Month: January 2020

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “June 1^st, Mama and I started for our first California trip that had no business attached to it, but I found a little when I reached Pasadena, a little misfit at Root’s Strand Theatre.  Fixed it up and settled in full.  This trip I have written up in detail elsewhere.

When we reached Salt Lake on our return trip, I received a wire from Sosman requesting me to return at once, as he was going away for a trip in his car.  He returned July 24^th in bad shape and died August 7^th.  On the 10^th, a stockholders meeting was called and I was elected president of the Sosman and Landis Company.  Arthur Sosman was elected vice-president and P. Lester Landis, secretary and treasurer. It is very strange to me that I had never given this change of the business a thought.  I had never thought of Sosman dying.” 

On August 8, 1915, the “Chicago Tribune” reported “JOSEPH S. SOSMAN dies yesterday at his residence in Lake Bluff. Mr. Sosman was 70 years old and had been a resident of Chicago forty-five years. He was president of Sosman & Landis, scenic studios. He is survived by his widow and two sons, Arthur and Fred. He was a member of the Illinois Athletic club and a high Mason.”(page 13).

On August 28, 1915 “Oak Leaves” announced, “President of ‘Scenery’ Company Thomas G. Moses has become president of the firm of Sosman & Landis of Chicago, for many years one of the leading houses in the country engaged in the making and painting of scenery and the making of ‘properties’ for theatrical productions. Mr. Landis died several years ago and Mr. Sosman died early this month. Mr. Moses has been identified with the firm for thirty-five years, and is recognized as one of the leading artists in this line in the country. The business has grown from the employment of a single artist, when Mr. Moses first took up the work, until it now requires thirty-five artists and fifteen stage mechanics. Mr. Moses first became a stockholder and vice president of the company ten years ago and; now succeeds to the active control. Mr. Moses is a well known citizen of Oak Park and his made his home at 233 South Euclid for twenty-two years” (page 25).

Later that year, Moses wrote, “I hope our first year with the business will pan out pretty good, and I feel it will take at least three years to pull it out and make it stand up by itself.  Having no capital is an awful handicap and I don’t see how the business was run on for so many years without more surplus, for we always had plenty of work and have a good reputation for good work.” Well, I think that the lack of capitol had to do with their Scottish Rite scenery contracts. For years, the Sosman & Landis Studio financed various Scottish Rite Valleys for terms of six years or more after collections were delivered in full. Only a third of the entire bill was due upon completion, the rest of the payments were spread out over months, if not years. Unfortunately when the last third was due, many Valleys were always late on the final payments, making both artists and studios beg for what was contractually theirs. In some cases, the Valleys decided just not to pay their bills to the men who labored for their building and theater. It really goes against everything that the Fraternity teaches, and I have yet to find that this was an anomaly.

At the end of 1915, Moses added, “This year ended with a lot of unfinished work on the books and I am very much afraid that my picture painting is going to receive a good bump, now that I have more responsibilities to assume.  I hope within a year that Lester will get into the office work so I will not have much of that to do.” Perry Landis’ son Perry “Lester” Landis and Moses would continue to work on projects together until Moses’ passing in 1934, but he would never have the same knack for the job. The younger Landis did not exhibit the same skills or theatrical connections as his father. In addition, times were changing and to meet new demands, scenic studios had to follow trends.  Moses firmly stuck to the painting end of the business, desperately hoping to ride the same wave that the firm had been on since 1880.

For the past few years, I have been writing a book about Sosman & Landis, the firm’s influence on American theater and visual spectacle is substantial. This includes research and writing that I do in addition to my daily posts, although some has been shared at www.drypigment.net.

Of all the scenic studios that appeared in the fifty-year period between the 1870 and 1920, Sosman & Landis shaped the landscape of American theatre, yet they do not appear in any theatre history books. They created the foundation and trained several generations of scenic artists who opened later opened studios across the country or dominated the world of fine art.

Sosman & Landis’ work dominates early issues of Julius Cahn’s Official Theatrical Guide. So many theatres list the firm as delivering their stock scenery collections. Between 1880 and 1894, the Firm delivered scenery to 4000 theaters. That number is significant when considering that Sosman & Landis scenery was the first theatrical scenery ever encountered by many Midwestern and western citizens in small rural communities.  Larger audiences in metropolitan areas also were familiar with the scenic studio, as their name appeared in print across the country with both touring shows, new theaters, opera houses, musical academies, social halls, amusement parks and grand circus spectacles.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “We received the Strand of Indianapolis at $2,700.00, and we got a very good set, fine for lighting.” Earlier that year, Moses had worked at the Strand Theatre in Pasadena, writing,  “June 1st, Mama and I started for our first California trip that had no business attached to it, but I found a little when I reached Pasadena, a little misfit at Root’s Strand Theatre.  Fixed it up and settled in full.”

There were many Strand Theaters in 1916, all across the country: Appleton, Wisconsin; Altoona, New Castle and Harrisburg, Pennsylvania; Pasadena, San Diego, Long Beach, and Stockton, California; Seattle, Washington; Portland, Oregon; Sioux City, South Dakota; Des Moines, Cedar Rapids, Davenport and Iowa City, Iowa; Chicago, Dixon, Decatur, De Kalb and Rock Island, Illinois; Arkansas City and Salina Kansas; Laredo, Texas; Tampa and Miami, Florida; Montgomery and Dothan, Alabama; Durham, North Carolina; Orangeburg, South Carolina; New York City, and many, many more.

