have to leave the road. So I decided to open a tea room – that was something I knew we could do. I made pies and cakes and did most of the cooking. We didn’t have a customer for a month, and finally one day a group of businessmen came.

“The depression followed, and we returned to Chicago. I had 25 cents when we got there, so we moved in with Fred’s mother.

“One knight I was talking with a sweet dear friend and I said if I have $600 I could go into business. She told me if she had $600 I could have it, but she didn’t. Soon after this conversation her husband was killed and she collected some insurance,. She loaned me $600.

“I found a house with 13 rooms which I rented for $200 a month and turned it into a boarding house. I didn’t have any furniture for it.

I went to a local store and sold items to boarding house, hotels and such. The man there wanted to know how much I could pay down on all the stuff, and I told him $200. He let me have over $6,000 worth of items for only $200 down. I rented rooms for $10 a week, and nobody in my boarding house was a problem.”

She gave up the house and rented a second one with 32 rooms. After a time, she bought a house with 13 rooms and then one with 15 rooms.

“This last one is torn down now,” Aunt Zel said,” and has a 35 story building there.

“I went into the boarding house business because I didn’t know what else I could do, and stay home and take care of Fred.

“The opera stars at that time used to come and visit us at the house – people like Tagliavinia and Carlo Costelleni. My niece was studying at the National Conservatory of Music and she met the stars through her voice teacher.

“My sister Iris and I were never separated except during the years Fred and I were on the road. When Fred died in 1946, we continued to run the boarding house.

“In 1957, Iris was wanting to move back to Atlanta so we did. We had a little house here and one night we were sitting around and talking about how quiet the house was.

“We both had the same idea – take in boarders. We rented to some nice young men who stayed with us for several years.

Aunt Zel’s sister died five years after returning to Atlanta. So she moved to the Palmer house, the 17^th floor which she calls the penthouse. Here she lives in her own apartment overlooking the city. Her niece, Iris White, looks in on her.

“Aunt Zel suffered a minor stroke last year, which temporarily put an end to her jogging up and down the halls of her apartment building.

“I have started doing slow jogging again. I don’t guess you can call it jogging because I don’t lift my feet high enough. I’s more like a slow run.

“I was thinking about streaking out to the elevator to meet you today, but you got here a little early.

“People say teen-agers today are vulgar and I don’t believe it. I don’t believe the teen-agers are half as sex crazed as they were 50 years ago.

“You know I still hear from the boys and girls who lived in my boarding houses. They are all over the world now and have families of their own, but they still keep in touch with me.

“I sure have had a full life – still having it. I still love to go places and I go. You know life is just beautiful, I can’t find a thing to complain about.”

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

Sosman & Landis stockholders held a meeting after Joseph S. Sosman passed away in 1915. On Aug. 10, they elected Thomas G. Moses as president and Sosman’s stepson, Arthur B. Sosman as vice-president.  Perry Landis’s son, P. Lester Landis, was elected secretary and treasurer. Although Sosman repeatedly tried to interest both of his step son’s in the scenery business, it didn’t stick. Their interests were in performance and not production

Arthur Benjamin Jones was born on September 30, 1878. He was the eldest of two sons born to Benjamin Hodge Jones and Maria “May” Hazard Pinney. His younger brother, Frederick Pinney Jones was born 3 ½ years later on Feb. 22, 1882. The two boys spent much of their early childhood in a series of  Chicago hotels and boarding houses, all managed by their maternal grandfather, Elijah S. Pinney.

By 1885, the extended Jones family was living at the Farwell House in Chicago, another hotel owned by Pinney. For a short period of time, their B. N. Jones was listed as the manager. However, Jones work at the Farwell House did not last for long. May P. Jones was listed as a widow in the 1886 Chicago Directory, likely the easiest explanation when her husband disappeared. She filed for divorce two years later, citing desertion.  This must have been an incredible difficult time for the boys. When their father left, Arthur was only eight years old.  Four years passed before his mother remarried in 1890. Of the event, then Sosman & Landis employee, Thomas G. Moses, wrote, “Found Sosman married very quietly.” Moses had just returned to the Chicago studios after a seven-month absence. The marriage seemed to be more of an arrangement than a great love affair.

The couple was married on April 16, 1890. Sosman likely met May P. Jones and her sons at the Farwell House, where he lodged for two years. After marrying, Sosman adopted both Arthur and Frederick. Their names changed after the adoption, effectively erasing all ties to the Jones family. Arthur’s name went from Arthur Benjamin Jones to Arthur Burton Sosman. Little is known of the next five years as Arthur grew to adulthood.  However, his graduation from Marquette School was listed in “The Inter Ocean” on June 29, 1895 (page 6). That winter, Arthur and his little brother attended the Illinois Club’s Christmas Ball. Each were listed as guests in an article published in the “Chicago Tribune” on Dec. 27, 1895 (page 7).

Arthur made the newspaper a few times in the late 1890s as he continued his education. On March 28, 1897. Mr. A. B. Sosman was listed as a guest at an informal party for the Sigma Delta club, N. 389 Adams Street. He was again a guest at a Sigma Delta “stag” reception at the club rooms at 389 West Adams to enjoy lunch and a musical program (“Chicago Chronicle,” 19 Sept 1897, page 36). On August 16, 1896, his arrival at the Sosman summer home in Lake Bluff was published in “The Chicago Chronicle,” (page 26).

By 1900, Sosman was 21 yrs. old and living on his own.  The US Federal Census that year listed A. B. Sosman’s address as 235 Ashland Ave. in Chicago. He was one of many boarders in a private hotel. At the time he was working as a clerk, possibly at the Sosman & Landis studio. By the following year, he moved south to St. Louis, Missouri. On Aug 18, 1901, the “Chicago Tribune” reported, “Arthur Sosman of St. Louis, eldest son of Mr. and Mrs. Joseph Sosman, is visiting his parents.” (page 37). In the “Lake Bluff” section. Interestingly, Sosman was not listed in the St. Louis directory in 1901 or 1902. I have yet to locate him in a city directory before 1911.

If he was working as a Sosman & Landis salesman, he could have been associated with the firm’s regional branches in  Chicago, Kansas City, New York, or Detroit. Interestingly, it was in Detroit that he met and married his future wife, Maude Noble Doherty (b. 1880). On July 12, 1906, the “Detroit Free Press” published that a marriage license was granted to Arthur Burton Sosman, 27, Chicago, and Maude Noble Doherty, 26, Detroit” (page 6).

The couple was married on July 14, 1906, in Detroit. At the time, Sosman was listed a salesman on the marriage license. My gut instinct says that he was working at Sosman & Landis in Detroit. Maude’s parents were listed as William Doberts and Elizabeth Barnes. The wedding ceremony was witnessed by John J. and Mary J. Bather of Detroit. The young couple spent their honeymoon at the Sosman summer home, Fairlawn, in Lake Bluff, Illinois. On August 15, 1906, “The Inter Ocean” reported, “Mrs. Joseph Sands Sosman, 513 Washington boulevard, has sent out more than 200 invitations for a lawn fete on Friday afternoon at her summer home in Lake Bluff. The fete is given in honor of her daughter-in-law, Mrs. Arthur B. Sosman, a bride of a month, who, with her husband arrived yesterday from Dayton, Ohio. Among those assisting the hostess will be Mrs. Frank Talbot, Mrs. F. R. McMullin, Mrs. Emmons Cobb, Mrs. James McCrea, Mrs. Frederick Duffy, Mrs. William Kriedler, Mrs. John Peterson, Mrs. W. Holman, Mrs. Harry Backus, and Mrs. Charles Benson. The young women presiding at the tables, which will be spread under a large marquee on the lawn, will be Miss Estella Tunnison, Miss Romaine Wets, Miss Edith Sexton, and Miss Fanny Prentiss” (page 6). On August 17, 1906, “The Chicago Tribune” reported, “Mrs. Joseph Sosman of Lake Bluff will give a lawn fete this afternoon from 3 to 6 o’clock to which 200 friends along the north shore have been invited, The affair is in honor of Mrs. Arthur B. Sosman, a bride of a month, who, with Mr. Sosman, a son of Mr. and Mrs. Joseph Sosman, is here on a visit to the last Monday” (page 9).

Purportedly the young couple settled in New York for the next few years. Again. They were not listed in any city directories, which is so very odd. However, the couple made news again in 1909. On June 30, 1909, the “Inter Ocean” included a portrait of Mrs. J. S. Sosman, announcing her upcoming travel plans (page 7). The caption stated, “Mrs. Joseph Sands Sosman. 513 Washington boulevard. Left Chicago yesterday for an extended visit to her son and daughter, Mrs. and Mrs. Arthur Sosman of New York, who spent their honeymoon at the Sosman summer home at Lake Bluff two seasons ago where they were introduced at a memorable lawn fete the week following their marriage.”

By the fall of 1909, Arthur and his bride headed west to Great Falls, Montana. On Nov. 4, 1909, “The Great Falls Tribune” announced the arrival of A. B. Sosman and wife, Chicago” at the Hotel Fair (Montana, page 9). At the time, Sosman was working as a publicity agent. By 1910, the US Federal Census listed the two living at 33 East Granite Street in Butte, Montana, with Sosman listed as a salesman. Shortly after Sosman’s arrival to Butter, however, he tried his hand at managing a theater. Interestingly, a decade earlier, his step father had established a theatrical management firm, known as Sosman, Landis & Hunt.

On March 7, 1911, “The Butte Daily Post” reported “A. B. Sosman Succeeds Gardner at Empire. Joseph Gardner, for the past several months manager of the New Empire theater, since its transfer to the Montana Amusement company, has resigned his position and gone to Lewiston in the interest of the company, for the purpose of opening a new theatorium in the budding eastern Montana city. Mr. Gardner has wide experience in the theatrical world, having owned numerous theaters of his own in the east. At the age of 15 years he gained his knowledge first as a shifter of scenery and by gradual stages to his present position with the company, who control 12 theaters in the state. Mr. Gardner left Sunday night to take up the work and all his employees and the many friends he made while in Bitte wish him plenty of luck and a pleasant trip, Mr. Gardner is succeeded by A. B. Sosman, the well-known publicity agent. (page 10).

On March 8, 1911, “The Butte Miner” reported, “Empire Manager. A. B. Sosman, a former publicity agent of this city, is now manager of the New Empire theater, succeeding Joseph Gardner, who recently resigned to manage a new theater the Montana Amusement company has opened in Lewistown. Mr. Sosman has for a number of years been prominent in theatrical circles, During his stay in Butte he has made many sincere friends, who have only the best wishes for his success in his new venture” (page 3).

Sosman soon began performing his own vaudeville act, and was billed as a Song Storiest, or Songologist in regional papers. He was repeated mentioned in local news.

Here are a few of the articles and advertisements about Sosman’s performances:

On March 9, 1911, “The Butte Miner” reported, “A. B. Sosman. The songologist, has another character song, which will be illustrated with beautiful slides” (page 3).

On March 10, 1911, “The Butte Miner” reported, “Art Sosman, the song storiest, singing “Down by the Old Mill Stream,” a pictoral comedy, Bioscope hit and Selig feature, completed a bill of decided

On March 12, 1911, “The Butte Miner” included an advertisement form the Empire Theatre, with A. B. Sosman, Songologist in a new character song” (page 17).

On March 12, 1911, “The Anaconda Standard” advertised “A. B. Sosman, Songologist in a new character song. Three Photoplays. Bioscope feature.”

On March 13, 1911, “The Butte Miner” reported, “Louise Dresser’s hit, ‘Pat O’Hare,’ is the vehicle with which A. B. Sosman the clever character song man is increasing in his popularity.

On March 14, 1911, A. B. Sosman appeared in various Butte ads as a songologist (The Anaconda Standard, page 9).

On March 19, 1911, “The Butte Miner” included a portrait of A. B. Sosman with the caption, “A. B. Sosman, the song storiest, who is making a decided hit at the Empire theater with his character songs” (page 16).

On March 24, 1911, “The Butte Miner” reported, “Mickey Flynn Making Debut at New Empire, An incidental feature of A. B. Sosman’s blizzard song, “Winter” is the hit of the New Empire’s bill of high class offerings which opened yesterday, even if it not the headliner. The music of the song is reminiscent of an icy blast from the Arctic, but when the snow begins to fall it makes one feel Jack Frost is there in person. The song last night, in the vernacular of the profession, was a riot. It certainly ‘knocked ‘em off the seats.” (page 3).

On April 2, 1911, “The Butte Miner” reported, “A. B., the song storiest, has a new march song this week. It is ‘Dixie Gray,’ a stirring song of the southland (page 17).

On April 6, 1911, “The Butte Daily Post” reported, “A. B. Sosman the premiere of all character songsters, has a brand new song with which he will undoubtedly score” (page 7)

On April 9, 1911, the “Anaconda Standard” included an advertisement at the Empire Theatre with featured acts “Besides Photoplays of Sheriff and Art Sosman in the Heidelberg Guide”  (page 32).

On April 24, 1911, “The Butte Daily Post” reported, Mrs. John Waldo of Detroit, Mich., is the guest of A. B. Sosman. She will spend a month in Butte and will then go to the coast, to look after some business there” (page 3).

On April 25, “The Butte Daily post” reported, “A. B. Sosman in a unique act of his own manufacture; Mr. Flynn, the live cartoonist.” (page 7). That same day, the “Butte Miner” referred to him as “Art Sosman, the Shakespearean student and actor” (page 3).

On April 28, an ad placed by Sosman in “The Butte Miner” stated:

“Just a Minute. I want to tell YOU and every patron of vaudeville in Butte about the big Pantages act I will import direct from Chicago every week, as an added feature to the regular bill of top-liners the New Empire will offer. I have an idea.  That everyone doesn’t appreciate just what this extra feature every week will mean as an entertainer. It means just two high priced headliners instead of one, as formerly, supported by three other meritorious acts; it means a rich, delectable dessert for a vaudeville feast. The feature will open with the Sunday change. See if it isn’t just what you’ve been waiting for. A. B. Sosman Manager New Empire Theater” (page 3).

On May 14, 1911, the “Anaconda Standard” included an ad for “Art Sosman, the Song Storiest with a New Song Hit and Character Impersonation Up to Date” (page 34). On May 28, 1911, the “Anaconda Standard” reported, “Steamboat Bill” is the name of a song-story rt Sosman will narrate. It is appropriately pictured and a genuine hit. The three photoplays are brand-new ones and afford a somewhat different and refined feature. They are interspersed with other numbers on the bill in such a manner that diversifies the whole offering nicely.” (page 9).

On April 30, 1911, the “Anaconda Standard” reported, “Art Sosman has a regular sensation up his sleeve with which to inaugurate the new added feature. It’s going to be a flirtatious song story, introducing a startling situation. The three photoplays will be late Bioscope features. As usual amateurs will furnish entertainment in connection with the regular bill on Tuesday night” (page 9).

Sosman’s life as a performer, however, was short-lived, as both Arthur and Maude Sosman returned to Chicago in 1912. Mrs. May P. Sosman brought them home. On Feb. 6, 1912, “The Billings Weekly Gazette” reported, “Babcock Manager Resigns. A. B. Sosman has resigned his position as manager of the Babcock theater and left last night with Mrs. Sosman for Chicago. Mr. Sosman will be succeeded by Frank Rowe an experienced theatrical man who was with the ‘Talk of New York’ company as advance as advance agent until recently”  (page 6).

By 1913, Arthur B. Sosman was listed in the “Chicago Directory” as a solicitor, living at 1057 Leland Ave. I believed that he returned to help out the family business, and soon returned to work as a salesman. By 1914, Sosman was listed as a salesman in the Chicago Directory, working as 509, 606 S. Michigan Ave. He was again living at home with his parents, his address listed as Margate terrace. Arthur continued to work as a salesman in 1915, listing his employers address as N. Clark, and living at 1321 Sunnyside Ave.

Upon Joseph S. Sosman’s passing, Moses was elected president of the firm, with Sosman’s eldest son Arthur becoming vice-president. In 1915, Moses wrote, “It is very strange to me that I had never given this change of the business a thought.  I had never thought of Sosman dying.” Although Arthur was elected as vice-president, he didn’t last long at Sosman & Landis. The following year, his mother filled the role as vice-president.

