Month: July 2019

In 1911, Thomas G. Moses wrote, “Mr. Brown, our foreman carpenter, died February 27^th, 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 20^th 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’ 20^th 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 20^th 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 20^th 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 20^th 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…

In 1911, Thomas G. Moses wrote, “Sosman left for a California trip February 9^th.  Again I had to buckle down to the desk.”  In addition to overseeing the artistic design, construction, and installation of all projects, he was now responsible for Sosman’s administrative duties.  The previous year, Sosman left for fifteen weeks, only giving Moses a few days notice before his departure. 1911, was another busy year for the studio as the projects kept increasing in number and scope.

During this time, Moses was also negotiating with the union. He wrote, “The Pictorial Sign Painters got our Artists in line for their Union – all’s good if they get all our competitors.” Moses was speaking of the artists who belonged the Brotherhood of Painters, Decorators and Paper Hangers of America at the time. At this time, the Union label began to appear on many Sosman & Landis drops, as well as their competitors, such as the Twin City Scenic Company. The shops employed proud union members that had a label to prove it.

The Brotherhood of Painters and Decorators of America was organized formally in 1887. Within a year, the union boasted a membership of over 7,000 tradesmen and more than 100 local unions. In 1910 the Brotherhood of Painters, Decorators and Paper Hangers issued eighty-three charters and gained in membership 6,658; death benefits $86,249; death benefits members’ wives, $9,325; disability benefits, $10,975, donations to other unions $5,000 (The Indianapolis News, 28 Jan, 1911, page 14).

By 1911, there were 75,000 members in good standing and were the third largest organization of the A. F. of L. (The Barre Daily, 7 June 1911, page 1). Of the all the membership, two were women. On June 28, 1911, the “Indianapolis News” reported, “Champaign, Ill., June 28 – Miss Kathleen Durham, of Urbana, has been elected a member of Champaign local 363, Brotherhood of Painters, Decorators and Paper Hangers of America. She has the honor of being one of two women members of the union in the United States.” That same year, a Miss Madge Claiborne from Galveston, Texas, was also listed as the “only woman sign painter” (Washington Post, 22 July 1911). Women had played an active role in the profession for years, but had seldom recognized or recorded for their contributions. 

In regard to the Union in 1911, National President George F. Hedrick explained, “during the past ten years the organization has increased its wages in 700 cities and has reduced its working hours from 10 and 11 hours per day to 8 hours, and that the organization was doing everything that it could to promote the labor movement in this country (The Barre Daily, 7 June 1911, page 1). The “Barre Daily” article continued, “In speaking of the trusts [Hedricks] said that he was not a man to be continually howling against the trusts. He said that he believed in the combination of capital just as much as he believed in the combinations of labor organizations ‘I believe an employer has his rights and that they ought to be respected, but when they bear down unjustly upon the rights of their employees it is time for the laboring men to act. If it had not been for the labor unions the working men of his country would be even worse off than they were years ago when working 10 and 11 hours a day. But now through the efforts of the unions the time has come that if you asked manufacturers to go back to 10 hours a day and no Saturday half holidays he would hold up his hands in holy horror at the very thought of doing it. Still when the movement was first advanced they said that they unions were ruining their business, but it has proven that the labor organizations are doing a great work towards bettering the conditions of humanity in this country.’”

That fall, an interesting article appeared in several newspapers.  I am including the article in its entirety, as it provides additional context for Moses’ mention of union artists that year. Here is the article in its entirety:

“An Interesting Election.

Chicago, Nov. 27. – An election for general officers of the Brotherhood of Painters, Decorators and Paper Hangers of America will take place in December. It is attracting a great deal of attention among labor men in general, for more reasons than one. It is claimed by members prominent in the Painters’ union, that there last convention, which was held in Cincinnati, December, 1909, was largely dominated by the Madden gang of Chicago, as evidenced by the fact that his henchmen, John M. Finan, was elected first vice president. And further that Geo. F. Hedrick, who is now up for re-election as general president, was elected by the same influence.

“The Chicago local, of which John M. Finan is a member, local 147, is about as reactionary as they are to be found, and Finan is said to be representative of his local union. The progressive members of the Painters’ union are alive to the kind of men who have been representing (?) them officially for the past two years and are active in their efforts to defeat them.

“Charles Lammert of St. Louis, who is opposing Hedrick for the office of general president, is well and favorably known in labor circles, having been active in the St. Louis movement for many years, both in the federation of labor and the Painter’s union. He has the solid support of the progressive element of the painters and is in line with the advance movement of labor.

