Month: October 2019

In 1913, Thomas G. Moses wrote, “We did a New York Studio job for Atlantic City – a theatre on the pier.” New York Studios was the eastern affiliate of Sosman & Landis, the firm managed by David H. Hunt. Sosman & Landis manufactured the scenery which was then sold by New York Studios to the new theatre on the pier.

B. F. Keith’s Garden Pier Theatre of was located on the 700-foot Garden Pier at the end of New Jersey Avenue, opening in 1913. The pier had formal gardens at the entrance and featured an open-air theatre, hosting theatrical production, exposition and even conventions over the years. The Garden Pier Theatre officially opened on July 19, 1913.

Before the theater’s grand opening, the “Philadelphia Inquirer” published,” Atlantic City, N.J., June 21 – Activity in the theatrical world here is quite pronounced. Playhouses are multiplying at such a rate that it begins to look as though the thing would be overdone. Two new playhouses skirting the Boardwalk are among the most imposing structures in evidence today. These are the New Nixon, at St. Charles place and the theatre on the new pier at New Jersey avenue. (22 June 1913, page 29).  The article continued, “The theatre on the new pier is fast shaping up, the side walls and roof now being in place. But it will be several weeks before it will be anything like condition to invite public attention. It is to be a large house, but just what kind of attractions will it play or who will be the local manager seems to be sill a matter of conjecture.”

The “Philadelphia Inquirer” later reported, “It has been whispered about during the week that the theatre on the new pier – named the Garden – at New Jersey Avenue, is to be devoted to the Keith style of low-priced vaudeville, and that Ben Harris may be the manager…The theater is not nearly finished yet, and probably will not be for some weeks to come. The front of the pier, however, is in pretty good shape, and it is said that already rentals amounting to nearly sixty thousand dollars have been made. The shops on either side of the big entrance will be mostly of glass and will make a decidedly attractive appearance, giving the keepers unusual advantages in the way of displaying  their wares effectively.  There is a beautiful lawn and flower garden in the centre, which will invite promenaders along the Boardwalk. It is said that there will be no admission charged fro the pier proper, but that a scale of low prices will be made for the theatre. The style of entertainment will be much like that at the Liberty and Keystone in Philadelphia. Mr. J. Fred Zimmerman has signed with the United Booking Offices (Keith) whereby the latter will furnish a majority of the attractions for his varied enterprises in the future. This will give him better facilities than he has hitherto enjoyed” (20 July 1913, page 22).

To be continued…

In 1913, Thomas G. Moses wrote, “Had to go back to Baraboo to get a new contract for more work.  Total $13,695.00.” Today’s equivalent of $13,695.00 in 1913 is $355,183.28.

Later that year, Moses wrote, “When we were setting the Ringling scenery at the Coliseum, the big elephant stampeded and there was some excitement for awhile, but the trainer went after them and brought them back and made them go through all the tricks again.”

From 1905 until Al Ringling’s passing in in 1916, Thomas G. Moses completed several designs for the Ringling Bros. grand circus spectacles.  Al Ringling worked with Moses to design scenery for their grand circus spectacles. The work that Moses mentioned in 1913 was for their Joan of Arc spectacle.

In 1913, newspaper advertisements across the country announced the Ringlings’ “newly added $500,000 spectacle of ‘Joan of Arc”  (The Placer Herald, Rocklin, CA, 23 August 1913, page 3). The attraction was described in hundreds of articles, such as the “Pawnee Rock Herald” (Pawnee, Kansas, 17 July 1913, page 3). The “Pawnee Rock Herald” reported, “Ringling Bros. circus is attracting unusual interest this season because of its many new features and the new aspect given the show by the addition of the great spectacle ‘Joan of Arc”…There will be a new parade in the forenoon three miles in length. The menagerie is practically twice as big as it was last year and contains many specimens of strange animals. Audiences will be entertained by 375 of the greatest of Europe’s circus artists…The great feature of the show of course is the newly added spectacle ‘Joan of Arc,’ with a trainload of special scenery, costumes and stage properties and a cast of 1,200 characters. There is a ballet of 300 dancing girls, a chorus of 400 voices and an orchestra of 100 soloists.”