On March 17, 1916, the “Chicago Tribune” included an article entitled, “Strung Dictagraph Wires.” The article continued:

“You know that Leslie alienation suit?” inquired the voice. “Well, one man had an apartment next door to the Leslie flat. Somebody broke a hole through the wall and strung dictograph wires. He was in there with another named White, He rented a flat from a family named Sosman on the Beacon street side. Now, then, Mr. Leslie and his wife occupied the third floor of the flat on the Sunnyside avenue side of the apartment building. Arthur Sosman leases the third floor flat next door. The peep hole was found in the wall between the two flats. J. A. Weiss, the janitor of the building was able to give some information. The Sosmans subleased their flat furnished about five months ago to a man named White,” said Weiss. “There was another man in the flat with him. They were in there about two months and left about three months ago. When they left Mrs. Sosman returned and she complained there was a hole in the wall. I went up there, and on the Sosman side, about seven feet up in the front hall was a holed six inches square. It was only about as big as your fingertip on the Leslie side – just big enough for a dictograph wire. “I can’t tell you anything,” said Mrs. Sosman.

In 1917, the Chicago Directory listed Arthur B. Sosman as the manager of Arthur B. Sosman Co., at 206, 29 E. Madison. That same year he was also mentioned as an agent for the Pathé Film Corporation. On April 25, 1917, “The Daily Chronicle” of De Kalb, Illinois, reported, “Negotiations between Harold Blass and his parents – and the Pathe Film corporation toward the advent of the Dixon lad into the film world, which have been progressing for some time, were practically consummated Thursday afternoon when the company’s offer, made through A B. Sosman, agent for the Pathe firm, was accepted. Within a short time Harold will be summoned to the head offices of the company in Chicago where C. E. Seeley, one of the directors of the company, will pass judgement and then – as Mr. Sosman says, there is no doubt the boy will be accepted – he will be sent to one of the Pathe studios in California to receive instruction preparatory to playing opposite “Baby Marie Osborner,” the Pathe child star. During his period of training he will receive a salary of not less than $40 per week and when he has progressed sufficiently to take up his regular work before the camera his salary will be roughly $250 weekly. He will be accompanied to California by his brother Leo. Harold is one of the most popular boys in Dixon and a host of friends will unite in congratulating him on his opportunity. It is probable he will be sent to Balboa studio in San Diego for training” (page 4).

That summer, Sosman was again mentioned in a very odd article about a movie theatre fountain. On July 19, 1917, the “Chicago Examiner” reported, “‘Fountain’ is Trysting Place. Movie Show Engagements Made for Examiner Booth; Annabelle Whitford to Sing.” The article continued, The Examiner booth. All dressed up with piano and the largest internal fountain in captivity, according to A. B. Sosman, who put it there, was company place for a lot of people last night. Miss Marguerite Calyton, hostess of the day, was fairly swamped with eager requests for her picture autographed, given with the examiner’s compliments…(page 130.

Sosman remained in Chicago, where he registered for the WWI draft on Sept. 12, 1918. His registration card listed that he was living at 841 Eastwood Ave., Chicago, and working as a salesman of store fixtures at the Palay-Jennings Co. Sosman’s physical appearance was described as medium height and build, brown hair and blue eyes.

By 1920, both Arthur and Maude were working. That year Arthur was employed as a salesman and Maude as a saleswoman at a suit house. I have yet to uncover any other information about the couple in the 1920s.

Arthur Died on Oct. 9, 1929 and was buried at Graceland Cemetery in Chicago. He was only 51 years old.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

Joseph Sosman (1846-1915) and Perry Landis (1848-1905) met in 1875 and partnered by 1876.  In 1879 they established a scenic studio in Chicago, Illinois, with Sosman living downtown and Landis settling in nearby Evanston. Over the years, they were involved in a variety of business endeavors that spanned from lighting to theatrical management. They were partners in both life and death, sharing a family grave plot, with wives and children nearby. It is difficult to determine the depth of their relationship, but they had certainly complemented one another. Perry was the first to marry at the age of thirty-three in 1881. Sosman remained a bachelor for almost another decade, marrying a divorced woman with two children in 1890. Before marriage, Sosman channeled much of his passion into both his partnership and friendship with Landis.

Sosman turned forty-four-years old the year that he married May Jones and adopted Frederick and Arthur.  In one fail swoop he acquired an instant family, gaining access to social circles previously unavailable for single gentlemen.  I like to think that Sosman found love late in life, and in turn, offered a second chance at love for May.  I find May P. Sosman absolutely fascinating. In many ways she was the perfect domestic partner for Sosman, a very strong and determined manager of charitable events, households, and men. In looking at all of the obstacles that she overcame, my guess is she was a force to be reckoned with in her day.

I am including May P. Sosman with the Sosman & Landis employees as she was appointed vice-president of the firm in the years following her husband’s passing. Her involvement with his business, however, began years earlier. In 1899 Cincinnati’s “Commercial Tribune” may the following observation about Mrs. Sosman:

“Mrs. Sosman is the wife of the senior partner in the firm of Sosman & Landis (scenic painters and makers of reflectors), which controls the lease of the Pike. She is a handsome woman, with a strong business temperament, and has familiarized herself enough with her husband’s extensive business to be of considerable assistance to him” (page 11). It was extremely unusual for publications to comment on the contributions of wives at this time. The fact that a major metropolitan newspaper credited May as having “a strong business temperament” and being of “considerable assistance” meant she understood the scenic studio and lighting business.

Maria “May” Hazard Pinney was born in Chicago in 1858. She was the daughter of Elijah S. Pinney (1831-1920) and Mary Hazard (1827-1893). As an infant and young child, May and her mother were shuffled from one home to another. It appears that they kept the home fires burning, while Elijah sought any available work. The 1860 US Federal Census listed 3-yrs.-old Maria and her mother, Mary, living in a multi-family complex in Marion County, Illinois. Elijah was not included in the census report that year; he was likely on the road or working in a nearby town. From 1861 to 1862, Elijah was working in Chicago, listed as a messenger for the American Merchant’s Union Express Co. I am uncertain as to exactly when Mary and Maria joined him, but they were likely in town by 1862. That year Elijah moved from 183 Third Ave. to 218 Edina Place. The move may have been prompted by their expanding family. In 1863, the Pinney’s celebrated the birth of their second daughter, Blanche Pinney. In 1865 the Pinney family moved again, this time to 227 Ohio in Chicago.

From 1869 to 1870, Pinney was working for American Merchant’s Union Express Company and living at 51 Madison. The census that year listed Mr. Pinney as a railroad brakeman, likely in the employ of American Merchant’s Union Express Co. Interestingly, the 1870 Chicago Directory listed his wife, Mrs. E. S. Pinney, as running a boarding house at the same address, 51 Madison.  It would be ironic if her husband’s rise to fame in the Chicago Hotel Industry began with her running their first boarding house. Late in life Elijah S. Pinney was considered to be the “dean of Chicago hoteldom.”

As many in Chicago, the Pinneys relocated again after the Great Fire of 1871. In 1872, they set up house at 170 W. Jackson. It was about this time that Pinney began owning and operating hotels and boarding houses. From 1874 to 1875 Pinney was listed at the proprietor of the St. Denis Hotel, located at 109 West Madison. He also became involved with the management of the new Revere House on N. Clark Street. Partnering with Thomas L. Case to establish the management firm of Pinney & Case. In 1876 they were located on the southeast corner of Michigan Ave. on N. Clark; this was the same location as the Revere House. Eventually, Pinney was listed as the sole proprietor for the venue, managing it until 1884 when he moved onto another venue.

Those staying at the Revere House were primarily clerks, cashiers, bookkeepers, salesmen, and traveling agents. When the hotel closed in 1888, “The New York Times” described the Revere House as “one of the largest hotels on the north side” (2 August 1888, page 3). However, there were earlier establishments named the Revere House too. Before the great fire, an earlier Revere House was located on the southeast corner of Clark and Kinzie streets.  The one built after the fire was constructed one-half block further north from its previous location, adjoining it to the [Cyrus H.] McCormick building block. The address for the Revere House in 1880 was listed as 52-60 N. Clark Street.

It was at the Revere House that Pinney’s eldest daughter caught the eye Benjamin “Bennie” Hodge Jones (1850-1926). Jones happened to be lodging at the Revere House in 1876 and working as a clerk. Jones grew up in Buffalo, New York, but moved to Chicago in 1875. One of seven children born to well-known shipbuilder Frederick Nelson Jones and Cordelia Augusta Hodge, he came from wealth. Both of his parents were descendants of prominent North American families. The following was published about his mother in the Hodge Genealogy of North American Family History: 

“Cordelia Augusta Hodge. Born Sept. 25, 1818; married, June 15, 1843, Frederick N. Jones, born May 24, 1819, and died March 23, 1883; son of Augustus and Saba (Murdock) Jones of Black Rover, Ohio (1820). Mr. Jones for a number of years was a captain on the lakes and then became a ship builder at Buffalo. He has a fine residence in Buffalo, on Delaware avenue, where he resided for many years. He was successful in business and had a high reputation as a vessel-builder. He was a deacon of the church for many years and subsequently became an elder. Mrs. Jones was loved and revered by a large circle of acquaintances. When the writer last saw her, in 1896, she was nearly fourscore years of age; she converses with vigor and marked intelligence, presenting the type of a dame that writers sometimes seem to think they lived only in “ye olden times” (page 150). Mrs. Jones died Feb. 24, 1898, at Redwood City, California. Here is the link to the entry: (https://www.ancestry.com/discoveryui-content/view/3109003:61157)

The Jones family’s home on 874 Delaware Ave. was described years later in the “Buffalo Times.” It was mentioned in a 1911 article as part of a series about the early inhabitants of Buffalo. The March 8 article reported that in 1855 Capt. F. N. Jones moved into a 22-room, 11-bedroom, mansion on Delaware Ave. (page 11).  At the time, the estate was called “Thornbush,” on account of the row of thorn trees lining the driveway on one side, and Osage orange bushes on the other. Five acres of grounds boasted hundreds of cherry, pear, and apple trees. There were smoke houses, an icehouse, wine cellar, food cellars and larders, each overflowing throughout the year. Benjamin Jones came from a very well-off family, enjoying a life of privilege. All of the Jones children seem to have married well and lived in relative comfort.

As a young adult, Jones worked for the family business. He was listed in the “Buffalo Directory” as a cashier for five years, from 1868 until 1873, before advancing to bookkeeper in 1874. In other words, he worked for his father until the age of twenty-four. All the while, he remained living in the family mansion. Although he was included in the 1875 New York State Census, Jones headed west late that summer. He was included int 1875 Chicago Directory as a bookkeeper for E. L. Hedstrom & Co., residing at 365 West Harrison. In 1876, Jones continued work as a bookkeeper, but secured new lodging at the southeast corner of North Clark and Michigan. This was the location of the Revere House, managed by E. S. Pinney. By the spring of 1877 Jones working as an agent for the National Publishing Company and engaged to Miss May Pinney.

The young couple’s engagement and wedding made Chicago news. I am going to include a series of articles concerning their wedding, as it provides some socio-economic context for the young couple as they began married life together. At the time of their wedding, the groom was 27 yrs. old, and the bride was 20 yrs. old. It was the quintessential Victorian wedding ceremony and reception.

The two were engaged during the spring of 1877. On May 27, 1877, the “Chicago Tribune” announced, “Miss Pinney, daughter of the proprietor of the Revere House, is expected to be married sometime in the fall to B. F. Jones, Esq., of this city, agent for the National Publishing Company” (page 11).

Their wedding was quite the societal event. On Sept. 23, 1877, the “Chicago Tribune” announced, “Miss Maria Pinney, daughter of E. S. Pinney, proprietor of the Revere House, will be married to Mr. B. H. Jones, of Buffalo, to-morrow evening at half-past six o’clock, at the Centenary Church. Reception at the Revere House” (page 12).

On Sept. 25, 1877, the “Chicago Tribune” reported:

“The marriage of Mr. B. H. Jones and Miss Maria Pinney last evening was a brilliant affair, and the wedding, owning to the great number of friends and acquaintances of the bride’s parents, was a very large one. The ceremony took place at the Centenary Church, West Monroe street, at half-past 6-oclock, and fully an hour before the event the building was completely filled, and the street in front was likewise crowded with eager and curious people. The Rev. S. H. Adams officiated. A reception was given in the spacious parlors of the Revere House in the evening, which was very largely attended. Mr. and Mrs. Jones took an evening train for the East, where they purpose to visit for a week, and returning, will be at home at the Revere House Wednesday afternoons and evenings in November” (page 8).

A very lengthy description of the ceremony and reception was published in “The Inter Ocean” on Sept. 25, 1877 (page 8). I took me some the time to transcribe this article, but it really gives a glimpse into the upper-class weddings during the 1870s. The descriptions of the ceremonial music, wedding attire, hairstyles and gifts are quite delightful.

Here is the article in its entirety:

“A Happy Day.

The nuptials of Miss M. H. Pinney and Mr. B. H Jones.

A wedding and an anniversary.

The Revere House was last evening a scene of festivity, the occasion being the silver wedding of the genial hist and hostess, Mr. and Mrs. E. S. Pinney, and the wedding of their eldest daughter, Miss Maria H. Pinney, to Mr. B. H. Jones, of this city.

The ceremony of uniting the younger couple took place at the Centenary Methodist Episcopal Church and was performed by the Rev. S. H. Adams the pastor. The evening was one that had long been looked forward to by the society of young people and the vast auditorium was accordingly crowded to almost overflowing. The church had been appropriately decorated for the occasion. The chancel was filled with growing plants, and the front of the organ bore in floral letters the words: Sept. 24. J.-P. 1877.”

Shortly before 7 o’clock the bridal party entered and marched up the aisle of the strains of the ‘Lohengrin Wedding March.” The ushers, Messrs. W. H. Lane and J. F. Brine, led the way. They were followed by the groom attendants, Messrs. Len C. Jones, of Buffalo, a brother of the groom. Alexander Buchanan, of this city; Willard W. Hodges, of Buffalo, and F. T. Bliss, of Morris, Ill. They, in turn, were followed by the bride’s attendants, Miss Nellie Osborne, of Racine; Miss Georgie Smith, of Buffalo; Miss Blanche Pinney, sister of the bride, and Miss Carrie E. Jones, of Buffalo. The groom then entered with Mrs. Pinney, the bride’s mother, and Mr. Pinner led the bride. Messrs. Archie Hutchinson and J. J.  Augustine brought up the rear.

The ceremony was soon over. The young couple were pronounced husband and wife, and the procession filed out of the church to the measures of Mendelssohn’s wedding march. Then the audience dispersed.

The reception was afterward held at the Revere House by the newly wedded pair and the pair who thus celebrated the twenty-fifth anniversary of marriage. It was attended only by the relatives and intimate friends of the parties and was altogether very pleasant and brilliant affair. The parlors were elegantly decorated with flowers, the artistic work of H. H. Stevens, manager of the Oak Park greenhouse. The gasoliers were hung with a perfect wealth of smilax, varied with rosebuds and balls of roses. The wedding pair stood underneath a bridal bell of balsams and carnations, from which depended on festoons of smilax. The bride held in her hand a bouquet of tube roses and stepthons. The walls were hung with the initials of the young couple who celebrated their silver wedding, wrought in pinks and carnations, and fringed with green leaves.

The toilets were in keeping with the parlors. The bride wore a combination costume of cream silk and satin, princess style, with demi-sleeves trimmed with duchess lace and flowers at wrist and elbow. The skirt was trimmed with perpendicular bands of satin and grosgrain silk, and the edges garnished with clusters of orange blossoms, tub-roses, sweet-briar leaves, rose leaves, lilies of the valley, and silver bells. Her hair was dressed with French twist, puffs, and bound with bridal veil of tulle. She wore diamond ear-drops, the gift of the grooms.

Miss Blanche Pinney, sister of the bride, wore a dress of white tarlatan, with corsage waist of white silk, trimmed with scarlet rosebuds; hair in low chatelaine braid, decorated with natural flowers.
Miss Carrie E. Jones was attired in a dress of white silk, with overdress of tarlatan; high corsage waist; trimmings of lace and natural flowers.

Miss Nellie Osbourne, a blonde, wore a white tarlatan, with high corsage waist of white silk, demi-sleeves; hair dressed high and decorated with forget-me-nots of palest blue.