“The defeat of Finan for re-election as first vice president is almost conceded, he being opposed by one of the strongest men in the brotherhood of painters. Otto Damm of local 194, Chicago. This local union has the distinction of being the largest in the brotherhood with a membership of 2,000.

Among others whom the progressives are supporting to defeat the old machine, is listed: A. J. McKeon of Bridgeport, Conn., for second vice president; Wm. Rodriguez of Chicago for delegate to the American Federation of Labor convention 1912 and 1913, and Herman Jesse of Davenport, Ia., for delegate to the building reads department” (Black Hills Daily Register, 27 Nov., 1911, page 4).

To be continued…

In 1911, Thomas G. Moses wrote, “Our beloved David Strong fell dead on the Street February 5^th.  He was a grand old man – past 80 years.  He was employed and was at work in Fords Theatre in Washington on the night that Lincoln was assassinated.  The Doctor who attended Lincoln was a personal friend of Strong’s, and as the Doctor was cutting Lincoln’s hair to get at the wound, he put hair in his coat pocket instead of throwing it on the floor.  He forgot until sometime next day.  He gave Strong a bit of it, which he kept to his dying day.  Strong was the “daddy” of all Masonic designs and he was a 32^nd Degree man.  His color was deep and rich and his drawings very correct.”

I have explored Strong’s contribution to theatre history repeatedly over the past three years, but here is a recap. Strong was a designer, scenic artist and stage mechanic.

David Austin Strong was born on January 20, 1830 in East Windsor, a town in Hartford County, Connecticut. He was the youngest of ten children born to Erastus Strong and Lucy Wolcott Drake. As a young man, Strong moved to New Haven and primarily worked as a decorative and sign painter. It was not until the age of twenty-one that Strong entered the theatre profession, working as both a stage manager and scenic artist for Homan’s Theatre in New Haven. It was his early experience at Homan’s that greatly shaped both his personal and professional life. Strong married the star actress of the Homan’s Theatre Company, Esther Hosmer. However, his artistic life was shaped by friend and fellow artist Thaddeus Frisbie.

Strong and Frisbie formed a decorative painting company in New Haven, Connecticut during the 1850s.  The partnership ended when Frisbie passed away in 1859. At the time, Frisbie was only 34 years old and it still remains unclear the exact nature of their relationship. In the end, both artists shared the same gravesite with their respective wives and children. Frisbie, his wife and children are all interred in the Strong family plot at Evergreen Cemetery in New Haven.

Shortly after Frisbie’s death Strong left the area. Throughout the 1860s, Strong primarily worked in Eastern theaters, specializing in visual spectacles. His first nationally significant work appears in Washington D.C. during 1863. “Strong’s Washington and the War” opened on May 18, 1863. On May 22, the National Republican of Washington, D.C., advertised the panoramic exhibition Strong’s Washington and the War, as “designed and executed by the celebrated artist Mr. David A. Strong,” heralding Strong as a genius. The exhibition included a series of representations of the City of Washington, with its street, houses, public buildings, fortifications, promenades, public levees, hospitals, stores, and hotels.”

During March of 1864, Strong created the scenery for the “Grand Fairy Spectacle of the Seven Sisters and the Birth of Cupid in the Bower of Ferns.” This production played at Ford’s Theatre during November 1864. Strong was listed as living in Washington, D.C. during 1864, at 334 E Street N. In Washington, D.C., he worked at a variety of performance venues, including Williard’s Hall and Grover’s Theatre, as well as Ford’s Theatre. His work at Ford’s during this time gives credence to his story about being at the theatre the night President Lincoln was assassinated.

Throughout 1865, Strong lived and worked in the District of Columbia. By December of that year, Strong was credited as producing as elaborate spectacle for the production of “L’Africaine.” A December 29, 1865, article in “The National Republican”commented that the settings were “greatly superior to the one given in London, and in every respect equal to the famous New York Scene.”

It was Strong’s grasp of staged spectacle that would greatly affect his involvement with grand burlesque spectacles of this same era, such as the premiere of The Black Crook at Niblo’s Garden Theatre in 1866. Strong was part of the technical crew that created the original scenery for the production of “The Black Crook” in 1866 at Niblo’s Garden Theatre. His fellow scenic artists included, Richard Marston, Robert Smith, Lafayette W. Seavey, and William Wallack. That same year, he also painted “Rip Van Winkle” with E. Hayes. By 1868, he painted scenery for an act for “The White Fawn” at Niblo’s. During the 1860s, Strong began working in Chicago too.