Of the spectacle, the article continued, “This is the greatest dramatic and spectacular production ever presented in America, enacted on a specially built stage bigger than a hundred ordinary theatres. It is made portable so that it can be erected in the main tent each morning. This great entertainment is given as an introductory to the regular circus performance and entails no extra charge of admission. John of Arc tells a masterful story from French history in a thrilling and dramatic way and with the wonderful illusion of tone of special scenery and stage devices. In the great battle scene the audience is held spellbound by the realism of the scene while the enactment of the coronation of Charles VII is beyond question the most sumptuous and inspiring stage picture ever seen.”

An article in the “Great Bend Tribune” announced the arrival of the advance men (Great Bend, Kansas, 5 July 1913, page 1): “Thursday night a huge eighty-foot car pulled into the Santa Fe station with a coat of bright red paint, it announced in blazing letters of gold, ‘Ringling Bros.’ World’s Greatest Shows Advertising Car No. 1’…Ringling Bros. have three advance cars, following one another a week apart. The no. 1 car goes to each town three weeks before the circus is due to appear. It carries twenty-seven men, consisting of twenty billposters and six lithographers, in charge of the veteran car manager, George Goodhart. A steam machine for making paste is carried on the car and every night the porter makes twelve barrels for use the following day. The head lithographer sees the dates are pasted on the lithos and the car manager lays out the work for each man to do. At 5:30 a.m. the men are called, breakfast is served at 6 o’clock, and at 6:30 the local livery teams are at the car ready to take the billposters to the outlying towns and through the city itself to plaster the billboards. The lithographers start with their bundles of lithos (in circus parlance called ‘hods’) to decorate the store windows, and by the time the supper hour arrives everybody knows the big circus is coming and enthusiastic and excited youngsters are busily engaged in planning a touch on ‘daddie’ for the price of a circus ticket. The men who do the country work also carry the show heralds for distribution. The next car is the excursion car. The No. 3 car will do the local work.”

As the Ringing Bros. trains crossed Kansas, the “Topeka Daily News” announced, “While numerous alarm clocks were tinkling under pillows of small boys throughout the city this morning, there arrived in the yards of the Rock Island Railroad four long trains, composed of 86 cars bearing the Ringling Brother’s circus” (“Topeka Daily News, “July 24, 1913),

One-half of an entire train was used for the costumes and scenery of the spectacle of “Joan of Arc.” Of the show, the article continued, “This spectacle, in a series of brilliant pantomime pictures, tells the dramatic story of the Maid of Orleans, the simple peasant girl who led an army to battle and restored Charles VII to the throne of France. The costumes and scenery are the most gorgeous and costly every used in a production of this kind, either under canvas or in a theater” (page 7).

The production was further described in the “Hartford Courant:”

“The play begins when Joan, just 16 years old, comes from her father’s pasture at Domremy at the command of the Archangel St. Michael to the court of Charles VII, at Chinon. In the light of a thousand torches she is brought into the presence of the King in the great palace which throngs with the nobles of France. The reception which the King gives to the peasant girl is filled with impressiveness and suspense. The second climax of the great spectacle is reached when Joan, dressed in armor, crossed the river of Orleans, and rides at the head if the French army into the gates of the beleaguered city. One of her heralds presents himself at the English camp. Respect to the messenger is sent to defy Talbot, and to declare from the girl that is any harm is done him it shall be retaliation on the English prisoners. Joan in shining armor appears on a tower facing the Tournelles, bidding the soldiers of Suffolk and Talbot to depart. This they refuse to do. At the head of the French knights and archers Joan rides between the towers of the besiegers and followed by the villagers who look on in wonder at the sight of a mere girl leading the armies of France. The stage version ends with the introduction of a great ballet of 300 beautiful dancing girls, a grand opera chorus, 600 horses and an ensemble o 1,200 people. The closing chapter of Joan’s life is too sad for this drama of gladness, through her capture, her imprisonment and her execution are told n a series of thrilling tableaus by means of tons of scenery and a great battery of electric mechanism” (17 May 1913, page 16).