Miss Georgia Smith wore a white tarlatan made over a dress of white silk; pearl ornaments.

Mrs. Pinney, the mother of the bride, wore a heavy black grosgrain, richly trimmed with point lace; jewels of pearl and black onyx.

Among those present were Mr. and Mrs. E. S. Pinney, father and mother of the bride; Mr. and Mrs. H. N. Pinney, grandparents of the bride; Mr. Milton Pinney, of Ottumwa; Mr. F. L. Jones, of Buffalo, father of the groom; Mr. Frederick Jones, Jr., brother of the groom; Mr. and Mrs. David Gould, Mr. and Mrs. R. J. Morse, Mr. and Mrs. J. J. Brown, Mr. nd Mrs. Watson, Mr. and Mrs. Thomas J. Slattery, Mr. and Mrs. Charles Hitchcock, Mr. and Mrs. T. F. Briss, Mr. and Mrs. Whitman, Mr. and Mrs. W. B. Telfair, Mrs. Mason; Mr. Lem Ellsworth and daughter, of Milwaukee; Mr. and Mrs. George P. Sexton, Dr. and Mrs. Wilson, Mrs. W. W. Bishop, Mr. and Mrs. W. C. Dow, Mr. and Mrs. Dwight Johnson, Mrs. Patterson, Mr. and Mrs. Palmer Mackey, Dr. and Mrs. J. O. Price, Mr. and Mrs. Horatio Lewis, Mrs. G. W. Turner, Vandalia; the Rev. S. H. Adams; Messrs. C. R. Beasely, H. W. Knight, David H. Kennedy, Judge Wolcott, A. D. Turner, Judge Wilkinson, Carrie Hutchinson, Virginia Butler, Addie Brown, Nellie Butler, Lib. M. Knight, Hattie L. Knight, Mary Hitchcock, Minnie Holt, Minneapolis, Minn., Ida Lewis, Hyde Park; Kate Emmons, Mason Fisk, Martha Peters and others.

Among the gifts to the young and old couples were a pair of toilet chandeliers from Mr. and Mrs. Hitchcock; silver candlesticks, from Miss Georgie Smith; baskets of flowers, from Mr. and Mrs. H. M. Brown and Henry C. Dolph; silver soup and fruit ladles, from Mrs. William Hodge and Charles J. Hodge; silver cream ladle, from Mrs. B. P. Mackey and Miss Martha Peters; case of silver forks and spoons, from Mr. and Mrs. F. N. Jones, the parents of the groom; silver sugar and cream spoons, from Miss Lewis, of Atchison, Kan., aunt of the bride; carving-knife, fork and steel from Mr. and Mrs. A. J. Hoole; silver fruit spoon from Mr. and Mrs. Whitman; silver and crystal pickle castor, from Mrs. G. W. Turner; silver card receiver, from Mr. and Mrs. T. F. Bliss; silver pie knife, from Mr. and Mrs. Albert Jones; a bronze from Miss Carrie Jones; a bronze card table from M. F. and Len C. Jones; pictures from Mr. and Mrs. W. C. Hodge; and easel from F. N. Jones; silver-headed cane for E. S. Pinney from John R. Daley and W. H. Carson; bronze clock and side ornaments, Mr. F. L. Case; bronze statuette, Mr. Morris Butler, of Buffalo, N. Y.; air of bronze vases, Mrs. Nellie F. Osborne; travelling clock, Mrs. L. Giffith; silver berry spoon, Mr. Frank T. Bliss; silver cake knife, Mr. J. W. Kimball; silver card receiver, Mrs. and Mrs. J. J. Brown; unique silver jewel box, Miss Winnie Kimball; silver card case, Mr. Charles W. Besly; silver beery spoon, Mr. and Mrs. B. Palmer Mackey; card receiver, Kate Emmons; handsome bouquet of natural flowers, Mr. A. J. Buchanan; card receiver, D. W. Bakers; Guizot’s “History of France” in six volumes, bound in calf from Messrs. J. F. Brine, A. C. Hutchinson, W. H. Lane and J. J. Augustine; a fine engraving from “Fritz;” superb pair of solitaire diamond ear-rings from the father to the mother of the bride. About 10 o’clock Mr. and Mrs. Jones took leave of their friends and departed ono a wedding tour through the East. They will return to the city in about a month” (page 8).

So you can see, this was quite a big deal, and not the standard average wedding for the masses. Keep in mind that the majority of brides at this time simply wore a nice dress that could be re-used for special occasions.

On Nov. 4, 1877, the “Chicago Tribune” announced, “Mr. and Mrs. B. H. Jones (nee Pinney), have returned from their wedding trip and will be pleased to see their friends Wednesday, afternoons and evenings in November, at the Revere house” (page 16). Everything was going according to plan, as the newlyweds filled societal expectations, playing their parts. On Dec. 30, 1877, the “Chicago Tribune” published a list of ladies wishing to receive callers on New Year’s Day. The Revere House, detailed, “Mrs. B. H. Jones, nee Pinney, assisted by her sister, Miss Blanche Pinney, and Miss Nellie Osbourne, of Racine” (page 7).

A year later, the young couple celebrated the birth of their first child. On September 30, 1878, Arthur Benjamin Jones was born. At the time, Jones was still working as an agent, working at 99 Dearborn, and boarding at the Revere House. His brother, Frederick N. Jones Jr. was also boarding at the Revere House during this time, working as a bookkeeper. Mr. and Mrs. B. H. Jones continued to live at the Revere House for the next few years with Jones trying his hand at a variety of business endeavors; none stuck for long. Meanwhile in Buffalo, the Jones’ family home on Delaware avenue was sold to George Van Vleck. In 1878, Capt. F. N. Jones moved to No. 44 Hodge Avenue. I don’t know if the move was prompted by increased age, decreased income, or a combination of both. By now, however, the Jones children were scattered across the country and doing quite well for themselves. I don’t know if the same was true for Benjamin Hodge Jones. To all appearances, he was moving forward with his career, but his life soon spiraled out of control. I have to wonder if it was gold fever.

Jones became interested in mining and ventured west. He settled in Leadville, Colorado, establishing the firm B. H. Jones & Co. Of all the places, Leadville surprised me, as I am very familiar with the town at that time. In 1879, Horace A. W. Tabor built the Tabor Opera House. Jones would have arrived into this bustling community by rail; a town flooded with mining wealth. The mining possibilities in Colorado made headlines across the country, especially in Chicago newspapers.

B. H. Jones was listed twice in the 1880 U S Federal Census. He was included as part of the Pinney Household at the Revere House, listed as the son-in-law of E. S. Pinney and working as a miner.  What I found interesting, is that when the census in Chicago was taken, Arthur Jones (1 yrs. old) was listed as the son of Blanche Pinney, May’s 18 yrs. old sister. This was likely an error, but Blanch and Arthur were listed quite far apart from the other Pinneys. It does makes me wonder, but maybe she was caring for her nephew that day and census taker assumed the little boy was her own. The other option is unmarried mother, with married sister raising the child.

B. H. Jones was listed a second time in the 1880 US Federal census as a “miner broker” in Leadville.  Benjamin H. Jones was also listed in the 1880 Leadville Directory, living and working at 141 West 2^nd St. This was really a sketchy part of town and near to a local brothel (inside info. provided by Tammy Taber). B. H. Jones & Co. advertised as miners and dealers in mining property. W. D. Crofoot and T. Page were also associated with the firm. By the way, they were 1 ½ blocks away from the Tabor Opera House. Small world.

B. H. Jones didn’t stay in Leadville for long and was back in Chicago by 1881. During his absence, Mrs. B. F. Jones continued to list calling hours in the newspaper, receiving company alongside Miss Blanche Pinney, Miss Nellie Osbourne and Miss May Watson. In Chicago, Jones entered a new profession. On March 22, 1881, The “Chicago Tribune” announced that B. F. Jones was appointed town clerk for the 12^th ward of Chicago (page 6). He was again listed as a bookkeeper in the 1882, Chicago Directory, now working at 95 Dearborn and living at 24 Maple. On Feb. 22, 1882, Benjamin H. Jones and Mary H. Pinney were listed as the birth parents of Frederick P. Jones. Little is known of Jones’ activities or whereabouts during this time.

Jones’ father, Frederick N. Jones Sr., passed away in Buffalo on March 23, 1883. I have yet to locate any information about Jones’ returning home for his father’s funeral, or if he had already deserted his wife and children.

The marriage of Benjamin to May did not survive. On Jan. 6, 1888, the “Chicago Tribune” listed “Maria H. Jones vs. Benjamin H. Jones, Bill for divorce for desertion. W. W. Gurley, soir” as a new suit in the Superior court” (page 9). On July 4, 1888, the “Chicago Tribune” published the divorce: “Maria H. Jones from Benjamin H. Jones; decree, divorce” (page 9). That year, a Benjamin H. Jones was listed as a clerk in the Chicago Directory, working as 91 State and living at 77 S. Morgan.

Jones purportedly married again in Chicago. An article entitled “Buffalo of the Olden Time,” was published in the “Buffalo Times” in 1911. Written by Grace Carew Sheldon, the March 8 installment mentioned the family of Frederick N. Jones. Sheldon wrote, “Benjamin Hodge (Ben) Jones married Josephine Roberts of Chicago, Illinois in 1892, and is now living in San Francisco, California.” Additional information was added by a Jones descendant, posted at www.findagrave.com: “Benjamin married his second wife Josephine (Josie) Roberts in 1892. They were living on Haight Street in San Francisco when the 1906 earthquake struck, knocking them both out of bed. Our family has letters written by Benjamin in the aftermath of the earthquake which are historically very interesting.” Although the 1905 San Francisco Directory lists a William H. Jones living at 629 Haight in San Francisco, I have yet to locate any listing Benjamin H. Jones, B. H. Jones or Josephine Jones.  However, there was a Josephine Roberts living in Chicago in 1892. This was also the same year that her mother (Dorothea Roberts) died on Aug. 1. I have yet to locate any wedding records, newspaper announcements, or census reports. They may have just moved west and lived together. Regardless, Jones lived in California for quite some time. He passed away on Jan. 22, 1926, in Los Angeles, California. He was buried at Calvary Cemetery in East Los Angeles the next day. Jones’ mother, Cordelia A. Jones, also passed away in California in 1898, after traveling west to improve her health that winter.

May met her second husband at another one of her father’s properties. After leaving the Revere House in 1884, Pinney went on to manage the Farwell House, located at 164-166 S. Halsted. By the way, in 1885, Farwell House made newspapers for its new fire escape. On March 19, 1884, the “Inter Ocean” included an article about C. Baker’s fire escape (page 9). This was Chauncy D. Baker, another Sosman & Landis employee. The article reported, “A sensible fire escape was exhibited from the Farewell Block yesterday, which is in many ways meritorious, and must soon come into use by owners of large public buildings where many persons are employed, and in hotels and colleges throughout the country. The invention is the result of Chicago ingenuity, and is secured to Mr. C. Baker by letters patent…The cost is but $200, and one escape is sufficient for one building, unless it is unusually large…The escape may be seen in operation any day at the Farewell Block, on Adams street, and any time, and information had of H. Burgheim, at No. 279 South Clark street.” 279 S. Clark was the original Sosman & Landis studio address.

In 1885, E. S. Pinney listed as the proprietor of the Farwell House, with B. H. Jones listed as the manager. Jones’ role as manager was short-lived, however, and by the next year he was gone. Interestingly, in the 1887 Chicago Directory, May P. Jones was listed as a widow. I think the “widow” may have been used as an explanation for absent husband. During this same time, Joseph S. Sosman began lodging at the Farwell House. The year after, she filed for divorce.

Prior to lodging at the Farwell House, Sosman rented and apartment at 155 Sangamon; this was a boarding house near the Sosman & Landis studio on N. Clark Street. In 1886, Sosman & Landis built a new studio on S. Clinton Street. The Farwell House was located on Halsted. Halsted ran parallel to Clinton Street and was only three blocks west of the studio: a short four-minute walk. The two streets are now divided by an interstate highway. Sosman most certainly met May at the Farwell house, about the same time that her husband left. Sosman remained at the Farwell house for at least two years.

In 1889, Sosman moved to the Tremont House, a venue managed by Pinney’s old business partner Thomas L. Case. For geographical context, the Tremont House was located on LaSalle. Cases’ business offices were listed as 24, 232 LaSalle. This move might have been in preparation for their impending nuptials, or simply had to do with the fact Pinney was planning to lease his next hotel, the Hotel Lafayette.

May married Sosman in the spring of 1890, four years after Sosman first moved to the Farwell House. Their marriage license was published in the “Chicago Tribune” on April 15, 1890 (page 3). Of the marriage, Thomas G. Moses wrote, “Found Sosman married very quietly. “

Sosman immediately adopted the two boys and May attempted to erase all familial connection with their birthfather and the Jones family. Her sons’ birth names were even changed: Arthur Benjamin Jones became Arthur Burton Sosman, and Frederick was now spelled with the “k” – Frederic Pinney Jones. What I cannot find is any records that verify that the decision was a legal name change. Sosman’s will still used the birth names for his two stepsons.

Meanwhile, May’s father continued to gain ground in the hotel industry. By 1890, Pinney was listed as proprietor of the Hotel Lafayette, located at 111 W. Madison in Chicago. Interestingly, Sosman placed a want ad for his father-in-law the next year. On April 26, 1891, the “Chicago Tribune” published the following ad:

“FOR SALE – The furniture and fixtures of the Hotel Lafayette, corner Desplaines and Madison sts.; includes fine bar and fixtures; must be sold by Wednesday, April 29. J. S. Sosman, 236 South Clinton St.” This is about the same that time that Sosman and Landis began investing in a variety of other business ventures and properties.

In addition to expanding their scenery and theatrical supply busines, each began to diversify their investments. Throughout the 1890s, Sosman and Landis were instrumental in establishing the American Reflector and Lighting Co. They also founded the theatrical management firm of Sosman, Landis & Hunt with David H. Hunt. Over the next few years, Sosman placed more want ads, including one in the “Chicago Tribune” on Feb 24, 1894 (page 15). His advertisement announced: “FOR SALE – the Lease and fixtures of Morton House, Hamond, Ind.; only hotel in town of 15,000 inhabitants; a good chance for a live party. Inquire on premises or of J. S. Sosman 236 S. Clinton st., Chicago.”

Although Sosman was an incredibly successful businessman in his own right, May provided something that could not be bought – social access. At that time, being married and having children gave legitimacy to Sosman’s business empire. By his mid-40s, Sosman really needed a wife and children for various social inroads. In many instances, wives of wealthy husbands functioned as patronesses for charitable benefits. May helped Sosman make necessary business connections, providing avenues to various events; something otherwise impossible for a single gentleman at that time. Keep in mind that many charitable events had grand themes, necessitating extravagant decor and painted illusion. These fundraisers represented big business opportunities for many manufacturing firms, especially scenic studios. Wealthy wives planned the large-scale events, carefully selecting designers and other necessary artisans for the work. Sosman & Landis began to land one contract after another for various social galas by the 1890s. I have written about many of these grand social spectacles in the past. May helped market her husband’s business in a way that no other employee could. In other words, her suggestions and recommendations happened over tea or at other intimate gatherings.

Immediately after their marriage, Mr. and Mrs. Sosman set up house at 576 Congress Street and began to entertain. They hosted a variety of social events and other gatherings for charitable organizations. They even secured a summer home, strategically located in a popular lake area to host events in the summer. Like many other wealthy Chicagoans, the summer season was spent relaxing in the cool shade near a body of water. They initially purchased property in Green Lake, Wisconsin. On August 9, 1891, “Chicago Tribune” published, “Mr. and Mrs. Joseph S. Sosman and family, No. 570 West Congress street, are spending the month of August at the Oakwood, at Green Lake, Wis.” (page 30).  On Jan. 31, 1892, “The Inter Ocean” reported, “Mrs. Joseph S. Sosman entertained the Green Lake Progressive Euchre Club Thursday evening at her residence, No. 570 West Congress avenue. The club is composed of young people who spend their summers at Green Lake. Those present were Mrs. and Mrs. Will Pullman, Mr. and Mrs. Cady Jordan, Mr. and Mrs. John Westen, Mr. and Mrs. James Miller, Mrs. and Mrs. Berg, the Misses Eldridge, Pinkerton, Fick, Peacock, marks, Messrs. White, Dewes, Hamline, Robert Stewart, Jack Stewart, Peacock and Prindiville” (page 18).  But Green Lake was quite far away, approximately 180 miles northwest from downtown Chicago.