In 1874, Strong permanently relocated to Chicago, establishing his new home in this bustling city that continued to rebuild and expand after the Great Fire of 1871. He worked as the scenic artist for a variety of theaters, including the Adelphi Theatre, Haverly’s Theatre and McVicker’s Theatre. In Chicago, Strong joined the Oriental Consistory of the Ancient and Accepted Scottish Rite. From 1878 to 1885, he primarily worked in Chicago at Haverly’s Theatre, receiving accolades for new scenery that accompanied new productions, such as Dion Boucicault’s “The Shaughraun.”

In Chicago that Strong joined the Ancient and Accepted Scottish Rite of Freemasonry. Raised in Hiram Lodge No. 1 during 1852, he entered the Oriental Consistory during 1876 and was instrumental in the development of Masonic degree productions in the Northern Masonic Jurisdiction. He received the Honorary 33^rd degree for his continued contribution to the theatrical settings for degree work. When Moses credited Strong as being “the Daddy of Masonic Design,” it was likely for more than simply his scenic art. Strong’s knowledge of stage machinery and spectacle would have been instrumental in transforming Scottish Rite ritual into degree productions.

In the larger context of American theatre history, Strong was one of the last scenic artists noted as a member of the Dusseldorf school. In the 1892 article, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains,” Strong was noted as one of the premiere scenic artists working in the United States at the time (Chicago Tribune, Dec, 18, 1892, page 41). The article reported, “David Strong, ‘Old Trusty,’ still at work in this city, is the only survivor of the good old Dusseldorf school.  Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays.” It was this “quality of opaqueness” that was in direct contrast to the English practice of glazing, a tradition that dominated much scenic art along the Eastern Seaboard. The opaque application of solid color also meant that a subject could be worked up from dark to light. The use of glazes typically meant that the composition was worked up from light to dark. Each was successful, yet supported differing approaches when mixing paint and applying color to the composition. For example, the scenic art of Russell Smith (1812-1896) is characteristic of the English practice of glazing, whereas the scenic art of David A. Strong is characteristic of the “slap dash” tradition.

The significance of Strong’s passing in 1911 is more than the passing of an individual artist, it signified the passing of a generation.  His influence in the production of scenery for Scottish Rite collections and commercial scenery delivered by Sosman & Landis vanishes at this point. Strong’s work represented an older generation of scenic artists, one that is still preserved in Scottish Rite theaters across the country. Although his painting for commercial theater primarily disappeared over a century ago, his work still lives on in Masonic degree productions.

To be continued…

In 1911, Thomas G. Moses wrote, “Syracuse, N.Y. claimed my personal attention for awhile, and I did my best work for it.” Without the name of a show or a specific theater, it is difficult to know where Moses worked in Syracuse during January of 1911.

Syracuse theaters listed in Julius Cahn’s Official Theatrical Guide for the 1910-1911 seasons included the Bastable Theatre, the Crescent Theatre, the Grand Opera House, Grand Theatre and the Wieting Opera House.  The following year, Syracuse theaters expanded to include the Empire Theatre and Keith’s Theatre. Based on that information, I started to do a little digging and discovered that Sosman & Landis delivered the stock scenery collection to the Empire Theatre in when it opened in 1911. The Onandaga Historical Association includes a collection of photographs taken during February 1911 when finishing touches were being completed in the auditorium.

By March 1911, there were regular advertisements placed in the Amusements section of the “Post Standard.” Tickets were on sale for shows at the Onandaga Hotel, with prices ranging from fifty cents to two dollars.

The original drop curtain depicted a picturesque forest scene, divided by a babbling brook – a signature Moses composition.

Located on S. Salina Street, the theater was designed by the local architectural firm Tabor & Baxter. Previously, the firm was responsibly for a series of residential structures. The seating capacity for the Empire Theatre was 1709, including 707 on the lower floor, 452 in the balcony, 486 in the gallery and 64 in the boxes.  The proscenium measured 40 feet high by x 50 feet wide. The depth if the stage was 42 feet from the footlights to the back wall, with 72 feet between the side walls and 54 feet between the fly girders. The height of the stage house measured 70 feet from the stage floor to the rigging loft and 30 feet from the stage floor to the fly gallery. The backstage area boasted fifteen dressing rooms, a sizeable number for a large touring production.  There was also an orchestra pit that accommodated up to eight musicians.

The Empire Theatre was renamed DeWitt Theater during the 1930s. By 1940, however, the name reverted back to the Empire Theater name while under the management of RKO, primarily featuring movies. At the time, the space was also “modernized,” to give the auditorium a Streamline-Moderne appearance. The ornamental makeover was completed under the direction of architect Michael J. DeAngelis. Part of the renovation included walling over the original opera boxes and decorating the space with Art Deco elements.

