Month: November 2017

In 1892, Moses recorded that he found some work with Will F. Hamilton. They were making models and scenery for a production of Ben-Hur. Moses would eventually leave the Sosman & Landis studio, forming a partnership with Hamilton, then moving to New York in 1900. About “Ben-Hur” Moses wrote, “I enjoyed this work – very interesting. This was before the story was dramatized. It was to be done as a tableaux and pantomime.”

“Ben-Hur” in Dramatic Tableaux and Pantomime was arranged by Lew Wallace for Messrs. Clark & Cox and based on the author’s “Ben-Hur: A Tale of the Christ” (1880, Harper & Brothers). In an attempt to make his popular novel even more profitable, Wallace licensed his literary property to business managers and formed a tableau company for the purpose of presenting an adaptation of the novel for commercial purposes. This created a significant new and authorized market for the phenomenon. The author insisted on maintaining control and this is what differentiated this endeavor from previous ones of publications such as “The Last Days of Pompeii,” “Alice’s Adventures in Wonderland,” “Uncle Tom’s Cabin” and “20,000 Leagues Under the Sea.” This was also on a much grander scale than previous tableaux popularized throughout the 1880s. In many ways, Wallace’s endeavor was unprecedented for a licensed literary property in the 1890s and was not terminated even after the appearance of Klaw & Erlanger’s production of “Ben-Hur” that opened at the Broadway Theatre on November 29, 1899. For the Broadway opening, Wallace was the special guest of honor. Interestingly, the Broadway production was designed by Moses’ long-time friend Ernest Albert (see past installment #137 that includes images from the souvenir program).

Here is the division of scenes for “Ben-Hur in Dramatic Tableaux and Pantomime” in its entirety:

Act I

Scene 1 – Meeting of the Three Wise Men

Scene II – Joseph and Mary at the Joppa Gate

Scene III – The Three Wise Men at the Damascus Gate

Scene IV – The Three in the Palace before Herod

Scene V – Ben-Hur and Messala in the Garden

Scene VI – Street in Jerusalem

Scene VII – Deck of a Roman Trireme. Arrius and Ben-Hur in Conversation

Scene VIII – Entrance Gate of the Grove of Daphne

Scene IX – The Fountain of Castalia

Scene X – The Orchard of Palms

Scene XI – Door of Ilderim’s Tent

Scene XII – Same Interior of Tent

Scene XIII – Iras and Ben-Hur on the Lake at the Orchard of Palms

Scene XIV – Interior of Simonide’s House

Scene XV – Saloon in the Palace on the Island

End of Act – The Chariot Race

Tableaux – The Chariot Race

Act II

Scene I – A Splendid Atrium in a Roman Place

Scene II – Desolate Home of the Hurs. The Gates of the South Side. Bright Moonlight

Scene III – The Well En-Rogel

Scene IV – The Road-side between Bethany and Jerusalem east of Mount Olivet

Scene V – On the Roof of the Restored Palace of the Hurs

Scene VI – In a Summer House on the Roof

Scene VII – The Shadow of the Cross

Scene VII I– Chamber in the Villa by Misenum

End of the Second Act

Transformation, Iras Story of the Nile

Scene 1 – Iras relating the story

Scene 2 – The Nile – Sphynx – Pyramids

Scene 3 – Opening of the Lotus Flower

Scene 4 – The Temples of Egypt

Scene 5 – The Priestesses of Isis and Osiris

In the January 4, 1893 issue of the “Wichita Daily Beacon” (page 4), the Amusements section reported on the production of “Ben Hur,” under the management of Messrs. Clark & Cox, “who have won remarkable success in the larger cities of the east.” The article noted “’Ben Hur’ is presented in the form of a spectacular pantomime, beautiful, impressive, refined, sanctioned and approved by Gen. Lew Wallace, author of Ben Hur. A special car load of scenery, painted by Chicago artist, Thomas G. Moses, representing historic scenes in Jerusalem and the Holy Land, will be brought to Wichita.” The article went on to describe that there were “twenty-two scenes of surpassing beauty” and that 150 people took part in the living tableaux.

On May 10, 1896, “The Nashville American” published and article “Scenes of the Orient” that described the scenery painted by Moses for the Ben-Hur production (Part 2, Vol. XX, No. 7123, pages 9 to 16). The Woman’s Board of Tennessee Centennial were preparing for the production of the “grand spectacular, Ben Hur at the Vendome beginning the week of May 18.“

The article noted, “The scenery used is from the brush of the celebrated scenic artist Thomas G. Moses, of the Schiller Theatre, Chicago, and the subject of the play itself offers for spectacular effects the best opportunity of any amateur production ever had in Nashville. Rapidly shifting scenes will pass before the eyes of those who have taken delight in reading Gen. Lew Wallace’s incomparable tale of Ben Hur.