Of the Indianapolis Strand, Sosman & Moses placed an opening night advertisement on Jan. 15, 1916, in the “Indianapolis Star.” Their advertisement announced, “Sosman & Landis designed, built and painted the elaborate picture setting for the new STRAND THEATRE” (Indianapolis Star, Jan 15, 1916, page 9).

On December 9, 1915, the “Indianapolis Star” listed the company under its “Incorporations” section – Strand Theater Company, Indianapolis. Capital, $25,000. To conduct theaters and motion picture shows. Directors, R. D. McCord, G. G. Russell, E.E. Brinkmeyer” (page 16). By Jan. 17, 1916, the “Indianapolis Star” listed the theater again in the “Articles of Incorporation” section – “The Strand Theatre Company, Indianapolis, has increased its capital stock by an issue of $50,000 preferred stock and an increase of $125,000 common stock, making the total capital $300,000.

Strand Theatre Co. advertisements promised the following:

“Endorsed by Discriminating Audiences. The theater is judged by the CLASS of patrons it ATTRACTS and HOLDS. Drop in at the Strand ANY time. Note the KIND of people who attend. Intelligent men of affairs – refined, appreciative women. Their verdict COUNTS. They know that the Strand way means high-grade, exclusive photo-plays- artistic presentation – unvarying delightful programs, including stellar vocal and instrumental artists and the Strands famous 20-Orchestra-20. Continued Success of Advance Exclusive Presentation in Indianapolis.”

In January 1916, Moses wrote, “On the 8^th, went to Indianapolis to light the Strand picture set.”  That was a week before opening. When the theatre opened on January 15 at 8:15 PM, and “Indianapolis Star” announcement promised:

“The most luxurious, the most beautiful and the most comfortable theater of all. These are roomy seats for 1,800 people – all with unobstructed view of the stage. The same high-class films – the same big musical program – the same all-star vocal soloists – the same beautiful surroundings, stage setting and lighting effects – the same twenty-piece Symphony Orchestra that draws immense crowds to the New York and Chicago Strand Theaters – are offered to Indianapolis playgoers and music lovers” (Indianapolis Star, Jan. 15, 1916, page 9).

The opening night program included: Overture by The Strand Symphony Orchestra of twenty pieces; Travelogue – “Seeing Panama;” Solo by the Golden Voiced Soprano Viva Ethelia;

Strand Topics of the Day – World-Wide Events; Instrumental Solo by Albert E. Short; and a “Paramount” Feature Photoplay starring Marguerite Clark in “Mice and Men.” The feature was five reels in length.

Interestingly, there was more than one Strand Theatre in Indianapolis during 1916. The one that Sosman & Landis delivered a picture setting to was located at Washington Street and Capitol Avenue. This was the new Strand Theatre Co. Early in 1916 Strand Theatre Co. ads note, “We are not interested or connected with any other Strand Theatre in Indianapolis” (Indianapolis Star, 21 Feb 1916, page 10).

Previously known as the Park Theatre, the Strand Theatre Company took over ownership of the venue in 1915, contracting with Sosman & Landis to deliver their picture setting for films. The Park Theatre was previously known for vaudeville shows and included a dime museum. Under the supervision of the E. C. Deveine, the theatre was remodeled and the stage outfitted with new equipment, reopening as the Strand Theatre Company.  The Strand Theatre advertised continuous shows daily, with matinee prices costing ten, fifteen and twenty-five cents. Evening shows were ten, fifteen, twenty-five and thirty-five cents (Indianapolis Star, 6 Feb 1916, page 13). Unfortunately the Strand Theatre Co. name change only lasted ten months, when it was reverted again to the Park Theatre. Two theaters with the same name must have been a mess.  Think of someone saying, “We’ll meet you after dinner at the Strand Theatre!” and showing up at the wrong one. The Park Theatre name was again changed to the Capitol Theatre in 1923. The Capitol theatre only lasted a little over a decade and closed in 1935.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “June 1st, Mama and I started for our first California trip that had no business attached to it, but I found a little when I reached Pasadena, a little misfit at Root’s Strand Theatre.  Fixed it up and settled in full.  This trip I have written up in detail elsewhere.” Moses recorded all of these trips in his travelogues, their whereabouts remain unknown.

The “little misfit” was at J. M. Root’s Strand Theatre, located at 340 E. Colorado Boulevard in Pasadena, Strand’s was across the street from the newly built Maryland Hotel. Root managed a circuit of large vaudeville theaters in Iowa and was a member of the Western Vaudeville Managers’ association in Chicago. He was also a major stockholder in two film agencies. Root’s 900-seat movie house was built by Frank Dale for $100,000 and opened on November 25, 1914. Sosman & Landis delivered the scenery for the theater. After the grand opening, the “Los Angeles Times” reported, “Most auspicious was the opening Wednesday night of the beautiful Strand Theater on East Colorado street, near Euclid avenue. The management gave to the public, which was there in a multitude, ‘The Nightingale,’ by Ethel Barrymore, one of the greatest of modern actresses. A feature of the programme was the music by the Strand Symphony Orchestra. The theater itself is a thing of beauty, finished in the handsomest of marble and onyx. A fireproof structure, it is built of brick, concrete and steel. It has a seating capacity of 900” (page 17). The cinema’s picture booth was also noted as the largest in California, equipped with four separate machines, including a Martin rotary converter that changed alternating current into direct current without the use of mercury tubes. The Strand Theater’s boasted a large woman’s retiring room near the inside entrance. It’s lobby, ornamented with Mexican onyx and solid mahogany. Other décor included large Corinthian columns inside lobby and friezes of musical cupids on wall panels.

