In 1911, Thomas G. Moses wrote, “Mr. Brown, our foreman carpenter, died February 27th, very suddenly.” Sosman & Landis suffered the loss of their foreman carpenter the same month that they also unexpectedly lost one of their veteran scenic artists. David A. Strong passed away on February 5, 1911. This caused a monumental shift for the company; one compounded with the increasing absences of company founder Joseph S. Sosman.
Two deaths and an absentee studio owner could not have come at a worse time, as it was an extremely busy year at Sosman & Landis. A few of the 1911 projects mentioned by Moses in his typed memoirs include, the Columbia Burlesque Theatre, a “Mme. Butterfly” set for Joe Sheehan, multiple designs for the Brewers’ Show, stock scenery for the Keeley, two unidentified projects in St. Louis, “picture contracts” in Fort Wayne and Chattanooga, Masonic work in Lawrence, Kansas, Cheyenne, Wyoming, and, Memphis, Tennessee, as well as a “good curtain” for Lincoln, Nebraska. In addition to Moses records, historical newspapers list dozens of projects that were not mentioned by Moses during 1911.
Work was plentiful across the country, with many of the contracts being secured by Moses. Since 1904, when he returned to the studio for a final time, Moses continued to increase his national reputation for speed and quality. He was becoming synonymous with the high standard associated with Sosman & Landis. In a sense, Moses had slowly become the face of the company, securing many contracts based on the strength of his sketches and design work. He wrote, “Closed another contract on the strength of my sketches – $1,800.00. I was obliged to remain at the Clinton Street studio only going to 20th Street every other day.” It was no surprise that the Board of Directors immediately elected Moses president of Sosman & Landis when Joseph Sosman passed away in 1915.
Sosman & Landis’ 20th Street studio, also referred to as the annex, is where Moses and his crew were often working – unless Sosman was away on business. The main studio on Clinton Street housed the company’s official offices, sewing rooms and carpentry area. In a sense, the annex was a bit of an oasis, apart from the hustle and bustle of sixty employees in the Clinton Street space. The 20th Street studio only employed a quarter of the main work force, approximately fifteen artists and their assistants.
Unfortunately, after the passing of Strong and Brown during the month of February, the main studio on Clinton Street needed guidance, and direct supervision. Moses needed to fill a few roles by March, while scrambling to replace a lead artist and carpenter. In the past, Moses’ right hand man, Ed Loitz would manage the 20th Street studio during Moses’ absence, but there were too many moving parts and Loitz was working on other projects that spring. Of the crew at the annex, Moses wrote,”Pausback had his hands full. Scott acted bad. Got Geo. Schultz on the staff at 20th Street.” A quick turnover was happening and new personalities were constantly being added to the mix.
Everything was going to rapidly change, with Toomey & Volland of St. Louis, soon surpassing their Chicago competition.
To be continued…