By the summer of 1892, they purchased a much closer summer home in Lake Bluff, Illinois. For geographical context, Lake Bluff is about thirty miles north of Chicago, along the shores of Lake Michigan. Their timing could not have been better. In the years leading up to the Columbian Exposition, high society planned large public events for the upcoming year. People came from all over the world for the World’s Fair in Chicago in 1893; nearby lodging was at a premium. On April 30, 1893, the “Chicago Tribune” published, “For Rent – For the Summer – Nicely furnished cottage at Lake Bluff, Ill; very desirable location. Address J. S. Sosman 236 S. Clinton st., Chicago” (page 21).

For the next two decades, the Sosman’s entertained family, friends, and potential clients at their lake home. Notices were posted in the “Chicago tribune,” published by those who could afford to escape for weeks on end, exchanging the blistering confines of downtown Chicago for cool lakeshore breezes. For example, on July 26, 1897, the “Chicago Tribune” announced “Mr. and Mrs. Joseph S. Sosman and family, 570 West Congress street, are at their summer home at Lake Bluff” (page 12). These announcements provided friends and associates with opportunities to call. Furthermore, the “Chicago Tribune” listed news from vacation communities each summer.  On June 16, 1901, the “Chicago Tribune” the “Lake Bluff” section announced, “The Country Club gave an enjoyable party at its clubhouse on Saturday night. Mr. and Mrs. J. S. Sosman of Chicago are out for the season. They have recently enlarged their grounds by the purchase of additional land” (page 47). In the end, they would own several lost in the north section of Lake Bluff. The Sosman’s home in Lake Bluff was christened Fairlawn.

On June 21, 1903, the “Chicago Tribune” reported in the “Lake Bluff” section: “Among the families now at cottages for the summer are the following: J. W. Bridgeman, H. E. Alexander, F. W. Bowen. Stephen T. Mather, Henry Miner, J. S. Sosman, A. L. Merrill and William C. Reynolds of Chicago and H. C. Tunison of Jacksonville.

Mrs. Sosman also purchased property on her own, indicating a substantial amount of financial independence. On October 24, 1906, the “Waukegan News Sun” or Waukegan, Illinois, listed the following real estate transfer:

Anna E. Shellabarger and hus. to May P. Sosman, lots 6 and 7, block 29, Lake Bluff. Warranty deed, $1,250.” The information was furnished by the Lake County Title and Trust Co., guaranteed by the Masonic Temple building, Waukegan, Ill. (page 2).

On June 4, 1909, both “The Inter Ocean” and “Chicago Tribune” announced, “Mr. and Mrs. Joseph S. Sosman, 513 Washington boulevard, have opened their home, Fairlawn, at Lake Bluff, (on the north shore) for the season” (page 6). Sosman passed away at Lake Bluff on August 6, 1915. May retained the home for four years after her husband’s passing, not selling the property until 1919.

The Sosmans continued to make societal news. On Jan. 28, 1894, “The Inter Ocean” reported, “Mrs. Joseph S. Sosman of No. 570 West Congress street, threw open her pretty and artistic home Friday afternoon in the interest of ‘sweet charity.’ It was given in aid of the philanthropic work of the West End Woman’s Club, and was in the form of a Japanese tea, carried out to the minutest detail. The house was thronged during the receiving hours, hundreds of ladies, prominent in social and charitable circles, being present. The club members assisting Mrs. Sosman were Mesdames C. K. G. Billings, W. H. Wells, and H. M. Scott. Tea was poured by the Misses Franc Reece, Edith Bingham, Evelyn Brooks, Florence Mitchell, Leila Hulbert, Belle Pinkerton, and Jessie Hulbert” (page 26). 

On Nov. 3, 1894, the “Chicago Tribune” announced, “The children of the Home for the Friendless were given entertainment yesterday afternoon at the Masonic Temple Roof Garden by Mrs. Joseph S. Sosman, one of the Board women of the home. Busses and carriages were furnished the little ones to take them to and from the Temple and the affair, which was intended as a Thanksgiving treat, which was a thoroughly enjoyable one (page 6). In 1894, Sosman & Landis leased and managed the Masonic Temple Roof Garden, featuring two electric scenic theaters.

In addition to charitable events, the Sosman’s also participated in a variety of Masonic activities. Since moving to Chicago, Sosman had been heavily invested in Freemasonry. Sosman & Landis also specialized in producing fraternal scenery for a variety of Masonic orders. By 1892, Sosman & Landis placed advertisements in Masonic publications across the country. For example, an 1892 in “American Mason” magazine stated, “We make a specialty of Scenery for Illustrating the Different Degrees in Masonry.” Mr. and Mrs. Sosman were repeatedly mentioned for their organization and participation in large-scale fraternal events, such as the Knight Templar’s Charity ball and Queen Esther’s Reception (No. 41, O.E.S) in 1895.

May was also featured in The Etiquette of Today: a Complete Guide to Correct Manners, and Social Customs in Use Among Edicated and Refined People of America by Marshall Everett, publishedin 1902.

That same year, the interior of the Sosman’s Home was included in Beautiful Homes and Social Customs of America.

On June 30, 1909, the “Inter Ocean” included a portrait of Mrs. J. S. Sosman, announcing her upcoming travel plans (page 7). The caption stated, “Mrs. Joseph Sands Sosman. 513 Washington boulevard. Left Chicago yesterday for an extended visit to her son and daughter, Mrs. and Mrs. Arthur Sosman of New York, who spent their honeymoon at the Sosman summer home at Lake Bluff two seasons ago where they were introduced at a memorable lawn fete the week following their marriage.”

By 1909, Sosman was nearing retirement and he began redirecting his focus on his family. He was nearing a twentieth wedding anniversary and began spending more time with his wife.   There were no longer children to consider. Their son Arthur had married in 1906 and was currently living in New York. Arthur would go onto be a composer and musical performer in the west. Frederic also became a performer and was well-known for his vaudeville act.

In the final years of their marriage, the Sosman’s travelled quite a bit; their time spent away increasing with each trip. In 1910, the Sosman’s traveled abroad.  On May 22, 1910, the “Philadelphia Inquirer” reported, Mr. and Mrs. J. S. Sosman arrived at the Hotel Waldorf in London May 21, 1910” (page 2). They went on a grand tour with Sosman sending postcards back to Thomas G. Moses and the studio staff.  On Feb. 6, 1911, the “Chicago Tribune” announced, “Mr. and Mrs. J. S. Sosman, 1628 Washington boulevard, will leave Thursday for Southern California where they will remain for several months” (page 12). By 1913, the Sosmans listed their permanent residence in Lake Bluff. In 1914 and 1915 they lived at 906 Margate Terrace in Chicago, with Arthur; then May moved again.

I really believe that Sosman began to emotionally let go of many business endeavors several years before his passing. It started when Landis became ill and stepped away from his responsibilities. This loss prompted Sosman to hire Moses and appoint him vice-president of the firm. When Moses returned to the studio he was placed in charge of all design, construction, painting and installation. In many ways, he replaced Sosman in the studio while Sosman covered many of Landis’ duties. It is possibly that Sosman’s heart went out of the game after his best friend and business partner died in 1905. The decade to follow seems to be one long goodbye. Sosman increasingly delegated his tasks, passing along all of his work-related responsibilities to others, especially Moses and David H. Hunt. Then Hunt abandoned him to establish New York Studios in New York by 1910.

There was no one to carry on Sosman’s business legacy from his immediate family. Over the years, Sosman repeatedly tried to interest his sons in the scenic trade, but their passions remained elsewhere. Each worked for the firm in various capacities, but nothing stuck. By the way, I am writing their biographies next. In the end, there was no immediate Sosman family member to pick to the reigns when he stepped away – only May.  But May was only temporary and had no interest in taking over the business. Maybe it didn’t matter in the end, as he had already made his fortune and was living comfortably.  His finances were well diversified; the income from multiple investments funding both travel and retirement plans.  Regardless, Sosman’s absence at the studio was acutely felt by his employees and the business ran rudderless. Without Sosman actively taking his lead at the helm, infighting began and sidetracked many projects. Moses was the only one left who kept fighting to keep Sosman & Landis afloat, and even he had to briefly step away by 1918.

Upon Joseph S. Sosman’s passing, Moses was elected president of the firm, with Sosman’s eldest son Arthur becoming vice-president. In 1915, Moses wrote, “It is very strange to me that I had never given this change of the business a thought.  I had never thought of Sosman dying.” Although Arthur was elected as vice-president, he did not last long at Sosman & Landis. In 1916, Moses wrote, “October 10^th I was re-elected president of the company, Mrs. Sosman vice president and Lester Landis secretary and treasurer.  October 6^th, Lillian presented her husband with a pair of twins, boy and girl.”

Behind the scenes, May remained steadfast to her men, both living and dead. She continued to plug along until the family estate was settled, temporarily assuming her husband’s role at the American Reflector & Lighting Co. too. Meanwhile, May systematically began to liquidate the family assets and contemplate the future. All the while, she cared for her aging father, even throwing him an 89th birthday party on Feb. 26, 1920.

On Feb. 7, 1920, the National Hotel Reporter (page 1) announced, “Pinney – Mr. E. S. Pinney, dean of Chicago hotel men, will celebrate his 89^th birthday on Thursday February 26, at which time his daughter, Mrs. J. S. Sosman, will give a small birthday party for her father. Mr. Pinney, who returned from active business ten or fifteen years ago, was formerly the proprietor of the Revere House on North Clark street, when it was a reputable hotel and conducted in the most exemplary manner. Prior to his occupancy of the Revere House, Mr. Pinney for many years conducted the hotel at the northeast corner of West Jackson and South Halsted streets, then known as the Farwell House, then owned by Hon. Charles B. Farwell, United States Senator from Illinois. When the Hotel Men’s Mutual Benefit Association was organized in Chicago, January 17, 1879, its first board of officers consisted mainly of hotel clerks. In fact, the only proprietor on the board of directors was Mr. Pinney. That was more than four decades ago – to be exact 41 years – and it is a matter of remarkable record that Mr. Pinney has continued to serve unremittingly and uninterruptedly as a director of this great fraternal organization – the original hotel association of the United States – for this entire period. He was, for several years chairman of the board and had scarcely missed a single meeting during the entire forty-one years. Truly a wonderful, and, indeed, a most commendable record.”  Her father passed away four months later.

Pinney’s1920 obituary sheds a little light on his career and the status of the Pinney family in Chicago. Born in East Windsor, Connecticut, he traveled west from New York to Illinois in the 1850s where he married and started a family. 

On June 19, 1920, “The National Hotel Reporter” reported:

“Elijah S. Pinney, dean of Chicago hoteldom and for forty-one years a member of the board of directors of the Hotel Mens’ Mutual Benefit Association of the United States and Canada, dies at the James C. King Home for aged men, East Garfield boulevard, Chicago, yesterday at one o’clock p.m. from double pneumonia, after an illness of only a few days.

Mr. Pinney was for years the proprietor of the Farwell House at Jackson boulevard and Halsted street, removing thence to the north side, where he became proprietor of the Revere House on North Clark street, which he conducted successfully for many years.

He retired from business several years ago and has since lived a comfortable life in the King home, which has proven a haven of rest for so many aged men.

Mr. Pinney’s wife died many years ago and he is survived by one daughter, Mrs. J. S. Sosman, who has been devoted to him since her mother’s death and with whom he resided for many summers at Mrs. Sosman’s summer at Lake Bluff, Ill.

When the Hotel Mens’ Mutual Benefit Association was organized in Chicago forty-one years ago, Mr. Pinney was one of the few hotel proprietors to become a charter member. He was elected a director at the first meeting and has served continuously ever since in that capacity, He was devoted to the affairs of the association and was naturally very proud of his long connection with it.

A man of extreme geniality devoted to his family and friends, generous hearted and deservedly popular, Mr. Pinney lived to a ripe old age, having celebrated his 89^th birthday on February 26^th, last.

Funeral services under the auspices of the Masonic fraternity, of which he had been a long member, will be held on Monday next at Graceland Cemetery, at an hour to be announced in the regular death notices of the Sunday issue of the Chicago Tribune” (page 1).

The year her father passed, May P. Sosman lived at 946 Ainslie in Chicago. The 1920 US Federal Census listed her as head of the household, living with two widows and a domestic servant. Her household included Edna Myrers (52 yrs.), Glory D. Ladd (32 yrs.), and Carrie Pearson (27 yrs. old servant). Edna was a saleswoman of bonds and Glory was a secretary at a Publishing firm. I find May’s relationship with Edna fascinating.

Edna remained in Sosman’s home, becoming her close companion for the next two decades. The two remained extremely close until Edna’s passing in 1943. The 1940 US Federal Census even listed Edna as May’s partner, with Edna head of household. I have to wonder if Sosman was the silent business partner who provided funding for Edna. At the time of Edna’s death, Sosman wrote and published her obituary in the “Chicago Tribune.”  published in the “Chicago Tribune.” On Sept. 7, 1943, Edna’s obituary announcement read:

“MYRER– Edna S. Myrer, Sept. 5, 1943, formerly of 935 Leland avenue, Chicago, dear friend of Mrs. J. S. Sosman. Interment California” (page 26).

In the end, May lived with Edna almost as long as her second husband. I was curious to discover more about Edna Myers.

Edna Sarah Miller was born on May 16, 1865, in Lunenburg, Nova Scotia, Canada, she was the youngest daughter of George Edward Miller (1823-1872) and Sara Sophia Miller (1825-1913). One of seven children born to the couple, her siblings were George Edward Miller Jr. (1850-1912), Capt. William Miller (1852-1927), Capt. Samuel Miller (1854-1927), David Casper Miller (1856-1938), Robert Miller (1860-1860) and Gabriel Miller (1860-1860).

For geographical context, Lunenburg is about 60 miles southwest of Halifax, along the coast. Dutch Reform Church records list that Miller was christened in Lunenburg on June 5, 1865. Canadian Census reports confirm that the Millers were living in Lunenburg in 1871. This was the year before her father passed away at sea. He died on Jan. 13, 1872, at sea. A decade later, Edna Miller was still living with her mother and three brothers: Samuel, Casper and Daniel. She remained in Lunenburg until she married Edward Davidson Myrer (1852-1901) on Aug. 17, 1886, and moved to the United States.

Edward Myrer emigrated to the U. S. as a young man in 1869, settling in Massachusetts and naturalized in 1874. After marrying Miller in 1886, Edna remained in Canada for two years, until 1888. She then traveled to California, living with her husband near San Francisco in Pacheco, California. Edna never relinquished her Canadian citizenship but spent the rest of her life in the US. In California her husband was employed not only as a carpenter, but also as a police officer. In 1888, the Myrers relocated ninety miles northwest and were living in Yuba, California.  They eventually returned to the San Francisco area where Edward Myrer passed away on April 1, 1901. The 1901-1903 San Francisco Directory listed Edna S. Myrer as a widow, residing at 808 Eddy. Doors began to open for Myrer as a widow, and she began a career as a successful businesswoman.

Sometime between 1903 and 1907, Myrer journeyed east to Virginia. She likely left after the 1906 San Francisco earthquake and fire.  By 1907, she was listed as the secretary and treasurer for the newly incorporated United States Automatic Loom Attachment Co. in Lynchburg, Virginia.  The 1909 and 1910 Lynchburg Directories list Mrs. Edna S. Myrer as the secretary and treasurer of the United States Automatic Loom Attachment Co., located at 718 Commerce, with C. L. T. Fisher as president of the firm. The 1910 US Federal Census also listed Myrer as a 41-yrs.-old widow, working as a secretary in the cotton twine industry. At the time, she was living with the Karber family. The head of the household was Kant H. Carber, a 47 yrs. old machinist. Also, in the looms industry. Here’s where it gets a little interesting….