The 1918 Pasadena City Directory listed the Strand Theatre as “Where You See It First and See it Best,” For All the Family, Best Pictures, Best Music, 340 E. Colorado near Euclid av Phone Fair Oaks 833” (page 423).

Of Moses’ trip, the Oakpark, Illinois, newsletter mentioned his trip. On Saturday, July 24, 1915, the “Oak Leaves” reported, “T. G. Moses Sketching in West Mr. and Mrs. Thomas G. Moses of 233 South Euclid, who are on a seven weeks’ tour of the west, are enjoying the rare scenery of mountains and valleys. Meanwhile Mr. Moses is making sketches of the Grand canyon, Yosemite valley, Mt. Hood, Ranier, Pike’s Peak and scenes in New Mexico, for painting which he contemplates placing on exhibition at Grable’s Art and Gift shop, 112 North Oak Park avenue, upon his return in the early fall” (page 28).

At the end of 1915, Moses commented, “This year’s trip will always be remembered by Mama and I as one of our finest vacations.  I didn’t do quite as much in the way of painting as I should have, but I made a number of pencil sketches and color notes, and I can rely on my very vivid imagination for general scheme of color.”

I am always wanting more time to paint when away, capturing the moment with my brush instead of a camera. There is always the plan to paint the scenes once I home, but life and work point me in a different direction, redirecting my focus.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “May 15^th, I went to Pittsburg with my big models for the Shrine and closed for $8,575.00.  A good one.”

Moses’ designs were for Syria Shrine Mosque, a 3,700-seat auditorium. 1913, the Syria Improvement Association mailed a prospectus outlining plans for a new building.  A parcel of land known as the old Schenley Farm land was identified as the site for a new building that year. Two years later, ground was broken for the new temple on April 20, 1915. It was around this time that Moses secured the contract for $8,575.00 worth of scenery; today’s equivalent of $218,173.47.

On June 19, 1916, the laying of the corner stone for the Syria Shrine building was preceded by “a parade of 3,000 nobles, headed by a half dozen bands” (Indianapolis Star, 20 June 1915, page 6). Newspapers reported that the parading nobles were clothed in full dress suits, wearing their traditional red fez as headgear. The Shrine patrol was dressed in their oriental costumes for the parade. The largest flag in the United States at the time was also carried in the parade.

In 1916, Moses wrote, “The Syria Temple of Pittsburg is still jogging along.  If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” Later that year he added, “Stopped at Pittsburg on my way home and inspected the Syria Temple work.  It looks very good to me and everyone seems to be well please with it.” 

On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners. New Million Dollar Temple at Pittsburgh a Shrine of Oriental Magnificence” (Greenville, Pennsylvania, page 1). The article described, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon. Solemn ceremonies, including the ritual of the Shriners, attended the dedication, which was completed before a large crowd.  Prominent men of the order from every section of this country, Canada and one from Hawaii took part in the festivities, which were held behind closed doors…Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple. The dinner was informal and speeches were tabooed. Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of town visitors.

Thursday night the largest class of candidates was initiated. The number ran close to 700 and is probably the largest to be accepted at one time in the history of the Shrine. Instructions were given candidates in Memorial Hall in the afternoon and at 7 o’clock they were formally accepted.

Initiation took place in the auditorium, the officers in the charge wearing new costumes. During both ceremonies the elaborate lighting system was demonstrated. Rays from two search light machines, made soft, played in the stage throughout.”

The dedication ceremonies occurred over the course of a week in October, with an estimated 40,000 guests attending various activities.

The Syria Shriner’s website notes, “A movement began in the late 1980’s to replace the aging structure with a new facility that offered greater amenities to suit the needs of its members and its special events business. The Syria Mosque went up for sale in June of 1989. The building was demolished August 27, 1991. In October 1994, the Syria Shrine Center opened its new, 40,000 square foot, $10 million facility set on 37 acres in Harmar Township, Cheswick, PA. Great effort was spent to retain some of the classic features of the former Mosque, such as the twin sphinxes which guarded the entrance and the immense chandeliers which hung in the auditorium.” Here is the link to the Syrian Shrine history for more details: https://www.syriashriners.org/history/

There is a little more to the story. On March 1, 1992, “The Morning Call,” noted, “The Syrian Mosque was a Pittsburgh landmark. Alas, it recently came under the wrecker’s ball. Prior to its demolition, it was home to a prestigious Pittsburgh antiques show, the Pittsburgh Symphony, and a theater group. It was one of seven temples in Pennsylvania” (Allentown, Pennsylvania, page 102). Now fast-forward twenty years.

