In 1911, Thomas G. Moses wrote, “We started Brewer’s work at the 20th Street studio, with an extra number of men. Pausback had his hands full; Scott acted bad. Got Geo. Schultz on the staff at 20th Street. I was obliged to remain at the Clinton Street studio, only going to 20th Street every other day.”
Before building their main studio on Clinton Street, the Sosman & Landis studio was located at 277 and 279 S. Clark Street in Chicago. As business increased, it became necessary to build a larger studio to simultaneously accommodate multiple projects. However, even the new Clinton space could not accommodate all of the contracted projects. Therefore, some projects were manufactured on site, Carpenters were sent ahead of scenic artists, building paint frames in various opera houses, theaters and music halls.
Space and location was the key to any studio’s overall success; scenic artists needed access to multiple frames throughout a city when a very large project hit. They referred to these additional spaces as “annex studios,” temporary locations that complimented the main studio and business offices. Sosman and Landis opened a second studio space on the West Side of Chicago, renting the “old Waverly theatre” and referring to the second space as “the Annex” during August 1892. According to Thomas G. Moses, the studio measured 93 feet wide by 210 feet long and 40 feet high. The first annex studio had four paint frames with plenty of floor space for all kinds of work. This space was specifically secured for Moses and his crew to accept additional work for the Columbian Exposition. Moses’ arrangement with Sosman & Landis was to receive all of their sub-contracted work. Moses records that his annex studio crew included A. J. Rupert, Frank Peyrand and Harry Vincent besides a number of assistants and paint boys. He wrote, “It was awfully hard to keep the building warm. It was so big we had to use stoves.” Even with his own studio, however, Moses was still constantly sent on the road to complete on site work for the company. During these extended absences, Ed Loitz took charge of the Annex studio.
The annex space remained open throughout 1894. During the summer of 1894, Thomas G. Moses painted a number of small shows there. The work kept the annex studio open, despite the decline in projects after the close of the Columbian Exposition. Moses also wrote that the annex staff was always needed to “get the work out on time.”
In 1896, Sosman & Landis opened another annex studio. Moses wrote, “I had so much special work to do and it was hard to handle in the Studio. We rented the frames at the Alhambra Theatre and I worked there during the Fall and Winter.” This annex studio, however, was located in quite a rough neighborhood. Moses recorded the Alhambra Theatre was located on State Street and Archer Avenue. 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.” In 1897, Moses was still supervising the annex at the Alhambra Theatre.
In 1907 Sosman & Landis established another Annex studio. Of it, Moses wrote, “We opened our annex studio at 19 W. 20th Street in July, and Ansel Cook went there as a manager. He did some very good work but was a long time doing it, which, of course, didn’t pay us.” Moses divided his time between Sosman & Landis’ main Clinton Street studio and the annex studio that year, in addition to being on the road for weeks at a time. After one extended absence from the annex studio, he wrote, “Took charge of the 20th Street Studio on my return weeks. Cook did $750.00 of work in three weeks. My first three amounted to $3,500.00, some difference. I hustled while he talked art and what the firm ought to do to get business.” Moses was obliged to stay at the 20th Street annex in 1908, commenting it was “an awful place to heat.” Nicholas J. Pausback eventually replaced Cook as second in command.
In 1909, Moses primarily worked at the main studio before finding himself back at the annex again. Of the move, Moses wrote, “Sosman seemed to think I was needed there more than at 20th Street. Pausback took charge of the 20th Street studio.”
My research suggests that Sosman & Landis painted approximately 1200 drops during 1909, this being very conservative estimate. Fortunately, they had a staff of forty-eight on payroll in the main studio and twelve in the annex to help with the ever-increasing demand for painted scenery, stage machinery, draperies, and other theatrical equipment.
To be continued…
