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.
Thomas G. Moses traveled with his wife Ella to Tacoma, Washington, in 1921. He was primarily there to paint scenery for the Tacoma Scottish Rite. However, Tacoma was one of his favorite places to sketch and do easel painting. After arriving that December, Moses wrote, “I found we needed another room for a studio, which I got, and it is going to be a good asset to my picture painting. The most glorious view of the mountain at sunrise, noon, sunset and an hour after sunset. I have finally got to work and while it is going to be a long job, I will enjoy doing it, and incidentally getting some good sketches of the mountain.” When it was time to head home Moses wrote, “I made several sketches of the famous mountain from my studio window. We met so many nice people that it was a hardship to leave.” He loved painting Mt. Rainier.
While in Tacoma, Moses and Ella became close friends with Fred and Jane Southworth. Of the couple, Moses wrote, “Dr. Southworth and his wife were extremely kind to us. He is a clever painter, besides being a physician. We took an auto ride to Seattle to see a collection of pictures, which we truly enjoyed.” Whenever Moses returned to the area, he would visit the Southworth’s. In 1924, he wrote, “Took a run over to Tacoma and had a very pleasant visit with Dr. Southworth.” In 1923 Thomas G. Moses wrote, “I proposed Dr. Southworth for an artist’s membership in the Salmagundi Club, but the Art Jury would not pass his work for which I was very sorry, as I did want him in as a member. It would have meant a lot to him.”
This was Dr. F. W. Southworth, a pioneer Tacoma physician and regional artist. In 1921 Dr. Southworth was practicing at 416 California Building. However, when Dr. Southworth first met Moses, his offices were located in rooms 1, 2, and 3 of the new Tacoma Theatre Building. The two likely met at the theater.
Frederick William Southworth was the son of Nelson E. Southworth and Mary Hubbard. He was one of nine children born to the Canadian couple, arriving on February 7, 1860, in Thedford, Ontario. He emigrated to the United States in May 1876 and was educated at the University of Iowa, graduating with an M.D. in 1887. That fall he began practicing in Tacoma. He was known as one of the primarily physicians for many Chinese in city.
In 1889, he married Jane Walthers on Nov. 18, 1889. Although the wedding was held in St. Paul, Minnesota, the couple lived in Tacoma; Jane being from Minnesota. The couple celebrated the birth of one daughter, Catherin Deane, born on February 14, 1897.
“Fred” Southworth exhibited works in Seattle and Tacoma and is considered part of the Northwest Impressionist movement; a loose group of artists practicing from 1910 to 1935. Any images of his paintings are extremely difficult to track down. Fortunately, a couple were sold at auction, indicating his range from realistic to impressionistic work. During his life, he was quite well known as a Tacoma painter. In 1893, one of Dr. Southworth’s paintings was exhibited in the Washington State building at the World’s Fair in Chicago (Post-Intelligencer, 13 April 1893, page 8). Later he became president of the Tacoma Art League. Several of Dr. Southworth’s paintings were even used as cover illustrations for national magazines, although I have yet to locate any to date (Spokesman-Review, 23 Mar 1934, page 3). In 1916, Dr. Southworth was even a guest speaker at the Tacoma Fine Arts Society, sill lecturing about his artistic passion (Tacoma Times, 25 Oct 1916, page 3).
Dr. Southworth was one of the guest speakers for the newly formed Tacoma Fine Arts Society in 1916Painting by Dr. F. W. Southworth in 1896 recently sold at auction. Painting by Dr. F. W. Southworth in 1935 recently sold at auction.Dr. F. W. Southworth’s signature in his 1935 painting.
Dr. Southworth as also a published author. By 1901 he published “True Metaphysical Science and Its Practical Application through the Law of Suggestion,” (2 editions). He was still lecturing on the subject in 1911 when he spoke on “Law of Suggestion” at the Plymouth Congregational Church (Tacoma Times, 9 Feb 1911, page 3). By 1913 he was quite well known and doing extremely well. That year he was even listed in “Who’s Who on the Pacific Coast.”
Listing for Dr. F. W. Southworth in the 1913 publication “Who’s Who on the Pacific Coast.”
This is about the time trouble began and never quite left; it was always waiting in the shadows. It may have started as early as 1907 when Dr. Southworth tested on behalf of Chinese-American citizens, particularly the Ah Rook family. It was part of the long-going investigation of Chinese children who claimed citizenship after the Chinese Expulsion Act of 1882. This was the first law restricting immigration, establishing a ten-year moratorium of Chinese Labor immigration. The law continued to be extended until 1943 when the United States became allies China with during World War II, subsequently repealing the ban on Chinese immigration and naturalization.
In 1914, Dr. Southworth’s legal troubles began in earnest. That year Philip and Myrtle Butler filed suit against Dr. Southworth for $15,500, alleging carelessness in medical treatment (Tacoma Times, 20 March 1914, page 1). The malpractice case was settled out of court after the doctor paid the couple $600 (The Tacoma Times, 256 June 1914, page 1).
Two decades later, he faced much more serious allegations. In 1934, Dr. Southworth was arrested and charged with having illegally issued a number of prescriptions for narcotics . He was immediately arraigned before Judge Edward E. Cushman in the federal district court. After entering a plea of not guilty, was released on his own recognizance until the trial date (Spokesman-Review, 23 Mar 1934, page 3). The government charged that Dr. Southworth wrote an excessive number of narcotic prescriptions and for amounts in excess of that needed for the treatment of disease. Dr. Southworth entered a plea of not guilty for each of the fifteen counts of his violating narcotic laws (Spokesman-Review, 19 Sept 1934, page 16). I have had a difficult time tracking down the final outcome of the trial, but the 1930 and 1940 census report suggests that he was found guilty. The 1930 census that listed Dr. Southworth as a physician working in the medical industry. In the 1940 Census, Dr. Southworth was listed as a Diagnostician working in the Drugstore industry. At the time he was 80 yrs. old.
