Month: January 2021

Copyright © 2021 by Wendy Rae Waszut-Barrett

This is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona this month. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.

Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net…/travels-of-a-scenic-artist-and…/

Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/

For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite.”

Copyright © 2021 by Wendy Waszut-Barrett

Sosman & Landis’ main studio was located at  417 – 419 S. Clinton Street in Chicago. Constructed by the firm’s founders in 1880, it was an ideal space to design, build and paint scenery. Over the years, they supplemented this main studio with a variety of annex studios, but the firm’s address was always on S. Clinton Street. As with other large scenic studios, they rented space to not only other scenic artists, but also other scenic studios. After WWI and a general decline in demand for painted scenery, they continued this practice, renting to former employees and associates. In short, it helped reduce overhead.  In 1922, Sosman & Landis rented space to Charles L. Hoyland and William Lemle of the Hoyland-Lemle Company. State business filings in 1922 listed the Hoyland-Lemle address as 417 S. Clinton Street, the same as Sosman & Landis.  

Here is where it starts to get interesting, although a bit complicated. In 1923, Sosman & Landis closed its doors and liquidated their assets. Thomas G. Moses partnered with Fred R. Megan to purchase the Sosman & Landis name, planning to charter a second iteration of the company. Until Sosman & Landis was completely liquidated, however, Moses and Megan could not officially begin their new business venture. Therefore, they temporarily conducted business under the name Moses & Megan. All the while, Moses was still working at Sosman & Landis, finishing up contracts before the company closed.

While waiting to secure the Sosman & Landis name, Moses recorded that they leased the “old Fabric Studio,” adding that they plenty of work in sight, but intended to “hustle for more.”  Initially, I believed that Moses and Megan rented Fabric Studios shop, located at 117 N. State Street in Chicago. The Fabric Studios of Chicago was a firm that appeared at this same time. My current research, however, suggests that that they actually rented the fabric studio in the Sosman & Landis shop at 417 S. Clinton street, simply biding their time until they officially opened the new Sosman & Landis Company. It would make sense, as it provided a separate space in the same building that Moses worked at every day, and a business address.

Enter, David Hunt and the Chicago Studios. Hunt had worked at Sosman & Landis since 1889 in various capacities. He helped establish the theatrical management firm of Sosman, Landis & Hunt in 1894, as well as found New York Studios, an affiliate of Sosman & Landis. Over the years, Hunt was identified as a Secretary, Treasurer and President of Sosman & Landis. It is Hunt’s establishment of New York Studios, partially funded by Sosman & Landis, that is of import as it shows a pattern.

Hunt’s second wife, Adelaide A. Hunt, was involved with New York Studios from the beginning, and became president of the company. Adelaide was also involved with establishing the Chicago Studios. This meant that David Hunt was intimately involved with three companies, Sosman & Landis, New York Studios and The Chicago Studios. Although it looked like three separate firms, they were not entirely independent of each other, and there was one man running the show behind the screen.

In 1922, the Chicago Studios was located at 15 W. 20th St. The officers of the firm on file with the State were Frank Cain of 139 N. Clark St., Chicago and A. A. Hunt of 328 N. 39th St., New York, NY. After Sosman & Landis was liquidated, Chicago Studios moved into the old Sosman & Landis space acquiring the well-known address 417-419 S. Clinton St. At this same time, the studio contents were purchased by Charles L. Hoyland and William Lemle of the Hoyland-Lemle Company. This made sense, as Hoyland-Lemle leased the space for over a year and likely had their own stock mixed with that of Sosman & Landis.

However, in 1923, Moses also mentioned trying to get Hoyland and Lemle “out.” This suggested that he was considering renting the main studio space for himself and Megan.  At this time Moses also wrote  “D.S. Hunt is also bobbing about for the lease of the studio.”  Hunt was banking on the studio space too. In the end, Hunt did acquire the lease for the studio under the guise of the Chicago Studios. And this is what prompted a series of obstacles for Moses, as Hunt saw an opportunity took advantage of it. 

Keep in mind that Hunt was part of the negotiations that requested Moses wait until the company was liquidated before he officially started working under the Sosman & Landis name. He also tried to get Moses on board with his own endeavor; asking him to stay in the studio.

