Sosman & Landis, Shaping the Landscape of American Theatre: 1885

While researching the life and career of Joseph C. Blaine, I stumbled across an 1885 newspaper article in the “Chicago Tribune,” one that made me both celebrate and curse. It was a list of Sosman & Landis employees who made contributions to the Grant Memorial Fund that year.

As I read through the list, my heart sank. Although I had written biographies for several of the artists, the majority of names were entirely unrecognizable. This discovery means that I have thirteen more biographies to write. Yay! Argh!

Can you sense a hint of disgust with my jubilation?

Here is the article as it was published in the “Chicago Tribune” on Aug. 2, 1885 (page 9):

Rolling it up.

Thousands contributing their dollars and dimes to the memorial fund.

There will be $50,000 in Bank before Old Commander is Laid to Rest.

Those who contribute should do so immediately – yesterday’s list of subscribers.

A committee from the clubs and prominent commercial lines to solicit donations. Following were the subscribers to the Grant Memorial find at the Tribune office yesterday:

Here is the section on Sosman & Landis…

Following is a list of the employees of Sosman & Landis who subscribed to the fund:

Sosman & Landis $10

Thomas G. Moses $2

Henry J. Buhler $2 (No. 2)

David A. Strong $1 (No. 14)

George W. Dayton $1

J. C. Evans $1

Karl Boettger $1

Frank E, Gates $1 (No. 54)

John Moore $1

Edward Loitz $1 (No. 7)

Charles Landis $1 (No. 76)

C. W. Carey $1

C. M. Crouse $1

Frank Lewis $1 (No. 41)

William Martin 50c (No. 62)

Frank Ford 50c (No. 49)

B. P. Lee 50c

Julium Fehrman 50c

Fred Miller 50c

Hugo Schoessling 50c

Mrs. J. S. Curran 50c

Ed Donnigan 25c

Kirke W. Moses 25c

I’ll keep you posted on my progress as I slowly work my way down the list, starting with George W. Dayton. There is no way to know whether it is George W. Dayton Jr. or Sr., as both were scenic artists.

To be continued…

Author: waszut_barrett@me.com

Wendy Rae Waszut-Barrett, PhD, is an author, artist, and historian, specializing in painted settings for opera houses, vaudeville theaters, social halls, cinemas, and other entertainment venues. For over thirty years, her passion has remained the preservation of theatrical heritage, restoration of historic backdrops, and the training of scenic artists in lost painting techniques. In addition to evaluating, restoring, and replicating historic scenes, Waszut-Barrett also writes about forgotten scenic art techniques and theatre manufacturers. Recent publications include the The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre (Museum of New Mexico Press, 2018), as well as articles for Theatre Historical Society of America’s Marquee, InitiativeTheatre Museum Berlin’s Die Vierte Wand, and various Masonic publications such as Scottish Rite Journal, Heredom and Plumbline. Dr. Waszut-Barrett is the founder and president of Historic Stage Services, LLC, a company specializing in historic stages and how to make them work for today’s needs. Although her primary focus remains on the past, she continues to work as a contemporary scene designer for theatre and opera.

One thought on “Sosman & Landis, Shaping the Landscape of American Theatre: 1885”

  1. Oh dear, what a dilemma! At least you can look at the incredible amount of information and insight you have provided– both the personnel and their work and techniques. Sympathetic an dcritical insights from one who works, not a desk-bound academic (whose insights will be ‘limitied’ in a number of ways?) None of your work had been organized, let alone presented before– and who knows what varied applications your work will have as the years go by. No telling how many will bless your own name. Looks like a good year ahead, eh? Cheers! J.

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