Tales from a Scenic Artist and Scholar. Part 805 – Grand Rapids, Michigan, 1912

In 1912, Thomas G. Moses wrote, “In May I went to Grand Rapids, Michigan, to paint an asbestos curtain from a scaffold – it was a bad job to do, but as usual, I got something out of it and it pleased the manager.  I saw a number of old friends.  One of the men that I knew in the orchestra thirty-five years ago, told me of one of my girl friends, Jennie Wilson, who was a clerk in a music store, selling sheet music when I knew her at the time.  She was still there.  I thought I would call on her.  One evening I walked down to the store and was going in.  I saw her back of the counter near the window, the same place, but what a change in her – stopped, almost white hair and wrinkled face, but the same black eyes.  I didn’t have the nerve, so I turned and walked away.  I felt afraid I might not be welcomed – what a ravisher of good looks is our old friend ‘Father Time.’ One that never deserts us  – with us from start to finish.”

Some of Moses’ old stomping grounds were in Grand Rapids, Michigan. Although promised to Susan “Ella” Robbins in Sterling, Illinois, he certainly maintained a social life as he traveled about the country. At the age of 19 in 1875, Thomas G. Moses found himself “out of work and very little money on hand.”  He managed to secure a job as a train boy, working the run from Grand Rapids, Michigan to St. Joseph. His work for the railroad left him well traveled and well fed, but yearning for artistic work and a better income. While waiting for his train to depart from Grand Rapids one day, Moses strolled about town and wandered into Powers Theatre.  Of his visit to Powers Theatre, he wrote, “I went in and found an artist at work on the paint frame.  I called up for permission to go up.  I found that I knew the artist – he was from Chicago.  He had an Odd Fellow Hall to decorate and needed help.  I agreed to quit my job within a week and help him out.  I did the thing I thought was best and Christmas found me very busy on all kinds of decoration.”

By the spring of 1876, Moses was known as a decorator of fine homes in Grand Rapids, completing one project after another.  In July he had even received the contract to do the decoration on Pearl Street’s big arch.  While completing this project, Moses met a Frenchman named Wardus who was decorating St. James Catholic Church. Wardus was in desperate need artist and contracted Moses. The project also called for a good figure painter, and the couple placed a newspaper advertisement. After receiving numerous responses, they selected Tom Brown, an Englishman from New York. They also hired an assistant, a young local by the name of John H. Young.  Moses wrote, “We three, the same age, roomed and chummed together and we had a fine time.  And, as I remember, we did some pretty good work.” Wardus began advertising Moses, Brown and Young as the “Three young Roman Artists,” with Moses recalling, “We didn’t look it – we were all quartered at a cheap hotel and we met a great many young people.” It is likely during this time that Moses met Jennie Wilson, the clerk at the music store who was still working there in 1912.

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

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