To be continued…

In 1913, Thomas G. Moses wrote, “We all went to Mamie’s for New Year’s dinner, and we started the ball rolling in good shape.  One of our first big jobs was the “Arabian Nights Ball” at the Armory.  It was very good.” Moses was referring to the annual dance for charity held in Chicago each January. The beneficiaries of the 1913 event were the Passavant hospital and the Chicago Lying-In hospital.  5,000 people attended the “Arabian Nights Ball,” raising $16,000 on January 10 that year.

Sosman & Landis scenery helped transform the armory into a Turkish courtyard. Hundreds of electrical lights were hung from the vaulted ceiling to suggest an exotic eastern sky.  The “Inter Ocean” reported, “A Reinhardt effect, with all the mysticism and magic of ‘Sumurun’ and with just a touch of Oriental color and beauty which made ‘Kismet’ such a joy to the eye, is what is promised the onlookers at the Arabian Nights ball” (5 Jan 1913, page 5). The article described the sumptuous décor, elaborating, “Your first feeling is that you have entered a mosque. All around the edge of the big hall boxes have been built. Shoulder high in front of them runs a wall of pink and black horizontal stripes, deep black and bright, clear Oriental pink. Each box is framed in a dome shaped pink and black top and behind it the wall colored deep orange. Seated in the boxes will be men and women in costumes that suggest only the romantic and beautiful. It will be well nigh impossible to believe that they are really citizens of America.” Turquoise steps led up to the pink and black boxes. The lining of each box was white with lemon yellow draperies ornately framing each alcove. The “Inter Ocean” reported that the floors were strewn with magnificent cushions and oriental rugs, suggesting the palace of an Eastern potentate (11 Jan 1913, page 4). Opposite of the entrance were red lacquer pillars, framing famous socialites made up as Egyptian princesses.

Of the decorations, the “Chicago Tribune” later noted “Its daring Moorish decorations, designed by Mrs. John Carpenter and carried out by her, with Hugh [G. M.] Gordon’s aid, were written up in London and Paris papers, and the famous Chelsea Art Club sent for pictures of the hall and the costumes when they planned an oriental fête. Mrs. John [Alden] Carpenter is to have charge of the ‘mis en scene’ of the artists’ ball, so original and wonderful things may well be expected” (23 Nov 1913, page 30). Carpenter (1876-1951) was a well-known American composer, educated at Harvard and studied under John Knowles Paine.

The next day, Chicago Tribune published “With the sounding of trumpets, the brilliancy of golden lights, the shimmer of satins and the dazzling splendor of priceless jewels, the Arabian Nights ball began in a blaze of glory at the First Regiment armory last evening. Society matrons and maids and the brave knights of today adorned in alluring and mysterious costumes of the Far East, danced till their feet were as heavy as their hearts were light” (Jan. 11, 1913page 4).

Rosina Gaill of the Chicago Opera Company reigned as queen of the event with Eleanora de Claneros serenading the crowds, singing selections from “Sampson and Delilah.” At the entrance to the courtyard, fifty musicians under the direction of Johnny hand played melodies for the guests.

The event began with a grand march, described as “a triumphal procession the beauty and wealth of which has never been seen in the festivities of the world. Following the trumpeters from ‘Aida’ came scores of torch bearers whose blazing torches threw a weird and flickering light over the gay throng.” (Inter Ocean, 11 Jan 1913, page 4).

Themed public events provided great opportunities for Sosman & Landis, affording the firm not only a stead income, but also public exposure.   

To be continued…

There were many projects completed at Sosman & Landis that were not mentioned by Thomas G. Moses in his memoirs. In 1912, Sosman & Landis delivered scenery for “The Little Homestead.” The “Idaho Republican” described, “The entire production is the work of those famous artists, Sosman & Landis of Chicago” (Blackfoot, Idaho, 12 Jan. 1912, page 8). “The electrical effects for the production were provided by the General Electric Co. of Pittsburg, Pa.”