Moses wrote, “Hunt wants me to remain in the studio, but I can’t see it.” In hindsight, this meant that Hunt wanted Moses to work for Chicago Studios and not pursue purchasing the Sosman & Landis name. If Moses and Megan opened a new “Sosman & Landis Company” they would directly compete with Chicago Studios.

In short, there were two firms going after Sosman & Landis clients – Moses and Hunt. Each were planning to use their institutional memory of the company to succeed in landing future projects.

This also meant that two scenic studios were going to market themselves as the successor of Sosman & Landis. Moses purchased the Sosman & Landis name. Chicago Studios purchased the Sosman & Landis address.

It was never a fair contest. By the fall of 1923, the Chicago Studios began advertising that they were continuing Sosman & Landis under a new name. They jumped the gun, and this move put Moses on the defensive; he never stood a chance to win.  Hunt cheated and used Moses abiding by the criteria established in the negotiations to win.  Chicago studios sent out letters and estimates to past Sosman & Landis clients, well in advance of the studio final liquidation. What this move did is make and new iteration of Sosman & Landis appear fraudulent and weak.

Moses & Megan immediately disputed the information circulated by Chicago Studios, sending out letters of their own. Their letters tried to explain that firm had not closed, just moved to a new location. That an unrelated studio was leasing the space and falsely marketing themselves.  There was no way to make this look good, and they knew it. Keep in mind that the main studio on Clinton Street had remained the official Sosman & Landis address for over thirty years. This created a very awkward situation, as there is no way to state leaving the Sosman & Landis “home” to a better location. The studio was well known as one of the best in the country. It cast a negative light on all potential business dealings. In short, it looked like they were downsizing due to lack of work.

On November 13, 1923, Moses and Megan sent a letter to the Scottish Rite in Salina, Kansas. There was a  stamp at the top in red ink: “MOVED Executive Offices. Now located at 6751 Sheridan Road.”

Moses and Megan wrote:

“Dear Sir:

It has recently some to our attention that a certain studio is advertising our old customers that they have bought the Sosman & Landis Company and are now operating same, combining it with their original company. We wish to assure you this is not a fact and that our original organization is intact, but our studio has been moved to better quarters.”

This was likely the beginning to every client, before taking on something personal. For the Salina Scottish Rite, the letter continued:

“Mr. Thomas G. Moses, our Art Director would like the opportunity of meeting with your scenery committee to submit our designs and specifications covering your requirements. You will perhaps recall that we were favored with your original scenery order, working through the M. C. Lilley Co, and therefore, it is not necessary for us to give you any reference to our ability and quality of our workmanship.”

To be continued…

Copyright © 2021 by Wendy Rae Waszut-Barrett

This is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona this month. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.

Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net…/travels-of-a-scenic-artist-and…/
Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/
For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite.”

Copyright © 2021 by Wendy Waszut-Barrett

In 1923 Thomas G. Moses wrote, “As I have very little time to paint, I feel that I am not producing what I should, and I am not feeling very jubilant over money affairs. I am not drawing enough to keep my small house expenses going; our only extravagance is the movies, which we attend twice a week either at home or downtown…The studio is not doing well, and the prospects are anything but encouraging. We all cut our salaries (the office only). That wouldn’t be so bad if we could draw it every week, but when our current bills and salaries are taken care of there is very little left for the officers… Hunt wants me to remain in the studio, but I can’t see it.”

By the end of 1923, Moses wrote: “On December 26th, Megan and I met Sosman and Landis Company at Richard’s office and paid our first installment for the name and good will of Sosman and Landis Company, which we now own and will operate, but for a while we will have to use our names of Moses and Megan, until the old company can liquidate. We will then get a new charter.” When the company liquidated, Hoyland & Lemle purchased the studio’s contents.

Moses selected Fred R. Megan for his business partner in 1923. Megan was not only a scenic artist, but also a very successful salesman for the Kansas City Scenic Co. He was a good pick, as Moses needed partner who understood all aspects of the business from sales to installation. Megan drummed up business in 1923 while he and Moses waited to officially claim the name of Sosman & Landis. Although Moses made a name for himself over the decades, his designs and painting were integrally linked to the Sosman & Landis brand. It is not surprising that Moses believed that he needed the Sosman & Landis name to continue.