In 2012, the “Pittsburgh Post-Gazette” published, “Two decades later, razing of Syria Shrine Mosque still a sore topic” (Sept. 23, 2012.) The article detailed, “Despite one of the fiercest preservation battles in the city’s history that culminated with Mr. Ferlo, then a Pittsburgh city councilman, and three fellow supporters being arrested the morning bulldozers rode in on Aug. 27, 1991, the Mosque and its acoustically perfect hall couldn’t be saved. Now in its place is a surface parking lot for UPMC and University of Pittsburgh employees. The building’s owner, the Shriners, had it demolished so that it could sell the 2 acres of land under it to UPMC, then known as Presbyterian University Health System, for $10 million. ‘At the time it was probably one of the highest prices ever paid for real estate in the city at $5 million an acre for land,’ said Greg Hand, who was vice president in charge of development and construction in 1991 for National Development Corp. and was the main architect behind the deal that brought UPMC together with the Shriners. Though the hospital system tried to conceal its role as buyer for months in 1991 — until it was forcibly revealed during a court hearing — its purchase of the site, and what it has done with it since, is for many observers a prime example of how UPMC pays inflated prices for taxable land and takes it off the tax rolls… The site was converted into a ‘temporary’ parking lot, and UPMC converted it from taxable to tax-exempt. In 1991, the last year the building was in use, the Shriners paid $66,535 in property taxes to the city, county and school district.”  Here is the link for the full: https://www.post-gazette.com/local/city/2012/09/23/Two-decades-later-razing-of-Syria-Mosque-still-a-sore-topic/stories/201209230185

In  2016 the former Syria Mosque property made headlines again when the “Pittsburgh Post-Gazette” announced, “A committee of University of Pittsburgh trustees today approved acquisition of the former Syria Mosque property in the heart of the school’s Oakland campus from UPMC for $10 million. The vote by the Property and Facilities Committee involves 2.1 acres of undeveloped land just north of Fifth Avenue between Bigelow Boulevard and Lytton Avenue. Decades ago, the property was ground zero for one of the roughest land preservation fights in city history. The site already is zoned Educational/Medical/Institutional (EMI), which facilitates university usage of the property, Pitt said in a statement released minutes after the mid-afternoon vote. ‘The University continually monitors the local real-estate market for strategic opportunities to acquire buildings or land that are in close proximity to any of its University campuses and suitable to support and advance the University’s mission,’ said Art Ramicone, senior vice chancellor, chief financial officer, and interim senior executive vice chancellor for business and operations. ‘Opportunities such as this, to acquire property of this nature in Oakland, are extremely scarce.’ A committee of University of Pittsburgh trustees today approved acquisition of the former Syria Mosque property in the heart of the school’s Oakland campus from UPMC for $10 million.”

How unfortunate. I wonder what ever happened to the scenery.

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “A small ‘Pinafore’ set told us that we were not through with this old popular opera.” 

There were numerous Pinafore revivals that year, ranging from small town college productions to a large revival at New York’s 48^th Street Theatre. In Texas, there was even a production at Lake Austin where the “Austin American Statesman” reported, “The ship ‘Pinafore’ will be anchored out in Lake Austin and will be near enough to the shore and in such position that the dialogues and songs can be easily heard by everyone along the bank” (5 Sept. 1915, page 8). Well, water does carry sound.

Looking at the numerous possibilities for a production with Sosman & Landis scenery, one announced in the “Lancaster New Era” intrigued me (Lancaster, Pennsylvania, 30 March 1915, page 7). The Crane-Burckly Co. staged a revival of “Pinafore” during the early spring of 1915. Of the show, the newspaper reported, “Young and old music lovers of Lancaster paid their respects to Gilbert and Sullivan on Monday night at the Fulton Opera House, when the Crane-Burckly Comedy Company offered their splendid revival of “H. M. S. Pinafore” as their bill for this week. The music of this charming play is the kind that seems to live forever. One can sit and remember seeing and hearing the famous play some years ago, but the charm and beauty of the score seems to be fresh and newly charming each time one hears t sung. The piece was produced by the Crane-Burckly Company in its entirety. Not a line nor bar was excluded, and all who would known Gilbert ad Sullivan can well imagine what a perfect production of this famous play Messrs. Crane and Burckly have offered patrons. Like true artists these people are, they gave a thoroughly perfect rendition of both the dialogue and the music. Raymond Crane, who sang the role of Captain Corcoran, showed himself in a new light. Mr. Crane disclosed himself as an actor of ability, and his performance of the commander of the H. M. S. Pinafore was by far the most artistic, the most finished piece of acting that has been seen for some time. Arthur Burckly shared the honors with his partner for first merits of the play. Mr. Burckly’s performances was the artistic triumph of his career in Lancaster.” Meanwhile, another “H. M. S. Pinafore” production played at the York’s 48^th Street Theatre in New York, running from April 19, 1915 to June 19, 1915.

There is simply no way of knowing which revival Moses was referring to without locating the firm’s name in a program. However, during my search, I did come across something else that was just fun.

On March 18, 1915, an entertaining tale from the “London Opinion” was published in newspapers across the United States that mentioned the show:

“Knows Something of the Sea.

Naval recruiting Office (to actor who has applied to join the naval reserves – And what experience have you had?