As W. B. Patton’s play toured the United States, advertisements promised “A Big Scenic Production. SEE the Famous Old Southern Mansion. SEE the Black Gorge of Virginia. SEE the James River in Winter. See the Great Fields of Ice” (“Daily Appeal,” 5 Feb. 1912, page 4). The production was a southern play about old Virginia, staged in picturesque settings. The “Montpelier Examiner” reported, “There are four big acts in this production, showing some of the most beautiful scenery, such as Old Black top mountain of Virginia in winter; the famous James River as it flows down from the mountains with its great fields of ice; the great black gorge where lies “Little Homestead;” Colonel Fairfax’s grand old southern mansion near Richmond, Virginia; and the battlefields of old Virginia (12 Jan 1912, page 5).

The “Oakdale Leader” commented, “This play has been the rage in the eastern states for the past three years and produced for the first time in the west by Messrs. Droffops & Jack. The management guarantees this to be a strictly first class production in every respect, a mammoth scenic production. The play ran for over 300 nights in Chicago and 200 nights in Boston”” (15 Feb 1912, page 1).

To be continued…

There were many projects completed at Sosman & Landis that were not mentioned by Thomas G. Moses in his memoirs. In 1912, Sosman & Landis provided the scenery and stage effects for an amateur production of “Milestones” in Lead, South Dakota. “Milestones” was a play in three acts by Arnold Bennett and Edward Knoblock (Knoblauch). As a side note, Knoblauch’s name was Anglicized when he became a British citizen during WWI. He received a commission in the British Army and served in the Secret Service Bureau. Knoblock later wrote screen plays, including Douglas Fairbanks’ “Robin Hood.”

The immediate popularity of “Milestones” resulted in numerous productions appearing throughout North America. Of Sosman & Landis’ scenery for the small production in Lead, “The “Lead Daily Call” advertised, “One entirely new scene, built and painted by the Sosman Landis Co., of Chicago, has been purchased and will be seen by the public for the first time in ‘Milestones.’” (9 Dec. 1912, page 4). There was only one setting, as the entire play took place in an interior setting that was minimally altered for each era.

The history of “Milestones” is an interesting one.  It became a hit at the Royalty Theatre in London, playing over 600 performances. On October 13, 1912, the “Inter Ocean” published the origin of the play.  Here is the article:

“How ‘Milestones’ Originated.

Frank Vernon, under whose stage direction the Chicago production of ‘Milestones; at the Blackstone theater and the New York production of that play at the Liberty theater has been made, conceived the idea of the three generations – 1860, 1885 and 1912, which are the periods of years in ‘Milestones.’ Mr. Vernon suggested the idea to Edward Knoblauch [sic.] and introduced Mr. Knoblauch to Arnold Barrett [sic.] who previously had confined all his talents to literature.

Originally, the title selected for ‘Milestones’ was ‘The Family’ and such it was called until Mr. Vernon visited Arnold Bennett at Mr. Bennett’s home in Fountainbleau, France. One day while the two were driving along the road which was marked with milestones they stopped for direction. This suggested the idea of the title ‘Milestones,’ the milestones marking the different changes in life. Then they decided to call the play ‘The Milestones,’ but afterwards simplified it to ‘Milestones,’ which is the present title.

From one generation to another the march of time is noted in the story. The occurrence of a domestic crisis in each of the three generations reveals some remarkable character truths, and it also reveals the independence now felt by young folk of today when their future is at stake, this being shown in contrast to the former unquestioning of obedience of parents as to vital matters, whether the parents were right or wrong. Especially is the striking difference shown between women of the present and fifty years ago.

The novelty in ‘Milestones’ is the development of character through many years of living; the strife of the young generation with its predecessor over the same problems.

On one day three or four weeks ago five theatrical companies left London to act this play. One company came to Chicago, another went to New York, three to the English provinces. ‘Milestones marks a dramatic era. Although an English play, it is human. Therein is its appeal to America. And it is blessedly ‘untheatrical.’

When ‘Milestones’ was first produced last February in London the advance sale was $20. Since the opening night there has not been an empty seat. It is still running at the Royalty Theater, London, and the advance bookings are all filled until well after Easter.”