Dr. Southworth passed away in 1946 and is buried in Tacoma.
Scenery by Toomey & Volland scenic studio of St. Louis, Missouri, for the Scottish Rite Theatre in Richmond, Virginia. In October 2020, I visited the Richmond Scottish Rite with Michael Powers and documented the historic scenery collection, dating from 1900-1920. For more scenes, keyword search “Richmond Scottish Rite.”
Scenery by Toomey & Volland under blue and white border lightsScenery by Toomey & VollandScenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & VollandPainted detail. Scenery by Toomey & Volland
Thomas G. Moses traveled to Tacoma, Washington, in 1921 to paint scenery for the Tacoma Scottish Rite. That December he wrote, “Arrived in Tacoma at 1:25 P.M. the second day after a delightful ride through the mountains. Saw my old friend Blackwell and enjoyed the visit with him.”
Moses was referring to William Bush Blackwell (1837-1922), one of of the city’s earliest pioneers. At 84 yrs. old, Blackwell was secretary for the Tacoma Hotel Co. and living at 401 Broadway. He had never left really left the hospitality industry from his first arrival to the city in 1873. Blackwell’s investments in real estate were quite impressive. Over the years, Blackwell was integral in the establishment of Tacoma’s first modern hotel, first bank, first theater and first museum. On Nov. 2, 1880, Blackwell became a county commissioner and was integral in moving Pierce’s county seat to Tacoma.
W. B. Blackwell, image posted at findagrave.com
Moses first met Blackwell back in 1889 when he was in town painting scenery for the new Tacoma Theatre. Blackwell was one of the directors for the enterprise. In his memoirs, Moses recorded, “Mr. Blackwell, President of the Tacoma National Bank, was also President of the Opera House Company, and he liked a wood scene that I painted so well, that he offered me $200.00 to paint a watercolor like it, which I did.” Years later Moses would add, “He still has it, and likes it as well now as he did twenty-nine years ago.”
Blackwell was originally from the east; born in Connecticut on September 10, 1837, to Enoch Blackwell and Sarah Bush. He came from a well-established and well-off east coast family. He was living in Syracuse, New York, when the Civil War broke out and enlisted in the military on October 30, 1862. Blackwell was a colonel of the 26th Regiment, New York State Militia. Amazingly, he left a collection of his papers that document his experiences from 1861 to 1863. They comprise the William B. Blackwell papers in the Special Collections at the University of Washington. Here is the link: http://archiveswest.orbiscascade.org/ark:/80444/xv44284/pdf
Blackwell, met and married Alice E. Bliven from New York (b. February 28, 1840). Similarly, his wife also left a fascinating account of the couple’s move to Tacoma in 1873, their opening of Blackwell’s Hotel, and early life in the city. In an eleven-page hand-written letter, she recalled their arrival aboard the first train from Kalama over the newly completed Northern Pacific line, as well as descriptions of the city and many early events. Her reminiscences were written for the Mary Ball Chapter of the Daughters of the American Revolution in 1913, is part of the Washington Women’s History Consortium. Here is the link: (https://wshs.contentdm.oclc.org/digital/collection/faids/id/5/rec/1).
The Blackwell’s contributions to the early growth of Tacoma is also detailed in Herbert Hunt’s book, “TACOMA, Its History and Its Builders. A Half Century of Activity.” It was published the same year that Alice passed away in 1916. Here is a link to the publication: https://archive.org/stream/tacomaitshistory01hunt/tacomaitshistory01hunt_djvu.txt
Moses’ meeting with Blackwell at the beginning of 1922 was shortly before the Tacoma pioneer passed away. Moses later wrote, “Our dear old friend Blackwell seemed to enjoy our visits. He rallied and felt good whenever I talked of Chicago; he was very weak and lived until September – he was 85 years of age.”
Blackwell passed away on October 4, 1922 and is buried at the Tacoma Cemetery. It is not surprising that Blackwell maintained close contact with the Chicago scenic artist over the years, as he maintained great respect for the arts. On October 28, 1893, citizens from across Pierce County gather ed together on the fourth floor of the new county courthouse in Tacoma to celebrate the opening of the Ferry Museum. Blackwell was one of five men who filed articles of incorporation on June 16, 1893 for the Ferry Museum of Art. It was a collaboration between the Tacoma Academy of Sciences, the Tacoma Art League, and the Washington State Historical Society, named after Clinton P. Ferry, who donated his collection of art and artifacts. The object and purpose of the museum “was to establish and maintain in Tacoma a museum of art; to collect relics of the early history of North America and elsewhere; and particularly of the state of Washington.” Here is a link for more information about the Ferry Museum: https://www.historylink.org/File/20680
In 1921 Thomas G. Moses landed the scenery contract for the Tacoma Scottish Rite. Of the project, he wrote, “It took some work to close the Tacoma job at $6,400.00. Will come back to do the work myself.” He was to start the Tacoma Scottish Rite project at the beginning of December 1921, but he had to put out a few fires before leaving Chicago that winter. Moses wrote, “I should have been back in Tacoma December 1st. I have written them on the cause of my delay.”
He had a very short period of time to accomplish a lot of tasks in the main studio before leaving town, and there were stops to make along the way. Too much to do in too little time; a theme that I am certainly familiar with these days. Moses and his wife did not leave Chicago until Dec. 13, spending a full day in Kansas City before continuing onto Los Angeles. Then there was another stop in San Francisco, where Moses took the boat across the bay and headed east to Stockton. He hoped to close another contract, but had no such luck.