Although I have written about Megan in the past, here is a brief recap of this incredibly interesting individual.

Frederick Rishel Megan (1873-1939) was the son of a Dr. James W. Megan and Cornelia Wookey. Like many in the medical profession during the nineteenth century, Dr. Megan traveled throughout a region, establishing one practice after another as the family moved from one small town to the next slightly larger town. The Megan’s early residences in Kansas included Pawnee Rock, Little River and Home City.

In 1893 the Megans moved from Home City to Olsburg before continuing on to Leonardville. On October 18, 1894, the “Olsburg News-Letter” reported, “Dr. J. W. Megan expects to move to Leonardville after election and will practice medicine there as well as look after editorial duties of the Monitor” (page 8). Their time spent in Olsburg signified a turning point, as Dr. Megan began to branch out beyond the medical profession. After Olsburg, the Megans moved to Leonardville, Kansas, where father and son commenced a new business venture – a publishing company. On October 25, 1894, the “Clay County Star” reported, The Leonardville Monitor has changed hands, assuming editorial charge, F. R. Megan, assuming editorial charge, and Dr. Megan & Son appear as publisher. From appearances they start in with an excellent patronage and will no doubt keep the paper up to its former high local standing” (25 Oct. 1894, page 3). Frederick R. Megan was listed as the editor for Dr. Megan & Son, publishers. The publication was advertised, “a spicy 5-column quarto, neatly printed and is Republican in politics” (Leonardville Monitor, Leonardville, Kansas, 8 Nov. 1894, page 4).

By 1896, Fred Megan set out on his own and relocated to Kansas City (“The Topeka Daily Capital,” 9 April 1896, page 8). It is unclear what prompted the move and resulted in his career in theatre. By 1897 Megan was touring with the Barrett & Barrett Company (The Leonardville Monitor, Leonardville, Kansas, 2 Dec. 1897, page 8). Within the next decade, Megan would work as a salesman, scenic artist, installer. Megan married Thenia Jones, in Jackson, Missouri, on April 14, 1898, likely while Megan was touring. The couple celebrated the birth of a daughter Anabel L. Megan in 1900.

Megan is first associated with the Kansas City Scenic Co. in 1901. On June 27, 1901, the “Rooks County Journal” of Stockton, Kansas, reported, “F. R. Megan of Kansas City, spent Saturday in the city soliciting advertising to place on a new drop curtain which he will place in the opera house. We were told he sold Mr. Bigge about $300 worth of theatre supplies of various kinds”(page 50).

The next year, Megan secured the scenery contract for the Tabor Opera House’s newly renovated stage in Leadville, Colorado. He also landed another scenery contract for the Columbus opera house. His visits to Colorado that were fortuitous, as the Kansas City Scenic Co. completed multiple contracts in the region over the next decade, including West’s Theatre in Trinidad. On July 10, 1902, “The Columbus Courier” reported, “Fred R. Megan, representing the Kansas City Scenic Co., is in the city today with full samples of scenery. He sold a good-sized order for the LaRue Investment Co. for the Opera House” (page 5).

Like Moses, Megan not only contracted the work to produce new scenery for a variety of entertainment venues, but also designed and painted the contracted settings. A few years later he represented the firm in Lead, South Dakota, working as a scenic artist on site. On October 8, 1906 the “Lead Daily Call” reported, “Fred R. Megan, who has the work of painting the scenery and decorations was on arrival on the Burlington last evening. He comes from Kansas City, and is an artist in his line, one of the best in the country. He will begin just so soon as the carpenters give him room, which will be in a day or so, to erect his stagings and make other preparations for doing the work of adornment, and when he has finished the interior of the little opera house will be one of the handsomest in the west, and no pains will be spared to make it so. Mr. Megan will have his work well under way before the week is over, and will have it completed before the winter season really begins.”

Megan also worked as an installer for Kansas City Scenic Co. In 1908, Megan installed the scenery at the Haydn-Parke theatre in Gadsden, Alabama (“Gadsden Daily Times-News,” 26 Sept. 1908, page 2).

