Thomas G. Moses returned to the Sosman & Landis Studio during June 1891. This was after working on the Lyceum Theater scenery in Duluth, Minnesota, during March, April, and May. He enjoyed some work at the studio for only a few days before going on the road again. As usual, Ed Loitz was sent ahead to set up the on site shop and prepare the space for painting. Sosman & Landis had a painting project in York, Penn, but Moses’ typed manuscript fails to mention the venue.
I discovered that Moses was in York to paint the scenery for opera house on N. Beaver Street. Built, originally in 1881 at a cost of $38,000. By 1891, the York Opera House was an extremely popular attraction ready for an upgrade. In 1891, Moses was in York to paint scenery after a massive renovation. The venue was being reconfigured to include a fly tower! The York Opera House was replacing their current collection of roll drops with fly drops.
The June 10 issue of the York Daily (Vol 65. No 6405, page 1, second column) included an article titled, “The Opera House Improvements.” The article noted, “The curtain will not be raised by rolling as is the usual custom, but will be lifted bodily. This will prevent the cracking off of the paint and also make it impossible for any creases to appear. To make the proposed change, the roof of the house will be cut out and an addition built on the same which will allow the curtain to be lifted in the manner adopted.” Sosman & Landis were promoting a superior product; unlike roll drops, painted scenes on fly drops would not crack or crease. This identifies an problematic issue with roll drops and an opportunity for scenic studios to make the sale of a “new and improved” product.
The article continues to describe the scenery contracted by Sosman & Moses:
“In addition to this there are seventeen complete sets of scenery of one hundred and thirty five pieces. These sets will be painted here by the artist who, with his assistant when they leave here, will paint all of the scenery of the new “Alpha” theatre at Pittsburgh, PA. To give an idea of what is to be done here, we enumerate the sets. They are a “kitchen,” a “plain chamber,” an “oak chamber,” a “center door fancy,” a “two door fancy, “ a “prison,” a “palace,” a “modern street,” an “ancient street,” a “garden,” a “dark wood,” a “cut wood,” a “horizon” (ocean view), a “rocky pass,” a “landscape,” “cottages,” and “castles.” Not only will all the above be procured, but as complete a set of new drops, “set” pieces and stage properties to be obtainable will be added. All of the stage carpets will be entirely new. These improvements will cost with the new addition over $2500, and will be finished about the middle of August, n time for the opening of the next season. On account of the large expenditure necessitated by these improvements, and the short time at the disposal of the management, the proposed changes of the seats, and other changes will not be undertaken until early next spring. The season will be closed early for this purpose. The management should be congratulated on the extensive first steps towards the complete remodeling of our beautiful opera house.”
The newspaper noted that Mr. Perry Landis of the firm Sosman & Landis, scenic artists of Chicago, Illinois, was in the city to meet with directors about the “proposed changes in stage appointments.” The article explained that Mr. Landis attended the board of directors meeting. The Sosman & Landis model was received “with most gratifying success.” After the board examined the designs, they unanimously agreed to give Sosman & Landis the contract to furnish an entire new set of scenery and new drop curtain for the York Opera House. The article noted, “The new drop curtain will be painted in their Chicago studio, who execute no other kind of work. It will be in imitation of white satin with plush drapery. The design on it is entitled the “Witch’s Daughter,” after a celebrated painting and is a beautiful conception.”
The following month, Moses’ family left Chicago to join him on location in York. Moses wrote, “Ella got the children ready and we left for York on the 7th of July. Arrived on the 8th. After some trouble we found very good accommodations at the Central Hotel – a new addition to the hotel had just been completed and we were given two brand-new outfits.”
While working in York, Moses also “found plenty of good sketching.” The countryside was beautiful and Moses was always trying to improve his artistic skills with plein air painting and sketching. Moses wrote, “One week we went to Gettysburg and over the famous battlefield. The whole country is very picturesque and we more than enjoyed our stay.”
A livery stable owner next door to the theatre became interested in Moses’ work. Everyday he would drop on by to watch the scenic artists at work. That first Sunday in York, Moses hired a rig from him so that Ella could take the children out during the week. They stayed for about three weeks and the livery bill was only $10.00. The Central hotel was $21.00 per week, three adults and four children. Moses wrote, “Pretty cheap. I don’t see how they could do it.” I do. Moses captivated people with both his personality and talent. This was one more way to display appreciation for a new found friend and his contribution to the community. The job was completed by July 31, 1891 and soon, Moses and his family were on their way to Meridan, Conn. for another painting project.
Of their journey, Moses wrote, “We had to change cars for times – Harrisburg, Philadelphia, New York City and New Haven. I don’t know why, but we did. We were all tired out. We found a good hotel, but it was $36.00 per week. Same as we had in York for $21.00. There was no paint frame or bridge in the theatre, but we found a high platform ready for us. The following day we were at work painting.” While in Meridan, the Moses family enjoyed the many carriage rides out in the country and trips to the seashore. Savin Rock near New Haven was a particularly memorable adventure.
To be continued…