The play will begin in the lonely desert where the Magi meet, Joseph and Mary will appear at the Joppa Gate, and the Wise Men will arrive at the Damascus Gate in search of him who is to be born King of the Jews. The appearance of these men before Herod and all the Bible story will be vividly presented. The scenes will again shift, and Ben Hur will be introduced in all the beauty and strength of his youth. The succeeding scenes will carry him through the thrilling experiences of the tale, from the home of happy companionship to the sad position of a galley slave.

The famous chariot race will be introduced, and this part is almost unexcelled in scenic pantomime. The reuniting of the separating families will be shown, ending with the dramatic farewell to Iras. The production will close with a beautiful transformation scene, Iras’ Dream of the Nile. In this closing view is represented $10,000 worth of scenery and costumes, and, taken together with the many pretty faces of Nashville’s society girls, it will be the most gorgeous spectacle to gaze upon.”

Even in 1899, the same year that Klaw “Erlanger’s Braodway production opened, Moses’ contribution was still noted in newspaper publications as the production continued to tour. The “Harrisburg Star-Independent (Feb 10, 1899, page 2) published “Thomas G. Moses of Chicago, an artist of national repute, with two assistants, worked for a whole year on the scenery employed in the production, which is conceded to be the finest of its kind ever shown in America.”

Well, it might have taken Moses a whole year to finish the scenery as he was juggling numerous projects throughout the duration of the year, but this was not his sole focus during his employment in 1892.

To be continued…

As mentioned in yesterday’s post, Thomas G. Moses led a group of artists to create scenery for a “domestic comedy drama” – “A Flag of Truce.” His team included men who would later become well-known fine artists – Harry A. Vincent, A. J. Rupert, and Frank Peyraud. In addition to these three, there were a number of scenic assistants and young paint boys who worked on the project. The production of scenery for “A Flag of Truce” was completed during December 1892. The show immediately toured the country and ended up at the Fourteenth Street Theatre in New York. Located at 107 West 14^th Street, this venue was previously known as Haverly’s Theatre.

The original script for the production is available at the University of Chicago’s Charles Morton Agency Collection of American Popular Drama 1842-1950 (box 35, folder 2). William Haworth (1860-1920) was the younger brother to the actor Joe Haworth. Money earned from Joe’s success on the stage enabled William to complete school and attend Annapolis as a naval cadet. However, a life on the stage also appealed to the younger Haworth. In 1882, John McCullough provided William with his first professional opportunity to perform on the stage. Four years later, William was acting at the Union Square theatre. By this point, he had the support of Helena Modjeska.

William soon tried his hand as a playwright and penned the play, “Ferncliff.” Set in Providence, Rhode Island during the Civil War, it opened at the Union Square Theatre in 1889.

While “Ferncliff” was playing at the Union Square, his brother Joseph was performing in Steel MacKaye’s “Paul Kauvar” at the Grand Opera House. This was also at the same time twhen Bronson Howard’s “Shenandoah” was a very popular production. However, it was unlike “Shenandoah” as it lacked the spectacular reenactments of battles. “Ferncliff” was more of a domestic drama with comic elements instead of grand battle scenes. Haworth wrote another play a few years later, “The Ensign.” Again, the setting was during the Civil War with two acts transpiring in Cuba. Interestingly, in this production Abraham Lincoln makes a cameo appearance.

“The Ensign” plot set was set in Havana and involved the ploy of two British officers provoking Capt. Charles Wilkes into a quarrel to delay his interception of the “Trent.” Based partially on factual events from 1861, Capt. Wilkes seized two Confederate emissaries to the British government on the vessel “Trent” while on the sea. The incident nearly caused Britain to declare war on the North. In the play, Wilkes eventually escapes the firing squad by the personal intervention of President Lincoln. The production was reported to be an exceptional spectacle. “The Ensign” opened during September 1892 and William’s naval background from studies at Annapolis provided a realistic depiction of military life. The producer Jacob Litt even hired six men who had served on Charles Wilkes’ frigate. Although, Haworth did not act in this production, it skyrocketed him to fame.

Haworth soon reworked “Ferncliff” to became a companion piece to “The Ensign” and a new production was formed “A Flag of Truce.” Moses toured with this production as it appeared in the initial venues. It now included a thrilling rescue in a quarry that involved a real derrick onstage. Moses wrote, “I did a stone quarry set – a very effective scene.” The scene as listed in some playbills notes that the act included “quarrymen, blasters, stone cutters, etc.” The program description from the Fourteenth Street Theatre in New York stated, “The Giant Steam Drills used in “A Flag of Truce” are from the celebrated Rand Rock Drill Co., 23 Park Place, New York.”

