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…
