Author: waszut_barrett@me.com

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “Sister Lucia passed away on June 23^rd, and I had about an hour to get ready to make the trip to Woonsocket, R.I., after a good deal of hard work.  I got down and back very quickly.  Frank and Pitt came over to the funeral.  I went home with Pitt and remained overnight.  Left on Sunday.  Arrived in Chicago early Monday ready for a hustle.”

In a 1932 letter to his son Pitt, Moses wrote, “While I hope to enjoy a few more years of painting, the sudden passing of Illie, Frank and Lucia has forced me to realize that I have only a few more years at the most and when I do pass out, I want to feel that my life has not been wasted, and my work will live on for many years after I am gone.”

Lucia but also kept a diary, an 85-page book that she described as “My special occasions diary . . . a record, not of every day’s trivial round, but the events in each year which most express the general tenor of our lives.” She made entries from 1898 until the time of her death in 1920. Lucia is included in “A Guide to Women’s Diaries in the Manuscript Collection of the Rhode Island Historical Society Library,” edited by Rick Stattler. Her brother Tom is repeatedly mentioned in some of the excerpts posted online.

Although I have written about it before, here is a little background on the Moses family. Lucia was part of the first family, born to Lucius Manlius Moses and Mary W. Titcomb Moses. After Mary’s death, he remarried and fathered two more children with his second wife.

Capt. L. M. Moses was born in Great Falls, New Hampshire, in 1823. A sea captain and part owner in the ships that he sailed, he was the son of a sailor -Theodore Bland Moses, a merchant marine. Capt. Moses’ last ship was a bark built by William Hanscom in 1833.  Of the ship, Thomas Moses recorded, “The wonderful full rigged ship ‘Pactolus’ was handed over to another Master, much regretted by my Father, for he loved saltwater and sailing.  As I do sketching and painting, I am afraid I inherited some of his roving disposition.” The family sailed as far as east India, and as far south as Rio de Janeiro. Both Lucia and Thomas Moses were born at sea. Moses’ diary records that that his father was fortunate in the fact that he was allowed to bring his family along on seas voyages. Life on the sea, however, was never without tragedy. Two of the Moses’ children died while at sea, their first son Lucius and their daughter Kate.  The remaining children were Lucia Gray (1854), Thomas Gibbs (1856), Frank Deming (1858), and Illinois “Illie” Mary (1860). Capt. Moses then married his second wife, Adeline (Adaline) Gowen, Fifteen years his junior, the family increased in size again, with the births of Kirk W.  and Walter D. Moses.

Capt. Moses was a sea captain for twenty-two years. He left the sea in 1859, selling his interests in the ships and moving his family inland.  They headed west and eventually settled in small town of Sterling, Illinois. The “Sterling Daily Gazette” reported Lucius Moses to be “one of several old New England sea captains who settled in Whiteside county” (Dec. 13, 1927, page 2). The newspaper article also recounted, “A number of older residents of Sterling remember the Moses family. John Dundon’s father sold his first residence here to Mr. Moses when the family came here,  and Mr. Dundon went to school with the two Moses boys and their sister, Grace Moses.” “Grace” Moses, was actually Lucia Gray Moses, who went by “Gray” when she was young

I know that I have mentioned this before, but it is extremely difficult to track down a woman’s history because their names are constantly changing.  It is like they disappear when their name becomes erased and replaced with another. For example, when Lucia Gray Moses married her husband, she did not just get a new last name; that would have made it easy.  At first, she was listed as Mrs. Lucia Gray Cook, Mrs. Lucia G. Cook, and Mrs. L. G. Cook.”  Later the initial of her middle name even changes; “G,” is replaced with “M” to signify her maiden name of Moses – Mrs. Lucia M. Cook.  In other cases her entire birthname is completely dropped, and she is solely noted as Mrs. Stephen R. Cook, or Mrs. Stephen Cook.  Now if you throw in a nickname, like Grace or Gray, it becomes even more difficult. Or when an individual goes by their middle name, it is doubly hard. Even my husband goes by his middle name, Andrew, and not first name, George. In 1870, Illie was listed by her middle name of “Mary,” and similarly, Lucia was listed by her middle name, “Gray.” “Grace” was the name used by childhood friends in Sterling.

In Sterling, Illinois, Capt. Lucius Moses established Sterling Hide and Leather Shop with a partner. His business was a successful one and eventually he owned sole interest in the company, also running a tannery and harness shop. On Jan. 2, 1875, the “Sterling Gazette” advertised, “There are two tanneries in the city, one owned by Captain L. M. Moses, both doing good business)  (page 2). He would later move to Chicago and run a grocery store on Randolph Street. His second family was raised in the windy city, a far different experience for his younger sons Kirke and Walter.

Back to Lucia’s story… On Feb. 2, 1883, the “Boston Globe” announced the marriage of Samuel P. Cook and Lucia G. Moses, “both of Woonsocket” (page 3). The couple celebrated the birth of a son (Theodore P.) and daughter (Gertrude N.) In 1900, Samuel Cook was employed as a bank cashier, and the two children ages 14 and 15 were in school. By 1910, Cook was listed as a banker.