I want to pause here and comment on the shared material culture between the Fraternity and commercial theatre. In the Ancient & Accepted Scottish Rite, there is also a quarry scene. In this setting, the two of the assassins of the chief architect (Hiram) of King Solomon’s Temple are concealed as quarry workers. They are apprehended amongst the derricks that lifted the massive stones from the pit of a quarry.

Moses traveled with “A Flag of Truce” to Plainfield, New Jersey, where the production opened at the end of December. He wrote, “I arrived there after 12:00 o’clock A.M. Went to a hotel near the depot – door was open. I waited for some time and no one showed up, so I rang the bell for a porter. The office was dimly lighted. I was knocked out when I saw something rise from the back of the desk – it was a Negro porter wrapped in a sheet lying on a cot. No room – had to go some distance to another hotel, where I had a fine room. The show was a hit. Second night in Trenton, then home again.”

To be continued…

Early in December of 1892 Moses worked on “A Flag of Truce’” for William Haworth. His paint crew included Harry A. Vincent, A. J Rupert, Frank Peyraud, a number of assistants and some paint boys. Moses wrote, “I did a stone quarry set – a very effective scene. Vincent did a big foliage act.” He was speaking of the artist who would later be nationally recognized for his marine paintings – Harry Aiken Vincent.

Vincent appears in various articles and manuscripts, including one where Edward Fournier recalls Vincent as one of his old “pot boys.” On a side note, “pot boy” was another name given to the young workers who kept the “color pots” on the palette full.

Harry A. Vincent was born in Chicago on February 14, 1864. He began working for Moses as a scenic artist in Chicago, but moved to New York by 1896, where he would continue as a scenic artist for Moses, as well as Gates and Morange. Moses wrote that Vincent “went East where he made a hit.” In 1901 Moses left the Sosman & Landis studio, also heading east. When he was living and working in New York, he went on sketching trips with John H. Young and Harry Vincent. He wrote that they two artists joined him quite often as they all lived near a picturesque spot. Their favorite places at the time were Seton Falls and Glen Island.

In his later years, Moses would reflect on Vincent and others who had attained fame in the fine art world. These friendships that formed in the scenic studio would continue throughout his life. In 1922 Moses wrote “In 1893 Harry A Vincent applied to me for a position. I tried to convince him that he was foolish to break into a business that had a future only in hard work. He succeeded and has become one of the cleverest landscape painters in America…Many of his pictures are being reproduced and selling well. He is now in Italy on a sketching trip.”

Although Vincent was primarily self taught, he gained recognition in the fine art world and later taught art classes at a variety of institutions, including the National Academy of Design in New York, the Chicago Art Institute, the Carnegie Institute and the Academy of Fine Arts in Pittsburg.

On the East Coast, he continued to create many fine art pieces. Soon, he was painting and exhibiting throughout the New England area, gaining a strong reputation for his seascapes. He was noted for his heavy use of pigment and colorful compositions. Vincent was one of the artists who made up the Rockport School. Becoming the first president of the Rockport Art Association in 1921, he also served as a charter member of the North Shore Art Association. One of his favorite subjects was the old Lobster House in Rockport. This subject inspired about fifty paintings, one of which (“Rockport Harbor”) hung in the Butler Art Institute in Youngstown, Ohio. Vincent was also a member of the Allied Artists of America and the NY Watercolor Club.

He received a variety of awards from the Salmagundi Club of New York – the Shaw Prize (1907), Isador Prize (1916) Turnbill prize (1918). In 1919, he was elected an associate of the National Academy of Design. He was also an expert in making ship models. Vincent was married twice, the second time to Mildred Dietz in 1916. His final residence was in Rockport until his passing at the age of 67years old in 1931.

Recently, twenty sketchbooks and a portfolio of loose drawings sold for $12,300 at https://www.skinnerinc.com/auctions/2818T/lots/1167 Several of the sketchbooks in the lots were inscribed “H.A. Vincent,” with two inscribed “P. Cornoyer.” The auction lot included pencil and charcoal sketches of various sizes, as well as three books belonging to Vincent – The Whistler Book, Dante’s Inferno by Gustave Dore, and A History of Architecture. One of Vincent’s sketchbooks was a record with thumbnail sketches of various works and notes regarding their sale at galleries. I wonder if there were any scene designs included within his sketchbooks. Regardless, I am grateful for the digital age and the many examples of his sketching techniques posted online.