Actor- Quite considerable, I was two years a midshipman in H. M S. Pinafore, a lieutenant in half a dozen plays and an admiral in the Chinese Honeymoon” (page 7).

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “Some of our early work for the season was a black and white window decoration, rather effective.  A small church job for Sterling, my hometown.  Another job for Youngtown, Ohio, followed by one for Akron, Ohio.  A short trip to Detroit to see Fred Ingersoll.  Closed a picture set for $1,500.00. He had a fine theatre.” In Detroit, Ingersoll managed the Knickerbocker Theatre.

A picture setting incorporated elaborate painted settings for a projection screen, complete with a painted surround, tormentors, wings and borders.

Frederick Ingersoll (1876 – 1927) is the focus of today’s post. Ingersoll is remembered as an American inventor, designer, builder and entrepreneur. He created the world’s first chain of amusement parks. These are the same Luna Parks that featured many painted attractions by Sosman & Landis artists. The chain of Luna parks is not to be confused with Frederick C. Thompson’s Luna Park on Coney Island. Moses mentioned Fred Ingersoll, of Ingersoll Construction Company, as the studio delivered painted scenery for attractions at the Luna Parks in Pittsburgh (see past post #554) and Cleveland (see past post #493); these were the first two parks in his chain. During Ingersoll’s lifetime, he owned and operated 44 amusement parks.

One of five brothers, Ingersoll was born in New Jersey.  Starting out as a designer, Ingersoll Construction Company initially focused on the “figure eight” coaster, scenic railways and Shoot-the-Chutes.

On October 24, 1927, the “Des Moines Register” credited Frederick Ingersoll as “the father of the American roller coaster, responsible for more ups and downs in American merrymaking than any other man” (page 1). The exciting journey of Ingersoll’s exciting life came to a tragic end in 1927.  Newspapers across the country reported that Ingersoll was found dead in a concession stand at Krug Park, Omaha.  Articles reported that the doors and windows were tightly closed and an open gas jet filled the room with its fumes. The county coroner convinced that death was self inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill health.

In Des Moines, an article announcing his passing noted, “Ingersoll is well remembered here as the amusement park magnate who installed the roller coaster and other amusement devices at Ingersoll park, the vanished center of gayety once operated at Forty-eighth street and Ingersoll avenue. At that time he was regarded as the foremost amusement park magnate in the country, with important financial interests in parks in Pittsburgh, Cleveland and Philadelphia, as well as Des Moines. At one time he operated five Luna parks in five eastern cities. Besides his interest in the Omaha amusement park, Ingersoll was associated with similar enterprises in Lincoln, Neb. and Detroit. At the time of his death, he has lived for the last eight years in Omaha. Among amusement men, Omer Kenyon of the Garrick Theater said last night; Ingersoll was regarded as the foremost amusement park promoter in the country. To Ingersoll is given credit for the discovery, long before the airplane became a more practical imitation of a bird’s flight, that American’s like the thrill of bird-like soars and dips and glidings. His inspiration led to the rapid blossoming of gaunt white roller coaster structures on the outskirts of most American cities of any size. Later he extended his idea to other thrillers, such as whirling chairs, crack-the-whip rides, and swift revolving swings, on which zestful men and women spent three or four exhilarated minutes for 10 to 15 cents.”

There are many articles about this early-twentieth-century amusement king. For more information, here are two links that present the life of this interesting Sosman & Landis client:

https://en.wikipedia.org/wiki/Frederick_Ingersoll

‘Round about Pittsburgh: Local Man Revolutionizes Amusement Park Industry

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “April 17^th a crowd of us went to Fox Lake and took down the old house and moved it to our new site south of the track on a very high hill, overlooking Pistakee Bay.  Got the carpenter and lumberyard men together and we arranged for credit and ordered the material for a new house 22 x 50, was soon ready for members.  We certainly got great sport in assisting the carpenter.  Pretty hard work for an artist, but they all did very well.”

Fox Lake was the summer home for Palette & Chisel Club members, drawing a variety of artists during the hot months.  An artistic community was formed along the shores of Fox Lake, providing a haven far away from the hustle and bustle of work in Chicago. There were many Sosman & Landis employees who also became members of the Palette & Chisel Club, escaping to Fox Lake whenever they could.

In 1906 Moses joined the Palette and Chisel Club at the Chicago Society of Artists.  Of his membership, he wrote, “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.” The year that Moses joined the group, the Palette and Chisel Club consisted of sixty local painters, illustrators, and sculptors. The Chicago Tribune commented that the group was “primarily a working club, being the oldest organization in the west” (Chicago Tribune, 6 Jan. 1906, page 2).

Founded in 1895, the Palette & Chisel Club was an association of artists and craftsmen for the purpose of both work and study. Members were reported to be “all wage-workers” who were “busy during the week with pencil, brush or chisel” (“Inland Printer,” 1896). On Sunday mornings they gathered, spending five hours to paint just for themselves.

By 1905 the members of the Palette and Chisel Club established a seasonal camp at Fox Lake, Illinois. At first it was quite rustic with a communal tent. Of the camping experience at Fox Lake Moses wrote, “June 1^st, I made my first trip to the Palette and Chisel Club camp at Fox Lake, Ill.  Helped to put up the tent.  A new experience for me, but I enjoyed it.  I slept well on a cot.  Made a few sketches.  A very interesting place.  I don’t like the cooking in the tent and there should be a floor in the tent.  I saw a great many improvements that could be made in the outfit and I started something very soon.”