The same year as her passing, Lucia was mentioned in “History of the State of Rhode Island and Providence Plantations: Biographical” (NY: The American Historical Society, Inc. 1920). She was part of the entry for her husband:

“SAMUEL PENNY COOK — When a youth of eighteen years, just out of high school, Samuel P. Cook entered the service of the Producers National Bank of Woonsocket.  That was nearly half a century ago, and from the year of his admission, 1870, until the present, 1918, he has known no other business home nor a greater business interest.  This long term of service, eleven years of which has been as president of the bank, coupled with the fact that for a quarter of a century he was city treasurer, has given him a grasp of matters financial and brought him so prominently before the people that his opinions on finance carry the weight of authority. The radical changes made in the banking laws during the past few years, although not at first cheerfully accepted by the financiers of the country, and the problems presented were approached by bankers with characteristic caution, but as their value became apparent and their ability to meet national and international demands was proven, all doubt vanished and the splendid response made by national banks and bankers to the enormous demands made upon their financial resources and upon their patriotism is the best answer to any criticism of either American banking laws or upon the patriotism and good faith of American bankers.  No business has been called upon for greater sacrifice during these years of national stress and storm, and the best thought of the financial world has lent itself to the solution of the war’s financial problems.  As executive head of Woonsocket’s leading bank, Mr. Cook has borne his part in carrying the financial burden imposed upon this city and has as well ably fulfilled his obligations to those who look to the Producers Bank as their source of financial supply…Samuel P. Cook, son of Ariel Lindsey and Mary Harris (Phillips) Cook, was born in Albion, Rhode Island, July 20, 1852.  He attended graded and high schools of Woonsocket until 1870, then entered the employ of the Producers’ National Bank of Woonsocket, that bank having a savings department bearing the same name.  He developed unusual banking ability, and in 1885 was elected cashier of the Producers National Bank and treasurer of the Producers Savings Bank.  He held that office until January 14, 1907, when he was elected president of the Producers National Bank, his present high and responsible office.  He is a thoroughly capable financier, learned in the law of national finance as applied to banking, conservative yet not timid, ready at all times to trust his judgment in financial matters.  For twenty-five years he was treasurer of the city of Woonsocket and his business interests in the city are not inconsiderable. Mr. Cook is a member of the State Banking Association and of other societies, financial in their scope, is a Republican in politics, and an attendant at the First Universalist Church, his club the Squantum Association.  He holds all degrees of York Rite Masonry, belonging to Morning Star Lodge, Free and Accepted Masons; Union Chapter, Royal Arch Masons, and Woonsocket Commandery, Knights Templar.  He is interested in the welfare of his adopted city and is generous in his support of all worthy aims.

Mr. Cook married, in 1883, Lucia G. Moses, and they are the parents of Theodore Phillips, born in Woonsocket, August 7, 1884, now receiving teller of the Producers National Bank, and a daughter, Gertrude Nourse, born April 15, 1886.” Here is the link: http://sites.rootsweb.com/~rigenweb/articles/125.html

As I mentioned earlier, Lucia also kept a diary. She is included “A Guide to Women’s Diaries” in the Manuscript Collection of the Rhode Island Historical Society Library (https://www.rihs.org/mssinv/WomenGuide.htm#Intro). The document was originally compiled for a University of Rhode Island seminar in women’s history with Dr. Sharon Strom, April 1997. It was greatly expanded with the help of Rhode Island Historical Society staff and volunteers, June 2004.

Here is the full entry for Thomas G. Moses’ sister, Lucia:

Notes on the Lucia G. (Moses) Cook Diaries

Entries dated 1898 to 1920

Biographical:

Name at birth: Moses, Lucia Gray

Name after marriage: Cook, Lucia G. (Moses)

Birthdate and place: Circa 1854, at sea

Death date and place: Between 1920 and 1928

Age range during diary: 44 – 65

Residence during diary: Woonsocket, RI

Places written: Woonsocket; Digby, Nova Scotia.

Biographical note: Raised in New Hampshire, married a Woonsocket banker, and raised two children there.

Ethnicity: Yankee

Social class: Upper-middle

Background and comments:

Number of volumes: 1

Number of pages: 85

Exact dates: September 23 1898 to January 1 1920

Frequency of entries: Very irregular – perhaps two or three entries per year.

How was author identified?: Label on front cover

Brief description: Describes the diary herself as “My special occasions diary . . . a record, not of every day’s trivial round, but the events in each year which most express the general tenor of our lives.” Most entries are retrospective, covering the events of the past several months.

Writing quality: Generally good, although the handwriting is somewhat difficult.

Related papers at RIHS: Letter written by Lucia to her grandmother, 1868, inserted in diary.

Family members:

Father’s name: Moses, Lucius M.

Father’s occupation: Ship captain, born New Hampshire, died Chicago. Married 2nd: Adeline Gower.

Mother’s name: Titcomb, Mary W.

Mother’s dates: 1825-1861

Brothers: Thomas G. Moses (1856-), Frank D. Moses (1858-), Kirke W. Moses (1871-) (half-brother), Walter F. Moses (1874- ) (half-brother)

Sisters: Illinois Mary (according to genealogy)

Husband’s name: Cook, Samuel P.