For more information about the work of Vincent, there is a catalogue that was released in conjunction with the art exhibit “Harry A. Vincent & His Contemporaries in a Retrospective Exhibition in 2006.” The publication is by Judith A. Curtis. Here is the link rtartassn.org/product/harry-vincent-n-contemporaries-judith-curtis-hardcover/ on Harry A. Vincent

To be continued…

On October 9, 1892, Thomas G. Moses traveled to Pittsburg, Pennsylvania. Sosman & Landis were contracted by Charles Davis to produce the scenery for a big production of “Alvin Joslyn” (sometimes spelled Joslin).

Moses and Loitz had spent the previous fall in Pittsburg when they furnished all of the scenery for the Alvin Theatre on Sixth Street. Moses was returning to produce the scenery for a specific production of Alvin Joslyn. As discussed in installment #240, the Alvin Theatre was owned by actor Charles Davis who originated the rural farmer character. He made his fortune playing the character and traveling throughout the country, finally building a theatre in Pittsburg during 1889. For this particular project, Moses was on site by himself as Ed Loitz remained to supervise other projects in Sosman & Landis the annex studio.

Moses described his adventures at the Alvin Theatre during the fall of 1892. He wrote, “If I ever made a hit, I did it here. One drop, a scene laid in the Jewish quarters of New York City, was a clothing store. It was a night scene. Mr. Morris Moses, a Hebrew and newspaper man, a friend of Mr. Davis’, often came to the [paint] bridge and suggested some lettering for the signs on this drop. I did them. After the opening, several men asked Mr. Davis who his scenic artist was and he told them “Moses.” They knew he must have been a Jew by the Yiddish on the signs. Thanks to Morris Moses. I never told Davis who suggested the signs.”

In 1900 Davis died at the age of fifty-two years. He had been sick for several weeks with peritonitis and paralysis of the throat. Born to a theatre family, Davis went on the stage at the age of five, and was in the show business continuously from that time until 1889, when he retired and built the Alvin Theater at a cost of $225,000. His enterprise became too much of a financial burden, and in its second season the Fort Pitt Bank took charge of the house, with the understanding that when the $170,000 indebtedness was cleared its owner should resume charge. At the time of his death, all claims had all been met, with the exception of about $20,000. Davis was expected to retain sole ownership by the next season. His obituary published that he had no surviving relatives.

After Davis’ death, it was discovered that he had willed his entire estate, consisting of the Alvin Theatre and other property valued at over $200,000 to “a woman related to him by no other ties that those of friendship.”

The newspapers reported that Charles L. Davis had left a multiplicity of wills. One was left in the custody of Attorney S. A. Johnson that designated Mrs. Simpson (Margaret Schriver) as heir to a large portion of the actor’s estate, but several others came to light. It was generally believed that the will was made before the marriage of Schriver, but an investigation proved that to be untrue and the will was made five months and five days AFTER she married Edwin F. Simpson, dated April 5, 1896. The marriage license was from October 30, 1895, and at the time Schriver was twenty-two years old and living in Allegheny.

Enter Catherine Davis, also known as Kittle Huddleson, alleged wife of Davis. Charles L. Schultz, former ticket taker at the Alvin Theare. Davis left Schultz $300 in the Schriver will and says that another will was made later with Kittle Huddleston. Huddleston, after learning of the Schriver will, filed suit contesting the will. Mr. Davis boarded with Miss Kittle Huddleston and her mother at the time of his death. It was claimed that Huddleston also had the bill of sale for some of the personal property, consisting of diamonds and jewels.

Huddleston filed suit to get possession of the Alvin Theatre in the Kittle Huddleston against Nixon and Zimmerman the same year of Davis’ death. The stumbling block for Huddleston was her inability to furnish a birth certificate. Born in 1871, the city only had records back to 1875. Although she had proof of her parents’ marriage and baptism certificate from St. Vincent’s Church, the lack of an official birth certificate was a problem. On June 5, the suit of Catherine Davis, better known as Kittle Huddleston against Nixon & Zimmerman, proprietors of the Alvin Theater, for a share of the Davis estate, was thrown out of court. The ruling was that the suit should properly have been brought in the Orphan’s court. The papers reported that Huddleston would carry the case to the Supreme Court, but the story seems to have ended there.

And then there was the long-lost relative -Charles H. Davis of Baltimore, whose wife claims to be the only living relative (niece) of Mr. Davis. Two wills and one long-lost relative, all seeking claim to the Davis estate.