In 1908, Moses wrote, “I bought the portable house that we built years ago and at that time we received $300.00 for it.  I finally got it for $50.00, some bargain.  It cost $25.00 to remove it and we will put it up at Fox Lake in the Spring.  It has been used in Forest Park all summer to show ‘The Day in the Alps.’ Moses was 52 years old that year. The next summer Moses added, “As we had put up the portable house in Fox Lake, I was better contented to go up.  I gave the camp a portable kitchen and it was some class.  I felt sure I would manage to get a camp outfit worth while and the boys all fell in line with me.”

It was this portable house that Moses mentioned moving during the summer of 1915.

In his scrapbook, Moses pasted a small clipping about the Palette & Chisel Clubhouse – “Coals To Newcastle.” Here it is:

“One of our neophytes recently called at the S & L scenic studios on business which had to be taken up with a gentleman of such genial and artistic manner as to make him obviously desirable for a club member. So the neophyte, fired with the traditional ardor of the new broom, strongly urged the S & L man to put in an application for membership.

‘I, a member of the Palette and Chisel Club!’ was the rejoinder of the astonished prospect, ‘why I own the club.’

His name turned out to be Tom Moses.”

The article is likely published in the Palette & Chisel newsletter and the use of “S & L man” says a lot.  Over the years, there were many Sosman & Landis men who joined the Palette and Chisel Club. I even discovered a map to Fox Lake on the back of a 1909 drop delivered to Winona, Minnesota. S & L men were friends both in an out of the shop, always sharing their love of art and nature.

To e continued…

Copyright © 2019 by Wendy Waszut-Barrett

Early in 1915 Thomas G. Moses wrote, “Started the Pittsburg Consistory job.  One hundred drops – will keep us busy for a long time.” In addition to drops, the studio would have provided dozens of scenic pieces to accompany the scenes.

The Pittsburgh Masonic Temple was a nine-story building erected by the Masonic Fund Society at a cost of $150,000,000 between 1914 and 1915.  This is the equivalent to approximately $38,199,207.92 today.

On May 6, 1915, the “Pittsburgh Post-Gazette” announced, “The handsome new Masonic Temple at Fifth, Lytton and Tennyson avenues, was the scene of a great housewarming last night, in which fully 6,000 Masons and their ladies and guests took part. The exercises were under the auspices of the Ancient and Accepted Scottish Rite of Freemasonry, Valley of Pittsburgh…There were a number of high-class attractions for the house-warming. Perhaps the one that appealed to the greatest number was the concert in the theater on the fourth floor, a beautiful room which comfortably seats 1,300, and which is equipped with a pipe organ and a spacious stage” (page 1).

In 1916, the Masonic Temple was featured in the publication “Pittsburgh, How to See It. A Complete, Reliable Guide Book with Illustrations, the Latest Map and Complete Index” by George T. Fleming. Here is the entry in the book that describes the edifice:

“The Temple is 200 feet in length and 120 feet in depth. It stands on a plot with frontage of 240 feet on Fifth Avenue, 454 feet on Tennyson avenue, and 454 feet on Lytton avenue. It is 50 feet back of the building line on Fifth avenue, and in the rear there is land 284 feet in depth to provide for further growth. Its total cost was $1,500,000 to which the decorating will add considerably.

“The first floor is arranged for the social features inseparable from the workings of the Fraternity. Back of the stately foyer are the dining room, and two reception rooms. The offices of the Masonic Fun Society and of the Ancient and Accepted Scottish Rite are also on this floor.

“On the second floor are Corinthian Hall and Gothic hall. Corinthian hall is the meeting place of four Chapters Royal Arch Masons, and the Council of Royal and Select Masters. Gothic Hall is the meeting place of the three Commanderies, Knight Templar.

“The third floor is the Blue Lodge home, and is subdivided into four halls, Ionic, Doric, Tudor and Egyptian. Fifteen Blue Lodges and the School of Instruction meet on this floor.

“The fourth floor is devoted entirely to the Ancient Accepted Scottish Rite of Freemasonry, the four bodies comprising the Rite being the Lodge of Perfection, the Council of Princes of Jerusalem, the Chapter of Rose-Croix, and the Consistory. The larger apartment is built on the lines of a theatre. The lower floor will seat 648 persons and the balcony 548 persons. The stage has a width of 53 feet, and depth of 41 feet, and a height of 20 feet at the proscenium arch. It is as completely fitted up as the most modern theatre, and the electric lighting system designed to control the stage effects is in advance of anything ever before attempted in Pittsburgh. The Moeller organ built for the Rite at an expense of $12,500 is installed in this apartment. In the west end of this floor is a hall 50 by 62 feet, which will be used for the ordinary meetings of the Scottish Rite bodies.

“While the building is divided into four main floors, in fact it is an eight-storied structure with a modern basement. In the latter there are two billiard rooms, bowling alleys and a gymnasium, which in all probability will be placed in the care and charge of the Masonic club composed of those who hold member ship in the Masonic bodies meeting in the Temple. The kitchen with a capacity for serving 2,500 guest and the machinery rooms are also located there.