It appears that Myrer had a knack for both business and sales. By 1913, she moved to Chicago and soon became involved with another business venture,  selling stock for Universal Wheel Co. She posted advertisements in papers throughout Wisconsin and Indiana. On August 5, 1913, the “Kenosha News” of Kenosha, Wisconsin, published the following advertisement: “FOR SALE at a sacrifice – 200 shares of Universal Wheel stock at $2.50 per share; address Mrs. E. S. Myrer, 1238 LaSalle avenue, Chicago” (page 7). Myrer also placed adds throughout Indiana, including “The Fort Wayne Sentinel” that year. Although she listed her LaSalle address, Myrer was not listed in the Chicago Directory for 1913. In 1914, only one Myrer appears in the directory – Walter Henry Myrer, a clerk at 547 W. Jackson and living at 2106 Grace.  It is not until 1915, that Mrs. E. S. Myrer is briefly listed in the Chicago Directory, living at 529 Fullerton Parkway. By 1916, only W. H. Myrer is again listed as a clerk again.

In 1916, Elijah S. Pinney sold May P. Sosman his lot 3, block 29, at Lake Bluff for $1. (“Libertyville Independent, May 12, 1918, page 2). I think that Myrer and Sosman began living together in the wake of Joseph Sosman’s death.

Interestingly, neither Mrs. Sosman nor Mrs. Myrer were listed in the 1917 directory. I wonder if they relocated to Lake Bluff for a short time. Mrs. Sosman sold the estate in 1919. On June 5, 1919, the “Liberty Independent” of Liberty, Illinois, published the sale:

“In Lake Bluff: John Griffith bought 6 lots on N side Center Ave., between Sheridan Rd. and Simpson Ave., from May P. Sosman for indicated $3,000” (page 11).

In 1920, Mrs. Sosman was again living in Chicago. Myrer continued to work in the Chicago area. The 1920 US Federal Census reported that Myrer was living with Mrs. Sosman at 946 Ainslie, selling bonds. It is about this time that Mrs. Sosman fades from print and Myrer makes a splash in the papers.

By 1922 Myrer embarked on a new business venture. She was very good at securing skilled labor for her employers.

 On April 25, 1922, the “Chicago Tribune” posted the following advertisement placed by Myrer:

“Four high grade women who have good command of the English language; such women, if active, can earn $100 per week or more; capable managers will assist and instruct you; out proposition unquestionable; bankers know us. E. S. Meyer Room 310 Willoughby Bldg. S. W. Cor. Madison and Michigan av.” (page 30).

By 1925, Myrer became involved with real estate, especially vacation properties. It really reminds me of the entire time-share industry and aggressive marketing approach. On March 16, 1925, Mrs. Myrer posted the following want ad in the “Chicago Tribune” (page 29):

“SALESLADIES.

Get into the resort branch of the real estate business and make some real money. We are building the Atlantic City of the west and need a few more experienced ladies to follow live leads due to our advertising campaign. Season just starting. Apply Mrs. Myrer. Room 701, 179 W. Washington-st.”

By that summer Myrer was representing C. A. Blair & Co. They were a firm that specialized in real estate, rentals, loans, and insurance. They were located in the Otis Building at 10 S. La Salle Street in Chicago and advertised that real estate exchanges were a specialty. The firm placed advertisements in a variety in publications, including “The Sentinel,” a Jewish periodical.

In 1925, C. A. Blair & Co. was planning developments along the Dixie Highway between Kissimmee and Melbourne in Florida. Their marketing campaign even included $100 cash prizes for the best name submitted for their lake development on Lake Tohopekaliga (“St. Cloud Tribune, Vol. 17, No. 32, 2 April 1925, page 10). They advertised that in addition to the extensive lake frontage a picturesque ‘Venice Development’ of canals was to be built through the property. Interesting way a rebranding swamp land. The firm was simultaneously trying to locate companies to dredge their land.

On July 24, 1925, the “Chicago Tribune” published the following:

“FLORIDA SALESWOMEN WANTED.

Experienced and inexperienced, who can command the respect of the public. Must have a good command of the English language and be well groomed, to prepare themselves for work in Florida this coming winter with a high-class orientation they can be proud of. Call Rm. 349 10 S. La Salle-st. Ask for Mrs. Kemp or Mrs. Myrer” (page 28).

Myrer was working with Johanna Kemp.

On July 30, 1925, the “Chicago Tribune” reported, “Saleswomen. “A Venetian Home in the Heart of Florida.” Prepare yourselves for selling in this beautiful spot this coming winter. Women who have initiative, and who would like to connect themselves with a high-class organization or property can make this connection at the following address. Must be well groomed and have good command of the English language. No misrepresentation is needed or allowed. The undersigned are capable to instruct you and will give you every co-operation. Call R. 349. 10 S. La Salle-st. Ask for Mrs. Kemp or Mrs. Myrer” (page 30). On September 22, 1925, a similar advertisement was posted in the “Chicago Tribune” (page 40)

“A HIGH TYPE OF WOMAN WHO DESIRES TO MAKE REAL MONEY.

Can make such a connection at the following address. Reports from Chicago people who have seen our property in Florida, show we have the most desirable property in the entire state. Our references in Chicago will surprise you. If you wish to go to Florida for the winter months, Orlando will be your destination. The undersigned are capable of giving you every co-operation. Ask for Mrs. Kemp or Mrs. Myrer. Room 349, 10 S. La Salle-st. C. A. Blair & Co.”

On Oct. 25, 1925, another advertisement specified, “The Clyde A. Blair Organization, which is doing business in a high-class way and selling property on the most beautiful lake in Florida and on the only complete East and West Coast to Gulf Highway south of Orlando.” This ad stated, “Ask for Mrs. Kemp, Room 349, 10 La Salle-st.”

Kemp and Myrer spent the remainder of 1925 in Florida, managing the Orlando office of C. A. Blair & Co., Inc. of Kissimmee, Florida. The firm was now advertised as owners and developers of Lago Vista and Tolga Manor. On Nov. 1, 1925, “The Orlando Sentinel” published a full-page advertisement for the new development of Lago Vista.  The ad included the following statement: “Announces the formal opening of their Orlando Office at 223 South Orange Ave. to-morrow, Monday evening, November 2^nd at 8P.M. Good music will be provided, and the public is invited to attend and get acquainted. The office is in charge of Mrs. Myrer and Mrs. Kemp.” On Nov. 2, 1925, the “The Orlando Sentinel” reported, The Orlando office is in charge of Mrs. Myrer and Mrs. Kemp.1,500 lots had already been sold in Tolga Manor and Lago Vista since August, and a bright future is now assured for this new enterprise. There is a total of 4,200 acres with six miles of waterfront, and four miles of Dixie Highway having twenty miles of property facing lagoons. The well for the business section has been completed, flowing 1,000 feet per minute. The Spanish portals near the entrance are nearing completion, and much other construction work is underway” (page 14).

By 1926, Myrer was back in Chicago and working solo. On June 8, 1926, she placed the following want ad in the “Chicago Tribune” –

“WOMEN.

To women who want to earn big money without delay I offer such an opportunity and will co-operate with those who qualify; no canvassing, no soliciting; must be over 21 years. Call on Mrs. Myrer, Suite 1212 105 W. Monroe-st., after 10 a.m.” (page 42). Myers remained a saleslady throughout the late 1920s.

On Oct. 31, 1928, Canadian Immigration Records reported that saleslady Edna S. Myrer arrived in the Port of Sarnia, Ontario, intending to do business with the World Fiber Co in Toronto. In the manifest, Myrer listed her religious affiliation as Christian Science and Mrs. Sosman of Chicago, Illinois, as her nearest relative, defining her relationship as “friend.” At the time of entering Canada, Myrer had $500 cash in her possession.

That same year, Mrs. Sosman also did some travel. On April 22, 1928, the “Chicago Tribune” reported, “Mrs. May P. Sosman of 923 Lafayette parkway has recently returned from a two month’s visit with her son and his family in New Jersey (page 108).”

Arthur Sosman was sick and passed away on Oct. 29, 1929.

The 1930 US Federal Census report listed that both Mrs. Sosman and Mrs. Myrer lived at 923 Lafayette Parkway. Myrer was listed as a lodger, with Sosman head of household. Each widowed, Myrer listed her occupation as a saleslady in “general” industry. Meanwhile, Mrs. Sosman listed her occupation as “practitioner” in the “Christian Science” industry. The 1930 Chicago Telephone Directory listed Mrs. Joe Sosman living at 923 Lafayette Parkway. Myrer was not listed in the directory at this time.

Edna Myrer passed away in Chicago on Sept. 5, 1943, at the age of 64 yrs. old. She is listed in the Cook County, Illinois, Death Index. She was buried on Sept. 8, 1943, at the Acacia Park Cemetery in Norwood Park, Illinois.  At the time of her passing. Edna’s spouse was listed as Johanna.

Three years later, Mrs. Sosman buried her youngest son, Frederic, On Dec 1, 1946, the “Chicago Tribune” published his obituary:

“SOSMAN- Frederic Pinny Sosman Sr., of 800 Buena avenue, Nov. 29, 1946, beloved husband of Zelma Sosman, fond father of Frederic P. Jr., dear son of May P. Sosman. At chapel, 5501 N. Ashland avenue, where services will be held Monday, Dec. 2, at 10 a.m. Interment Graceland” (page 79).

Mrs. May P. Sosman passed away less than three months later on Feb. 15, 1947. She was 89 yrs. old and had buried all of her loved ones, with no one else to care for at the time of her passing.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

In 1902, Thomas G. Moses wrote, “Walter C. Hartson and Arthur Barr joined our forces and our work kept on increasing.  We now had an office in the Broadway Theatre Building, a bookkeeper and an office boy, with a very swell uniform.  We were getting very classy. We were also starting a big payroll.”

In 1900, Moses left Sosman & Landis to strike out on his own. In New York, Moses partnered with Will Hamilton to establish Moses & Hamilton. By 1902, they secured the paint room at the 14^th Street Theatre, subsequently increasing their paint frames to six on total. Although their partnership was short lived, it was extremely successful. When Moses returned to Sosman & Landis in 1904, several scenic artists accompanied him, including Barr. Barr only remained in Chicago for a very brief period of time before continuing west. By 1905, he was associated with San Francisco’s Tivoli Opera house and working with Oscar L. Fest.

In California, Barr’s live began to unravel.

When Moses first encountered Barr in New York, he was full of artistic potential, with a beautiful wife and young daughter in tow. A decade later, he died unknown in Louisville, Kentucky. This is such a tragic tale, and I have yet to understand what really happened between 1902 and 1912.

Arthur Leo Barr was born on Feb. 18, 1878, and grew up in Pittsburgh, Pennsylvania. He was the youngest son of John C. Barr (1837-18889) and Sarah A. Toner (1841-1941).  His father was a prominent attorney and newspaper man, listed as a printer in 1880. US Federal Census. That year the Barr children included: Mary (b. 1867), Anna (b. 1869), Maud (b. 1873), J. Carroll (b. 1873), J. Toner (b. 1876), and Arthur (b. 1878). The family affectionately nicknamed Arthur “Tookie.” There is actually a picture of him in paint clothes posted to ancestry.com.

Little is known of Arthur’s childhood, but his father passed away in 1889; he was only eleven years old at the time. By 1896, Arthur was listed as a sign painter in Pittsburgh, living at “McCully, n St. Clair.” That was the same residence of his brother Carroll Barr. His brother J. Toner was also living nearby, at McCully, near Mellon. At the time, Carroll was working as a civil engineer and J. Toner as a draughtsman.

As with most scenic artists at the time, Arthur traveled quite a bit for work, going from one project to another. The photograph referenced above shows that at one tome he worked in St. Louis, Missouri, too. Barr married Annie Rose Bradley (b. 1877) in Mahoning, Ohio on Jan. 13, 1889. Annie was also from Pittsburgh, the daughter Michael Bradley and Margaret Ducker (Dufour in some records). Between 1898 and 1900, the young couple moved to New York.

Over the new few years, the two celebrated the birth of two daughters, Georgeanna and Maude. 

Only Georgeanna survived to adulthood. She was born in New York on March 15, 1900. Her birth certificate listed that her father was employed as a scenic artist that year. In 1900, the Barr family was living in Manhattan at 566 7^th Avenue, alongside other painters, actresses, property men and theatre folk. 20-yrs. old John Boaty and Annie’s 18-yrs. old sister, Maggie Bradley, were living with them.

By 1902, Barr was working for Thomas G. Moses alongside many other well-known scenic artists, including John H. Young, Harry Vincent, Otto Armbruster, Al Roberts, Ed Loitz, and Walter C. Hartson to name a few.

Sometime between 1902 and 1905, Barr headed west without his wife and daughter.  It remains unclear if he abandoned them, or if was no longer able to adequately provide for his family. I wonder if it had something to do with the death of his daughter Maude. To date, I have yet to locate any information about her birth or passing.

By 1905, Barr was working in San Francisco, California. That same year, “Arthur Barr” named as part of the Advertised Letter list in the “Santa Barbara Weekly,” suggesting that he spent some time in the city during 1905 (June 8, 1905, page 8).

By now he was separated from his wife, who had returned to Pittsburgh with their daughter. In 1906 Annie married Charles Edward, a motorman in the Pittsburgh area. Edward’s WWI Draft Registration card described him as tall, thin with blue eyes and light hair. The two remained married until Annie’s passing in 1926. Georgeanna grew up under their care and went on to get married herself. In the end, she cared for her step father in his old age and never left Pittsburgh.

When Georgie was about nine years old, her birth father began faulter in California.

In 1909 Barr was listed in the Los Angeles Directory as an artist, working at the C. F. Thompson Scenic Co., residing at 464 Witmer. However, 464 Witmer was the business address of Charles’ F. Thompson’s scenic studio.  For context, Thompson established his first scenic studio in Chicago, before moving west. Over the years, his established a series of regional branches across the country, including in Dallas, Texas, and Detroit, Michigan. Between 1908 and 1909, the C. F. Thompson Scenic Co. was doing quite well and expanding its studio staff and sales team. In 1909, Barr was working at Thompson Scenic Co. with Ansel Cook, another former Sosman & Landis scenic artist. Projects at that time included a new drop curtain for the Home Theatre in Hutchinson, Kansas. On January 22, 1909, the “Hutchinson Daily Gazette” described the composition: “The center is a redwood scene with stage coach and a group of horsemen approaching a watering place” (page 5).

By the summer of 1909, however, Barr’s mental health faltered. Little is known about the artist at this time, with only newspaper accounts providing some insight.

Barr was living in Santa Barbara when he attempted suicide in Needles, California, that June.

On June 5, 1909, “The Needles Eye” reported, “Attempted Suicide.

Arthur L. Barr who recently came here from Santa Barbara, according to statements made by him, tried to commit suicide last Wednesday afternoon by cutting his wrist with a piece of glass. He had scratched the back of his wrist in several places and the underside of the writs was more or less cut. He struck no vital artery but bleed quite a little. When arrested by the officers he was taken to the office of Dr. D. W. Rees who dressed the wounds after which he was taken to the jail where he remained until the next evening when he was taken to the County Hospital by Deputy Sheriff George Acuna. Barr is a man of about 32 years of age, and seemed to be possessed of his faculties, but a letters he had left behind would indicate he was not in his right mind. The letters read as follows: “My name is Arthur L. Barr, Would like my mother notified in case of sudden death, also Louis Dressler California and Division St. California. “Mrs. Sarah T. Barr, care of G. G. O’Brien 5^th Ave. Pittsburgh. Was to be taken from Priests House at 7 o’clock tonight to be terribly tortured by yags, tramps. Ask Sheriff West will not go out with man Woodruff, or any other Detective Woodruff supposed friend of my brother Tooner [sic.] and Carroll” (page 6).

For additional context, Gerald G. “George” O’Brien was a decorator in Pittsburgh, listed in the 1909 Pittsburgh Directory, 1002 5^th Ave. The 1910 Census listed him as a sign painter, living at Fifth Avenue, with his wife,  children and extended family. O’Brien was likely a close friend of Barr’s from his sign painting days in Pittsburgh.

His brothers J. Toner and Carroll had been actively looking for their brother, sending detectives all over the country. Arthur’s sad tale of attempted suicide did not end in Needles, California. He tried again on his way from Needles to San Francisco. “The San Francisco Chronicle” fully described the sad tale on June 5, 1909 (page 10). The article reported:

“Fails in Two Attempts at Suicide. San Bernardino, June 4. – Arthur L. Barr of Santa Barbara was driven insane by the intense heat at Needles yesterday and attempted suicide by slashing his wrists with a pocketknife. While en route to this city in charge of Deputy Sheriff George Acuna he made a plunge head first through the window of a swiftly moving Santa Fe overland, escaping with slight bruises on the head, though in the fall he went over a fifteen-foot embarkment. Barr, who is a mineral surveyor had been two days on the desert north of Needles. When he found his hands were hanging by threads of flesh. When the train was passing Barstow the officer left Barr alone in the seat. Suddenly the demented man rushed down the car, pursued by Acuna. Seeing a window open he took a header. His severe jolt apparently restored his reason. To-night he talks sanely and regrets his rash attempts.” (page 10).

