Part 502: Thomas G. Moses and the Grand Canyon Drop Curtain for Duluth, 1905
In 1905, Thomas G. Moses recorded that he painted a Grand Canyon curtain for Duluth. This was not an unusual subject for the stage, as Moses’ one-time business partner and good friend Walter W. Burridge painted a Grand Canyon drop curtain for the Grand Opera House of Chicago in 1901. “The World Review” commented on Walter Burridge’s rendition, pubishing, “Probably the most unusual and effective drop-curtain in America is the one that was recently given a place in the Grand Opera House of Chicago. It is the work of Mr. Walter Burridge, who is known throughout the country as a scene-painter of remarkable versatility and artistic sense. He has spent six weeks in the painting of the present curtain, which pictures the Grand Canyon of Colorado. Part of that time Mr. Burridge spent in the canyon itself, and he has succeeded beyond expectation in giving depth of perspective. Largeness of effect, and the marvelous atmospheric clearness that is characteristic of the region. Such painting must take its place in the realm of true art” (4 Jan. 1902, Vol. 2, page 500)
Of the Grand Canyon scene for Duluth, Moses wrote, “This was in many ways a very successful curtain. The Santa Fe Railroad offered to send me to the Canyon to make the sketch that we couldn’t afford to accept – that is the time to go and come and make sketches.” Instead of a sketching trip to gather source material, Moses wrote, “I was satisfied with one of Moran’s famous reproductions.”
I would love to know how many Moran paintings were reproduced for the stage. His paintings, with their atmospheric action and romantic landscapes were perfect for the stage. It is unclear which Moran print Moses used for the Duluth drop curtain, but there are other examples that Twin City Scenic Co. artists used for other projects.
There are examples of Moran prints used as sources by scenic artists in the Twin City Scenic Co. collection at the University of Minnesota Libraries Performing Arts Archives. Many of the prints still had paint spatter from the artists who had them near while painting. One 11”x 17” included notes for the scenic artists on the back of the print, “Reverse and use right half of picture only. No figures. For West.” One Thomas Moran print was replicated by John Z. Wood for one design at the Twin City Scenic Co without any alterations; it was titled “Sunset in Old Mexico.”
Of the drop curtain in Duluth, Moses wrote, “After painting, I could lower the drop down the cut, until the horizon line was perfect. We lowered the bridge so we could look down over 15 feet, and the effect was truly wonderful, very easy to paint a large panorama and get the same effect.”
The drop curtain was so successful that the theater manager in Duluth sent Moses a box of cigars as a token of his appreciation. Moses recorded, “The manager sent me a box of cigars by express. This was evidently smoked by the express agent, as it never reached me, but the second box came alright and I enjoyed them.”
Moses was well known in Duluth, Minnesota, as he had painted scenery for other stages, at least twice before 1905. He worked on both on commercial theatre and fraternal theatre projects there. In 1891, Thomas G. Moses and Abraham “Perry” Landis went to Duluth where they closed an $8.954.00 contract with A. M. Miller, owner of the Lyceum Theater. Moses worked in the Minnesota town from March 1891 until the end of April. In 1904. He was also responsible for supervising the painting and installation of the Scottish Rite scenery in Duluth, Minnesota.
To be continued…
