The Visionaries of Tru-Vue: How a Bridge Company Paved the Way for 3D Innovation

The Early Years: A Bridge to the Future

Rock Island, Illinois, on the banks of the mighty Mississippi River, was a place of industrial promise in the early 20th century. The city, steeped in a rich history of bridge building, had witnessed the rise of monumental structures like the first railroad bridge across the river, and the largest roller dam in the world. It was the perfect location for a new venture in the business of steel and iron—a venture that would eventually give birth to Tru-Vue.

The story begins on January 25, 1912, when Mark H. Kanary, the business manager of the Des Moines Bridge & Iron Company, made a bold decision. Believing that the shipping advantages of Rock Island would give his company an edge, he resigned from his position and set his sights on founding a new enterprise in the thriving industrial town.

“I believe the savings realized from the lower shipping costs will give my new company the upper hand over competitors on the west side of the river,” Kanary said, highlighting the strategic advantage of his new location.

On February 7, 1912, Kanary, alongside two business partners—Edward Manhard and Walter C. Murphy—incorporated the Rock Island Bridge & Iron Works (RIBIW) with $30,000 in capital. The company’s mission was clear: to fabricate and erect structural steel, becoming a vital part of Rock Island’s industrial backbone. This business would last 58 years, with a dramatic spinoff in a completely unexpected direction that would influence a generation of 3D enthusiasts.

The Arrival of Walter A. Rosenfield: A Visionary Leader

In 1913, a dynamic figure entered the picture—Captain Walter A. Rosenfield. A former wagon maker, Rosenfield had made his mark in business, having sold his stake in the Moline Wagon Company to Deere & Company. But he wasn’t done yet. Born and raised in Rock Island, Rosenfield had a deep connection to the town, and when he saw the potential of RIBIW, he didn’t hesitate to join.

“ I have always been a booster for Rock Island but I am more so than ever, as I am once and for all a fixture. You can’t get rid of me if you try … I am ready now for any old game that concerns Rock Island from peanuts and baseball to business and politics,” Rosenfield said, committing himself to both the city and the company.

Rosenfield’s entry into RIBIW marked a turning point. By 1914, just one year after joining, Rosenfield was named president of the company, succeeding Kanary, who stepped down after achieving early success. Under Rosenfield’s leadership, RIBIW quickly expanded, doubling its workforce and increasing its capital stock. The company was now preparing to become the largest bridge and structural steel plant west of Chicago.

But it wasn’t just RIBIW’s success that defined Rosenfield. In the same year, Rock Island was embroiled in political unrest and lawlessness. The notorious John Looney terrorized the city, and the crime wave led to martial law being declared in 1912.

Citadel of Sin

Rock Island was no sleepy little town by the river. It had its own mob-style underworld, complete with its own version of Al Capone. If you’re familiar with the movie Road to Perdition, you may remember Paul Newman’s character, the ruthless John Rooney. In real life, his name was John Looney, and during the years Rock Island Bridge & Iron Works was taking off, Looney was terrorizing Rock Island. The organized crime was so rampant, with prostitution, blackmail, gunfights, and bombings, the city was dubbed the "Citadel of Sin."

In fact, in the same year RIBIW opened in 1912, the mayor of Rock Island, upset over a smear piece Looney’s “fake news” paper published about him, gave Looney a severe beatdown—with the police standing by watching. Rioting and murders ensued, and martial law was declared. The National Guard would remain in Rock Island for almost a month, and Looney eventually fled town.

When World War I began, many men from Rock Island, including Rosenfield, left town to serve. Rosenfield, who had already been a captain in the National Guard, took time away from his duties at RIBIW to serve and would eventually rise to the rank of major. With the town’s focus on the war effort, Looney returned in 1917 and resumed his criminal activities. His crime spree continued until 1922, when his son was murdered. Looney left town to avoid conviction for another murder.

Rosenfield played a key role in organizing a citizens’ committee in 1922 to combat the lawlessness and corruption that had terrorized the city. His vigorous efforts were a large factor in his successful race for mayor the following year. Rosenfield, already president of RIBIW since 1914, served as mayor of Rock Island for two terms, from 1923 to 1927. Six years later, Rock Island Bridge & Iron Works would begin producing Tru-Vue stereoscopes.

Rosenfield’s legacy was defined not just by his industrial success but also by his unwavering commitment to his community. His ability to juggle business, politics, and personal challenges would play a vital role in shaping Tru-Vue’s future.

The Birth of Tru-Vue: A Leap into Innovation

Fast forward to the early 1930s. The Great Depression was in full swing, but within RIBIW’s walls, a new opportunity was taking shape. Joshua H. Bennett, a passionate inventor, had spent years developing the concept of a stereoscopic viewer that used motion picture film instead of the traditional cardboard slides. His design, the Tru-Vue, was initially created to showcase the progress of the Mississippi River Dam #15—a monumental engineering feat and a key project located near Rock Island.

Lock and Dam No. 15, completed in 1934, was one of the pivotal structures on the Mississippi River designed to help improve navigation. The project was so significant that it became a focal point for RIBIW’s early Tru-Vue films. The company’s initial "Locks and Dam No. 15" film, showcasing the construction and operation of this critical infrastructure, was a great example of the educational potential the Tru-Vue offered.

Bennett wasn’t the only one experimenting with the use of 35mm filmstrips instead of the typical cards used by the old stereoscopes. In France, the Homeos & Verascope stereoscopes by Jules Richard were already using film. In 1928, Andre Barlatier filed a patent for the filmstrip stereo viewer that would debut in 1929 as the Hollywood Filmoscope, Herman A. de Vry of Chicago was working on the De Vry stereoscope, and the Novelart Manufacturing Co. in New York was working on a filmstrip-based stereoscope called Novelview.

While Bennett’s device was originally used to document and showcase RIBIW’s Dam project, the wider market potential was not lost on Rosenfield. Always an opportunist, he recognized the potential of the Tru-Vue beyond its industrial uses. The Century of Progress World’s Fair would be opening in Chicago on May 27th, and he wanted to be there with Tru-Vue.

Eleven models of the Tru-Vue viewer were designed before finalizing the design that Bennett would file his patent for in June of 1933. Herman de Vry filed his patent for the De Vry viewer in July 1933, just one month later. All 3 stereoscopes that came out at this time — Tru-Vue, De Vry & Novelview — looked very similar. And while De Vry also created a few films of the Century of Progress World’s Fair, Tru-Vue went all out in their advertising. They created Century of Progress-themed viewers that came in special themed mailer boxes and Tru-Vue’s photographers shot many photos covering the fair, including one of its main attractions: Sally Rand. They eventually produced 8 Century of Progress films and 3 Sally Rand films, and as early as September of 1933, they were marketing them to the public.