Of his side trip to Stockton, Moses wrote, “Took the boat back again and left for the north the same day. We had a very pleasant trip. Found a lot of snow in the north on our arrival in Tacoma. We found our apartment all ready for us and it is very cozy.” He was in town to paint scenery for the Scottish Rite Theatre, but also planned on doing a little oil painting in his spare time. Moses, continued, “I found we needed another room for a studio, which I got, and it is going to be a good asset to my picture painting. The most glorious view of the mountain at sunrise, noon, sunset and an hour after sunset. I have finally got to work and while it is going to be a long job, I will enjoy doing it, and incidentally getting some good sketches of the mountain.”
His stay in Tacoma with Ella must have been a wonderful break from both travel and responsibilities associated Sosman & Landis. It was a new project, a new year, and he was surrounded by beautiful scenery. One of his favorite compositions to paint was the nearby Mount Rainier. In 1889, he recorded his first glimpse of the mountain, also known as Mount Shasta, writing, “My first view of Mt. Shasta I shall never forget. It was sunset and all the foreground and middle distance was in shadow. Made a rapid pencil sketch and have since painted it in watercolor and oil, with some success.”
Of his drop curtain from 1889, Moses wrote, “As I look at it now, it is hard to realize that I painted it 33 years ago. The scene is in Rome, “Temple of Minerva.” It has a richness of color that we are not able to get now on account of the inferiority quality of the colors. I found my old palette, which gave me a rather uncanny chill, to think that after so many years, it should be waiting for my return.”
Temple of Minerva Drop Curtain for the Tacoma Theatre, 1889-1890
The Temple of Minerva was a popular subject for nineteenth-century scene painters. In 1881, an article in “Building News and Engineering Journal,” listed the Temple of Minerva as one of the many compositions painted by scenic artists, showing their versatility of subject matter. The journal’s article was entitled, “Art on The Stage,” and it appeared in the issue on July 29, 1881. Here is an excerpt with the Temple of Minerva mention:
“Scene Painting is an art by itself. There is no other branch of painting just like it, either in the variety of subjects embraced or in the methods employed. The thorough scenic artist must be equally at home in landscape or marine work, architectural or fresco. He is not permitted to cultivate any particular branch of his art, nor any favorite style. He must be able to produce, at any time, the wild mountainous passes of Switzerland or the flat meadows of Holland; the green lanes of homelike England, or the winding valleys of romantic Spain. In his architectural work he cannot devote himself to the Gothic or the Romanesque, but must be equally master of the Moorish, the Greek, and the Oriental. He may to-day be called upon to paint the Temple of Minerva, and to-morrow the Mosque of Omar; this week the Windsor Hotel, and next week the Palace of Versailles. His art knows no boundaries, and his scope is confined by no limits. The universe must be at his command, and things unseen must live in his imagination. The methods by which he works and many of the materials he employs are altogether different from those employed by the ordinary oil or water-colour painter. They approach more nearly to those of the latter, yet even here certain qualities of the colours used by the scene-painter constitute a sharp dividing line.”
Moses’ Temple of Minerva Drop Curtain for the Tacoma Theater was also featured on the front page of “The Palette & Chisel” Club newsletter in 1917. It accompanied and article entitle, “Thomas G. Moses, All Round Scene Painter. His Work is Known from Coast to Coast.”
Here is the introductory paragraph that says so much about his scene painting work:
“Now this article is about an artist whose work has been viewed by more people that ever entered the Art Institute and the Metropolitan Museum since their doors were first opened….probably. And those people paid good round sums to get in where the artist’s work was displayed. You don’t believe that, now do you? Well, then, when I also tell you that this artist painted stage settings for Booth and Barrett, Thomas Keene, McCullough and all that ranting crew of Shakespearian heavies, you will get the pint, of course. And of course, you will think this is just another one of those anniversary obituaries dedicated to some duck that passed out about the time everyone was singing…well, whatever they were singing when real fur bearing men wore flannel night shirts.
Far from that howsumever, the gallant lad immortalized in this rhetorical garland is cheerfully employed just now in packing his sketching trunk for a paint spree in Zion National Park. And incidentally, going and coming he intends to put on the old corduroys with a brace of big theatrical contracts in Salt Lake City and Oakland, California. That is, this venerable old relic will paint the sets himself, and with Uncle Tom that means about ten hours a day on the paint bridge, and ninety days to each job. Isn’t it sad how fragile and inefficient these old timers are becoming! Tom says it bothers him a right smart now to paint a 45×50 drop in one day. What? Hell, no….FEET!”
When the article was written, Moses was sixty-one years old. Four years later in 1921, he was still working at a breakneck speed and tackling entire stock scenery projects.
In 1921, Thomas G. Moses traveled to Tacoma, Washington, to secure a project. While in the area, he met with other clients about potential work. Moses wrote, “Ran over to Seattle and was pleased to see friend Davis and was surprised to see George Purvis.” This was the well-known architect and builder George B. Purvis, credited with theaters in the Pacific Northwest, Alaska and British Columbia, Canada. When I first read Moses’ 1921 diary entry about Purvis, I intended to do a quick search about his theaters and then a small biographical outline. Not in a million years, did I expect to connect a few missing links for his descendants, nor uncover a story that not everyone wanted to know.
