Part 345: Albert B. Mason, Scenic Artist
The death of Forest Seabury made me search for other scenic artists that passed way in 1895. Their departure signaled the beginning of a transitional period, as younger artists rose to prominence across the country. By now, Thomas G. Moses represented the old guard, even though he was just beginning to enter his middle aged years. We were beginning a key period in the history of American scenic art and stage design. Between 1885 and 1905, the entertainment industry would split and evolve in many different directions. Those in charge guided the future division of theatrical trades as the roles of theatre technicians became more defined.
In 1895, one of the top scenic artists at Sosman & Landis was murdered. This event was not only tragic, but also accentuated the absence of Thomas G. Moses from the studio. On February 14, the Chicago Tribune reported, “Albert B. Mason, scenic artist lies dead at his home, No. 130 West Van Buren street, the result of wounds received Saturday night in a fight with two thugs who assaulted and tried to rob him. He went to the drug store at 9 o’clock for some medicine. On the way home when crossing the alley between Jefferson and Desplaines streets he was jumped on by the thieves and knocked down.” The article commented that although Mason was a “big strong man” and “made a brave fight,” his assailants got the better of him. He pulled out his gun to scare them off, but they wrestled the weapon away; one held his arms and the other pounded him over the head with it until he fell unconscious to the ground. Later while stunned and bleeding, Mason still made it home to his wife. Two days later he expired at 11 o’clock in the morning. The post-mortem examination revealed that a large artery in the head had been severed and the skull fractured.
The last line of the article connected Mason to the Sosman & Landis studio: “Albert B. Mason had been painting theatrical scenery for the firm Sosman & Landis, No. 236 South Clinton street, seven or eight years and was one of their best artists. He leaves a widow and son.” This was one more name to add to the group of artists who worked for Sosman & Landis during their early years. Although, Moses was not working for Sosman & Landis at the time, he would have certainly known Mason, as their work for the studio would have crossed over.
The tragic tale of Mason continued, but Mason’s assailants were eventually apprehended after an eyewitness account and positive identification of the two. The policemen caught the thieves named Cornelius O’Brien and Harry “Butch” Lyons, noted as “two of the toughest of many tough footpads that infest South Clinton, Desplaines, and Halsted street districts.” O’ Brien received a twenty-year sentence and O’Brien was sentenced to death by hanging.
What this also provides is a little insight into the type of neighborhood where Sosman & Landis had their studio on Clinton Street. Noted as 236 South Clinton Street, the address was actually 236-238 S. Clinton Street. When many of the Chicago Streets were renumbered, the final Sosman & Landis Studio address would become 417-419 S. Clinton Street.
In 1896, Moses returned to work for Sosman & Landis again. They would open another annex studio – also located in a rough neighborhood. Moses recorded that the new annex studio was located in the Alhambra Theatre. The Alhambra Theatre was located on State Street and Archer Avenue. It was dedicated on September I, 1890. H. R. Jacobs was the manager and retained management until April, 1897.
Of this studio and its less-than-ideal location, Moses wrote, “It was a long ride to Oak Park and I disliked the theatre. It was a very rough neighborhood – a hangout for all the big crooks.” His words take on a new meaning when considering the fate of Albert B. Mason near the main studio on Clinton Street.
I thought back to my own late nights when I left a theatre after painting all day. I was always alone, walking to my car with my senses on “high alert” for any potential danger. For many, it is the simple “knowing that there may be danger ahead” that is dreaded at the end to every day. It is the hoping that you will not meet anyone, and the knowing that if you do to not to make eye contact. It is the understanding that you may not make it home alive if you chance upon the wrong stranger. Moses was fortunate to always make it home. Mason was not. His carrying a weapon for self-defense hadn’t really made a difference in the end.
To be continued…