By 1923, ‘Milestone’ was commonly listed in the publication “Plays for High Schools and Colleges, Compiled by a Joint Committee National Council of Teachers of English and the Drama League of America” by Clarence Stratton, Chairman (Chicago, 1923, page 12).  The entry for the work was brief and to the point:

“Milestones. Arnold Bennett and E. Knoblock. 3 acts; 1 interior, but with changes of furniture. 9 m., 6f. A serious play of excellent quality, rather difficult. Costumes change with each act. Doran.” The publication included a section on “Suggestions to Producers of Plays,” which was fascinating in itself. One section commented, “The stage is not life; it may be a room with one wall removed as some moderns teach, but the audience is not in that room and therefore views the action from a different angle and a much greater distance…Great as are the difference in theory of different producers and much as acting has changed in the last generation; it still remains that some of the older technique was based on sound psychological principles and should be part of the equipment of actors, though they know when to disregard it. To secure a natural effect under such unnatural conditions requires an artificial technique. Action and speech have to be modified to meet modified conditions. Audiences still like to hear. To make them see and hear and understand requires certain exaggerations and suppressions and selections” (page 2).

This particular project intrigued me overall, a public school in a small western town purchasing scenery from a top-notch studio hundreds of miles away for a smash hit still traveling the circuit. In regard to the studio, I could not help think of the advertising phrase: “No project too big or small.” This small project also hints at a shift within American theatre industry during the pre- WWI era. The scope of plays produced at academic institutions was broadening, as was the manufacture of theatrical goods for thousands of public schools throughout North America. Simultaneously, this new market drove the increased demand fabric draperies. Fabric draperies were not only used as stage masking, but also for actual sets, thus replacing many painted sets.

I am always intrigued by the scope of contracts secured by Sosman & Landis in Chicago.  They delivered a variety of painted setting scenery to countless entertainment venues throughout North America. Projects included theater, opera, vaudeville, circus spectacles, tent shows, midway amusements, world fair attractions, panoramas, social halls, department store displays, commercial murals, fraternal scenery and a variety of academic institutions. They were never restricted to any region or venue. In a sense, diversity was their key to success. The continued to expand their operations until Joseph S. Sosman passed away in 1915. Without the drive of Sosman to constantly diversify, the firm began to solely focus on painted settings.  As I complete the year 1912 in the life and times of Thomas G. Moses, keep in mind that great change is on the horizon; both for theatre industry, as well as Sosman & Landis.

To be continued…

In 1912, Sosman & Landis delivered scenery for the C. W. Park Dramatic Co. The tent show was advertised as “the oldest, biggest, best and most perfectly equipped canvas covered theatre in existence” (“Messenger Enquirer,” Owensboro, KY, 10 Aug 1913, page 3). Playing weekly engagements that featured various vaudeville acts under a big top, the show came complete with a full stage, scenery, lights and even ushers. The “Decatur Daily” advertised, “Park’s Dramatic and Vaudeville Shows Coming. Will be here all next week – forty people and fine scenery” (Decatur, Alabama, 14 May 1912, page 2).

The history of the production company is quite interesting. In 1907, the C. W. Parks Show was reorganized due to some original members accepting other work (“The Gasden Times, “Gasden, Alabama, 22 Jan. 1907, page 2). Park began fine-tuning his acts, and by 1909 became the C. W. Park Big Stock Co. The “Roanoke Leader” reported that the C. W. Parks would return, appearing “under their mammoth water-proof canvas” (Roanoke, Alabama, 1 Sept 1909, page 8).  The article continued, “The C. W. Park show is stronger than ever, having been enlarged in all departments, carrying all new plays…Mr. Park holds the territorial rights south of the Ohio River and east of the Mississippi, besides new plays. An entire new company has been engaged, and artists from the leading theatres in the north and east are engaged with the company…Special electrical effects, a car load of special scenery, and a host of high class vaudeville (especially engaged for this line of work only) makes the C. W. Park show larger, greater and grander than ever before.” By 1912, “The New York Dramatic Mirror” listed Park’s new company “UNDER CANVAS: C. W. Park Dramatic Co.” (page 26). The tent company was still billed as a vaudeville show; the touring production included a substantial company with impressive scenic effects.