1921 Panorama of Seattle, Washington
Many writings about Purvis are quick to point out his theaters in Cordova, Fairbanks, and Anchorage, Alaska, as well as theaters in Bellingham, Tacoma, Seattle, Olympia, Everett, Walla Walla, Washington. Better known venues included the Imperial Theatre and Avenue Theatre in Vancouver, BC (1912), Mack Theatre in Port Angeles, WA (1922); Columbia Theatre in Longview, WA (1924); Montlake Theatre (1924) and Arabian Theatre (1925) in Seattle, WA; Liberty Theatre in Olympia, WA (1924); and the Vitaphone Theatre in Wenatchee, WA (1930). Purvis is always cited as a prolific American architect.
When Moses encountered Purvis in Seattle, the architect was working on several projects, including the city’s 45th Street Theatre, now known as the Guild 45th Theatre. Purvis was also working on a project in Spokane that year. On January 12, 1921, the “Spokane Chronicle” announced, “Complete Plans for New Theater” (page 1). The article continued, “Architect’s Design All Ready – Purvis Will Have Charge of Work. Architect’s plans have been completed for the proposed $500,000 theater and office building to be erected at Howard and First by A. J. Lindsay and C. S. Crews, manager of the Hippodrome, according to an announcement made today by Mr. Lindsay. George Purvis, known throughout the west as a theater builder, will have charge of the construction project and will select all fittings and equipment. The plans provide a seating capacity of 2000. The building will be five stories high and 26 offices will be provided on each of the floors set aside for office space, which will be offered specially to doctors and dentists. The entire building will be constructed of materials from local markets if that is possible, said Mr. Lindsay today. ‘Only the nest brick, marble and other materials will be used, and the estimated cost will run approximately in the neighborhood of $500,000. The cost of the theater equipment will add probably another $100,000.’”
Purvis always lived life in the fast lane and his personal history is pretty fascinating.
George Blair Purvis was born on Nov. 5, 1866, in Leeds, England. Later in life, George B. Purvis would state that he was born in New York in 1869, listing this information in both the 1920 and 1930 census reports. Misrepresenting his birthplace and citizenship was common for the architect, causing an endless series of problems throughout his life. Even his death certificate lists New York as his official birthplace.
However, on Nov. 4, 1889, Purvis declared his intent to become a United States citizen in Portland, Multhoman County, Oregon State. He emigrated to the United States as a young boy of four yrs. old and was raised in Illinois. Naturalization records show that Purvis renounced all allegiance and fidelity to the Queen of Great Britain and Ireland during the process, verifying his English lineage. He would have been twenty-years old at the time when he first filed papers for naturalization. Interestingly, his petition did not go to court until May 6, 1908. His petition provides a definitive birthdate, Nov. 5, 1866, Leeds England. It notes that Purvis emigrated from West Hartlepool, England to the United States on the ship Averill. He arrived in Norfolk, Virginia on 19th of August 1873.
Other genealogical records purport that George Blair Purvis was the son of George and Hannah Purvis, again, still born on November 5, 1866, in Leeds, England. I believe these records to be accurate. His father was from Scotland and his mother from England. Purvis was one of eight children born to the couple that included Joseph, Hannah, Isabelle, Alice, Caroline, Robert and Agnes. The 1880 US Federal Census listed the Purvis family as living in Chicago, Illinois. It was likely in Chicago that George B. Purvis first entered the theatre industry. By the late 1880s, however, George had moved west and settled in Portland, Oregon, the birthplace of his future wife Ella Victoria Isaacson (1876-1951) in 1888. Isaacson was an actress. The two supposedly met while she was performing and soon ran away together. They may have been working on the same touring production. In 1891, Purvis was listed in the Portland City Directory as the calcium operator at the Marquam Grand, residing at 12 Market. Traveling with touring shows, the couple traveled the country, eventually settling in the east by the turn of the twentieth century. Their daughter, Edna Elizabeth, was born on September 18, 1901, in Philadelphia, PA.
By 1903,the small family was living in New York City. Purvis was listed in the City Directory as working for a Theatrical Construction Co, located as 112 E. 125th. By 1904, the George B. Purvis Theatrical Company was organized. They were not in New York for long, soon crossing the country to life in California. His constant moving will make sense in a few paragraphs.
Although Purvis began the naturalization process in 1889 while living in Portland, Oregon, he did not complete it until two decades later. Purvis was living in Arcadia when he completed the process for naturalization. In 1908, Purvis listed that he was an “inn keeper” in Arcadia, California. He worked as the proprietor of ‘White City,’ situated at Arcadia Racetrack. In the end, Purvis was denied his application for naturalization on November 5, 1908 (Los Angeles Times, 6 Nov. 1908, page 14).
Events surrounding the California judge’s denial of Purvis’ citizenship application answered a lot of questions for me. In 1908 Purvis testified before a judge as to his qualifications for becoming a US Citizen. Upon leaving the courtroom he was arrested for perjury. The problem was that Purvis listed Illinois as his birthplace when registering to vote during a city election on a few months prior. This meant that he registered to vote before securing his naturalization papers. Purvis explained, “Well, Mr. Baldwin the clerk, asked me where I was born, and I told him ‘on the other side,’ but that I was raised in Illinois. He said, ‘Put down Illinois then,’ and it was put down that way” (Los Angles Express, 16 Sept 1908, page 1). It is very probable that Purvis had been listing himself as a United States Citizen for quite some time. My rationale was that he continued to do it even after being denied citizenship. Purvis continued to list his birthplace as in the United States for both the 1920 and 1930 census. The only difference was that in later years he listed New York instead of Illinois.