However, there was one more scandal surrounding the Davis estate – hidden treasure. On March 11, 1900, the Pittsburg Press reported, “[Huddleston] was not aware of the whereabouts of Mr. Davis’ jewels.” The article continued, “The husband of Mrs. Simpson, it is said, will come to Pittsburgh to look after her interests and will engage counsel for the purpose. Attorney Johnson does not believe there was a later will than the one filed. He added: ‘While I have not yet seen the diamonds owned by Mr. Davis, I believe I know where they are. I advised him once to rent a box in some safe deposit vault and place his jewels in it, and I am satisfied that I can find this box. I propose to make a search of every safe deposit vault in the city, and I think I will be successful.’ No person has seen the diamonds and the real hiding place is still a mystery.

Davis’ life and passing could have been produced as a play, one that surpassed performed at the Alvin Theatre.

To be continued…

 Thomas G. Moses and Ed Loitz traveled to Stockton, California, on June 23, 1892. Moses wrote, “The weather was immense. Even when we were passing through the Humboldt Desert.” They went through San Francisco and visited “the boys.” They then continued onto Stockton by steamer, nearly missing it as they went to the wrong dock. Moses recalled that the boat had to “crawl through the rushes as there was no good channel.” In Stockton they met with Harrington who had been “hustling” to complete the painting framework for the drops. Sosman and Landis had contracted to paint an act for “Lost Paradise.”

Moses did the drop curtain first, and the principle scenes, so he wouldn’t have to hustle at the opening. He wrote, “I got a good color scheme for the curtains. I met a number of old Sterling people who were in business here.” Within a month they completed the project and headed home on July 25, arriving in Chicago on August 1, 1892.

Theatre arrived to Stockton, California in the 1850. The first theatrical performances in Stockton were given in the assembly room of the Stockton house at El Dorado and Channel Streets. Known as the Stockton House Theatre this space was converted into a makeshift theatre for entertainment. This was a large building constructed at an expense of $100,000. The venue only lasted three years.

In 1853, Emiele Hestress, a Frenchman, also renovated a portion of his own brick building to include a 700-seat theatre. His space was on the corner of Main Street and El Dorado. He also had a stock company – the George Ryer Company. His venue opened with the productions “The Lady of Lyons” and “Pretty Sadly.” The opening engagement lasted for two month time and was followed by such famous acts as Laura Keane, Helena Modjeska, Lotta Crabtree, George Marion, James O’Neil, John McCullough, Lawrence Barrett, Clara Morris and other well-known starts. This theatre only lasted until 1890 when it was destroyed by fire on the evening of July 4. By 1883, the Avon Theatre opened with “Hazel Kirke” and the following decade the Yo Semite Theatre opened.

The Yo Semite Theatre was dedicated on July 12, 1892 with the production of “Lost Paradise,” starring Maud Adams as Little Nell. This was the show Moses was in town to paint. The Yo Semite theatre was located on 22 North San Joaquin in Stockton as a complex with theater and offices. In addition to offices, it housed the Yo Semite Club from 1892 until 1908. The building was designed by the architectural firm of Weeks and Day (William Penn Day and William Henry Weeks). The theatre was on the ground floor with a seating capacity of 1,350. The illumination of the auditorium and stage was alternated between gas and electricity. The proscenium measured 36 feet wide by 40 feet high with a distance of 40 feet from the footlights to the back wall. There was three feet between the footlights and the front curtain. The height to the fly galleries was 28 feet with the height to the rigging loft measuring 60 feet. The depth under the stage was 10 feet and accommodated three traps.

The venue was closed in 1920 and was later converted into a movie house called the Fox State with a new entrance on Main Street. In 1955 it became the “new” Esquire Theatre. It survived until 1971 when it was razed for a parking lot.

To be continued…

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). I posted the article in its entirety over six installments (# 245 to 250). It provided a list of well-respected scenic artists, especially those in Chicago.

I want to pause for a moment to reflect on the significance of a painted scenery collection produced by one of the scenic artists mentioned in this article. Thomas G. Moses designed and painted an entire collection for the Ancient & Accepted Scottish Rite of Freemasonry in Fort Scott, Kansas, during 1924. It survived in its original venue until 2015! This is pretty remarkable, especially in light of his being recognized as one of the top scenic artists in the United States already in 1892. When Moses painted the Fort Scott scenery he was sixty-eight years old.

By the 1920s, most large scenery collections were the products of several unidentified artists, painted in a studio and shipped to a theater for installation. This makes the Fort Scott collection a unique example of a studio artist painting a large collection by himself on site. Furthermore, Moses’ 1924 paintings hung undisturbed in their original installation order for 91 years. This is also unusual as many scenery collections were added to over time or rearranged by enthusiastic stage crews.

