Copyright © 2023 by Wendy Waszut-Barrett
Sosman & Landis were listed as “scenic artists of Chicago” by 1877 but did not permanently move to Chicago until 1879.
Years later, Landis described the the firm’s early years in a Dramatic Mirror interview. He explained, “…we had to decide whether New York of Chicago was to be the field of operations.”
The reporter asked: “Why did you choose Chicago. New York is surely a more lucrative field?”
Landis: “I know it is, but when we started, we were totally unknown, and New York presented a good deal of formidable competition. It’s the name you want in our business, and, at that time, we hadn’t got it. Since then, it has come, and we’re doing as much business as we can handle.”
They made a good choice. In 1880 Sosman & Landis was the only listing under the “Artists (Scenic)” section of the Chicago Directory.
Sosman &. Landis did not permanently move to Chicago until 1879. Landis described this early period of their partnership:
“Sosman and I went from town to town doing what jobs we could get, and saving all the money we could. By-and-bye we had saved enough to start in business seriously.” Starting in business “seriously” meant renting a studio space in Chicago. Prior to this time, their work was all completed on site. For example, in 1877, all of the scenery for the new opera house in Wilmington, Ohio, was painted at the theater. Wilmington’s new entertainment venue was located above the town hall.
City Hall, Wilmington, Ohio
The history of Wilmington’s public hall is included in The History of Clinton County Ohio (W. H. Beers and Co., 1882, p. 527-528).
Here is the entry about the Hall in The History of Clinton County Ohio:
“WILMINGTON PUBLIC HALL.
On the 17th day of March, 1876, the Council authorized an election to decide the question of levying a tax for the purpose of erecting a public hall and engine house. The election was held April 3, 1876, and resulted in a vote of 383 to 146 in favor of the enterprise. A special act of the Legislature was passed March 17, 1877, authorizing the Council to issue bonds not exceeding. in amount $15,000, and to levy a tax not to exceed 2 1/2 mills on the dollar valuation of the taxable property of the village. The first stone in the hall was laid on Friday, May 25, 1877, by Robert McMillan, and the building was completed in the spring of 1878. It is an imposing structure two stories high, with a mansard slate roof. The front is formed of three towers extending to the roof. The middle tower is surmounted with a small belfry, beautiful in design and finish, and in each roof of the other towers are two dormer windows. The front presents a number of ornaments of freestone and galvanized iron. On the outside walls on either side, are five buttresses extending from the ground to near the top of the building, four of which culminate, after making two offsets, in as many chimneys. On the first floor of the building are eight rooms as follows: East half, front room, Mayor’s office; middle room, for township purposes; rear room, Council chamber, west half occupied by the Fire Department; large room in front, engine room; three rooms in the rear occupied as a residence by the engineer. The second story entire comprises the auditorium. Across the rear end of the auditorium is a gallery. The building is lighted by gas and heated by hot air.
The contract for building the hall was awarded to Messrs. Fisher & Hughes for $16,980, and they sublet the brick and stone work to McMillan Bros.; the galvanized iron and slating to Farquhar & Sparks, and the painting to Griffin & Gustin: The plastering was clone by P. J. Murphy, under employment of the contractors. The plans and specifications were drawn up by William M. Cleveland, architect; but in the course of the construction of the building, some changes were rendered necessary, and the cost of the building was increased to $18,399.49. The scenery, chandeliers, etc., increased the above sum, and the total cost of the building as it stood at its completion was $20,006.52. There are chairs in the auditorium for over six hundred persons, and sufficient seats in the gallery for 250 more; but 1,200 persons can be accommodated without much crowding. The stage scenery is attractive, the chandeliers of a new and beautiful pattern, and the whole audience room is commodious and beautiful. Taking it all in all, the hall is a model one. For outside show, the building is an imposing one, not overdone in the way of decorations, but tasteful and attractive. The hall was formally opened and dedicated tinder the direction of the Town Council on the evening of Thursday, April 18, 1878, with the following programme:
Music, by Wilmington orchestra; Anthem, by choir; Music, by orchestra; Address. Presentation of the hall by Mayor Hayes; Address. Reception of hall by W. B. Telfair, Esq.; Music by orchestra.
In consideration of $2,000 paid by the Trustees of Union Township to the village of Wilmington, the latter granted them a perpetual lease on the room heretofore described as occupied by them for township purposes.
Work was plentiful for scenic artists at this time. In addition to the construction of new opera houses, many public buildings were either being constructed with theater spaces or renovated to include theatrical stages. This meant that scenic artists began working for city councils; a relationship that often led to other painting projects in the vicinity. Announcements of an artist’s arrival in town to paint scenery almost read like an advertisement.