Megan represented the Kansas City Scenic Co. until 1918. The last record of his involvement is in his WWI draft registration card. The card still listed Megan’s occupation as a traveling salesman for the Kansas City Scenic Co., located at 24th and Harrison Streets in Kansas City, Missouri. That same year, Megan was appointed to the Liberty Theatre office in Washington as Supervisor of Maintenance and Construction (Variety, Vol. LII, No. 10, page 19). By 1920, Megan was simply listed as Government Supervisor in Washington D. C. Keep in mind that many scenic artists began working for the government on painting projects during WWI, especially at Liberty Theaters and in the newly established camouflage trade. Many continued their government service in the post-war years, finding more security there than in commercial theatre endeavors. The 1920 US Census listed Megan and his wife at 16th Street in Washington, D.C. This was a second residence for the couple, as the still lived part-time in Kansas City, Missouri.

It was in 1923 that Megan teamed up with Moses to purchase the Sosman & Landis name, initially leasing the old Fabric Studio in Chicago. While waiting for the firm to liquidate and officially secure the Sosman & Landis name, the two briefly established Moses & Megan. This meant that Megan returned to work as a traveling salesman, representing both Moses & Megan, as well as the second iteration of Sosman & Landis. When they secured the Sosman & Landis name, Megan became the vice-president and treasurer for the firm. While Megan was on the road, Moses made models and painted scenery. This is how Sosman & Landis started, successfully operated from 1877 until Landis’ passing in 1905. Landis was on the road and Sosman was on site or painting in the studio. This is also how Kansas City Scenic Co. functioned, with J. V. Bronaugh on the road securing work and B. F. Dunn painting scenery. As project loads increased for each of the aforementioned studios, additional staff members were added, with more salesmen on the road and more scenic artists painting in the shop on new projects. However, each just started with two individuals and an established labor pool.

Moses and Megan continued working together throughout the 1920s.

By 1933, Megan was listed as the manager at Sosman & Landis, residing at 819 Dobson in the Evanston, Illinois. Moses passed away the following year in 1934, with Megan following in 1946. At the time of Megan’s death, his occupation was listed as a “paint contractor.”

To be continued…

Copyright © 2021 by Wendy Rae Waszut-Barrett

This is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona this month. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.

Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net…/travels-of-a-scenic-artist-and…/

Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/

For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite” at www.drypigment.net.

Copyright © 2021 by Wendy Waszut-Barrett

In 1923 Thomas G. Moses wrote, “The New Year found the madam and I in Trenton, N.J. enjoying a visit with Pitt and family, also an annual visit to his plant, which was quite interesting.” The “Madam” was his wife Ella.

Thomas William “Pitt” Moses (b. 1879) was the eldest of four children, the others being Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886) and Thomas “Rupert” Moses (1889).

Pitt’s WWI draft registration card described him as tall and of medium build, with brown hair and blue eyes. Pitt initially followed “Uncle Frank” Moses, moving to Trenton, New Jersey, in 1900 and working at a gas plant. Frank Deming Moses made a name for himself designing, installing, and supervising the new gas plants that were appearing all across the country. He was extremely well known and respected for his work. Here is my post about Frank Moses: https://drypigment.net2017/07/30/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-162-frank-deming-moses/

In 1903, Pitt married Stella Martin (1881-1962) of Trenton and soon changed professions. The couple celebrated the birth of three daughters, Eleanore (b. 1906), Ruth (b. 1908) and Dorothy (b. 1913). By 1910, Pitt was working as a pipe fitter for the railroad and was still working in this capacity a decade later. However, Pitt changed occupations again, and began working as a parcel post clerk in 1930. He was still working for the Postal Service in 1940, and eventually retired from the profession.

It is Thomas G. Moses’ letters to Pitt that provided an incredible amount of information about Moses health and financial losses.  Copies of letters written by Moses to both Pitt and his wife Stella were collected by Dr. John Rothgeb at the Universtiy of Texas-Austin during the 1970s. The majority of the letters collected were written between 1931 and 1933, providing great insight into Moses’ continued struggles. These same subjects were glossed over in his typed memoirs, an understandable omission; writing it down somehow makes it more real.