In addition, the scenic artist’s personal effects were found on site in 2015. Specifically, the painter sweater, cap, brush, charcoal and other artifacts were discovered during the removal and transportation of the entire collection in 2015. This collection was purchased for eventual display at the Minnesota Masonic Heritage Center. Earlier that year, I had evaluated the scenery, planned the removal and transportation of the collection, and identified key individuals for my restoration crew. As Curatorial Director for the Minnesota Masonic Heritage Center, I was returning from Fort Scott to restore and supervise the installation of the scenery collection. It was to be unveiled to the public at the grand opening on June 24, 2017.

In the end, my position was eliminated and the restoration of this culturally significant artifact was handed over to a company who had no experience in handling or restoring historical theater scenery. Critical information contained on the wooden sandwich battens was lost when they were abandoned for pipe pockets and jute webbing. The fabric was irreparably damaged when hot melt glue was used to attach 1” opera netting to the cut drops and leg drops.  Furthermore, some leg drops were cut in half and overlapped during installation. This destroyed the historical significance of a 1924 leg drop.

It was this wanton destruction of culturally significant artifacts that became a tipping point for me last year. I started with a public forum to raise awareness concerning the significance of historical scenery during the fall of 2016. Its purpose was not only to highlight this particular collection, but also to highlight the work of theatre artists and technicians whose work remains in historic performance venues. If people understand and appreciate historic stages, they might believe that it is important to preserve them for their children and grandchildren. That is my own mission statement. I am passionate about the preservation of both theatre history and Masonic history for future generations to examine and enjoy. It is time for me to take the next step – stay tuned.

To be continued…

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41).  Here is the continuation of that article started in installment #245.

“The cost of painting scenery is usually exaggerated in the play-bills, nevertheless it is a heavy expense. Manager Henderson estimated the actual cost of scenery in the various burlesque productions at the Chicago Opera House as follows: “Arabian Nights,” $14,000; “Crystal Slipper,” $20,000; “Sinbad,” $20,000.  In the last burlesque, “Ali Baba” the cost must have been heavier.  The gold foil alone cost $800.  One of the heaviest scenes ever set on the local stage was the rainbow palace in Duff’s production of “The Queen’s Mate.”  This was largely due to the labyrinth of circular stairways that honeycombed the stage.

As for the cost of interiors, the second act of “Diplomacy,” presented last summer at the Columbia Theater, including furniture, made a bill of $2,600.  The scenery for “The Ensign” cost over $10,000, and another earlier melodrama, “The Soudan,” represented over $12,000.  Perhaps the finest series of classical stagings ever given Shakespearean productions in this country were furnished by Edwin Booth for the theatre bearing his name in New York.  Probably the most expensive spectacle ever put on was “Jalma,” and the most expensive scenic production was that of “Saranapalus” at Booth’s Theater, New York, 1876.  Few stages in the world ever had the curtain rise upon such wealth of scenery as that of our Auditorium.  It had complete sets of scenes for forty standard operas, the equipment costing $50,000.  All of the uncut drops weigh at least 300 pounds, are sixty-eight feet wide and thirty-eight feet high.  The “horizon” that surrounds the stage is the largest piece of theatrical canvas in the world, being 300 feet in length and fifty-six in height.

Expense of scenic productions in the country is comparatively slight when contrasted with notable ones abroad.  The cost of Boucicault’s “Balil and Bijou” at the Theatre Royal, Covent Garden, in 1867, was over $60,000.  Blanchard’s “Puss in Boots,” at the same house two years later was equally expensive.  “Excelsior,” when produced in Paris ten years ago, made an expensive bill that would have terrified our pioneers in spectacle who put on such large figures on the bills for the original “Black Crook” and “White Fawn.” Twelve years ago the paint bridge of Covent Garden was at times simultaneously occupied by Hawes Cravens, the Cuthberths, the Telbins, Matt Morgan, Graves, Hicks, Dangerfield, and oters at work on the mammoth drops, 50×75 feet.  It is said that William Telbin, the favorite artist of Henry Irving, spends six weeks painting a small front cloth. 

Little wonder that the productions under those conditions have so much genuine artistic merit and historic accuracy.”

To be continued…

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). Here is the continuation of that article started in installment #245.

“H. J. Buhler is another artist whose interiors are excellent examples of careful drawing, in which projection and shadow are most skillfully handled. Still other rising lights in this circle are John Young and F. E. Gates. The latter averages two drop-curtains every week. He is a rapid worker and has been known to complete a curtain with forty-eight figures in three days. Such rushing gives small chance for detail. The latest addition to the scenic fold is Deneth [Oliver] Grover, formerly an instructor in the Art Institute and winner of the Yerkes prize in the last exhibition. Grover has no rivals in drawing the human figure and his work promises to make artistic sensation.