The original building still stands and is now known as Empire House. Unfortunately, the rear auditorium was demolished in 1961, and the remainder of the building divided into apartments and offices.

To be continued…

In 1911, Thomas G. Moses wrote, “As a member of the Chicago Society of Artists, I had a water color with a Society Exhibition, and sold it for a good price.” The fifteenth annual exhibition for the Chicago Society of Artists opened on January 31, 1911 (Chicago Tribune 31 January 1911, page 5).

Founded in 1887 and incorporated in 1889, the Chicago Society of Artists had two primary objectives: to advance art in the Chicago area, as well as cultivating the production of art and displaying artworks by its members.

The organization is noted as the oldest continuing association of artists in the United States, with membership including painters, print makers, graphic artists, photographers, sculptors, art critics and art educators. Here is a link to the Chicago Society of Artists website: http://chicagosocietyofartists.org/

Here is the current membership application process for the Chicago Society of Artists:

“The Board of Directors has developed a juried process for the selection of new members that insures maintenance and vitality of high professional standards. Applications are accepted at any time during the year from local, national, or international prospective members.

Please submit the following items for membership consideration:

Five (5) images of personal work via slides and/or digital prints for each medium in which the applicant works. If personal work is in a single medium, ten (10) slides/prints need to be submitted. Works may be submitted on a CD.

A biographical résumé (complete contact information, art training, educational background, etc.).

An art résumé (exhibitions, group shows, juried shows, awards, publications,
other art related activities, professional affiliations, etc.).

A check for $35.00 made payable to the Chicago Society of Artists, Inc. This check covers the cost of $30.00 for annual dues and a $5.00 initiation fee. If the applicant is not accepted by the jury, the $35.00 will be refunded.

Submit the four items above to:

CSA Membership
C/o Corrie Lou Livingston Glass
383 Banbury Road
Mundelein, IL 60060

You will be notified by mail regarding the action of the jury.

Thank you for you for your interest in joining the Chicago Society of Artists.”

In 1892, Moses was one of the guests invited by members of the Chicago Society of Artists to a Bohemian party, complete with “music, dancing, red-hots, beer and smoke” (Chicago Tribune 12 Nov. 1892, page 6).  At the time, the society was five years old and membership continued to increase. At the time, many of his close friends were the host so the party; a party specifically aimed to honor both members of the press and professional men.

By 1906, Moses wrote, “I joined the Palette and Chisel Club at the Chicago Society of Artists.  I don’t know why, as I had so little time to give to pictures, but I live in hopes of doing something some day, that is what I have lived on for years, Hope, and how little we realize from our dreams of hope.  As the years roll by, I think one’s whole life is one continuous dream, unless we are wonderfully gifted and fame drops on us while we sleep.” 

In addition to Moses, there were many scenic artists who became members of the Chicago Society of Artists and its Palette & Chisel Club in the early twentieth century. Their ranks included many of Moses’ close friends and colleagues, such as A J. Rupert, Walter C. Hartson, Walter Burridge, Hardesty Maratta, Victor Higgins, Ernest Albert, Oliver D. Grover, Harry Vincent and Frank C. Peyraud.

During the spring of 1911, Wilson H. Irvine was chosen as the president of the Chicago Society of Artists (Chicago Tribune 5 April 1911, page 11). Other officers included Frank Phoenix as vice-president, George F. Schultz as secretary and Rudolph F. Ingerle as treasurer. Trustees were listed as H. Leon Roecker, Joseph Elliott Colburn, Lucie Hartrath, Charles Edward Boutwood, Water Marshall Clute, John F. Stacey, Frank C. Peyraud, Leonard Crunelle and Alfred Juergens.

To be continued…

In 1911, Thomas G. Moses wrote, “Some hangovers from last year started the New Year in good order, including some Los Angeles and Majestic work.  A large cyclorama for ‘Light Eternal.’  A view of Ancient Rome came out very good.”

“The Light Eternal” was a dramatization of Cardinal Wiseman’s historical novel “Fabiola,” written by Martin V. Merle in 1905.  Classified as a “devotional drama,” it was advertised as an “inspiring romance on Christian Martyrdom” (Fort Wayne News, 11 Jan. 1911, page 4). During this time, other popular Biblically-themes productions were “The Sign of the Cross,” “Ben Hur,” “Quo Vadis,” and “The Rosary.”