Sometime between 1922 and 1923 Moses developed a bronchial cough; a cough that would continue to plague him until his passing in 1934. Moses repeatedly wrote about his “terrible spasms of the chest.” Moses also mentioned that it was difficult for him to walk any distance, especially if there was the any dampness in the air. Regardless of health concerns, during the last decade of his life, Moses continued to design and paint one scene after another, producing a remarkable number of drops during this time.

Health concerns made Moses plan for the worst in his final years. In one letter to his son, Moses wrote, “I want you to know where we stand regarding finances,” outlining the funds given toward business ventures and family emergencies, especially previous attempts to help his children. At the end of this letter, he wrote, “I want you to know all this, because, should I pass away suddenly I want Mother to feel that you would look out for her interests in disposing of the property. While I hope to enjoy a few more years in painting, the sudden death of Illie [sister], Frank [brother] and Lucia [sister] has forced me to realize that I have only a few more years at the most, and when I do pass out, I want to feel that my life has not been wasted; and my work will live for many years after I am gone.”

In a later letter Moses wrote, “I  found that my years will not admit of too much hill climbing with my forty pounds of sketching equipment.”

A 1932 diary entry by Moses mentioned his deteriorating health, writing, “I do not feel as good in health as I would like to be, but I hope that Dr. Klumph will pull me through. I sincerely hope that the New Year will lift a heavy load of my shoulders and give me one good year to make up for this past bad year.” On June 23, 1932, Moses enjoyed a brief respite from his cough, and wrote to Pitt, “My awful bronchial cough has stopped, thanks to a new M.D.  The first time in ten years that it has stopped while in Oak Park. It leaves in California, but starts again as soon as I get here.” The cough would return.

Regardless of his health or any small improvements, Moses could not stop working. On November 7, 1933, Moses shared his continued health struggles with Pitt, writing, “I jumped into the church job as soon as I arrived and I find it was too much after a trip of 2700 miles and I am now at home getting myself in shape. I see no work in sight, and the heavy expenses of keeping the house going without any help is bearing down on me. Especially with my condition and age against me. It is so hard for me to go upstairs and walk more than three blocks that I fully realize that I can’t last much longer with the added uncertainty of making a living. It is too much. I have been too fortunate in making a good living for the past fifty years to accept this present state of affairs. I dislike to write you a blue letter, but it is uppermost in my mind this morning being a gloomy one. I know without asking that when I pass on, that you will do all you can to see that your mother will be taken care of in settlement of property. I will say no more.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

Backdrop by the Sosman & Landis Scene Painting Studio of Chicago for the Scottish Rite Theatre in Little Rock, Arkansas. This scene was removed from the Little Rock Scottish Rite in 1923 and placed into storage until 1925. In 1925 it was sold to the Pasadena Scottish Rite and installed in their new theater. This same scene was also featured in the 1904 Souvenir Program for the Little Rock Scottish Rite Reunion.

Thomas G. Moses, president of Sosman & Landis, became a Freemason in 1925, joining both the Pasadena Scottish Rite and Ancient Arabic Order of the Nobles of the Mystic Shrine. After forty years of designing and painting Masonic scenery, he finally became a Freemason.

Here is a link to that story at my official blog:
https://drypigment.net2021/01/28/tales-from-a-scenic-artist-and-scholar-part-1148-thomas-g-moses-and-freemasonry-1922-1925/?fbclid=IwAR3GHwTWb6PZmFYur7MAW3kLd0wu70NkAltaNHVaEgiaGHazqb46-QyXSNg

For more information about the 1923 scenery painted by Moses for the Little Rock Scottish Rite, visit https://drypigment.net2021/01/27/tales-from-a-scenic-artist-and-scholar-part-1147-thomas-g-moses-and-the-little-rock-scottish-rite-1921-1923/

Copyright © 2021 by Wendy Waszut-Barrett

In 1922 Thomas G. Moses wrote, “On November 21^st I signed a petition to the Fair Oaks Blue Lodge.  I sincerely hope it is accepted.  A little doubtful on account of my age.” Moses was 66 yrs. old and initiated in =to Freemasonry at the Masonic Lodge in Oak Park, Illinois.