Fred Dangerfield, a new comer, has been talked of considerably, and his work as the artist at the Chicago Opera House burlesques the last two seasons variously estimated. Thanks to Martin Kruger, he has one of the best lighted stages in America, and light gives wonderful witchery to scenery. It would be interesting to know just how much of “Ali Baba” was painted by Dangerfield, and how much by Gates, Williams, and Burky, who are concealed in that vague word “assistants.”

Manager James Hutton of Havlin’s is the only person holding a similar position in this city who can paint scenery. He has painted the drop curtains for all of the Havlin theaters and is one of the best judges of this class of work in the city.”

Looking at the artists above, I was very familiar with John H. Young’s work.He worked and went on sketching trips with Thomas G. Moses during the 1880s. Later, he found success as a Broadway designer (see past installments # 131, 140, 171-3, 181, 184, 186, 189, 192-3, 195-8, 202, 203, 205-11, and 215-16.) F. E. Gates was also a well-known persona. Like many, he would branch into other areas of painting and interior decoration. Gates came from a family of theatrical managers, musician, and actors and eventually partnered with E. A. Morange to form the studio Gates & Morange (see past installments #149, 171, and 189-91). Gates would also win the Medal of Honor as a painter in 1918 during the Architectural League of New York Exhibition, held in the Vanderbilt Gallery. This exhibition was unique, the idea of an architectural exhibition in collaboration with the building crafts.

In “Real Estate Records and Builders Guide, Vol. 101,” the article covering this exhibition noted, “It may seem as though the scenic effect had been deliberately made to dominate over the more serious and ‘architectural’ quality of the exhibition. However, by looking beneath the surface, it will be noted that the exhibition represents the spirit of the times. We do not live with Greek simplicity. We are avid in our eagerness for progress.”

Many of these scenic artists became established and were recognized for work outside of the theatre. Whether fine art, interior design, or another visual entertainment, they continued to seek other artistic avenues. The impression that I am often left with after examining a late-nineteenth-century scenic artist’s career is their penchant for artistic growth. These men continually sought training in the arts, whether drawing or painting, and applied this knowledge to every upcoming project. So when I think about the article’s description of Moses as one “who has small opportunity to exercise his creative faculty,” there is an overwhelming sense of lost opportunities. I can’t help but feel sorry for him and share in his turmoil. He is too busy to really take time for sketching trips in 1892, such as those to Colorado and West Virginia a decade earlier. His primary travel is for the studio. It transports him all across the country, but his work continues at a manic pace. The long sketching trips with fellow artists are becoming less frequent. He might only get away for a day or so on location.

The Sosman & Landis studio is heading toward becoming a scenic factory; one that mass-produces stock scenery and drop curtains. This will remain true until the end, especially with Scottish Rite scenery entering the picture.

Even Moses’ speed is now overshadowed by potential attributed to the younger generation. F. E. Gates who is noted as averaging two drop curtains per week is heralded with completing a drop curtain with forty-eight figures in three days. In 1881, Moses had recorded, “The others were able to draw more, because they were better in the artistic end, but I had it over them when it came to speed.” He was losing his edge and others were already passing him by. In 1892 he was only thirty-six years old.

To be continued…

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). Here is the continuation of that article started in installment #245.

“Chicago has every reason to feel proud of her scenic coterie. Out of its hundred or more members but a few can be briefly noticed. There are memories of poor Minard Lewis, an artist essentially English in feeling, some of whose “drops” are still preserved in the Grand Opera House; Lewis [Louis] Malmsha, whose finished work graced the old McVicker stage; John Mazzanovitch, whose witchery in waters with reflected foliage and charm of middle distance in exteriors was also associated with this house. All of these are dead. Richard Halley, at present winning laurels as a painter in Europe, was the scenic artist for Kelly and Leon in the halcyon days of minstrelsy and painted marbles in distemper almost as well as Kilpatrick does them at present in oil. David Strong, “Old Trusty,” still at work in this city, is the only survivor of the good old Dusseldorf school. Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays.

Ernest Albert is undoubtedly the best student in architectural work in this country. Everything that his deft hand touches is full of authority and rich in color. That he is also an idealist has been demonstrated by his spectacular creations, the first at the Chicago Opera-House and Auditorium. In interior decoration, tapestries, etc., he has few equals, and follows the same medium in distemper as the aquarelists. One of the great giants of the scenic world was William Voegtlin, the greatest deceiver of transformation effects that ever walked the paint bridge. He had a style peculiarly his own and seemed to incorporate the stunning effects of all schools, but was not without artistic weakness and peculiarities. In some respects his drawing had the weakness of Morgan, but his color was wonderfully vivid, and he was a grand master with foil. In this latter respect he was only rivaled by Thomas Noxon of St. Louis, a remarkable artist in spectacle. Voegtlin often ate and slept on the paint frame for weeks at a time during the rush of a great production. Then followed a period of dissipation, when his painting was very “red.”