On Dec. 20, 1877, Clinton Republican of Wilmington, Ohio, reported, “The Town Council have contracted with Messrs. Sosman & Landis, scenic artists of Chicago, for the painting of a drop curtain and seven scenes for the stage of the new Town Hall. These gentlemen will begin the work about the 1st of January, and it will take them some six weeks to two months to complete the job. They come highly recommended, and no doubt will do such good work as will add to the general attractiveness of the capacious and beautiful Auditorium” (page 3). A description of the stage was included in the 1882 issue of The Jno. B. Jeffrey’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Poster, Etc. of the Cities and Towns of America:
“Size of stage, 20×30, Seating capacity, 1,200. Eight sets of scenery” (pg. 238).
For geographical context, Wilmington, Ohio, is located only 50 miles northeast of Cincinnati, Ohio. The two remained in Wilmington for two full months.
On Feb. 28. 1878, the Clinton Republican reported, “Messrs. Sosman & Landis, Scenic Artists, have completed the work of scene making for the stage of the new City Hall, and the same has been accepted by the Council. All who have seen the work of these gentlemen express themselves as surprised at the superior characters of the scenery and the near approach of the completion of the Hall only adds to the general commendations as to its beauty and excellence every way” (page 3). The dedication of the hall took place on Thursday, April 18, 1878.
While working in Wilmington, Landis took the opportunity to visit the nearby town Lebanon, Ohio. Lebanon was approximately 24 miles away toward the west, a little closer to Cincinnati. Landis was accompanied by Robert McMillan, builder of Wilmington’s city hall, and local clothier W. H. Rannels. On Feb. 7, 1878, Clinton Republican (page 2). A short article from the Lebanon Gazette was republished in the Clinton Republican reporting, “Messrs. W. H. Rannels, Robert McMillan and Perry Landis were here from Wilmington, on Wednesday last, for the purpose of looking through their new hall. Mr. Landis, a scenic artist of rare accomplishments, and is engaged at present, in ornamenting the hall at Wilmington. These gentlemen expressed themselves well pleased, with the grand outside appearance and exterior arrangements of our hall.”
Sosman & Landis’ 1878 scenery installation was remembered when Landis returned to town three years later. On Jan. 27, 1881, the Clinton Republican reported, “Perry Landis, of the firm Sosman & Landis, the gentlemen who furnished scenery for our City Hall. Has been in town the past few days. He proposes, provided the Council are willing, to place an extra curtain in the front of the stage at the hall, free of charge, the pay to come from advertisers who have their cards inserted on the margin” (page 3). Landis was peddling an advertising curtain. Instead of solely approaching theater owners to purchase scenery, the firm now solicited local business owners. The businesses paid for ad spaces, the income covering the price of the painted scene.
Advertising Curtains
Example of a advertising curtain sketch with proposed business spaces. University of Minnesota Libraries, Performing Arts Archives. https://umedia.lib.umn.edu/item/p16022coll116:116
Advertising curtains for theaters were a profitable extension of business charts and signage.
The sale of advertising curtains marks is a significant moment in the development of Sosman & Landis. These projects guaranteed payment in advance and significant profits. They were guaranteed work for sign painters wishing to transition into the world of scenic art.
The first scenic artist on staff at Sosman & Landis in 1880 was Thomas G. Moses. Moses recalled that advertising drop curtains were a mainstay for the firm before his hire that year. In 1880, Moses wrote, “My first work was to go to Kenosha, Wisconsin, and start the first job of scenery that Sosman & Landis ever did. Up until this job they had been doing nothing but advertising drop curtains.”
Thomas G. Moses, pictured in the Inter Ocean on Feb. 26, 1886. He was 30 years old at the time.
Moses’ statement is not entirely accurate as Sosman & Landis had delivered stock scenery collections prior to moving to Chicago. However, when Moses was hired in 1880, the focus of the firm may have been advertising curtains, as the projects guaranteed payment in advance. Low risk and high profit helped offset the expenses of leasing a studio in Chicago. Moses painted dozens of advertising curtains prior to joining Sosman & Landis. For example, in 1877, Moses was paid $160 to paint and advertising curtain, a two-week project. For context, $160 in 1877 is equivalent to $4650 in 2023.
Sosman transitioned from painting business charts to advertising curtains between 1875 and 1877. In 1875, Sosman and his previous partner, J. C. Blaine, painted several business charts for local post offices. On Nov. 4, 1875, the two were mentioned in the Fairfield Ledger for painting “the most beautiful and attractive business chart ever seen in Fairfield.” The article reported, “In size it is 8×16 feet, and contains the business cards of about twenty of Fairfield’s businessmen. The chart is made of wood, securely fastened to the wall. The cards are beautifully and artistically finished in oil. The work is very creditable to the artists, Messrs. Sosman & Blain, who handsomely painted the scenery at Semon’s Opera House.” They painted a similar chart for the post office in Washington, Iowa.