In 1912, the “Decatur Daily” published, “The company is now composed of forty and requires two of the largest of the Southern baggage cars to carry scenery, which is all new and up-to-date, being from the famous studio of Sosman & Landis. This is the largest company of its kind in the business and carries a modern and fully equipped theater, all the ushers and attaches appear in uniform, and instructed to attend to the wants of the patrons. Several new faces appear among the acting forces, as well as in the vaudeville forces, of which there are eight acts. The plays will be changed nightly, as well as the vaudeville (Decatur, Alabama, 14 May 1912, page 2).

The 1912 production included “The Man Who Dared,” “Dolly and I,” “A Round Up,” “St. Elmo,” and “The Shepherd of the Hills” (The Commercial Dispatch, 22 Aug. 1912, page 1). The scenery for the acts was advertised as “new and up to date from the famous Studio of Sosman & Landis.” Of the production, the article continued, “This is the largest company of its kind in the business and carries a modern and fully equipped theatre, all the ushers and attaches appearing in uniform, and instructed to attend to the wants of the patrons” (The Huntsville Times, 9 May 1912, page 1).

To be continued…

There were many projects completed by Sosman & Landis during 1912 that were not mentioned by Thomas G. Moses in his memoirs. Sosman & Landis provided the scenery and stage effects for a touring production called “The Seven Aviator Girls.” The “Quad-City Times” reported that Sosman & Landis provided scenery for “The Aviator Girls,” a musical act composed of “seven winsome women” (17 March 1912, page 12).

Scenic embellishments accompanied each song, to “make them all the more delightful.” The production was produced by Virgil Bennett and headed by Miss Carlie Lowe, who was accompanied by the seven aviator girls in what was billed as “a spectacular scenic and singing novelty.” The four scenes for the show included “Owl Land, “ “On the Beach,” “In the Surf,” and a Japanese Palm Garden.” Musical interludes (olios) between scenes included “The Boogie Boo Owls,” “Serenade Me Sadie,” “Spooning in My Aeroplane,” and other catchy numbers” (Los Angeles Times, 4 Aug. 1912, page 26).

“The Daily Gate” reported that the show was “a spectacular musical and scenic singing act that has been the sensation in all the big houses in the country where they have played. A carload of special scenery is carried with the act and is said to be one of the most beautiful stage settings found in vaudeville. A special property man and electrician are carried with the company, which numbers seven principles and two mechanics” (Keokuk, Iowa, 17 Oct, 1912, page 5). The “Davenport Times” described, “They have five different song numbers and each means a change of costumes and ‘back drops.’ As a result their tuneful efforts are accompanies by a spectacular display that induces the natives to applaud vigorously. The big number, ‘Spooning in My Aeroplane,’ presents Miss Carlie Lowe soaring up to the roof in a miniature machine, while her feminine mechanicians cut fancy ‘diddoes’ with their feet and join the chorus in song. It is a prettily staged and engaging act all the way” (Davenport, Iowa, 19 March 1912, page 8).

To be continued…

In 1912, Thomas G. Moses wrote, “New York studios set in a new theatre in Philadelphia, the Globe.” He meant that Sosman & Landis painted scenery for a New York Studios’ project, one that was delivered to the Globe Theatre in Philadelphia. New York Studios was the eastern affiliate of Sosman & Landis, founded and run by a one-time employee David H. Hunt. Hunt was a theatrical manager, as well as scenic studio founder. In the 1890s he convinced Sosman and Landis to establish the theatrical management firm of Sosman, Landis & Hunt.  Later in 1910, Hunt convinced Sosman to invest in New York Studios, run by Hunt and his second wife, Adelaide.

Julius Cahn’s Official Theatrical Guide listed the Globe as a vaudeville theatre. With a seating capacity of 720, the venue was managed by Chas. Rappaport. To place the Globe within the context of the 1912 Philadelphia theatre scene, the city boasted 289 theaters at the time with a drawing population of 2,000,000. Located at 5901 Market Street, the Globe Theatre opened in 1910.

I was intrigued that Moses mentioned creating scenery for New York Studios that was ultimately delivered to the Globe Theatre in Philadelphia. This was certainly not the first or last time that Sosman & Landis provided scenery for a New York Studios project. Sosman & Landis worked in conjunction with New York Studios on many projects, but seldom were mentioned in a newspaper article at the same time.

