Copyright © 2019 by Wendy Waszut-Barrett
Even though Thomas G. Moses was vice-president of Sosman & Landis in 1914, he was on the road a lot. At 58 years old, Moses remained at the top of his game. Working as both a scenic artist and designer, well-known personalities throughout North America continued to seek him out.
Since his return to Sosman & Landis in 1904, Moses had full control over the design, construction, painting, and installation of all projects. By 1914, however, much of Moses’ time was consumed with making models and securing contracts.
When Sosman & Landis opened, it was Perry Landis who crisscrossed the country, securing scene-painting contracts for opera houses, music halls and other entertainment venues. Sosman and Moses followed Landis, rapidly completing one project after another. Moses admitted that it was a full six months after being hired at Sosman & Landis in 1880 before he was even able to meet Landis.
In 1902, Landis’ illness caused him to withdraw from studio work until his passing in 1905. This prompted Sosman to get Moses back to the studio by 1904. At the time, Moses was running the successful scene-painting firm of Moses and Hamilton in New York. It took a personal plea from Sosman, plus the promise of full artistic control, position of vice-president, and Sosman & Landis stocks to bring Moses back to Chicago. However, this meant that Moses’ increased responsibilities pertaining to artistic supervision and marketing meant less time painting.
A decade after his return to Sosman & Landis as vice-president, Moses’ responsibilities had primarily shifted to that of a designer, with him painting fewer and fewer drops. His design services were also in high demand.
In 1914, Moses wrote, “I then went to Atlantic City to make a model for the Colonial Theatre, and I found Atlantic City was a good place to make a model, so I remained there a week. Got back home May 4th, feeling fine after my little vacation.” The Colonial Theatre was located two blocks from the boardwalk at 1517 Atlantic Avenue near Mississippi Avenue. Seating 1,391 patrons, it was later renamed the Center Theatre in 1954. The sun, the sea and sketching must have been a welcome break from the hustle of the studio. Making models on site was a sure way to secure a contract. The client would be able to fully see what was being proposed and be amazed at the speed with which the model was built to his specifications. It also required an experienced hand to quickly craft a professional presentation, hence Moses going on the road again as a designer and salesman.
Sosman & Landis delivered scenery to Atlantic City the previous year too. In 1913, Moses wrote, “We did a New York Studio job for Atlantic City – a 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 firm was a well-known quantity, having been in business for 35 years.
Other 1914 trips for Moses included French Lick Springs. That fall Moses wrote, “I made the second trip to Indiana and French Lick Springs, then back to West Baden – a wonderful big hotel. Got a frightful cold at French Lick Springs and November 28th, I went to bed with bronchial pneumonia. Pretty bad. Was three weeks before I could get out. The doctors wouldn’t listen to getting up after I had been in bed for two weeks. I was stubborn enough to get up and I made six models and felt better, forgot my worries and sold one set to Hopkinson of the Hamilton Theatre or $975.00. He called at the house to see the model and we started work right away. The illness was the worst I ever had. I ought to go south.” Ironically, French Lick Springs and West Baden boasted spas and luxurious hotels, attracting those in search of cures for their illnesses. Modeled after famed European spas, these luxurious locations were less than a half-day from Chicago. Here is a delightful post by Elizabeth Dunlop Richter that highlights the French Lick and West Baden resorts: https://www.classicchicagomagazine.com/french-lick-and-west-baden-resorts/
Moses turn for the worse in 1914 was likely a relapse after pushing through his illness and deciding to make the models. But this also signaled the beginning of respiratory concerns for Moses that would remain throughout his life. After years of questionable working environments an long hours, the frantic pace was taking its toll. At 58 years old, Moses could not sustain the same lifestyle and work habits that he established in his 20s without suffering some consequences. Although travel is never easy, making models on location may have been preferable to cranking out backdrops day in and day out, 10 to 12 hour days, six days a week. However, Moses was trying to do both.
To be continued…