In 1923 Moses wrote, “March 1^st, I took my first degree in Masonry.  I don’t know when I shall get around to the others; rather interesting and I would like to go through the Shrine.” Only a few blocks from his home, he was initiated at Fair Oaks Blue Lodge No. 1006 A.F. & A.M. The Masonic Temple was located at Oak Park Avenue and Lake Street. The building still exists and is now known as Scoville Square, a 72,000 sq. ft. complex.

Two more years passed before Moses returned to his Masonic degree work; this time in California.  In his defense for the delay, it was a challenging period in his life, with his health deteriorating, Sosman & Landis studio closing their doors, and Moses struggling to secure projects in an entertainment industry that was gradually turning away from traditional scenic art. In the end, he purchased the name “Sosman & Landis” and began targeting Masonic scenery contracts. Scottish Rite theater scenery installations offered traditional scene painting projects with substantial profits. Although Moses was not a Mason, he intimately understood the designs and demands of many Southern Jurisdiction stages. Finishing his Blue Lodge work and becoming a Scottish Rite Mason would give him an edge in landing these lucrative projects. After the passing of Joseph Sosman in 1915, Sosman & Landis lost their Masonic ties. Sosman was a Mason. Moses may not have realized it when he became president of the company in 1915, but having a Masonic connection made all the difference in the world as it was often the determining factor when Scottish Rite Valleys selected a studio to manufacture scenery for degree productions. Between 1915 and 1925, Toomey & Volland took the lead in Scottish Rite Theatre production as Hugo Volland was a Scottish Rite Mason in St. Louis, Missouri.

In 1925, Moses wrote, “I have made up my mind to go on with my Masonic degrees and have a coach for the Blue Lodge work.  I was very fortunate in getting young Champion, as he has a lot of patience and I am afraid he will need all of it, as I can’t commit very easily and especially when it is word of mouth entirely.  It will be very hard, but I want to get in the Scottish-Rite class at Pasadena.” After being initiated at Fair Oaks Lodge, Moses was passed and raised in Carmelita Lodge, No. 599, F. and A.M. in Pasadena, California. In 1925, Carmelita Lodge held their meetings on Thursday nights (The Pasadena Post, 2 April 1925, page 8). Fortunately for Moses, he was in town for an extended period of time delivering the Pasadena Scottish Riet scenery for the opening of the new cathedral. Meetings were held on the third floor at the Masonic Temple, located  on the corner of Raymond and Colorado streets.

Moses later wrote, “On February 10^th, we completed the Pasadena job – and I finished my 2^nd Degree in the Blue Lodge, Carmeleto [sic.].  The worshipful Master gave me a nice record for my past labors and for my future life, which I hope I will be able to follow to the line.”

Moses was officially recognition in the “Pasadena Post” on Feb. 14, 1925. An article on the front page announced, “Maj. Skillen is donor of Scenic Drop. Beautiful Curtains Painted for Cathedral Stage by Thomas G. Moses.” The article continued, “The magnificent scenic drop curtains which have been hung in the new Scottish Rite cathedral to be dedicated Thursday evening, are the gift of Maj. Charles M. Skillen, in memory of his son, the late Dr. Ralph G. Skillen. Both father and son were charter members of the Pasadena Consistory. The 73 drops represent some of the finest work that the artists of Sosman & Landis company of Chicago have ever produced, according to Thomas G. Moses, president of the firm, who is in Pasadena to personally supervise the work installing them. Each of the drops were especially designed and finished for the Pasadena cathedral. Months were spent in the preparation of them, it is said. About half were painted in the Chicago studios of the company and the remainder finished in this city. Mr. Moses has watched carefully the painting of the curtains, much credit for their final perfection must go to the assistant and scenic artist, F. B. Fulton. Mr. Fulton believes the scenic work to be some of the finest he has ever produced. The final work of hanging and installing the curtains will be under the supervision of Harry Nail, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Nail was brought from Chicago so that no mistakes in installation could be made.”

First of all, the drops noted as being painted in Chicago were the used drops from Little Rock Scottish Rite. With the impressive scope of the project, it is understandable that the Pasadena Scottish Rite did not want to advertise that they were purchasing used scenery.

These used drops, a few new drops, fabric curtains and stage machinery were purchased and installed for $8,500. Harry Naile removed both the used drops and stage machinery in Little Rock, so it only made sense that he installed the same equipment in Pasadena.