The charge of perjury against Purvis was dismissed by Justice Stephens on recommendation of the district attorney. The “Los Angeles Herald,” reported, “To prosecute the case further, it is said, witnesses would have to be brought to Los Angeles from England, Purvis’ birthplace, and the dismissal was requested in order to save expense to the country” (10 October 1908, page 12). However, there was other information brought to light about Purvis during the next month. The new information confirmed what I suspected while tracing various Purvis family trees in the US and Canada. Historical records hinted at polygamy and marital desertion. As I traced Purvis’ genealogy there were two different family lines with George B. Purvis in the center. I even mentioned this aspect to my husband, explaining, “I think this guy had one family in the US and one family in Canada, hence why he kept crossing the border so much.” By 1908 Purvis had been married to Ella for fourteen years and their daughter was seven yrs. old. Life must have been miserable for both wife and daughter, as they were likely cast out of a few social circles.
After the dismissal of Purvis’ perjury case, Federal authorities and Chief Detective Brown of the District Attorney’s staff began digging into Purvis’ past. On Nov. 6, 1908 the “Los Angeles Times” announced, “Past Revealed” (page 14). The article reported, “In reply to questions by United States Attorney Carlos G. White, Purvis said that he married Ella V. Purvis in Washington, D. C., in 1894, and that his child Edna, was born in Philadelphia. He was asked whether he testified at a Coroner’s inquest in July 1905, that he was married to Mrs. Hanna Purvis, who was burned to death in a gasoline explosion at Willowbrook. He refused to answer on the ground that he might incriminate himself. He also refused to state whether he was ever married to Elizabeth Eastman, in British Columbia, in 1885, or whether he deserted her in Chicago in 1900, abandoning his three children at that time. He denied that he is a deserter from the English army or navy, or that he ever served time in Portland, Or., for forgery, but after admitted that he had been imprisoned there for three months on another charge. The department of criminal investigation of the District Attorney’s office has received a letter from Mrs. G. B. Purvis of Chicago, who says Purvis deserted her in 1900, and eloped with an actress.”
With all the modern research tools at my fingertips, it is easy to see how Purvis’ case spiraled out of control, and I have to wonder if someone in particular had it in for him. I agree that he was married to both Elizabeth Eastman and Ella Isaacson at the same time, fathering children to both women. However, his father’s name was also George; a George who was married to a Hannah. There were more than one George and Hannah Purvis marriage recorded in North America. Keep in mind that there were also many, many men named George Purvis who were living in the United States and Canada between 1870-1910.
It wasn’t long after the 1908 scandal that George, Ella and Edna left the country. Purvis began working as an architect in Canada, settling in Vancouver, B.C., and establishing a partnership there. This is purportedly where he constructed some of his earliest theater buildings. Between 1910 and 1911, Purvis partnered with Richard Thomas Perry (1884-1935), establishing Perry & Purvis.
The Purvis family did not return to the United States until 1913. By that time, his daughter was sixteen years old and they moved to Seattle, Washington. There are two events to consider while contemplating the Purvis family’s return to the United States. The first is the Balkan War, fought from October 8, 1912 to May 30, 1913. This event caused many to believe that a European war would soon occur. In the United State, Woodrow Wilson also became president at the beginning of 1913. He would later issue a statement of neutrality as Europe plunged into war. Purvis’ return to America, despite his previous scandal, may have seemed the safest option when examining the big picture.
By 1914, Purvis was listed as an architect, working at 607 Northern B & T building, and residing at 1909 Naomi Place in Seattle, Washington. In 1915, Purvis was still working in Seattle, but now running Purvis & Redmond. At this time the Purvis family moved to 325 ½ 8th Ave. He continued in this capacity until 1917, listing his position as an architect and working at 617 Northern B & T building.
About the same time that the United States declared war on Germany, Purvis relocated his practice to Anchorage, Alaska. In 1917 he designed a theatre complex with apartments in Anchorage. His work in Alaska included theaters in Cordova, Fairbanks and Anchorage. After the War ended, Purvis returned to the United States with his wife and daughter. By 1920, the Purvis family was again living in Seattle. Moses records meeting Purvis in Seattle during 1917. As the family had just returned to the country, this is what likely surprised Moses in seeing his old friend.
Purvis continued to work on a variety of theatre endeavors, including Alaska. By 1922, Purvis established the Alaska Motion Picture Association, owning a theatre chain throughout the state.
By 1925, Purvis was listed as the general manager of the Columbia Theatre Co. Inc, living at 210 Columbia Apartments. He remained in Seattle, living at 12039 Greenwood Avenue, until his passing on March 20, 1934. Both Moses and Purvis died in the same year, only a few months apart.
In 1921 Thomas G. Moses wrote, “Got an electric train for Woodland and spent a day with Mr. Stuart Webster, manager of the Strand Theatre Company. Went back to San Francisco and returned to Woodland where I failed to close, so I hustled on to Willows, putting in a day with Jacobs. Had to get out of Willows at 4:00 A.M. – some job.”
1916 postcard of Willows, CaliforniaCity map of Willows, California
At sixty-five years old, Moses’ life had not slowed down one bit. He had previously worked with Webster on other Strand Theatres across the country, so the failure to close this particular contract must have been disappointing, to say the least. Moses then returned to work on an existing contract in Willows, California. The Willows project was one partnered with Flagg Studios. Throughout 1921-1922 Moses continually traveled to California and worked in Flagg’s shops. Charles M. Jacobs was the vice-president of the Edwin H. Flagg Studio in 1921.
Jacobs forms an interestingly link between Illinois scenic artists and those who moved to California during the early twentieth century. He is also one of many scenic artists who also worked as both a photographer, as well as working in the early film industry. A fascinating individual in his own right.
Charles M. Jacobs was born on July 3, 1865, in Macomb, Illinois; Macomb is the county seat of McDonough County. Years later, a census report would list that the highest level of education Charles received in Macomb was 8th grade; an impressive achievement at that time.