Martin penned the script during his senior year at Santa Clara College. It was solely intended for college theatre, until San Francisco’s Majestic Theatre manager decided to professionally produce the show (Sunset Magazine, Vol XVI, Dec. 1905, No.2 page 191). Merle later wrote “The Vagabond Prince” and “Lady O’ Dreams.” As an interesting aside, Merle is credited with providing American soldiers on the fighting lines with cigarettes during WWI (Los Angeles Herald, Vol. XLIV, No. 12, 15 Nov. 1918). He had “a score of aviators drop thousands of cigarettes as they flew over American lines. Each pack was labeled “Compliments of the Knights of Columbus.”  Pretty fascinating story, here is the digital article: https://cdnc.ucr.edu/?a=d&d=LAH19181115.2.327&e=——-en–20–1–txt-txIN——–1 His fraternal connection was as a Knights of Columbus secretary.

The 1907 touring production of “The Light Eternal” starred husband and wife team, James Neill and Edythe Chapman. It was advertised as “A powerful story of early Rome” with “gorgeous scenic investiture and a “superb dramatic company,” that was better play than “Ben Hur” or “Quo Vadis” (The Index, Pittsburgh, PA, Vol. 16, No. 9, March 2, 1907, page 18).

Of the 1907 scenic effects, “The Index” reported, “…the stage settings are unusually handsome, the garden scene in the second act, bring forth bursts of applause. The climax of the third act, when the image of Jupiter, before which Diocletian forces Marco to pay homage, is­ struck by lighting, and a cross of fire appears, is a particularly fine mechanical effect, and is reached by a cleverly contrived electric storm” (The Index, Vol. 16, No.11, March 16, 1907, page 232). The script provided ample opportunities for miraculous events to be stage with cutting edge theatrical technology.

In regard to the scenery that Moses produced for the 1911 production, it was possibly for the version featuring Eugenie Blair and thirty-five member cast. “Light Eternal” initially appeared at Fort Wayne’s Majestic Theatre on January 14, matching Moses’ diary entry. “The Light Eternal” then toured to Chicago where it was featured at the Crown Theatre before continuing the tour (Chicago Tribune, 18 Jan. 1911, page 11). The show eventually returned to Chicago that fall, playing at the National Theatre the week of October 29. Advertisements reported “massive scenic equipment,” yet failed to credit any individual or scenic studio (Englewood Economist, 30 Oct. 1911, page 3).  

As I explored the various “Light Eternal” productions that appeared during 1911 and 1912, one particular event caught my eye.  It is unlikely that Moses worked on this production due to the timing, but the theatre is quite interesting.

“The Light Eternal” was the featured production at the newly opened Parish Theater in Fort Wayne. With a cast of thirty people, the Parish Theatre production in the Athenaeum building included the talents of Maud Schillo, Margartet Schumaker, and Louise Charbonier. Advertisements for the production were published in the “Fort Wayne News” reporting “The stage settings for the play are massive and the costumes gorgeous” (14 Dec. 1912, page 3). The theater was erected by the Redemtorist priests in charge of St. Alphonsus church on Lincoln and Southport avenues, for the exclusive use of the members of the congregation. The space was intended “to be used by the young people of the congregation for operettas and entertainments by the children of the parish schools and for moving pictures illustrating historical lectures, comedies and refined sketches, all given under the direct management of Redemptorist fathers in charge of the parish.”

The “Fort Wayne News” described the new building on Dec. 14, 1912:

“The theatre which forms the rear section of the great parish athenaeum is complete in every detail. It has a seating capacity of 1,000, one of the largest stages in the city, steel curtain and fireproof scenery. The drop curtain has a painting of a rural scene in France and the feature of the gold, cream, and blue decorations of the playhouse is the large circular painting of Dante’s meeting with Beatrice.  Boxes and balconies are arranged close to the stage. In the main lobby are wardrobe rooms, reception rooms and men’s smoking room. The orchestra pit, ten dressing rooms, lavatories, wardrobe and rest rooms beneath the stage. The main section of the Athenaeum, which fronts on Southport avenue, has on the lower floor a gymnasium 80×100 feet, bowling alleys with four alleys, pool and billiard rooms with four tables each, library, reading and music rooms for young men, also bath rooms, lockers, lavatories and three shower baths. The young ladies are provided for on the main floor with library and reading rooms, assembly halls seating 500, reception rooms, tea room, music room, bath and shower baths. On the second floor there are five spacious society halls, with seating capacity from two to four hundred. The top floor will be occupied by the superintendent of the building and his family.”

It is unclear who provided the stock scenery or the production’s settings, but the scope of the project was quite elaborate overall.

To be continued…