I have written about Naile in the past, as he installed the scenery and stage machinery for Moses at Scottish Rite theaters in Tacoma and Binghamton. Here is the link: https://drypigment.net2020/12/16/tales-from-a-scenic-artist-and-scholar-part-1137-thomas-g-moses-and-harry-e-naile-1922/

In regard to completing the third degree, Moses wrote, “My third was given to me on February 23^rd, just in time for me to get into the Scottish Rite Class on the 24^th.” This is interesting, as the third degree was officially planned for Masons at Carmelita lodge on Feb. 26, and not Feb. 24^th in 1925. On Feb. 26, 1925, the “Fraternal News” section of the “Pasadena Post” reported, “Carmelita Lodge, No. 599, F and A.M., will meet tonight at 7:30 o’clock on the third floor of the Masonic temple. The third degree of Masonry will be conferred, and all members are urged to attend” (page 6). This meant that Moses was considered a special case and was raised three days before the scheduled degree work.

On Feb. 24, 1925, the “Pasadena Post” reported, “Masons of Pasadena were the guests Saturday evening of local Scottish Rite Masons at a reception given in the new cathedral on North Madison avenue. A short program in the auditorium included a display of the costumes and scenery used in the degree work of the order. Following the program, dancing was enjoyed in the large ballroom and the guests were given an opportunity to inspect the new edifice. A reunion will be held at the cathedral, beginning today and ending Saturday, when degree work will be put on for a class of candidates every afternoon and evening” (24 Feb 1925, page 11).

The Pasadena Scottish Rite Reunion took place from Feb. 24 to Feb 29, with degree work put on each afternoon and evening. Moses wrote, “On the 28^th I was a 32^nd Degree Mason and very proud and thankful for it.  It was like a dream to me as all my Masonic knowledge was only padded over by the ritual and some new work which was thankfully received.  So, after forty years of designing and painting these degrees, I will now go into the work with a better understanding.”

The next month, Moses wrote, “On March 25^th, I crossed the “Hot Sands” of the Al Malaikah” Shrine.” So, from Feb. 10 to March 25, 1925, Moses became a Master Mason and joined both the Scottish Rite and Shrine. With this work completed, Sosman & Landis once again became a major contender for Scottish Rite projects again.

To be continued…

Copyright © 2021 by Wendy Rae Waszut-Barrett

This is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona this month. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.

Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net2020/10/26/travels-of-a-scenic-artist-and-scholar-the-richmond-scottish-rite-october-24-26-2020/

Here is the link to my post about the January 2021 relocation project: https://drypigment.net2021/01/19/travels-of-a-scenic-artist-and-scholar-relocating-the-richmond-scottish-rite-scenery-collection-to-tucson-arizona-jan-5-14-2020/

For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite” at www.drypigment.net.

Copyright © 2021 by Wendy Waszut-Barrett

In 1921 Thomas G. Moses wrote, “Made a side trip to Little Rock to settle on the Scottish Rite Temple.  I hope to be able to close the contract very soon.” He returned to Little Rock later that summer to close the contract for $9,548.00. However, it was only a verbal agreement that year. The original contract specified, “When our designs are completed, submitted and accepted, it is agreed that the painting can be started during our dull season soon after January 1, 1922. We agree to store the finished work covered by insurance until such time that it can be taken care of in Little Rock.”

Later in 1922, Moses wrote, “Went to Little Rock to see Mr. Rosenbaum.” He was still trying to finalize a written agreement with Little Rock, although some painting had already begun on the project. In the end, the contract would not be signed until 1923; two years of watching, waiting and starting the work. Those two years made all of the difference in the world for the life of the studio.

It was not until the spring of 1923 that Moses finalized the Little Rock contract under his own name, and not that of Sosman & Landis. He wrote, “I arrived on the 16^th of May with the contract of $10,040.00 in my name, out of which I am to get enough to pay Sosman and Landis’ indebtedness to me.  I hope I will be able to do it.”  Sosman & Landis had closed its doors by the time Little Rock finalized the work. In 1923, Moses was trying to buy the Sosman & Landis name after all of the studio’s assets were liquidated.

