As I near the end of 1910, it is time to recap this incredibly busy year in the life of Thomas G. Moses. A significant event was his falling out with co-worker David H. Hunt during Joseph S. Sosman’s 15-week European tour. At the time, both Moses and Hunt were left in charge of the studio, with shops in both Chicago and New York. Hunt was the company secretary and treasure, whereas Moses was responsible for the design, construction and installation of all projects.
Prior to his departure, Sosman gave a few days notice, surprising not only Moses, but also the entire staff. Sosman’s involvement in the daily running of the business was beginning to decline, with the various duties being delegated to both Moses and Hunt. However, his extended absence put a strain on the company during an extremely busy period of productivity. Painted settings, stage machinery and other scenic pieces were being manufactured at a remarkable rate.
Upon Sosman’s return, Moses wrote, “About this time, I heard some reports as to what Hunt had reported to Sosman about my treatment towards him. I got mad and wanted to quit. Sosman wouldn’t listen to me. I finally got cooled.”
Part of Moses’ “cooling off” involved departing for New York to focus on some projects for Fred Thompson at both the New Amsterdam Theatre and Luna Park. During this period, Moses wrote, “Hunt remained away from the [New York] studio for some time, before going back home. I took a run down to Woonsocket on the Fall River boat back to Buffalo and Niagara Falls for a day and Detroit for a day. I arrived June 25th. Sosman had his doubts as to my coming back.”
1910 was the year that Hunt also started a new company – New York Studios. I have often wondered whether the tensions between Moses and Hunt were the impetus for the new studio. For New York Studios, Hunt expected current Sosman & Landis artistic staff to complete a great deal of the actual work. This meant that New York Studios incurred minimal overhead expenses as the majority of scenic artists and stage carpenters were already employed by Sosman & Landis; there was no need to keep a large staff on payroll, just pay for time spent on the project. Hunt even convinced Sosman to invest a small amount in his new firm. The corporation papers of New York Studios lists Adelaide A. Hunt as the President, Edward A. Morange as the vice president, and David H. Hunt, as the Treasurer. The company’s starting capital was $40,000, and listed the company directors as Edward A. Morange, Adelaide A. and David H. Hunt, with offices located at 325 W 29th Street, New York. Business listings noted that theatrical equipment was the primary product produced by the company. New York Studios would become known as the eastern affiliate of Sosman & Landis, whereas Sosman & Landis would become the western affiliate of New York Studios.
Projects that Moses directly supervised during 1910 included stock settings for the Murat Theatre of Indianapolis, Detroit’s Temple Theatre, the Teatro Degollado in Guadalajara, and Scottish Rite installations for theaters in Yankton, SD, St. Paul, MN, Denver, CO, and Indianapolis, IN. During 1910 Moses also designed dozens of settings for touring productions, including Sarah Bernhardt, Al Ringling, and Frederick Thompson.
As a scenic artist, he was not only well known, but also at the top of his profession; only 54 years old. Business was booming and the economy thriving. Little did he realize that there would be a series of obstacles, one after another, in the ensuig decade.
To be continued…