Interestingly, both studios were mentioned in the same article in the “Star-Gazette” on March 4, 1913 (Elmira, New York). The newspaper article was about the W. P. Murphy’ new theater in Bath, New York:

“THURSDAY NIGHT

First production will be local talent minstrels, a testimonial to Bath man who promoted playhouse.

Bath, March 4 – (Special)- The Liberty Minstrels, a premiere aggregation of Bath talent, will hold the boards at the Murphy theater, Thursday evening; the production is under the direction of J. W. Lewis and is given as a testimonial benefit to the builder and owner of the theater, W. P. Murphy.

The benefit is designed as a means of expression on the part of the local public of its appreciation of Mr. Murphy’s efforts to supply the village a long needed modern playhouse as well as in a measure to reimburse him for the heavy expense he has incurred in building and equipping the house. Already every seat has been sold and the demand may be that the minstrels be repeated a second night.

The house is one of the finest to be found in any village of this size anywhere in the Southern Tier. It stands at the rear of the former site of the Nichols House, the once famous hostelry, facing Pulteney Square in the central part of the village. Entrance is gained from Steuben street through a long arcade or foyer, off from which are a box office, telephone booths and cloak room. At the rear of the house near the entrance is a smoking room. The auditorium is 50 feet in length by 40 feet width. The floor slopes, dropping about five feet from the rear to the orchestra circle. Surrounding three sides of the auditorium is a horseshoe gallery; the house is carpeted with rubber linoleum and supplied with opera chairs on both orchestra floor and galleries, the seating capacity being about 825 persons. 

The stage has an opening of 45 feet width, 17 feet height and 30 feet depth. It has an ample scene loft and is supplied with elaborate scenery, which is supplied by Sosman & Landis of Chicago. Beneath the stage is a musician’s waiting room, a property room, four dressing rooms, supplied with baths; above the stage are four other reserve dressing rooms for use when attractions with large casts play the house. The building is equipped with gas and electricity; has seven exits, is a fireproof building and heated by steam. The drop curtain, depicting a scene from Venice is from the New York Studio Company.

Charles H. Thomas will be manager and booking agent for the house and already many leading attractions are promised. As Bath has been without a theatre otherwise than the motion pictures for some time, undoubtedly the new theater will prove very popular” (Star-Gazette, Elmira, New York, 4 March 1913, page 9).

To be continued…

In 1912, Thomas G. Moses and his wife Ella stopped in Chattanooga on their way to Asheville, North Carolina. Moses was headed south on vacation to sketch and check in on some projects. In Chattanooga, he dropped off a panorama for the Chattanooga Manufacturer’s Association.

The painting was for a permanent display at the new Chattanooga Manufacturer’s Association. “The Chattanooga News” described his contribution on Jan. 1, 1913, in the article “Manufacturers Receiving in Their Commodious Home” (page 12).  Of Moses’ artwork, the article reported, “The panorama of Chattanooga and the miniature replica of the Cincinnati Southern railway attracted the greatest interest upon the top floor, crowds of amazed spectators standing around these exhibits throughout the morning and afternoon.”

On New Year’s Day, 1913, more than 15,000 people visited the permanent exhibit of the Chattanooga Manufacturer’s Association, far exceeding the expectation of the exhibit committee. From 10:00 a.m. until 10:00 p.m., a steady stream of visitors poured into the building. The new home of the Chattanooga Manufacturers’ association home was a three-story building on Broad Street, where the products of various manufacturing plants of the city were permanently displayed.

Chattanooga had more than 300 manufacturing plants turning out 700 different products of common use by 1913 (“The Chattanooga News,” 12 March 1913, page 5). The annual value of manufactured exceeded $65,000,000. Today’s equivalent of that purchasing power is $1,685,791,414.14.

That fall “The Chattanooga News” included an article about Moses’ visit to Chattanooga, mentioning his panorama work and role in the Palette & Chisel Club  (Nov. 5, 1913, page 2). Moses was 57 years old at the time, well-respected as a fine artist, and in his artistic prime. Here is the article in its entirety:

“ARTISTS MAY CAMP HERE NEXT SUMMER.