On Dec. 17, 1875, the Washington Gazette listed “Sausman [sic. Sosman] & Blaine – New style of advertising” in the “New Advertisements section (page 3). The article about their endeavor reported:
“New Style of Advertising.
The center attraction to the crowds who visit the post office is the new and elegant advertising bulletin recently put three by Messrs. Sausman & Blaine, the scenic artists and commercial advertisers who have just completed the painting of the scenery for “Everson’s Opera Hall.” The work throughout stamps them as first-class artists in their line, and the bulletin is certainly the handsomest, neatest and most attractive thing we ever saw in the line of advertising. It is painted on canvas, in oil colors, and in size is 8 x 16 feet. The cards. Twenty-five in number, are beautifully and artistically designed and are ornamented with the names and businesses of twenty-five of Washington’s most enterprising and wide-awake businessmen. The whole number of cards were taken the first day, and numerous applicants for cards were made after the required number was obtained, which pointedly shows that our business men know how to appreciate a good thing when they see it, but Messrs. S & B have made an imperative rule to take as advertisers but one firm in each distinctive branch of business, and erect but one bulletin of twenty-five cards in each city, and have adopted as their motto ‘first come, first served,” hence but first-class advertisements have or will be taken. In conclusion, we can heartily endorse Messrs. Sausman & Blaine as gentlemen who fulfill their contracts satisfactorily in every respect, and we wish them success and bespeak for them the liberal patronage which their work deserves, wherever they go.”
City Hall, Elyria, Ohio
Map of Elyria with image of Town Hall in lower left-hand corner, 1868.
Elyria Town Hall became home to the opera house after a renovation in 1878.
Elyria Town Hall was home to the opera house after renovation in 1878.
In the fall of 1878, Sosman & Lands delivered scenery to a theater in Elyria, Ohio. Their project was mentioned in Sosman’s hometown of Macomb, Illinois. On Dec. 26, 1878, The Macomb Journal mentioned Sosman in the “Personals” section.
The article reported, “Jos. S. Sosman returned, Friday last, from Elyria, Ohio, where he has been engaged for some time, painting the scenery for a new Opera House. He came straight to the JOURNAL office and divided the fruits of his toil. Mr. Sosman, as a scenic artist, is gaining a reputation that extends beyond the State, and he deserves it, for few artists decorate the interior of theaters than that self-same Joe” (page 3). Sosman was working at the refurbished town hall in Elyria. A new addition was added to the building, completed that September. Elyria’s town hall was listed in Jno. B. Jeffrey’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Poster, Etc. of the Cities and Towns of America. The following description of the stage was included:
“Size of stage, 30×40. Seating capacity, 1,000. Seated with chairs. Fourteen sets of scenery” (pg. 222).
Elyria Opera House building pictured on a postcard.
For geographical context, Elyria is located just six miles from Lake Erie, approximately 20 miles from Cleveland. Elyria City Hall was built in 1867 and is still standing. During extensive renovations in 1878 the second floor was converted to an elaborate opera house, and this was when Sosman painted scenery for the venue. After the building was repeatedly repurposed and renovated, it is once again the home to City Hall. This was their last project before leasing a permanent space in Chicago.
Moving to Chicago
By the onset of 1879, Sosman and Landis accumulated enough funds to establish a studio in Chicago, Illinois. On January 9, 1879, Indiana’s Rushville Republican, reported, “Perry Landis visited his father’s family in this place, a few days ago. We understand that he intends to locate to Chicago.”
On Feb 5, 1879, The Macomb Journal reported, “To quote the Independent ,’it never rains but it pores,’ and scarce were we over our perturbation at the leader of the Macomb Band going away, then came by post a letter from Joe S. Sosman, another member of same institution. Said letter directed us to send his paper in future to 277 South Clark street; and a card enclosed gives us information that Sosman & Landis have located their office as scenic artists within a block of the Grand Pacific, and for a time, at least, another horn will cease its sweet blow. The card of the firm says, ‘our references are strictly first class.’ You bet – there’s the JOURNAL, one of that class, that Joe, like Harker, can draw on at any time for all the reference or endorsement he wishes, and every draft will be honored at sight” (page 3). Sosman was part of the Macomb Coronet band, as was William “Bill” Harker, the lieutenant and leading horn.
Again, in the Dramatic Mirror interview, Landis explained why they picked Chicago to set up shop:
“…when we started, we were totally unknown, and New York presented a good deal of formidable competition. It’s the name you want in our business” (June 27, 1891, page 8).
Sosman & Landis’ established their first studio at 277 and 279 South Clark Street in Chicago, located on the northeast corner of Van Buren. An advertisement for the space was published in the Chicago Tribune on May 25, 1879 (page 1). It was a multi-purpose structure Isaac Marks of 277 rented a large store at No. 279 South Clark-st.
