February 2021 – Page 5 – Drypigment.net

A leg drop and cut drop painted by Toomey & Volland Scenic Studio for the Scottish Rite Theatre in Richmond, Virginia. These two pieces were relocated to the Scottish Rite in Tucson, Arizona last month (Jan 2021). When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. These two drops were rolled and placed in storage, high above the properties room, stage-left. However, the backdrop to accompany the scene is missing.

All three pieces formed a classical rotunda setting for the 30^th degree (Scottish Rite degree setting). We know what the missing backdrop looked like, as this same scene was delivered to the Louisville Scottish Rite.

*Backdrop design that would have accompanied the Richmond leg drop and cut drop. This backdrop is from the Louisville Scottish Rite.*

*Second leg drop at the Louisville Scottish Rite.*

*First leg drop at the Louisville Scottish Rite.*

*Painted detail. Richmond Scottish Rite scenery.*

Unfortunately, the two leg drops were repositioned at the Louisville Scottish Rite and the setting can no longer be viewed as originally installed. The two leg drops were erroneously placed on neighboring lines.

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.

In 1923, Thomas G. Moses wrote, “I put in fully a week in Binghamton at the Arlington Hotel on designs for Masonic work and I believe we will get the contract.”

*Arlington Hotel in Binghamton, New York*

Sosman & Landis didn’t get the contract but Moses still painted the scenery. Somehow, David Hunt of New York Studios landed the profitable contract. Keep in mind that New York Studios was the eastern affiliate of Sosman & Landis, and Sosman & Landis was preparing to close.

*From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.*

By summer, Moses wrote, “I have arranged to go to Binghamton, N.Y. for Hunt, $2,500.00 for the job. Sent Loitz on ahead, September 5th.”

Moses was referring to Ed Loitz. Loitz, who had worked with Moses since the 1883. He was a loyal painting assistant and friend who had followed Moses across the country, working alongside him wherever he went. Whether Moses had established a partnership, or was working at Sosman & Landis, Loitz was there. Loitz traveled one step ahead, preparing the next jobsite for Moses’ arrival and then workied on site. Loitz was almost a decade younger than Moses, being born in 1865. In 1923, they had been working together for forty years together. At the time, Moses was sixty-seven years old and Loitz was fifty-eight years old. Loitz was both a scenic artist and carpenter, taking care of everything needed before Moses arrived on site to paint.

Scenery painted by Thomas G. Moses, assisted by Ed Loitz. From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.

Moses was still splitting his time between painting for Hunt (New York Studios) and Sosman & Landis. Sosman & Landis were in the process of liquidating all assets and closing their doors. Moses and Fred Megan were waiting to purchase the name.

The New York Studios project was the stock scenery collection for the Scottish Rite Theatre in Binghamton, New York. This project was completed was just before Moses realized that Chicago Studios was sending out letters to Sosman & Landis clients, explaining that they were the successor to Sosman & Landis, already having secured the same address. David S. Hunt was behind the establishment of Chicago Studios, as well as running both New York Studios and Sosman & Landis. Even though he knew Moses was going to purchase the Sosman & Landis name after the company liquidated their assets, Hunt was using his position at Sosman & Landis to his advantage to discredit any new iteration of Sosman & Landis. This would all happen in November 1923 while he was on site in Binghamton.

On October 17, 1923, Binghamton’s “Press and Sun-Bulletin” featured Moses and his work. The article was entitled “Vies with Nature in Realms of Beauty,” and stated, “Thomas G. Moses Wields a Well-nigh Magic Brush in Painting Scenery, Curtains and Drops for New Masonic Temple.” Here is the article in its entirety:

“Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets, need no assistance of Brownies or other mystical helpers in making things beautiful in the opinion of those who have seen examples of his work.

Fairyland in all its mystical wonderfulness could not surpass the beauty that is represented on the canvas with the paint from the brushes carefully wielded by Moses. Mechanical curtains on which a moon may be seen rising, Persian temple interiors and water, wooded and open scenes are all in the new temple to bring admiration from all the Masons who are privileged to see them all.

Forty drops are being painted by Mr. Moses.”

[Moses was being paid $2,500 dollars for the project, so we can estimate that his average painting fee per drop was no more than $62.50/each, assuming he wasn’t paying for travel, lodging or meals out of that amount. The money equivalent of $62.50 in 1923 is $952.02 in 2021.The contract was for $12,000]

“Each set is used for some one of the 32 degrees prescribed in the ranks of the fraternity. Each degree is exemplified in a different setting. Some are on the plains, others in a temple painted from Biblical descriptions of King Solomon’s temple, extensive Egyptian quarries and water scenes.

The full equipment will be used for the first time on Nov. 18, 19 and 20, when the annual reunion of Otseningo Consistory, Ancient Accepted Scottish Rite, will be held. Exemplification of degree work at that time will be the first that it has been done in full form in four years. Equipment of the Masonic body was destroyed four years ago in a fire in the temple on Chenango street.