Thomas F. [sic.] Moses Has Interested Palette and Chisel Club of Chicago in Chattanooga –

The genius of Thomas G. Moses, the artists who painted the panorama of Chattanooga, now at the Chattanooga Manufacturer’s association exhibit building, is at present being officially recognized in Chicago by the Palette and Chisel Club there, one of the most exclusive art clubs in America.

Nov. 2 to 14, the paintings of Mr. Moses are on display at the club apartments. This opportunity is an honor afforded only to the most prominent members. Invitations have been sent out to the most able of America’s painters. In the invitation the Palette and Chisel club says of this artist:

‘There is not one of our members of whom we are more proud. There is probably not another painter in Chicago who has sought out and painted so many of the beauty spots of our own country. From a thousand sketches and paintings sixty have been selected, and are hung in our club to give our members and their friends an opportunity of seeing a representative collection of the works of Thomas G. Moses.

It is customary for sketching parties of the Palette and Chisel Club to make excursions to locations of exceptional beauty over the continent of America. When in Chattanooga to deliver his painting of this city to the Manufacturer’s association Mr. Moses expressed his admiration for the scenic beauty of this section and stated that he hoped to bring a party of artists from Chicago art circles to establish a summer painting camp in this locality.”

To be continued…

In 1913 the art works of Thomas G. Moses were featured in a Palette & Chisel Club exhibition.

An invitation to Club members noted,

“There is not one of our members of whom we are more proud. There is probably not another painter in Chicago who has sought out and painted so many of the beauty spots of our country. From a thousand sketches and paintings sixty have been selected and are hung in our Club to give our members an opportunity of seeing a representative collection of the works of Thomas G. Moses. The exhibition will be open on weekdays from 10 to 7, and on Monday, Wednesday & Saturday evenings until 9.”

This is quite a statement. Moses had been a member of the Club since 1906. In addition to joining the Palette & Chisel Club, Moses was a member of the Laguna Beach Art Association and the Salmagundi Club in New York City. He sketched alongside those associated with other art movements, such prominent individuals who established art colonies in Taos and the Pacific Northwest.

In addition to being recognized in fine art circles, his skill as a scenic artist was also recognized by some of the greatest American stage personalities in the 19^th and 20^th centuries, including Joe Jefferson, Al Ringling, Buffalo Bill Cody, Frederick Thompson, Edwin Booth, Sarah Bernhardt, Julia Marlowe, Katherine Clemmons, Helena Modjeska, William Haworth, and the list goes on.  Many of Moses’ theater drops still remain, scattered across the United States in various theaters.  However, there are precious few scenery collections that were ever primarily painted by Moses; a studio setting prohibited this characteristic. Many of Moses’ premiere collections were created after the initial liquidation of Sosman & Moses. From the mid to late 1920s, Moses again found himself producing entire collections with one assistant, often on site. One example was for the Scottish Rite Theater in Fort Scott, Kansas, a scenery collection eventually purchased by the Minnesota Masonic Heritage Center during 2015.

After I supervised the removal and transportation of the entire Fort Scott Scottish Rite scenery collection to a storage facility in Minnesota, the CEO of Minnesota Masonic Charities selected a team of individuals who were unfamiliar with the appropriate handling of historic backdrops. They were hired to restore the entire scenery collection in a compressed timeline, just about the same time I was my position as Curatorial Director for the Minnesota Masonic Heritage Center was eliminated. Sadly, hot melt glue was used to attach new netting to the historic cut drops, irreparably damaging each piece. Original battens were removed, and leg drops cut apart. The quality of the restoration speaks for itself and I have written much in the past about the appropriate handling and repair of historic scenery.

The point of today’s post is to consider the extant works of Thomas G. Moses, both his fine art and scenic art. Internationally renowned artists held Moses in high regard. He was not merely a tradesman, producing picturesque backgrounds for the theater, but an artist who exhibited at some of the most respected art schools across the United States. His scenic work cannot be dismissed and devalued based on its exhibition space in an entertainment venue.

Fortunately, Lance Brockman, Larry Hill and Rhett Bryson documented many of these collections during the 1980s and 1990s, so we at least know what was lost. The Scottish Rite scenery in McAlester, Oklahoma, seems to be the sole survivor that is still owned by the Fraternity.

To be continued…