Barr seems to have temporarily recovered somewhat, enough to continue work as a scenic artist. He remained in California and was listed in the Los Angeles Directory was working for Edwin H. Flagg. The 1911 Los Angeles city directory listed:

“Barr, artist, E. H. Flagg Scenic Co. r 1638 Long Beach av.” I

Interestingly, this was also the address used by C. F. Thompson studio in 1909 want ads for labor – suggesting an alliance, or shared space, between the two studios.

Unfortunately, this was the last listing for Barr. Sometime between 1911 and the summer of 1912, Barr moved from California to Kentucky.  He passed away from tuberculosis at the Waverly Hill Sanatorium in Louisville during the summer of 1912. At the time of his death, no one knew his background or next of kin. As there was no family to claim the body, his remains were donated for medical research at the University of Louisville.

Fortunately, his brothers arrived in town, before Barr’s body was dissected. Their discovery made the headlines across the country.

On August 28, 1912, the story was published in “The Courier-Journal” of Louisville, Kentucky (page 8). The article was entitled, “Body Consigned to Pickling Vat is Recovered By Dead Man’s Relatives.” It reported, “The relatives of Arthur Leo Barr, a scenic artist and member of a prominent family of Pittsburgh, who died at Waverly Hill Sanatorium July 14, were able to take the body yesterday with them to their home city yesterday is due to the fact that the winter semester of the medical department of the University of Louisville has not begun its sessions. The body had been turned over to this department for dissecting purposed, as it is customary in cases where a body is not claimed by relatives or friends within a month after death. J. Toney Barr, a civil engineer, and J. V. Carroll Barr, brothers of the dead man arrived here yesterday, and with the aid of a local  detective department and Dr. Ed Grant, City Health Officer, they were enabled to trace the body of their brother to the morgue of the medical department of the university, where it was found in a good state of preservation.

Barr, who was 34 years old, had not been heard from his relatives for nine years. He is said to have been an artist of ability, but he was of a roving disposition and had refused to give the name of any relative or friend when received at the hospital. Under these circumstances it was impossible to locate his relatives, and it was by accident they heard of his death here.”

Arthur L. Barr was buried at Calvary Cemetery in Pittsburgh.

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

When Art Oberbeck became a full-fledged scenic artist at Sosman & Landis, he received another scenic artist’s palette.  Oberbeck shared the story of his advancement with John Rothgeb in 1973 and Randy Givercer Frank in 1976.  Frank included the story in her B. A. Thesis, “The Sosman & Landis Studio. A Study of Scene Painting, 1900-1924” (University of Texas – Austin, May 1979). On page 78, Frank wrote, “Oberbeck’s chance to prove himself of journeyman status came when it fell to him to paint some draperies. Sosman had a nephew who painted in the studio. The nephew was a drunkard who would start drinking and not show up for two weeks at a time. Once he disappeared, leaving an unfinished pair of tormentors.

“Sosman came to me and says, “Art, we got to get these tormentors out on order. Do you think you can finish them?”

“I’d sure like to try, Mr. Sosman.”

Sosman told Oberbeck to use his nephew’s palette. Oberbeck finished the tormentors in time and Sosman gave him another set to do. From that time on he had his own palette.”

Although Frank did not include the drunken nephew’s name, it was Frederick H. Sosman, Sr.

Fred Sr. worked at his uncle’s scenic studio for almost a decade before moving east. He continued to work as a scenic artist for his entire life.

Here is how Fred Sr. fits into the Sosman family tree, as there is quite a few Fred Sosmans at this time.

Fred H. Sosman was the son of Captain William M. Sosman. Capt. Sosman was Joseph S. Sosman’s older half-brother, from their father’s first marriage.  William was the son of Hiram Sosman (1805-1892) and Eliza Green (1804-1839). The couple celebrated the birth of four children: George William Sosman (1832-1832), Mary Jane Sosman (1834-1916), William M. Sosman (1836-1912), and Maria Sosman (1838-1839). Joseph S. Sosman was the son of Hiram, and his second wife was Rachael Edmond (b. 1817). Hiram and Eliza celebrated the birth of three children: Joseph, Martha Sosman, and an infant son who died shortly after birth.

Hiram and all of his adult sons fought for the Union Army during the American Civil War. William M. Sosman (1837-1912) first enlisted in Co. C. 22^nd Ohio Vol. Infantry, making quite a name for himself. He later enlisted in Co. F, 63^rd Ohio Vol. Infantry, and then accepted a commission as second lieutenant in the 106^th regiment, U.S. colored troops.

His service and family history were published in “The Civil War Token Journal” (Fall 1988, Volume 22 Number 3, page 5-6). I am including the section, “W.M. Sosman Card No. 1601,” in its entirety as it sets the stage for the birth of his son, Frederick H. Sosman, Sr.

“William M. Sosman came from a family long associated with commercial baking in Chillicothe. His father George Sosman started in the bakery business in Chillicothe some time before 1820. It was George Sosman that established the first bread wagon route in the city. The city directory of 1858 lists W.M. Sosman in partnership with Hiram Sosman his brother as owners of the Union Bakery. In 1860 he introduced the first mechanical machine for making crackers. The Union Bakery was located on the west side of Walnut Street, between Water and Second St. Sometime in 1860 William took in a new partner, J.W. Chapman replacing his brother. The business was moved to 86 Paint Street. This partnership was short lived as we find the following advertisement in the Scioto Gazette under date of September 10, 1861: “Bugler Wanted! I wish to engage the services of one good bugler, to serve in Co. A 40th Regiment. Particulars made known by addressing me at Camp Dennison or to Geo. A. Emmett, Chillicothe, Ohio, signed W.M. Sosman. This was in the early days of the war. Regiments were being formed; quotas filled to meet deadlines. Late in 1861 Capt. Wm. Sosman published a Thank You note in the Chillicothe paper thanking the citizens for quilts furnished his boys before departure. The Thank You note was signed Capt. W. M. Sosman, Co. A 54th Reg. Ohio Volunteers.”

I am going to pause right here and add a little to the story. Early in the spring of 1862, Capt. William Sosman married Mathilda McKay. He continued to work as a baker when not serving in the military, remaining extremely active in war-time activities. Both Capt. W. M. Sosman and Hiram Sosman were members of the Union League Association, an organization founded to counteract the influence of secret disloyal societies, such as the Knights of the Golden Circle, or Sons of Liberty. The Union League Association, was organized in Chillicothe on March 21, 1863.

“The Civil War Token Journal” article continues:

“Sept. 30, 1862, W. M. Sosman was advertising for a first-class bread baker as a partner to go to Columbus, Ohio. “One having $250.00 to $300.00 to invest a splendid opportunity to make money without risk.” Evidently the Columbus venture never materialized. November 11, 1862. W.M. Sosman was weekly advertising his Dandelion Coffee. “Which affords the delicious of Java Coffee, at less than one half the expense.” “The only true coffee substitute.” In 1863 many necessities were in short supply. One of Sosman’s advertisements read: “Save your rags! The highest prices paid, for rags, in cash or trade.” Wm. M. Sosman, Walnut Street. There was a “paper famine” at the time (December 1862). The editor of the Scioto Gazette stated in his paper, “Within the last two months printing paper has more than doubled in price.” He was pleading with his readers to save carefully all the cotton and linen rags as the importation of rags for paper stock had been entirely suspended. Also, in 1862 there was a shortage of coin money so necessary to the transaction of business. A news item in the December 9th issue told about Postage Currency— The National Bank Note Company now furnishing the government $100,000.00 a day postage currency. The February 24th issue of the Scioto Gazette (1863) carried this notice “Wood Wanted, I wish to contact for 20 or 30 cords straight-part seasoned-sugar or hickory wood to be delivered during April or May.” Evidently the wood was for fuel in his baking ovens. The call for volunteers was made and on March 15, 1864, we find this article in the Scioto Gazette. “Capt. W.M. Sosman formerly of the 22nd. Ohio Regiment has enlisted as a private in the 63rd Ohio and left for the front last week.” On December 6, 1864, he was back in Chillicothe and gave an oyster supper at Adam Kramer’s on a Saturday night for the veterans of his old 22nd Ohio Regiment who had returned home. (A. S. Kramer issued card 160F). W.M. Sosman lived a varied and interesting life on his second enlistment he was placed in prison for some offense down in Dixie but was released and placed on parole and sent back to Chillicothe in December. His second enlistment was shortly over 9 months. During his two enlistments he developed a taste for adventure. Then on July 3, 1866, he advertised his property for sale at 53 Vine St. and stated in his notice that he was going west.”

The proposed sale of Capt. W. M. Sosman’s property was shortly before the birth of his first son, Frederick H. Sosman (1866-1941). The couple celebrated the birth of two more children over the next four years: George V. Sosman in 1867 and Mary Elizabeth Sosman in 1870. Capt. Sosman’s family remained in Chillicothe, however, never moving west as the newspaper article suggested. The 1870 US Federal Census listed Capt. William Sosman as 33 yrs. old and working as a day laborer. His household at the time included: Mathilda (31 yrs.), Frederick (4 yrs.), George (2 yrs.) and Mary Sosman (1 mth.). Hiram Sosman was also living in Chillicothe, now 64 yrs. old, but still working as a baker. In 1870, Hiram lived with his second wife Rachel Sosman (53 yrs.), daughter Mary J. Sosman (33 yrs.) and Joseph S. Sosman (23 yrs.)  By 1870. Joseph S. Sosman was already working as a painter.

Little is known of the Sosman family’s life in Chillicothe during the 1870s. However, Capt. William Sosman returned to the baking business, and in the 1880 census was again listed as a baker. The household in Chillicothe that year included William M. Sosman (43 yrs.), Mathilda Sosman (40 yrs.), Fred H. Sosman (14 yrs.), George Sosman (12 yrs.) and Mary Sosman (10 yrs.).

I have yet to locate when Fred moved to Chicago or began working for his uncle at Sosman & Landis.  However, he his work at the studio was mentioned in an 1895 wedding announcement for Fred and Ida Robey:

“Mr. and Mrs. J. K. Robey request tour presence at the marriage of their daughter Ida, to Fred H. Sosman, June 17, 1895, at Mt. Sterling, Ohio. 8 p.m. Mr. Sosman is a Chillicothean, the son of Capt. and Mrs. William Sosman, and brother of Mr. George V. Sosman. He is now located at Chicago where he is employed in the famous scenic studio of Sosman & Landis, Mr. Sosman, of the firm being his uncle. Miss Robey is a very charming and of bright intellect and having many personal attractions and Mr. Sosman is, indeed, to be congratulated in winning so fair a bride. After the marriage, Mr. and Mrs. Sosman will come to this city, where they will make a short visit before returning to Chicago, where they will make their home.”

Fred married Ida Jeanette Robey (1872-1950) on June 17, 1895, in Madison County, Ohio. Robey was the daughter of John K. Robey (1833-1906) and Mathilda Stuckey (1839-1906). Ida was one of several children born to the couple. He siblings included: Lora (1862-1863), Flora Alma (1864-1945), Romeo R. (1866-1945), Myrtle (1868-1919), Margaret M. (1871-1955), Josephine T. (1874-1950), Bessie (1877-1955) and Martha (1881-1949). The Robeys remained quite close to the Sosmans over the years, as Fred’s sister, Mary Elizabeth Sosman, married Ida’s brother, Romeo Robey.

On May 7, 1895, Fred and Ida celebrated the birth of their first child, Joseph “Joe” Sosman in Mt. Sterling, Madison County, Ohio. For geographical context, Mt. Sterling is approximately 30 miles northeast of Chillicothe, Ohio. Chillicothe is approximately 50 miles due south of Columbus, Ohio.

The Sosman family grave plot in Mt. Sterling includes gravestones for Mathilda McKay Sosman, Capt. William M. Sosman, George V. Sosman, Frederick H. “Fred” Sosman Sr. and Ida Jeanette Robey Sosman, There are also two children’s graves, presumably Fred and Ida’s: Infant Sosman (May 11, 1896), Joe Sosman (10 Aug 1896). The “Infant Sosman” grave, dated May 11, 1896, indicates that this was Fred and Ida’s second child, likely still born.  The second child’s grave for Joe Sosman, is dated Aug 10, 1896; this was their firstborn son. A third child was born to the couple after the death of their first two children, born on Nov. 6. 1896. Their third child, Joseph Sosman, shared the same name as their first son; a common practice at the time, when a birth followed the death of an older sibling. Sadly, he did not survive to adulthood either.

Although Fred and Ida’s children were born in Ohio, Fred continued to work in Chicago. It just meant that Ida returned home to be with her family when she was expecting. This allowed women the necessary support work after giving birth.

The 1900 US Federal Census reported that Fred an Ida Sosman were living at 244 S. Halsted St, Chicago. No children were listed as part of the household, only Frederick Sosman (34 yrs.) and Ida Sosman (26 yrs.). Fred was employed listed as a scenic artist, certainly working for his uncle as Sosman & Landis during this time.

In 1901, the couple celebrated the birth of their fourth child, Fred H. Sosman, Jr. Fred Jr. ended up being the couple’s only child to reach adulthood. Life was not easy for the Sosman’s in Chicago. Fred struggled with alcoholism, as did his younger brother George V. Sosman. On Feb. 1, 1913, the “Washington Court House Daily Herald” (Ohio) reported, “Penitentiary guard, George V. Sosman, escorted a prisoner to Chillicothe this week, where the convict was to testify in a murder trial, and during his stay in Chillicothe he made the rounds and became very much polluted with liquor, and when he started on his return with the prisoner was still very much under the influence of intoxicants, according to Chillicothe authority. Sosman spent his last penny and tried to borrow enough to continue the spree, but his disgusted friends turned him down” (page 3).

As for Fred H. Sosman Sr., his binge drinking meant that he abandoned incomplete work at the studio. Such was the case when Art Oberbeck completed a pair of partially painted tormentors, originally assigned to Nephew Fred.

So, sometime between 1907 and 1908, Oberbeck inherited Fred Sosman’s palette at Sosman & Landis. This did not mean that Fred’s career as a scenic artist came to a close, it just continued elsewhere. For quite some time, Sosman had been dividing his time between Chicago and Chillicothe. On July 7, 1904, the “Chillicothe Gazette” reported, “Beautiful Work. On display as Doster & Co.’s, is a handsome miniature hand-painted setting for an opera house, done in watercolors, by Fred H. Sosman, a Chillicothe boy in Chicago. Two curtains are also shown, one depicting the view of Paint Valley from Grandview cemetery, and the other a view of Scioto river, with Mt. Logan in the background. The paintings are very beautiful and appropriate.” (page 4). After leaving Chicago, Fred Sr. headed to the southeastern United States.

The 1910-1911 issue of “Julius Cahn’s Official Theatrical Guide” credited Fred H. Sosman as the scenic artist for the Opera House in Blocton, Alabama. The listing noted “Equipped with up-to-date scenery” and a stage measuring 26x50x19. To date, that is the only listing that I have located for Fred Sr. beyond his work at the scenic studios of Sosman & Landis and Tiffin Scenic Studio.

By 1910, Fred Sosman Sr. was living in Atlanta, Georgia. The US Federal census that year listed Sosman living on E Hunter Street as a boarded, still working as an artist in the studio industry. He was boarding with Ophelia Standard (55 yrs.) and her adult children and grandchildren: Annie Belle (31 yrs.), Maggie (27 yrs.), Frank (24 yrs.), Mary (24 yrs.), Francis (3 yrs.), and Lois (2 yrs.). Sosman’s initial connection with the household was likely through Standards’ son, Frank, who was working as a stage manager in the theatre industry. Sosman would remain in the area for at least 14 more years, with his wife and son joining him.