From the beginning, Sosman & Landis financed the majority of the Masonic stage projects, with clients paying nothing up front, one-third upon delivery and then the remainder over the next few months, or years. It made sense, as the studio landed the work with an appealing payment plan, winning out over their competitors. However, this only worked if the Scottish Rite Valleys honored the contractual obligations and made all of the agreed upon payments in a timely manner; many did not. Inevitably, that final payment always seemed to be a battle to collect. On top of everything else, Masons did not always understand what they were purchasing or receiving, so the numbers of scenic pieces in final contracts went up and down as specific settings were added or removed during contractual negotiations.  Initially, a studio representative was sent to help supervise the scenery during its first use at a Reunion.

Scenic studios constantly waited in fear of not receiving that final payment, making both artists and studios left begging for what was contractually owed.  Masonic work made up approximately 25% of all Sosman & Landis studio projects for over two decades. I believe the constant battle to collect funds owed by the Masons created a perfect storm that contributed to the studio’s financial downfall. Unfortunately, this occurred at the same time that the demand for painted scenery also began to plummet.  Moses learned much from these experiences at did not offer similar terms of payment once Sosman & Landis closed.

Scottish Rite scenery projects were massive undertakings, often taking months to paint. Masonic stock scenery collections were frequently more than twice the size of those delivered to commercial theaters.

It was not until the late spring of 1923 that the Little Rock contract was signed. Moses wrote, “Went to Little Rock early in April, had my designs O.K. and had made an agreement with Rosenbaum to do the work on the ground… I got settled at the Marion Hotel, Loitz and Naile got quarters up near the Temple.  The Marion is a good-sized hotel, and I had a good room and bath.  After some trouble getting our bridge and frame, Loitz and I ran through 30 drops in the first 3 weeks.  Of course, these were not our hardest ones, as I wanted to make a showing, we worked hard and to good advantage.  Early in June the weather got quite warm and the rain did not help us.  The high-water mark soon reached in the Arkansas River and I had a wonderful view from my window.  My first duty in the morning was to take a look at the river, for I expected it to rise over the banks and that meant to the foundation of the hotel.”

The project took longer than Moses hoped, and not due to his own failings. Mid-project Moses wrote, “Naile and his men are not giving me full service and I am getting desperate, as to my ability to pull the contract through with profit.”  In the end, Moses completed the project in less than three months.  He wrote, “Finished my work at Little Rock on the 4^th of August, got a settlement in full.  The last check was $4,995.00 and the $700.00 in old scenery that I am still holding, and I hope I will realize at least $1,500.00 out of it.” I would bet that Moses refused to leave town until receiving the final payment; there was too much on the line and a pattern of non-payment.

In regard to the old scenery that was removed from Little Rock in 1923. Accepting old scenery as credit on a new purchase was always a risky proposition. Unless there was a Masonic client waiting in the wings, the return of an old scenery collection was never advantageous to the studio, only to a future client. Storing an entire scenery collection demands a sizeble storage space. It would take another year before Moses located another Valley to purchase the old scenery – the Pasadena Scottish Rite.  During 1924 negotiations with Pasadena, he wrote, “As a final deal, I offered the Little Rock drops for $8,500.00.”  Although the Pasadena contract was for $8,500.00, Moses only paid himself  $700.00 for the Little Rock scenery.

For the installation of the new Pasadena Scottish Rite scenery, Moses rented an apartment at  159 S. Los Robles Avenue in Pasadena, where he remained for two months that winter after arriving on Feb. 24, 1925. Of the Pasadena Scottish Rite project in 1925, Moses wrote, “The Scottish-Rite Bodies are well pleased with the layout that we have arranged for their new stage, using the old scenery from Little Rock, Arkansas, which I took part payment when I put in the new equipment at the Albert Pike Memorial for Chas. Rosenbaum. The Pasadena contract was for $8,500.00, out if which I paid myself $700.00 for the Little Rock scenery.  The settlement was quickly made, and everyone was highly pleased with everything we did.  We had our plush curtains on from the studio in time everything arrived on time and was placed in position.  The lighting effects were very good all through the 32^nd Degrees.  Everyone worked hard for a big success which it certainly was in every detail.”

It was in Pasadena that Moses became a Scottish Rite Mason..

To be continued…