Advertisement for 279 S. Clark-st. from May 1879.
That fall, the same address same address was listed in the Amusements section of the Chicago Tribune as the venue for “J. W. Couch’s Menagerie” (20-21 Nov 1879, page 2). On Nov. 23, 1879, the Chicago Daily Telegraph announced, “J. W. Couch’s Menagerie, Museum and Aquarium, 277 and 279 South Clark-st. Admission, 10 cents; children under 12, 5 cents. Fifty cages of live animals; 25 living alligators, 2 performing buffalo, herds of antelopes, hundreds of curiosities, dens of wonderful reptiles, Prof. Dun Bar with his forty performing canary birds, are among the many great features of this week” (page 8).
Last listing includes Sosman & Landis’ studio address in 1879 – the same location used by J. W. Couch’s Menageri at 277 and 279 South Clark-st.
Sosman & Landis offered mail order scenery, publishing a list of available scenes. On May 17, 1879, an advertisement in Chicago Tribune on May 17, 1879, stated that their painted scenes were “suitable for small halls or amateur societies” and could be shipped to any part of the country.
Sosman & Landis 1879 Advertisement with scenery prices.
This same advertisement gave pricing for the most common stage settings:
Elegant landscape drop-curtain, $30
Parlor scene, $18
Wood scene, $18
Street scene, $18
Kitchen scene, $15
Prison scene, $15
For context, $30 in 1879 is equivalent in purchasing power to about $910.09 in 2023. Now consider the $160 that was paid to Moses two years earlier to paint an advertising curtain.
Each continued to visit friends and family near Fairfield, as they continued to seek scenery contracts throughout the region. On July 9, 1879, the “Fairfield Ledger” announced “Perry Landis is on the streets this week” (page 5). Landis was likely on his way to their next project in Council Bluffs, Iowa.
Dohany’s Opera House, Council Bluffs, Iowa
Dohany’s Opera House in Council Bluff
On July 22, 1879, The Daily Nonpareil of Council Bluffs, Iowa, announced, “Dohany’s Opera House will soon be supplied with a handsome new drop curtain and a number of new scenes. The work will be done by Mr. Perry Landis, of the firm Sosman & Landis, of Chicago, who is now in the city for that purpose. The drop curtain will be covered with an attractively painted business directory of the city” (page 4). In 1882, Dohany’s Opera House was listed in Jno. B. Jeffrey’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Poster, Etc. of the Cities and Towns of America. The following description of the stage was included:
“Size of stage, 31×44. Seating capacity, 800. Six sliding and eight rolling scenes.” A picture Dohany’s Opera House was included in the in the 1887 publication, Council Bluffs Iowa Illustrated.
Photograph of Dohany’s Opera House in Council Bluffs, Iowa.
In 1879, Landis returned twice to Freeport, Illinois, during the spring of 1879. Their potential client was the Wilcoxon Opera House. On April 17, and May 9, 1879, “Perry Landis, Chicago,” was listed in the Freeport Daily Bulletin as an arrival at the Brewster House in Freeport, Illinois. He was bidding against other scenic artists in the region for this lucrative contract.
By the end of summer, Landis once again returned to Fairfield, Iowa. On Aug 21, 1878, the Fairfield Ledger announced, “Perry Landis has been in town for several days” (page 6).
Although Landis helped Sosman paint in the beginning, he primary ran the firm’s office in Chicgao. He immediately hired his younger brother, Frank Landis. In 1879 Frank began working as a traveling salesman for the firm. On August 16, 1879, the Atchison Daily Patriot announced, “Frank Landis, representing the firm of Sosman & Landis, is in Atchison” (page 4). The firm was rapidly expanding its territory. Between the summer of 1881 and 1882, they would amass a staff and deliver scenery to 74 theaters. This was a far cry from the handful of stock sets produced between 1878 and 1879 when they were on the road.
As explained to the Dramatic Mirror in 1891, “Landis did not know anything about the painting part, but he took charge of the business while Sosman wielded the brushes.” Sosman was the artistic visionary, working as the firm’s art director. Although he was a skilled scenic artist, Sosman sought out better-known names, understanding that “It’s the name you want in our business.”
When Sosman & Landis first arrived in Chicago they were not well-known. They needed to use the names of other artists to get work and move ahead in the business. That was one of the many reasons that Sosman first hired Thomas G. Moses. Moses had already made inroads in the scenic art world and was recognized throughout the region.
As business continued to increase, the studio staff was rapidly expanded. Nationally-recognized scenic artists and stage carpenters were brought on board, with Landis making sure their credential and association with Sosman & Landis made headlines. Landis truly understood the power of the press.
To be continued…