“On each of the floors is a mezzanine. That on the first floor entirely surrounds the dining room and refreshments are frequently served here. The Masonic library is on the mezzanine and apartments have been reserved for a Masonic museum. The second floor mezzanine is used for lockers in which the individual equipment of the Knights Templar are kept. The Blue Lodge mezzanine is used for hat and cloak room for members of the lodges. The Consistory mezzanine opens into a balcony of the Consistory theatre and makes an admirable upper foyer.”

What a phenomenal space.

In January 1916, “The New Age Magazine” reported, “The 104^th annual meeting of the Supreme Council of the 33º Northern Jurisdiction of the United States of America was held in the city of Pittsburgh from September 16^th to the 21^st. The first exercises took place Saturday evening at 8 o’clock, September 16, when the Supreme Council consecrated and dedicated the apartments of the Ancient and Accepted Scottish Rite in the new Masonic Temple recently erected by the brethren at Pittsburgh at a cost of a million and a half dollars, and it is one of the most beautiful Masonic Temples in the United States, the exterior being particularly noticeable” (January 1916, Vol. XXIV, No. I, page 417).

Unfortunately, this is just one more building no longer owned by the Fraternity. On December 23, 1993, the University of Pittsburgh purchased the Masonic Temple for $8.5 million dollars. It was renamed Fifth Avenue Alumni Hall in February 2002, becoming home to the undergraduate Office of Admissions, the Center for Instructional Development and Distance Education, and the Pitt Alumni Association. From 1998 to 2000, the University spent $16 million dollars on a renovation and adaptation of the building for use by University departments. Here is an article that gives some specifics about the renovated spaces: https://en.wikipedia.org/wiki/Alumni_Hall_(University_of_Pittsburgh)

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In January 1915 Thomas G. Moses wrote, “Grand Forks, N. Dakota Masonic job came in early and furnished a lot of work for the boys.” In the past, I have erroneously stated that the scenery was delivered in 1914. I based this date on Moses’ Masonic resume, where he listed the Grand Forks Scottish Rite scenery as a 1914 installation; that was likely the year when the contract was negotiated as work started at the beginning of 1915.

I first visited the Masonic Temple in Grand Forks when all hell broke loose. What I mean is that the hell drop ripped in half and I had to piece it back together. It was a fun project that prepared me for a Pasadena Scottish Rite project, their crucifixion scene also ripped in half.  I am getting quite good at repairing this particular type of damage.

Since my first visit to Grand Forks, I also evaluated the scenery collection twice; the second time was after a fire. The Grand Forks Masonic Temple has a history with fire.  In 2014, I received a call from about possible smoke damage to the Scottish Rite scenery collection. A fire had started in the basement and smoke filled the stage area. Miraculously, the fire was put out before reaching the stage area, but the scenery became covered with a residue.

The first mention of a fire that partly burned the Grand Forks Masonic Temple was in 1903. On Jan. 8. 1903, a special message to the “Star Tribune” reported, “At 10 o’clock last evening the new Masonic Temple was gutted by fire. The fire originated from an explosion of gas in Spriggs Bros. store on the first floor. Damage to the building, $5,000; Spriggs Bros., $1,500; C. A. Rhinehardt, hardware, first floor, $2,000 by water, fully insured.

The Masons recovered, and by 1910, two stories were added to the Grand Forks Masonic Temple (Bismark Tribune, 19 June 1910, page 5). On Nov. 8, 1911, the “Grand Forks Herald” announced “Many Masons in the City. Scottish Rite Reunion Brings Them Together – Under Charter Hereafter” (page 5). The article noted, “There are a large number of Masons in the city attending the reunion of the Scottish Rite bodies, which commenced yesterday and continues till tomorrow. Work in the several bodies is being given. The fact that the Grand Forks Scottish Rite lodges were recently granted charters by the supreme council is the cause of added interest in the present as from now on the local bodies will operate under a regular charter rather than under dispensation, as in the past.”

On Jan. 18, 1912, fire destroyed the interior of the Grand Forks Masonic Temple. Fire broke out in the basement of the A. B. Rheinhart hardware store, located in the Masonic Temple building (Courier Democrat, Langdon, ND, 25 Jan. 1912, page 2). The fire was supposedly started from spontaneous combustion in the paint storeroom of the Rheinhart hardware store. The Masonic Temple building was practically a total loss, with the lodge bodies having lost all of the furnishings. The loss of the building was estimated at $50,000, with the lodges’ bodies losing $10,000 worth of properties. Four days later, the Grand Forks Scottish Rite bodies opened their annual mid-winter reunion in the Elk building, with a class of eighteen taking the degrees. The “Grand Forks Herald” reported, “The Grand Forks Masons were compelled to do some rapid work as a result of the destruction of their home last Thursday night, but they were able to get into shape so that the reunion was commenced on schedule. Immediately the Scottish Rite bodies complete their work the Shriners will hold a ceremonial session.” What a resilient group! By 1913, the Grand Forks Scottish Rite was meeting at the Kem Temple, home of the Shrine (Oakes Times, 2 Oct. 1913, page 7).