Walter Burridge is the best foliage painter in this country, and is in all respects as an artist of out door nature the equal of Richard Beverly, who holds the palm for the line of work in England. The leaves of his foliage appear to be agitated, and his atmospheric feeling is remarkable.

Thomas G. Moses is an artist of solid merit who does an immense amount of work, but who has small opportunity to exercise his creative faculty.”

This list of scenic artists presented in the article continues tomorrow, but I want to pause here about the entry concerning Thomas G. Moses. He would soon leave the Sosman & Landis studio again – this time for New York. I have to wonder if the article was a turning point for him. The description of Moses as a scenic artist “who has small opportunity to exercise his creative faculty” must have been quite a blown. There is nothing like reading a statement that basically says, “unable to achieve his full potential.” Moses’ creative wings were clipped by studio work. I think that this one sentence spoke to a much larger issue at hand and I doubt that Moses was ever really happy at the studio, even after he became the company’s president. He saw the money that could be made and how little profit he received in the end, especially after all of his hard work, “hustling,” and extended absences from his family.

Then there is the aspect of personal artistry and public acknowledgement of your work by colleagues. The article negates his overall contribution to scenic design and art for the stage in 1892. When you look at some the exciting theatrical effects being produced for the stage by close friends and past co-workers, it must have been frustrating. He was now reduced to standing on the sidelines. Were Sosman & Landis primarily seeking profit through numbers? The article mentioned 1300 jobs in a decade. In 1892, Moses’ life and work at the Sosman & Landis studio appears to have been reduced to primarily painting stock scenery and drop curtains. He had a steady salary, but knew that there were much more exciting projects out there.

To be continued…

For past installments on the scenic artists mentioned above, see: Ernest Albert (installment # 131, 133-139, 145, 154, and 179); Walter Burridge (installments 127, 128, 131-140, 155, 171, 179, 185, 217, 218, 225, 231, 244, and 248); David Strong (installment # 65, 123-131, 153-155, 167, 199, 215 and 248); William Voegtlin (installment # 248); Thomas Noxon (installment # 89, 92, and 136) and Louis Malmsha (installment # 123-4, 127, 131, 133, 165-66, 178 and 198).

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). Here is the continuation of that article started in installment #245.

“Passing reference to some of the eminent American scenic artists and their work is appropriate in this connection. The late Matt Morgan was a genius, remarkable in everything, correct occasionally. His color was French, his tone exquisite, and he boasted of never using anything deeper than burnt sienna for his most profound shadows. Morgan was ambidextrous and worked with great rapidity. It is said that he could paint life-size figures in an hour, and he used a sponge with remarkable dexterity to make foliage. His “Chariot of the Sun” on a drop of the Olympic and “Birth of Drama” for the Academy are well remembered in this city.

Richard Marston, one of the pioneers of the modern school, for years painted the scenery at the Union Square in New York. His production gave vigorous incentive to rivals, for his work was remarkably accurate, and considering the fact that he painted for a stage only 28 feet deep his scenes were marvels in perspective.

Harley Merry is another master I the same school in perpetuating the English ides of water-color. His dainty work is to be observed in the decoration and stock scenery of the opera house at Pullman. Merry is the greatest painter of monochromes and photographic backgrounds in the country. He has two sons who inherit his talent. Phillip Goatcher of New York, is a well-known artist of the old school, famous for his oriental color and tropical foliage.

David Porter of San Francisco is another of the famous old scenic artists, whose Norman and Gothic architecture has seldom been surpassed. In the same class is Joseph Pigott of New Orleans, whose production of “Aida” at the French Opera House, in 1878, was recognized at the greatest operatic spectacle up to that time.

One of the foremost figures in the scenic world today is Henry Hoyt, an artist of remarkable power and versatility. In architecture he is a trifle irregular but always interesting, has a taste for the rococo, and in the duplication of plushes and velvet textures he is unequaled. That he is facile in clever conceits and delicate color is testified in his output of pink and green ball-rooms for the New York Casino. “The Isle of Champagne” produced here last summer was one of his hasty but brilliant ideas.

And the list in the article will continue in tomorrow’s post. I have covered some of these scenic artists in the past installments and examined their influence on scenic art and design. To see some of their contributions discussed in past posts, see: Richard Marston (installments #124, 127, 138, 140, 171, 179 and 215); Harley Merry (installments #127, 133, 136, 138, 139, 140, 141, 142, 143); Henry Hoyt (installments #138, 140 and 179); and Phillip Goatcher (installments #133 and 217). At a later time, I will cover David Porter and his family.

To be continued…