Interestingly, Joseph Sosman moved to Macomb after the Civil War, first working as a scenic artist in the 1870s there. To put this in perspective, Sosman worked as a painter in Macomb by the late 1860s. One of his earliest projects was painting scenery for the opera house with T. B. Harrison, a Chicago scenic artist. Sosman remained in town after that, working as a scenic artist, a sign painter and decorator. He also traveled as an itinerant artist, painting scenery for a number of other opera houses in the region. Even after establishing Sosman & Landis, Sosman still listed Macomb as his home in the 1880 U. S. Federal Census, living with his parents. By 1882, “Joe” Sosman’s success as a founder of a major scenic studio was heralded in the “Macomb Daily Journal.” The article reported, “Nearly all the county readers of the Journal know ‘Joe’ Sosman, and that he is in Chicago in the scenery-painting business, but few, if any, are aware of the prominence of the firm of which he is the senior partner.” Macomb was a small town, with a population that grew from 2,700 in 1870 to 3,100 by 1880. When the Macomb newspaper article described Sosman’s success, Charles Jacobs was only seventeen. However, most scenic artists entered the profession between sixteen and seventeen years old. Although Charles worked as a scenic artist, his profession was primarily listed in city directories as that of a photographer.
Charles was the son of Mark F. Jacobs (1837-1910) and Mary M. Tucker (1833-1909). Mark worked as a carpenter while Mary worked at a local Millinery store. The family was wealthy enough to employ domestic servants from 1870 onward. In 1880, Ida Laughlin, who cooked for the family, was listed in such a role.
Charles grew up in Macomb with a younger brother, Walter (b. October 30, 1867). Sadly, Walter passed away on April 3, 1888 at the age of twenty years old, only a few months after his older brother married.
On December 31, 1888, Charles M. Jacobs applied for a license to marry Fannie Estelle Ayars in Davis County, Kansas. On January 1, 1889, the couple was married in Junction City, Kansas, by William D. Christian. By January 5, 1889, the “Junction City Weekly” included an announcement about “The Ayars-Jacobs Wedding.” The marriage did not last long, with both Charles and Fannie remarrying. In 1905, Fannie married vaudeville actor William “Billy” Rabbie. The two performed in a vaudeville act, Tragically, Fannie committed suicide in 1920 while her husband was away performing.
Charles also remarried shortly after his divorce from Fannie. On April 4, 1894, he married Jenia Shriner (b. July 1866) and the two celebrated the birth of two daughters, Myla (b. Feb. 1895), Pearl (b. May 1897). Charles and Jenia’s marriage certificate lists McDonough Country, Illinois, suggesting that the two met in Macomb.
Here is where it becomes interesting: Edwin H. Flagg also married his first wife, Harriet Myrtle Shriner (1878-1976) in McDonough Country on Jan 11, 1899. Flagg soon moved west, eventually settling in California by 1903. In California, he established two scenic studios, one in San Francisco and the other in Los Angles. It was in California that Flagg hired Jacobs, with Jacobs becoming vice-president of Flagg Studios by 1921. It is too coincidental for there not to be some relation by marriage.
Charles’ wife Jenia Shriner was the daughter of Levi H. Shriner (b. 1838-1915) and Harriet E. Collins Shriner (1843-1917). Born in Indiana, Levi moved to Illinois and worked as farmer in McDonough County, likely just outside of Macomb. The couple were married on Dec. 27, 1864 and celebrated the birth of three daughters: Junia A. (b. 1866), Mary P. (b. 1871), Myrtle (b. 1879). Jenia’s parents were buried in Macomb’s Oakwood Cemetery.
In 1900, Charles, Jenia and their two daughters were living at 322 South Campbell in Macomb, where Jacobs worked as a photographer. He was still working as a photographer in 1910, but now the small family was living at 326 West Adams Street; a move up in residences. Although Jacobs listed “photography” as his occupation in 1910, his work was now for the “studio” industry; a departure from previous records.
Sometime between 1910 and 1914 the Jacobs family move to California. By 1915, Charles M. Jacobs, 1915, living at 255 S. Normandale in Los Angeles. A real estate transaction noted in the “Los Angeles Times” reported that Charles M. Jacobs purchased an eight-bedroom house on the west side of Normandie avenue between Third and Fourth streets for $5,000 (17 Dec. 1911, page 94). After his move to California, Jacobs worked as a scenic artist, listing himself that way in the city directory. The 1920 Census listed that Jacobs worked as a scenic artist for a scenic company that year. The 1921 Los Angeles City Directory listed “Chas. M. Jacobs, v-pres Edwin H. Flagg Scenic Co. h. 255 S. Normandie av.” He was still at his previous residence, but now actively managing Flagg Studios. In 1921, both Charles and his wife have separate listings in the Los Angeles Directory, yet each is still living at 255 S. Normandie avenue.
Between 1923 and 1924 both of Flagg’s studios burn down, leaving Jacobs in a lurch concerning future employment as Flagg attempted to rebuild his business.
After the fire the family moved to 15119 Dickens Street. By 1926, Jacobs is solely listed as “artist” in the San Fernando City Directory, with no specific affiliation to any studio. He was also listed in the 1937 Van Nuys Directory; both listings with the same address. Jacobs continued to live on Dickens Street for the remainder of his life. However, 1930 US Federal Census listed Jacobs as a carpenter, working for the “theatrical studio” industry. This temporary shift was likely due to the economic downturn after the market crash in 1929. By 1940 the US Census listed Jacobs as a retired artist, still at 15119 Dickens. Jacobs was listed as “retired artist.”