All paintings of the scenery are done by Mr. Moses from scale drawings which he completed several months ago. The small scale drawings were drawn from outlines by officers of lodges here. Mr. Moses on a platform suspended from the top of the loft sketches in charcoal on the canvass the scene which he wishes to paint.

Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts. Installation of the drops is supervised by H. E. Naile. The three men have worked together in many cities, their last contract being in Little Rock, Ark.

The stage in the temple here and the scenery and drops being painted are the largest ever handled in a Masonic Temple by Mr. Moses. He says he is well satisfied with the progress of his work and in a short time it will be finished. He expects to remain here to paint some work for another temple.

Products of the brush of Mr. Moses and his assistant, Mr. Loitz, are not entirely new to Binghamton. Mr. Moses painted the landscapes and architectural exteriors for the State hospital theater and Mr. Loitz did the interiors. Mr. Moses painted the original scenery for the Stone Opera House and upon visiting that place a few days ago he found some of the equipment still in use.

Tom Moses, as he is nationally known, was found today busily engaged in painting a drop 21 feet by 40 feet representing an interior of an old German chapel. The picture is complete with stained glass windows and the chapel is profusely decorated with flags, shields and bits of armor.

Tom Moses’ father was a captain of a sailing vessel and when he left the bounding main he started a leather business. He intended his son should follow his footsteps. The world might have been richer with a reliable captain or an expert on leather, but Tom had ideas for a different vocation, and thus the world has not been deprived of a master painter who transfers the sometimes unreal to the real with an intricate movement of his paint brush.

All this was 45 years ago. During the 45 years he has been painting scenery, Mr. Moses has gained much praise throughout the land. His friends are legion. He is short and stocky and has a radiating personality that brings a friendly reception wherever he goes and he has no enemies.

Born in Liverpool, England, in 1856, more than 67 years ago, of English parentage, Mr. Moses came to America with his father and mother but when a little child and settled in Sterling, Ill. His father was a sea captain and later a tanner. Tom’s mother, who died when he was but a youngster, possessed an exceedingly artistic nature and did much to install into her son the love of artistic.

Tom’s father was strict and was certain that the boy would be “better off” as a tanner with his brawny arms wrestling with a piece of hairy hide and covered with tannin. Use of a hickory switch proved to Tom that this would probably be much after his father declared only starvation faced the starving artists.

One try at the tanning game convinced Tom that he would rather be an artist. At the age of 17 he left home “with a forwarding address.” He hired out as a paint boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work.

Robert Hopkin, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist. At the age of 20 he returned to his home and married Miss Ella Robbin. The couple lived there until 1880 when they went to Chicago where Mr. Moses started working for the Sosman & Landis Co. He painted the first work of this concern.

In his long and varied career, Mr. Moses has done work for many famous artists and for many famous productions. It was he who designed and executed the original “Floradora” sets for John C. Fisher. He did them, not only once, but four times. The work of Tom Keene, John McCullough, Booth and Barrett, Col. Cody (Buffalo Bill), Julia Marlowe, Robert Lober, Joseph Murphy, Conried and Herman, Emma Abbott, Emma Juch, Sarah Bernhardt, Mme. Modjeska, and score of other greater and lesser figures of the American stage was enhanced by scenery executed by Thomas G. Moses.

Some of the famous productions, in addition to “Floradora,” which Mr. Moses has made are “Shenandoah,” and “Old Kentucky,” famous melodramas; “Marie Antoinette,” “Mary Stuart” and “Macbeth” for Mme. Modjeska; “Judas” for Mme. Bernhardt. Joseph Jefferson’s last “Rip Van Winkle”; “The Holy City,” “By Right Sword,” “Lost in the Desert,” “Quo Vadis,” “The Witch,” “Robinson Crusoe,” “Ben Hur” and scores of other big productions.

He has also produced some of those famous Luna Park spectacles at Coney Island, such as “Fire and Flames,” “The War of the Worlds,” “Trip to the Moon,” “20,000 Leagues Under the Sea,” “The Streets of Delhi” and others. “The Streets of Delhi” was produced at a cost of $100,000.

In the art world outside of scene painting he has received much recognition. He has the distinction of being a member of the world-famous Salmagundi club, that noted organization of artists in New York. Mr. Moses is also a member of the Chicago Society of Arts, the famous Palette and Chisel Club, the California Art Club of Los Angeles and the Laguna Art association of Laguna Beach, Cal.

Rapid advance of motion pictures has crimped the scenic painting industry, Mr. Moses says. “Because of the fewer number of dramatic shows now there is a less demand for drops. Movies take the place of the dramatic productions that one time held sway.”

To be continued…