In 1912 Sosman’s father passed away. On Oct. 18, 1912, the “Chillicothe Gazette” reported, Capt. William M. Sosman dies at the home of his daughter, Mrs. R. I. Roby, at Mt. Sterling, Tuesday morning of old age. The deceased, with his wife, moved from this city to Mt. Sterling about six weeks ago and did not long survive. The deceased was a son of the late Hiram Sosman and was a native of this city. He is survived by his wife and three children, Fred Sosman, of Atlanta, Ga., George V. Sosman, of Columbus, and Mrs. Roby, with whom he lived. The deceased was 78 years of age and was a member of Co. F, 63^rd O. V. I. from which he was discharged April 14, 1862, to accept a commission as second lieutenant in the 106^th regiment, U.S. colored troops. The funeral will be held at Mt. Sterling at 10 a.m. Saturday morning Burial at Mt. Sterling” (page 5).

Sosman continued to work as a scenic artist in Atlanta. In 1920, he was again living with his wife and adult son, Fred Jr., at 262 Oakland Avenue. Interestingly, Both Fred Sr. and Ida were listed as scenic painters, with 19-yrs.-old Fred Jr. listed as a drug store salesman. This was likely an error, as this was the first time Ida was listed as working outside of the home.  Until the 1923, the three remain in Atlanta. That year, Fred returned to Ohio and married Mary G. Krout. On Oct. 23, 1923, the “Lancaster Eagle-Gazette” of Lancaster, Ohio, announced the wedding of Krout and Sosman. The announcement read: “Krout-Sosman Wedding.

Only members of the family witnessed the marriage at eight o’clock Saturday evening of Miss Mary Gertrude Krout, daughter of Mr. and Mrs. Geo. W. Krout of S. Champion Ave., Columbus to Mr. Fred H. Sosman of Atlanta, Ga. Rev. P. E. White, pastor of Oakwood Avenue M. E. Church read the service at the home of the bride’s parents. A dinner at the Chittendon Hotel followed the ceremony. Mr. and Mrs. Harold Krout, brother and sister-in-law of the bride were the only attendants. The bride wore an evening gown of cocoa georgette with trimmings of amber beads and wore a corsage of roses and lilies of the valley. After a short motor trip Mr. and Mrs. Sosman will be at home at 544 S. Champion Ave., Columbus. The bride and her parents were former residents of this city and have many relatives here.”

His first marriage did not end well, as Fred not only had an extramarital affair with a 13-yrs.-old girl, but also fathered an illegitimate child. It is an unfortunate series of events that compelled Fred and Ira Sosman to relocate from Atlanta, Georgia, to Tiffin, Ohio.  My guess is that they returned to Ohio to help raise their only granddaughter. Fred Jr. and his wife Mary explained the newborn as an adoption.

On March 17, 1927, Patricia “Patti” Ann Sosman was born in Columbus, Ohio.  Her birth parents were listed as Fred Sosman and Virginia Bogard.  “Bogard” was actually an alias, as her real birth mother’s maiden name was Virginia Valek.  Valek was one of many children born to James John Valek (1887-1966, carpenter) and Bessie M. Stahl (1892-1945).

Virginia married twice in her life after being an unwed mother; her first marriage was to Avrail R. Milhorn (1907-1957) in 1933 and her second marriage was to Harold E. Snelling (1910-1986) in 1974. Virginia Valek Snelling passed away on Dec. 14, 1975, only fifteen years before her daughter, Patti A. Sosman. In death, Patricia Ann Sosman shares a grave with her birth mother, Virginia Valek Snelling.

Patricia’s mother was only 14 yrs. old when she was born, indicating that Fred Sosman Jr. had sex with a 13-yrs.-old girl.

Fred Jr.’s illegitimate daughter was listed as part of his household in the 1930 US Federal Census. At the time, he was still married to Mary. The pretense of claiming Patti as an adopted daughter continued for seven years, even when Mary G. Sosman filed for a divorce in 1934.

My guess is that several factors prompted Mary to leave Fred Jr. On Feb. 19, 1934, the “Sandusky Star Journal” reported, “Tiffin Man Given 90-Days at Marion.” The article continued, “Marion, Feb. 19 (UP) – Fred Sosman, of Tiffin, today began service of a 90-day term imposed by Judge W. R. Martin on charge of reckless operation of a motor vehicle, Sosman was also fined $100, and his driving license revoked for six months. Sosman was arrested by a state highway patrolman after his car collided with another four miles north of Marion on Route 23” (page 1)

On June 5, 1934, the “Morning Republican” of Findlay, Ohio, announced “Applies For Divorce. Charging her husband’s conduct was such that she was forced to leave him and go to her parents. Mrs. Mary G. Sosman applied to common pleas court today for a divorce from Fred H. Sosman Jr. She says they made a separation agreement under which he is to pay her $600 and asks the court to approve that and award her the household goods for alimony. They were married in Columbus, Oct. 20, 1933, and have an adopted child” (page 10). On Sept. 17, 1934, the “Findlay Morning Republican” announced, “Mrs. Mary G. Sosman vs. Fred H. Sosman; divorce granted on grounds of extreme cruelty; maiden name Mary C. Krout restored; alimony and property settlement approved” (page 8).

By 1930, Fred Sr. and Ida Sosman were also living in Tiffin, Ohio, just up the street from Fred Jr., Mary and Patti. The 1930 US Federal census listed Fred H. Sr. and Ida J. Sosman in the Tiffin City Directory. Fred Sr. was employed as a scenic artist at Tiffin Scenic Studios. The couple was living at 135 Ohio Ave. At the time, Fred H. Sosman Jr. was working at the Marmon-Roosevelt and Hupmobile Motor Cars. Located at 206 S. Washington, his family living at 81 Ohio Ave.

Fred. Jr. and Mary’s divorce in 1934 was likely due in part to another extramarital affair. Less than a month after their divorce was finalized, Fred Jr. married a woman from McCutchenville, Ohio. Their affair had likely been going on for some time, as during the fall of 1933, Sosman made headlines when a rock struck his car on the McCutchenville Rd. On Nov. 2, 1933, the “Sandusky Register” reported, “Stone Hits Windshield. Tiffin, Nov. 1 – (Special) Fred Sosman, Tiffin automobile salesman, narrowly escaped injury last night when Hallowe’en pranksters hurled a stone through the windshield of his automobile. Sosman was driving on the McCutchenville road south of the city, when he passed a group of youths. A stone came hurtling from their midst and crashed through the windshield of his car” (page 2). Less than a year later, on October 2, 1934, “The Sandusky Register” announced the marriage license for “Fred H. Sosman Jr., 33, restaurant worker, Tiffin, and Mrs. Regina P. Lorah, 32, McCutchenville” (7). The newlywed’s plans did not include Fred’s illegitimate daughter.

By 1940, Patti was living with her grandparents, Fred Sr. and Ida Sosman. The US Federal Census listed the three Sosmans living at 135 Ohio Ave. in Tiffin, Ohio. Fred H. Sosman Sr. was still listed as an artist in the scenic studio industry. His household included wife Ida J. Sosman (63 yrs.) and granddaughter Patricia A. Sosman (12 yrs.). Fred Sosman Sr. was still listed as a scenic artist and continued to paint at Tiffin Studios until the following year. On August 6, 1941, Fred Sosman Sr. passed away.

On Aug. 7, 1941, “The Sandusky Register” of Sandusky, Ohio, reported, “Tiffin – (Special) – Fred Sosman, 75, Tiffin scenic artist died Wednesday in Mercy Hospital following an illness of several days. He had been associated for 20 years with the Tiffin Scenic Studios. He was a native of Chillicothe. Surviving are his widow, a son, Fred, Jr., and a sister, Mrs. Mary Roby, Mt. Sterling. Funeral Service will be held Friday at 10:30 a.m. in the Myers Funeral Home with the Rev. Alva B. Miller, pastor of the Washington-st Methodist Church, officiating. His body will be taken to Mt. Sterling for burial” (page 7).

His hometown paper carried the sad news. On Aug. 7, 1941, the “Chillicothe Gazette” of reported, “Mr. Fred Sosman, former Chillicothe resident and scenic painter, died Wednesday in Tiffin, according to word received by Mr. Charles Capple. Mr. Sosman, who was about 74 years old, was born in Chillicothe, the son of William and Mathilda Sosman, life-long residents of the city, and resided at 164 West Main street. Surviving are his widow, Ida Roby Sosman, and one sister, Mrs. Romeo Roby, of Mt. Sterling. Burial services for Mr. Sosman, will take place Friday at 2 p.m. in Mt. Sterling (page 2).

He was buried in Mt. Pleasant Cemetery, now named Alkire Cemetery on Era Road (County Rd, Mount Sterling, Ohio 4314). Here is a link to his gravestone in the Sosman family plot: https://www.findagrave.com/memorial/45845495/frederick-h-sosman

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

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

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

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

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

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

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

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

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

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

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

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

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

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

Buhler & Mann (276 Sedgwick)

Cook & Donigan (60, 87 Clark)

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

Richard A. Green (1046 W. Van Buren)

Guthermann & Goodrich (rear 107-115 Throop)

Shepard & Slipper (86 Locust),

Sosman & Landis (236 and 238 S. Clinton)

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Here is his tale…

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

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

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

Not commenting.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…

Copyright © 2022 by Wendy Waszut-Barrett

In 1920, Thomas G. Moses wrote, “Arrived in Chicago early Monday ready for a hustle. Mr. Hunt sent Mr. Leo Stahr on from New York to take my place and while he tried to be very nice about it, there was something about his attitude that didn’t ring true.” For context, in 1920, Hunt was in charge or two scenic studios: Sosman & Landis and New York Studios. The two firms were considered affiliates, with each maintaining offices in both Chicago and New York. By 1923, Hunt was involved with the establishment of the Chicago Studios, a new studio that operated out of the original Sosman & Landis space.

In regard to Leo Stahr, he was a well-known art director for Balaban & Katz by the 1920s. Like many former Sosman & Landis employees, Stahr is the perfect example of “once important, now forgotten.” Here is his tale…

Leopold “Leo” Alexander Stahr was born on Dec. 12, 1882, in New York. He was the youngest son of Gustave “Adolph” Stahr and Ida “Anna” Sengewein. Both of Leo’s parents went by their middle names, Adolph and Anna. The tradition extended to their children and complicated matters even more. Leo’s mother, Ida Anna Stahr, and his sister, Anna Ida Stahr, both went by their middle name. This made research quite challenging.

Leo came from a family of artists, including his father. Gustave “Adolph” Stahr was born in July 1845 and emigrated from Bavaria in 1864. Various historic records list Adolph’s birthplace as Bavaria, Germany, Poland and Prussia; it all depends on the timing. After arriving in America, Adolph Stahr settled in Stapleton, New York. Stapleton is located on the east side of Staten Island. The borough of Staten Island became home to the entire extended Stahr family. On October 20, 1868, Stahr became a naturalized citizen of the United States, renouncing his former allegiance to the King of Prussia.  At the time, he listed his home address was in Manhattan, as 123 E. Houston St. Stahr consistently worked as either a painter or artist, frequently listed in New York City directories. Both of Adolph Stahr’s sons followed in his footsteps.

In regard to the matriarch of the Stahr family, Ida “Anna” Sengewein was also of European descent.  Born in Hannover, she emigrated to the United States in 1871 at the age of 20 yrs. old.  Four years later, she married Adolph Stahr in Manhattan. Their wedding ceremony took place on May 8, 1875. The Stahrs remained in Manhattan until 1870 when they moved to Staten Island.

Between 1876 and 1883, the Stahrs welcomed six children into their home:  Frederick Charles Stahr (1876), Elizabeth B. Stahr (1877), Anna “Ida” Stahr (1879), Marie “Mary” M. Stahr (1881), Leopold Alexander Stahr (1883), and Theodora Stahr (1884). Little is known of Leo Stahr’s early childhood or artistic training. The family moved from However, by 1900, Leo Stahr was listed as an apprentice in the US Federal Census, still living with his family on Staten Island. At the time Leo was eight years old and the Stahr household included Gustave A. Stahr, A. Ida Stahr, Elizabeth B. Stahr, Ida A. Stahr, Mary M. Stahr, Leo Stahr and Theodora Star. Leo’s older brother, Frederick “Fred’ Stahr had already moved out by this time and was studying art. It is important to understand the artistic precedent set by Leo’s older brother to see what was at play during the early twentieth century. Fred C. Stahr began his artistic studies at the National Academy of Design, where he won the Lazarus Prize in 1911. The Jacob H. Lazarus Scholarship for the study of mural paintings was established in by Mrs. Amelia B Lazarus and Emilie Lazarus through the gift to the Metropolitan Museum of Art. The holder of the scholarship made their headquarters in Rome under the supervision of the Director of the American Academy at Rome. While overseas, Fred also studied at the Royal Academy of Rome and the Royal Academy of Bavaria in Munich.  While abroad, Fred C. Stahr was also awarded the Prix de Rome, a three-year term studying Italian Masters of Art at the Vatican, where he also completed a Master’s Degree. Stahr eventually taught at Columbia University, as well as assisting at the National Academy of Design.  accepted a In later years, he completed a WPA project for Borough Hall in Staten Island. It was a project that he first proposed in 1904 at the time of construction. Finally in 1936, Stahr painted thirteen murals (6’-6”w x 13’-0”h) on the first floor. His paintings depicted the history of Staten Island from Giovanni Da Verrazano’s discovery in 1524 to the 1907 fire at the Hotel Castleton. Here are two links to his Borough Hall murals: https://www.statenislandusa.com/borough-hall.html and  https://www.statenislandusa.com/uploads/8/9/8/7/89877849/bhall_murals-2_1.pdf

Leo followed in his famous older brother’s footsteps, also beginning his artistic studies at the National Academy of Design, although I have yet to determine when he first started as a student. In 1904, Leo Stahr was listed as a student and prize winner there. On May 15, 1904, “The New York Times” published an article entitled, “Schools of the Academy. Prize Winners and Medaled Boys and Girls at the Exhibition” (page 5). The article reported, “The work of the past season by the pupils of the free art schools of the National Academy of Design is now to be seen in the classrooms on West End Avenue, corner of One Hundred and Ninth Street. The best paintings and crayons from the life classes adorn the walls with an iteration that is somewhat hard on the picture lover, but fills the breasts of proud parents and instructors with joy…The Academy schools adhere to the old way of giving out a subject for the composition class, with the avowed purpose of exhibiting best results and awarding a prize to one of the chosen pictures. The subject this time does not err on the side of modesty; it is the scene of Belshazzar’s feast and the writing on the wall. Out of the competitors eight have had the honor of exhibiting their designs. Last night prizes were awarded, and the First Hallgarten went to Frank Dawson, the second to Leo Stahr.”

Stahr was again recognized for his achievements the following year. His name was included in the list of those receiving prizes and notable mentions. On April, 13, 1905, the “New York Times” reported, “Students of the schools of the National Academy of Design received the annual award of prizes last evening at the rooms of the Architectural League, 215 West Fifty-seventh Street. One of the pleasant features was the distribution of awards” (page 9).

After completing his studies at the National Academy of Design, Stahr studied abroad. On Feb. 1, 1907, he received a certificate from the American Consulate in Munich, noting his travel for the purpose of study.  The expiration date on the certificate was March 24, 1909. However, Stahr returned to New York by 1908, sailing aboard the S. S. Grosser Kurfurst from Cherbourg, France. He arrived in New York on Aug. 11, 1908.

In 1909, Stahr was working still working as an artist.  That year he married Clarissa Holmes Williams (1885-1955) on June 6, 1909, at 717 Washington St. in Hudson, Hoboken, New Jersey. Williams was one of six children born to Robert Francis Williams Sr. (1841-1924) and Elizabeth Jane Merril (1850-1942). United Methodist Church Records list that at the time of their wedding Stahr lived in Newark, New Jersey, and Williams lived in New Brunswick, New Jersey. Hoboken and New Brunswick are approximately 34 miles apart.

Two years later, the Stahrs celebrated the birth of their first child, Leonora Clarissa Stahr on June 18, 1911. Their second daughter, Ida A. Stahr, was born the next year on June 11, 1912.  Little is known of Stahr’s artistic career during this time. However, in 1914 Stahr was mentioned in “The Metal Industry.” In the “Printed Matter” section, there was an announcement that Leo Stahr’s painting, “In the North Woods,” was being included in the George S. Young’s 1914 calendar (page 141). At this time, the young couple had returned to Jackson St. on Staten Island.