Charles M. Jacobs died on July 20, 1945, in Los Angeles, California. His passing received little fanfare, with his obituary simply announcing:
“JACOBS – At home, July 20. Charles M. Jacobs, 80, of 15119 Dickens St., Sherman Oaks. Graveside services will be directed by Praisewater Mortuary , Monday at 2 p.m. at Inglewood Cemetery. Leaves his widow, Mrs. Junia; and two daughters, Mrs. Myla E. Friend, of Sherman Oaks; and Mrs. Gwen Van Winkle, of Hollywood.”
In 1921 Thomas G. Moses, “I went after the Chicago Day pageant job and landed it at $8,334.00 for which I made the models and saw the work started before I left for San Francisco.” To put this project in perspective, $8,334 in 1921 is the monetary equivalent of $121,233.16 today. This was a significant project for a studio that was struggling at a time when America was still reeling from an economic recession.
“The Chicago Day Pageant” was part of variety bill, performed as part of a motion picture that premiere 1922. It accompanied the Robert Hughes’ film “Remembrance” at the Balaban & Katz Chicago Theatre. Starring Cullen Landis and Patsy Miller as the young lovers, “Remembrance” was advertised in the Motion Picture Directory of the “Chicago Tribune.” Advertisements announced, “It’s a picture you’ll remember forever, and forever is a long time. Come one! Come all! My, how you’ll love REMEMBRANCE and with it one of the mightiest specialty bills ever shown in a Balaban & Katz Theatre” (“Chicago Tribune,” 9 October 1922, page 22). The Balaban & Katz specialty bill included “Chicago Day Pageant” with 30 people and “massive sets,” as well as “The Magical Garden,” described as full of illusion, spectacle and beauty. The third act on the specialty bill was a Mermaid Comedy entitled “Look Out Below.”
“Chicago Day Pageant” advertisement from the “Chicago Tribune,” 9 October 1922, page 22“Chicago Day Pageant” advertisement from the “Chicago Tribune,” Oct 10, 1922, page 224.
Other than a handful of advertisements in Chicago newspapers, nothing remains of the production. Even the work of Hughes in the 1920s is difficult to track down. I tracked down only two mentions of Hughes’ work at this time. The first was a play by Hughes’ that became a 1921 film; “Two Women” by Hughes was transformed into ‘Ghosts of Yesterday,” starring Norma Talmadge and Eugene O’Brien (“Bakersfield Morning Echo,” 20 October 1921, page 5). Hughes was also credited with the Goldwyn Studios’ film “Come On Over” in 1922 (“Oakland Tribune,” 26 March 1922, page 30).
Scenery by Toomey & Volland scenic studio of St. Louis, Missouri, to the Scottish Rite Theatre in Richmond, Virginia. Last month I visited the Richmond Scottish Rite and documented the historic scenery collection, dating from 1900-1920. For more scenes from the Richmond Scottish Rite, just use the keyword search and enter “Richmond Scottish Rite.”
Scenery by Toomey & Volland Studio for the Richmond Scottish RiteScenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RitePainted detail. Scenery by Toomey & Volland Studio for the Richmond Scottish RiteScenery by Toomey & Volland Studio for the Richmond Scottish Rite, under blue border lightsScenery by Toomey & Volland Studio for the Richmond Scottish Rite, under blue border lightsScenery by Toomey & Volland Studio for the Richmond Scottish Rite, under blue border lights
In 1921, Thomas G. Moses traveled to San Francisco to paint scenery for the San Francisco Shrine Circus. Sosman & Landis were renting the shop at Edwin H. Flagg’s studio. He wrote, “After four hard weeks of hustling, we got the big show ready. In the meantime, I took a run to Los Angeles for two days, to look after some Masonic work. We got the big Shrine show opened October 17th and it was certainly a big hit. Thousands could not get near the building…I think I have laid the foundation for a good job, but you can never tell.”
At this time, Moses was reunited in work with his former business partner, William F. Hamilton. The two had partnered in 1900 to establish Moses & Hamilton. Located in New York, their firm was quite successful in painting a variety of projects, including Broadway shows and many attractions for Fredrick Thompson at Coney Island. Moses & Hamilton closed its doors in 1904 when Moses returned to Chicago, becoming vice-president of Sosman & Landis.
Born in Franklin, Pennsylvania, Hamilton moved to New Jersey in the 1890s. Like many scenic artists, he worked all over the country on a variety of projects. He spent most of his early years on the east coast before moving to San Francisco. Hamilton saw the potential for an ever-increasing number of opportunities along the coast. The Ancient Arabic Order of the Nobles of the Mystic Shrine became one of Hamilton’s biggest clients, and he became the director of the Oakland Shrine Circus in 1920. The Shrine needed an experienced personality, such as Hamilton, to secure the various attractions and appropriate staging requirements for the event. The Shrine circuses were monumental fundraisers that generating a substantial amount of capital.
By 1921, Hamilton was featured in a “Variety” article (Vol. IXIV, No. 11. Nov. 4, 1921). The article, “Hamilton’s Special Events,” credited him with creating “an abundance for special scenery” for the Shrine that year.
The following year, Moses returned to work in California again. In 1922 he wrote, “Our work progressed very nicely, in addition to our regular contract, we had some extras and some work for Hamilton to be used at the Shrine Circus at Oakland.” Hamilton was again the director for the Oakland event, as well as delivering the opening address for the Sacramento Shrine Circus that year. (Sacramento Star, 2 Nov. 1922, page 8). The “Sacramento Star” reported “W. F. Hamilton of San Francisco planned and managed the circus.” Over 40,000 people attended the Sacramento Circus in 1922, with all proceeds “turned over to the Shrine treasury for charity and other work.”