On June 24, 1915, the “Courier Democrat reported, “Masonic Temple Dedicated. New Structure at Grand Forks Considered Perfect. The Grand Forks Masonic temple costing more than $150,000, was dedicated by grand lodge Masons of North Dakota. Rev. J. K. Burleson of Grand Forks presided and W. L. Stockwell of Fargo made the dedicatory address. Grand Forks’ new temple is regarded as the most complete and perfectly appointed Masonic structure in the Northwest outside of the Twin Cities” (page 2).

That same year, the “Dickinson Press” announced a new charitable endeavor by Scottish Rite Masons in Grand Forks (Dickinson, ND, 10 Oct 1915, page 4). The article reported, “In Grand Forks the Scottish Rite Masons have started a movement for a free children’s clinic at which all the needy and deserving children of the county are to be given medical attendance free of charge. Why is not this a good move for Dickinson? There are a few diseased and crippled children in every community who could be cured of illness and physical defects if the physicians would band together and give their services. It is believed that they would if their attention was called to the matter, and in this way a number of unfortunate children would get a fair start in life.”

To be continued…

Copyright © 2019 by Wendy Waszut-Barrett

In 1915, Thomas G. Moses wrote, “On January 23^rd I got a ‘hunch’ that I was cut out for an etcher, at least I was led to believe it by my friends, after they saw some of my early pencil drawings and they insisted I could etch.  I joined a class headed by Mr. George Sensmey, an etcher of some prominence, and I started at it like a house afire.  For a wonder, the first two plates proved to be very fair, but the third one was pretty bad.  While I am not discouraged, I am convinced that I will never etch a plate like Pennell or Whistler.  I like it, but I haven’t the time to put on the work that it requires, so I am afraid that niche in the Hall of Fame will be vacant for a while.” That summer, Senseney was awarded a silver medal in the class for etching and engravings at the San Francisco Exposition (Evening Star, 28 July 1915, page 2).

That same year the “Evening Star” reported, “George Senseney, another erstwhile pupil of the Corcoran School of Art, has likewise attained much distinction, but in a different field, having made a specialty of color etching. For several years Mr. Senseney has resided abroad, but during the past winter he has been in Chicago, and now it is announced that from June 21 to August 28 he will assist in directing a summer school of painting at Saugatuck, a most picturesque place on the shore of Lake Michigan near the mouth of the Kalamazoo river. He will conduct the classes in landscape painting formerly under the direction of the late Walter Marshall Clute. Mr. Senseney is a member of La Societé des Gravures Originales en Couleur, Paris, and is represented in numerous public and private collections. Quite a number of his works are to be found in the print collections of the Library of Congress” (Washington D.C., 9 May, 1915, page 74).

Senseney was born in Wheeling, West Virginia, the son of Charles H. and Anna May Eyster Senseney. He attended the Corcoran School of Art in Washington and the Julian Academy in Paris, studying with Jean Paul Laurens and Benjamin Constant in France. He taught etching for the Art Student’s League in New York and in 1916 organized the New School of Art in Chicago.  Senseney taught design at Smith College from 1916-1920. While teaching, he became the art director for the American Writing Paper Corporation in 1919.  Two of his colleagues were Francis C. Heywood, who was a member of the technical force, and Russell S. Bracewell, a research chemist. While at the American Writing Paper Corporation, Senseney developed a flotation process, a marbling process, for decorative paper. It was this process that instigated his formation of the Marvellum Co. of Holyoke, Massachusetts. In 1921, the Senseney, Heywood and Bracewell organized the Marvellum Company, with Senseney as president, Heywood as treasurer and Bracewell as clerk and superintendent. Senseney remained president until his passing in 1943. The firm was known for its distinctive papers in the production of distinctive booklets and catalogues, such as Marvellustre and Marvelhide. They developed a wide range of products, including various papers from decorated cellophane to heavy cardboards for photo calendar mounts. Other products were for fancy papers used in gift wrap, greeting cards, candy boxes, and stationary. The company even perfected papers with wood grain effects.

In 1931 the Marvellum Co. was instrumental in organizing the Beveridge-Marvellum Company in South Hadley Falls. Beveridge-Marvellum developed pyroxlin-coated papers. They manufactured decorative metalloid, crystal and mother-or-pearl finished papers. 

Senseney remained in Holyoke until 1934 when he moved to Ipswich Village. Senseney passed away in 1943 after a long illness. Leaving behind his widow, Dorothy L. Stewart Senseney, a daughter, Virginia and two sons, George L. and William. Senseney’s obituary noted that he held a reputation as a  “World Renowned Etcher” (Press and Sun-Bulletin, 9 Nov. 1943, page 18).

The same year that Moses studied with Senseney, the etcher filed a patent for a “Color and Design Study” device (serial No. 63,672).  To aid the “study of color and design, which consists of a plurality of superimposed, perforated, color strips slidable one over the other to produce various geometrical figures and various color combinations, and auxiliary colored sheets secured to an detachable from said strips, having figures thereon which may be cut out in accordance with the designs suggested by said strips.”

Even in his studies, Moses surrounded himself with innovative individuals, many whose ideas prompted change in industries other than theater. At this point in his diary, I am never surprised with the people he encounters, a surprise with every year.

To be continued…