Patent number 238,500, granted in 1881, marked a shift from cigar factory laborer to industrial innovator for a man who would eventually hold at least 80 patents. This initial success in cigar-making machinery provided the liquid capital necessary to transition into theatrical production, ultimately shaping the landscape of Manhattan’s entertainment district during the early twentieth century.
Early Departure from Prussia
Born in 1848 in Stettin, Kingdom of Prussia, modern-day Szczecin, Poland, he was the son of Abraham and Berthe Hammerstein. His early training included the flute, piano, and violin. Following a disciplinary dispute with his father, he sold his violin to fund a departure from Europe, arriving in New York City in 1864 after a three-month voyage.
Cigar Industry Innovation
His initial employment at a Pearl Street factory led to the founding of the United States Tobacco Journal. He developed specialized machinery, most notably a method for using air suction to secure tobacco wrappers, patented on 1 August 1882. These mechanical improvements, which he continued to refine even after his death, provided the substantial financial backing for his subsequent theater projects.
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He entered real estate and theater management in 1889 with the Harlem Opera House. His ambition included the Olympia Theatre, which opened in 1895 and helped transform Longacre Square into what is now Times Square. Despite recurring financial volatility and a bankruptcy in 1898, he continuously developed new venues, including the Victoria Theatre, the Theatre Republic, and the Lew Fields Theatre.
Opera Rivalries
In 1906, he challenged the Metropolitan Opera by opening the second Manhattan Opera House, followed by the Philadelphia Opera House in 1908. He introduced American audiences to works such as Elektra and Salome, attracting performers like Nellie Melba. Financial pressure led to a 1.2 million dollar settlement with the Metropolitan, stipulating he would exit grand opera production in the United States for a decade.
Final Ventures
The settlement funds enabled his expansion into the London market with the construction of the London Opera House. Throughout his career, he functioned as an entrepreneur, songwriter, and composer, penning the 1896 comic opera Santa Maria and the 1903 musical Punch, Judy & Co. He died in Manhattan in 1919 and was buried at Woodlawn Cemetery.
Fast facts
- Born: 1848, Szczecin
- Died: 1919, Manhattan
- Primary Occupation: Theatrical producer, inventor
- Key Patent: 238,500 (cigar-making machine)
- Burial Site: Woodlawn Cemetery
- Citizenship: United States and Kingdom of Prussia
Questions readers ask
How did he fund his theater career?
He used the wealth generated from his 80 tobacco-related patents and the industrialization of cigar manufacturing.
Why did he leave the American opera market?
He accepted a 1.2 million dollar payment from the Metropolitan Opera in exchange for an agreement to cease producing grand opera in the United States for ten years.
Achievements
- Holdings: Manhattan Center