Of the Oakland Shrine Circus in 1922, “The Oakland Tribune” reported, “Making good on their promise to offer a program entirely different features in connection with their Mardi Gras and circus, the Oakland Shriners have arranged a real old southern Mardi Gras festival for this evening. Stress is laid upon the fact that the festival will be identical with that which is held every year in New Orleans and other southern cities. W. F. Hamilton, who has produced Mardi Gras spectacles for the southern cities will have personal direction of the event” (28 April 1922, page 15). The article continued, “Hamilton Praised. W. F. Hamilton, the director, is given credit for his achievement by the members of the Shrine.” Hamilton was again hired as director for the 1923 circus too. The “Oakland Tribune” reported, “W. F. Hamilton, the director of last year’s event has been placed in charge of the circus and he declares that from every standpoint the show will be staged on a more lavish and pretentious plane “6 April 1923, page 22). In 1923, proceeds from the circus financed a trip of the Oakland Shriners to Washington. This included securing a special baggage car for the trip, “filled with literature to distribute en route and wherever the occasion offers lectures will be given in Oakland and Alameda county” (Oakland Tribune, 20 March 1923, page 4).
The Municipal Auditorium once hosted the Oakland Shrine Circus
Moses continued to visit with Hamilton whenever he was working near San Francisco. In 1925 he wrote, “I ran into San Francisco for a day or so, met my old pal, Hamilton, had a nice visit, then went to San Jose.”
I am sure that throughout the 1920s, Hamilton placed pressure on his old friend to move west, urging him to leave Sosman & Landis for better opportunities. Near the end of 1921, Moses wrote, “Letters from the Pacific Coast, which offered me all kinds of inducement to come west are all very good, but when I consider my age, I hesitate to make the plunge.” His hesitation would turn into regret as the years passed. If Moses were to jump ship; upend his life in Chicago and move west, it had to happen in 1921. Unfortunately for Moses, he stayed on the sinking ship until the bitter end.
In 1921 Thomas G. Moses traveled from Chicago to San Francisco for a large project. He wrote, “After four hard weeks of hustling, we got the big show ready… the big Shrine show opened October 17th and it was certainly a big hit. Thousands could not get near the building.”
Interior for Shrine Circus with scenery painted by Thomas G. Moses of Sosman & Landis studio. Image from the “San Francisco Chronicle,” 18 Oct 1921 page 13.
Moses was referring to the San Francisco Shrine Circus and Arabian Fete that ran from October 17 to October 25, 1921. The program was changed nightly and included exhibitions by wire and trapeze artists, contortionists, juggler, acrobats, Japanese jugglers, hoop roller, Spanish dancers, lion tamers, and Hawaiian singers and dancers (“San Francisco Chronicle,” 2 Oct 1921, page 6). Popularity contests were also held, with the crowning of a Queen and selection of the most beautiful baby boy and girl. The “San Francisco Chronicle” announced, “There is entertainment to suit all tastes. The first night’s vaudeville show was one of the many thrills not the least of which was the tight rope performer’s offering on a rope stretched over the heads of the persons on the floor from balcony to balcony” (San Francisco Chronicle, 18 Oct 1921 page 13).
The prelude to the Shrine circus included a large parade, winding from Islam Temple on Geary Street to the Auditorium, by way of Geary, Kearny and March Street. One of the parade floats was a “Sphinx” mounted on a truck that announced the dates of the circus, October 17 to 25. Fed fezzes, red coats, and white pantaloons were work by members of the Islam band and patrol, leading the way for the officers of Islam Temple. The parade also featured “1000 visiting Shriners, the Athens Temple divan with its band and two patrols from Oakland. The “San Francisco Chronicle” also described, “The “caged novices,” six men in grotesque costumes with their shrill shouts and weird antics followed” Charlie Chaplin, a group of circus performers and a menagerie exhibit of mountain cats and lions brought up the rear of the procession” (18 Oct 1921, page 13).
An article headline in the “San Francisco Examiner” announced, “20,000 Attend Shrine Circus in Auditorium,” reporting, “The Shrine Circus opened at the Exposition Auditorium here last night with an attendance of more than 20,000 persons. The circus, which is for the 1922 session fund will continue through next Tuesday. The decorative scheme of the interior of the auditorium represents an Arabian village” (Oct. 18, 1921, page 14).
The “San Francisco Chronicle” described the interior on opening night: “The Auditorium has been transformed into an Arabian village, populated and conducted by hustling Shriners and their friends. The decorations are gorgeous. Balloons of many colors are strung around the balcony. The many booths housing the concessions, where one pays good money gladly for the cause, have facings of Arabian architecture. In the main floor is a kiosk for musicians. Atop it is a glowing ball of facets which reflect a variety of brilliant colors when played upon by spotlights” (18 Oct 1921 page 13).
The “San Francisco Examiner,” described: “Color, color everywhere and so many San Franciscans inside and outside the Civic Auditorium that you couldn’t get within a hundred feet of the building. That was the situation at 9 o’clock last night when the big street parade of the Shrine Circus reached the Auditorium. They say the Shriners sold 100,000 tickets for the big show – apparently the arm of ticket buyers all turned out for the big night. Inside – if you were lucky enough to get inside – was a glittering midway which circled the building. At one end, on the stage, the circus took place. The Shriners in their colorful costumes of red and green and blue and gold and every other hue in and out of the rainbow, paraded around the midway. Then the show started, Mexican acrobats, tumblers, high wire artists and clowns in rapid succession…More than $20,000 was spent in transforming the Civic Auditorium into an Oriental City. Islam Temple of the Mystic Shrine had done its work well.” The purpose of the Shrine Circus was to raise $250,000 for the entertainment of the Imperial Council of the Shrine which met in San Francisco the following June” (Oct. 18, 1921, page 3).