The 1915 New York State Census listed the Stahr home at 27 Jackson St. That year the household included Leo (33 yrs.), Clarrisa (30 yrs.), and Ida (3 yrs.).  They were living just a few does down from his mother. In 1915 Clarissa Stahr was 65 years old and her household included Fred C. Stahr (38 yrs.), Marie L. Stahr (29 yrs.), Theodora M. Stahr (28 yrs.) and boarders K. P. and Marie Garrett. Both Fred C. Stahr and Leo A. Stahr were listed as artists in the 1915 census. The Stahr Studio was located at 31 Jackson St.

In 1917, Leo and Clarissa Stahr were still living at 27 Jackson St., just down the street from his mother and brother’s family.  Stahr’s WWI Draft registration card  listed that he was working for Broadway designer, John H. Young. Young’s studio was listed as 536 West 29^th St, in New York City. Stahr’s description at this time was noted as medium height, slender build, brown hair and brown eyes.

On April 7, 1918, the Stahr’s celebrated the birth of their third daughter, Elizabeth Alexandria Stahr. The 1920 US Federal Census listed that the Stahr household on Jackson St. including Leo (36 yrs.), Clarissa (34 yrs.), Leonora (8 yrs.), Ida (7 yrs.) and Elizabeth (1 yr.). It was at this time that Moses mentioned David H. Hunt sending for Stahr. 

Stahr remained in the New York area until after his mother’s death. Ida Anna Stahr lost her battle with pancreatic cancer on June 25, 1923. She was buried at Woodlawn Cemetery. Her passing marked the end of an era and signaled a period of transition for many of her children. Fred remained on Staten Island, continuing the management of the family studio at 31 Jackson St. and teaching art lessons at Columbia University. Fred continued to specialize in mural work , completing dozens of projects in the 1920s.  Leo and his family moved west, settling in Chicago at 2820 Sheridan road.

In Chicago, Leo became the artistic director for Balaban & Katz (B & K). For historical context, the earliest iteration of the B & K firm appeared in Chicago around 1916, established by Barney Balaban, A. J. Balaban, Sam Katz and Morris Katz. Today, B & K is primarily known for their chain of opulent motion picture theaters. However, B & K also produced full-scale musical stage productions for their venues.  Stahr headed their production department. His move to Chicago was a game changer for his career, placing him in the right place at the right time.

The 1920s is an interestingly time in the world of scenic art. As the demand for painted scenery declines, many master scenic artists adopt the title of artistic director. This title marks a period of transition in the live entertainment industry. Art directors are set apart from those whole solely paint scenery.  Prior to WWI, the title of “scenic artist” meant much more than painting; it signified a scenic visionary who thoroughly understood and participation all aspects of the production, including design, engineering, construction, painting and various lighting systems.  Up until WWI, many scenic artists were considered backstage visionaries, with an intimate understanding scenic art, stage machinery and lighting systems.

By 1924 Leo and his family relocated to Chicago. Interestingly, I located a picture of Stahr from 1925, noting his work as an art director. On Jan. 25, 1925, Leo’ Stahr was pictured in the “Chicago Tribune” in a section entitled  “The Inquiring Reporter.” The article posed the question, “What does the annual automobile show pose to you?” asked at the corner of State and Randolph Streets. The question was posed to  stage manager Adolph. W. Dietz, stage manager Grant L. Johnson, organ builder Arthur Nelson, and art director Leo A. Stahr.  The question was posed by Alex M. Tough, 3899 Fullerton Avenue, who received $5.00 for the “Chicago tribune” as his question was accepted for publication. “Leo A, Stahr, 640 Arlington place, art director – The show usually means about $2,000 out of my pockets because when I go down with the crush of fans and see all of the new models for the new year, I nearly always fall for one of them and have to start trading and dickering to buy it.”

In the Dec. 25, 1926, issue of “Exhibitors Herald” Leo Stahr was credited with the design and painting of “The Doll Shop,” “Pirate Days” and “The Waif’s Dream,” all Balaban & Katz shows  under the direction of Will J. Harris. The article reported, “Thirty-five  actors,  including  twenty children,  with  the  Loomis  Twins,  are  to give  “The Doll  Shop”  in  two  scenes,  and many  curtain  specialties  at  the  Uptown. Some  of  the  dolls are  alive,  and  Ray Conklin,  ventriloquist,  will  help  keep  the audience  mystified.  Eighteen singers, including  a male  chorus,  will  give  “Pirate Days.”  All  these  productions,  including the  four-scene  “The  Waif’s  Dream,”  at the  Michigan  in  Detroit,  have  scenes painted  by Leo  Stahr  and  special  costumes and  lighting  effects  by  Vincent Minelli.” Minelli and Stahr worked for B&K at the same time. I was surprised to find mention of Stahr in Emanuel Levy’s book “Vincent Minelli, Hollywood’s Dark Dreamer. Levy wrote, “Minnelli socialized with Leo Stahr, a jolly German who designed sets, and his wife, who invited him for dinner” (page 25). Yes, Vincent is Liza Minelli’s father.

Fred C. Stahr also ventured to Chicago for projects on several occasions. In 1927, Fred was credited with painting decorative panels for the First Annual Scenic Artists Ball in held in Chicago. That same year, Leo Stahr traveled to Havana with his wife Clarrisa and their two daughters Ida (14 yrs.) and Leonora (12 yrs.) The four returned to the United States aboard the Ship Shawnee on Jan. 28, 1928, docking in Miami, Florida.

In 1929, Stahr’s portrait was published in “Variety” Magazine. On Wednesday, Feb. 27, 1929, “Variety” devoted an entire issue to the career of A. J. Balaban, who had retired from business and relocated to Europe (page 20).  A full page plate was included, picturing members of the Balaban & Katz live entertainment production department. Shown as a tree with the banner “In Appreciation to A. J. Balaban. The roots pictured Frank Cambria, Pioneer-Director of Productions; Leo H. Stahr, Art Director on the trunk; and in the branches were: Vincent C. Minnelli, creation of costumes; Arthur L. Kretlow, Kretlow’s Ballet; William Jackson, scenic designer; Herb J. Franksen, electrical technician; Louis R. Lipstone, gen. musical director; Morris S. Silver, general booking manager; and Victor Young, musical arrangements.

The 1930 US Federal Census listed the Stahr family as living at 2335 Commonwealth. This was part of a massive apartment complex building at 2333-2341 Commonwealth Ave. Stahr was listed as an artist in theatre. The Stahr household included: Leo A., Clarrisa W., Leonore, Ida Anne, and Elizabeth. That year, Stahr contracted work with Chicago’s Robert P. Carsen Studio, well-known as “constructors and painters of theatrical scenery.  Business records indicate that for the week of August 15, 1930, Carsen completed scenery for the Oriental Theatre, “as per drawings of Mr. Leo Stahr.”

On Dec. 25, 1931, Chicago’s “The Daily Herald” published an article entitled, “Secret of Exhibition Hall at Southtown Theater Revealed” (page 7). “The secret of the much-heralded Exhibition Hall at the Southern theater is at last revealed. The mezzanine floor lobby in this new Publix-Balaban & Katz theater at 63^rd and Halsted street contained a series of illuminated niches and coves in which an interesting and educational exhibit has been promised.  This lobby has been officially named “The Century of Progress Promenade.” Leopold A. Stahr, chief scenic artist of the Balaban & Katz Corporation is completing a set of models of famous Chicago events, designed like stage settings and using lighting effects for motion. The ambitious setting will be that famous Court of Honor of the old World’s Fair showing the imposing buildings. The great lagoon and states that made it so unforgettable. This display will be set at the head of the main lobby. The other displays included such scenes as the Chicago Fire, Old Fort Dearborn, the Loop in 1865, the corner of 63^rd and Halsted street 30 years ago and the South side steel mills as a symbol of Chicago’s industries” (page 7).

In addition to lobby displays, Stahr continued to be credited as scenic designer for several B & K productions in the 1930s. His work was mention in the October 1935 issue of “Variety” (page 20).  The review of “Villa Venice Revue” by B & K reported, “ “Leo Stahr also rates a bow for his scenic work. Stahr this week uses a single set piece to give an entire and complete stage picture, full of life and color. [Fred] Evans, [Francis] Pallester and Stahr manage to turn out a sustained high level of excellence week after week, despite obvious curtailment of the B&K product budget.” For context, Evans was the dance director and Pallester the costumer for the production.

On Jan. 23, 1937, “Billboard” reviewed another B & K show featuring a stage setting by Stahr. for “Chicago, Chicago” (page 17). The article reported, “Leo Stahr, scenic designer for Balaban & Katz, has furnished a novel idea for the opening number of this week’s show and production department has executed it with nice effect. Show opens with a cloud film projects on a wide screen, behind which is seen a giant air liner with moving propeller. As the lights come up and the scrim is raised, the aeroplane set piece is lowered from the flies and makes a landing on the stage as the illusion is furthered by set pieces of buildings being moved onto the stage. The Evans Girls, attired in summer resort frocks, make their entrances from the plane and go into a neat routine.”

In 1940s, Stahr was still designing for Balaban & Katz theaters. The 1940 US Federal Census listed that Stahr was employed as an art director, living with his wife and mother-in-law at 2820 Sheridan Rd. His 1942 WWII draft card listed his employer as Balaban & Katz Theatres, 175 N. State St., Chicago. He was still living with Clarissa at 2820 Sheridan Road.  Meanwhile, his bother Fred C. Stahr continued to work as an artist in New York, living with his sisters, Theodora and Marie at 31 Jackson St. on Staten Island.

In the 1940s, Stahr also worked for the Chicago Theater. His role as stage manager for the venue was mentioned in an article published in the “Chicago Tribune” on April 14, 1949. In the section, “Front Views & Profiles,”  Lucy Key Miller wrote an article entitled “No Business Like…” It provides an interesting snapshot of the entertainment industry and Stahr’s colleagues.  I am including the article in its entirety, as I found it fascinating.

Miller wrote, “In a theater as tremendous as Chicago, with six performances a day, show business is big business, too, and the tempo is fast and furious. When a show closes Thursday night a new one opens Friday morning, with only one rehearsal – on stage –  at the ghastly hour of 7 a.m.

Six shows for a day is grueling work for anyone, but it took Jack Benny to break all records by adding a seventh when there was still a line at the box office at 1 a.m., Fame for a person like that isn’t earned by an accident; it’s well earned,’ said Nate Platt production director in his office where all Chicago theater shows are born.

It is his job to book acts that will fit in with the movies and to time the whole production. He said that sometimes it is harder to get an actor stricken with applause fever off the stage than one, and he has to be very strict about limiting the acts in order to keep on a schedule.

Once the show is organized, it is put in the hands of Leo Stahr, who has been the Chicago’s stage manager for many years. He likes to talk about the old days when he produced elaborately costumed affairs with scenery, choruses, and music in the pit. “Now it’s just curtains and lighting effects and a bandstand that moves back and forth across stage on a trolled,” he said wistfully. But to the uninitiated, backstage is still a complex maze of rope pulleys, draperies, light switches, and sound control equipment.

In a small basement room, Hoagy Carmichael was rehearsing his numbers for the new show scheduled to open the next day, with a few musicians from Louis Basil’s orchestra. Hoagy made changed in the arrangements of his own tunes as he went along, but the musicians are used to things like that. They repeatedly have to adapt their style and tempi to the vagaries of singers, dancers, and song writers.’ Cheerily they now altered their scores, shifted their beat to the tom-tom rhythms evoked by Hoagy Carmichael’s first ventures into bebop, and produced a fine, pulsing accompaniment to the piano’s melody.

Leo Stahr was there, and Bob Burns, the ‘poet of the P. A. system.’ ‘I was in the navy for five years,’ said the latter, ‘but I couldn’t wait to get back into show business. If everyone else was interested in their work as stage people are, there wouldn’t be any trouble.”

The stage doorman, George Lucas, feels the same way. He started inn show busines sin 1890, before the days of vaudeville, and insists that he has done everything except grand opera. He has been in medicine shows, minstrel shows, variety, vaudeville, and circuses, has worked with magicians and hypnotists, and had his own act, with his wife, brother, and sister-in0law called the Four Lucases. Lucas claims to have met every president since Grover Cleveland.

“Woodrow Wilson was a great vaudeville fan,” he said. “I have a program Wilson autographed from the last show he saw before his death.”

Even when he returned, George Lucas couldn’t stay away from the theater. Now he’s back keeping bobbysoxers out of the entrance and getting the actors on stage for their cues. His call board looks like a railroad time table. But he has rarely any trouble.

“Once a marimba player went to sleep in the wrong dressing room,” he recalled, “and I couldn’t find him at all. Sometimes the actors don’t know I mean NOW when I say so and ae later for their cues. But it doesn’t happen very often.

“I retired when they went from two shows a day to four or more. I was too old to take it. But O like working with show people. We speak the same language” (page 28).

Leo’s older brother, Fred Stahr, passed away in 1946. Fred’s obituary sheds a little more light on the Stahr legacy.  On March 11, 1946, “The New York Times” published, “Frederick C. Stahr, well-known muralist and art instructor, died on Saturday of a heart ailment in his home at 31 Jackson Street, Stapleton, Staten Island., after a brief illness. His age was 68. Born in Manhattan, Mr. Stahr was taken to Staten Island by his parents at the age of 2 and had lived there ever since. He began his study of art at the National Academy of Design, where he won the Lazarus Prize, a four-year continued course in arts at the American Academy of Design in Rome. He also studied at the Royal Academy of Rome and at Munich in 1910-11. He later taught art classes at Columbia University and also taught privately in his home. Mr. Stahr specialized in murals in public buildings. Examples of his work are in the courthouses in Baltimore, Chicago and Boston. Shortly after the first World War he painted the history of Staten Island on the walls of the Borough Hall at St. George, S.I. He was a fellow of the American Academy of Design and the National Academy of Design. He leaves three sisters, the Misses Marie and Theodora Stahr and Mrs. J.A.C. Fitchmueller, and a brother, Leo Stahr, all of Staten Island.” Stahr’s mural commissions included a ceiling mural at the United States Treasury, the “Court Scene” for Newark Court House, the “History of Manhattan: in the Hotel Manhattan, portions of the ceiling at the Metropolitan Opera House and murals in the Ottawa railroad station. The Staten Island Institute of Arts and Sciences has five paintings by: a portrait of Mrs. McClain by Fred C. Stahr in 1952 (given by Mrs. Chester A. McClain). The four other paintings Stahr included a large view of the Parthenon, a large view of the Erechtheum, and two small still life paintings.

Leo Stahr retired as an art director sometime during the early 1950s. However, his retirement was short lived. Both Clarrisa and Leo Stahr passed away in 1955. On Feb. 10, 1955, the “Chicago Tribune” reported, “Mrs. Leo Stahr. Clarrisa Holmes Stahr, 69, of 2820 Sheridan rd., died yesterday in Edgewater hospital. She was the wife of Leo, art director for the Balaban and Katz Theater corporation. Also surviving are three daughters, Mrs. Elizabeth Henke, Mrs. Leonore Bauby, and Ida; a brother, and a sister. Services will be held at 3 p.m. tomorrow in the chapel at 2907 N. Clark St.” (page 30).

Her husband passed away only five months later, on July 30, 1955. On August 1, 1955, the “Chicago Tribune” announced, “ Leo A. Stahr. Services for Leo A. Stahr, 72, of 2820 Sheridan rd., stage art director for Balaban & Katz theaters, who died Saturday, will be held at 3 p.m. today in the chapel at 2907. N. Clark St. He leaves three daughters, Mrs. Lenore Bauby, Mrs. Elizabeth Henke, and Mrs. Ida Curry, and two sisters. A second obituary notice published in the “Chicago Tribune” that day reported, “STAHR – Leo A. Stahr of 2820 Sheridan road, beloved husband of the later Clarrisa, nee Williams; fond father of Leonora, Ida and Elizabeth; brother of Anna and Marie. Resting in funeral home, 2907 N. Clark street, at Surf. Services Monday evening 8 o’clock, Interment Staten Island, NY.”

The August issue of “Motion Picture Exhibitor” simply reported, “Leo  A.  Stahr,  67,  Balaban

and  Katz  art  director  for  many  years  until his  retirement,  died  leaving  three  daughters  and  two  sisters.”

To be continued…