Husband’s dates: 1852-1928

Husband’s occupation: President, Producers National Bank of Woonsocket

Marriage date and place: January 31 1883, Boston

Father-in-law’s name: Cook, Ariel L.

Father-in-law’s dates: 1823-1886

Mother-in-law’s name: Phillips, Mary H.

Mother-in-law’s dates: d.1917

Sons: Theodore Phillips Cook (1884-)

Daughters: Gertrude N. Cook (1886-, m. Smith?)

Topical content:

Events discussed: “On this day the awful world war ended, peace was declared! Banks, schools, mills, shops closed, and a joyous pandemonium reigned all day! The awful strain ended. Everyone relaxed!” [11/11/1918]

Social life: On 12/31/1910, “I gave a tea, to which I invited 204 people! Every morning, I was up at five, writing my invitations, and arranging my house. I had a caterer from Providence, and Raia the harpist… People were kind enough to say the affair was a great success.” [4/1910]

Family: On Christmas, “Cousin Theodore was an unexpected but welcome guest… Cousin Theodore spent a week, and left us, as he always does, the richer for the visit, for his outlook on life is broad and uplifting.” [12/25/1898] “I sat before the blazing open fire and read a bundle of my mother’s letter, which Tom sent me. They were written fifty years ago, and I am selfish enough to wish they were going to be mine.” [1/1903] Trouble with mother-in-law: “Mrs. Cook came to make her home with us… Right after X-Mas we began doing over what was my maid’s room for a room for Mrs. Cook…. The winter from then on was hell, no less. My children will know this and if this record falls into other hands I do not care… Mrs. Cook never liked me, and it is the irony of fate that she should have to end her days with me – only I am convinced that I should go first. But one lives through a great deal!” [10/1909] “Mrs. Cook spent the month with Ida Lord. For this relief, much thanks.” [1/1915] Death of mother-in-law on 2/26/1917 [4/12/1917].

Childhood: “Theodore and Gertrude were the best-looking children there – the best – but if they only fulfill the promise of their youth!” [9/13/1903]

Marriage: “My twenty-fifth wedding anniversary! Does anyone who has had a happy married life ever realize how the years slip away like summer clouds!” [1/31/1908]

Health: Lengthy description of diseased glands under daughter’s arm (possibly caused by vaccination) which resisted three operations and took several months to heal, interrupting her freshman year of college. [5/1905]

School: “In August Sam and I decided after grave deliberation to send Theodore to Phillips-Exeter. our chief reason being his lack of self-reliance.” [11/1901] Sends daughter Gertrude to Wellesley College so she can continue her music studies with Mrs. Hamilton. [9/1904] Theodore’s graduation from Exeter “the very happiest week of my life.” [5/1905] Daughter graduates from Wellesley. [4/1911]

Class relations: Trouble with an inexperienced servant: “I had under my elastic roof at one time Tom and Ella, Louise Greene, Horace Holden. Then Ernest Greene and Louise visited me, and they made the welkin ring. It was very hot, and I had a green Norwegian, but I somehow managed.” [6/1906] “The first of November, the axe fell. Mary Dooley, after living here three years, and serving good meals, garnished by a bad temper and lies, departed to live at the Donahoes and cook. With her went domestic peace. From the first of November until the first of June a procession of imbeciles, idiots and incompetents passed through my kitchen – seven in all. Most of the time I was my own chief cook and bottle washer.” [9/1912] “In May I made my usual visit to Dover: when I returned Polish Sofie gave her notice to earn $25 a week in a factory!” [11/11/1918]

Travel: Circa May 1898, “I began to agitate the question of Sam’s going to England. After his many years of faithful service in the bank he badly needed a change of thought and scene. He needed a great deal of persuasion before he could be induced to go.” [9/23/1898] Visits Ogunquit Beach in Maine 8/1900 [11/1900]. Spends a few weeks in Digby, Nova Scotia at second family home called “Bleakside” late each summer.

Geographical and architectural: “We had our first X-Mas celebration in the new house.” [12/25/1898] “Every year I realize more and more that, though transplanted, my roots are deep in New Hampshire soil.” [7/1901] Describes minor house renovations. [5/1902]

Cataloging information:

Catalog number: MSS 9001-C

Collection title: Lucia G. (Moses) Cook Diaries

Location within the collection:

Size: 10″ x 8″

Condition: Excellent

Graphic content: 1920 photograph of Nova Scotia home after final entry.

Provenance: 2002. 43. 2, gift of L.H. Strickland

Cataloged by Rick Stattler, July 2002

Bibliography:

Moses, Zebina. Historical Sketches of John Moses of Plymouth…, 219. Hartford: Casey, Lockwood & Brainard, 1890

Woonsocket directories, 1920-1928

1920 U.S. Census, Rhode Island E.D. 336, page 11

Subject headings:

Nova Scotia – Description and travel

Woonsocket, R.I. – Social life and customs

If you happen to visit, Lucia’s diary is in MSS 9001-C Box 12.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “Early in June I went to Fox Lake to see about tearing down the club houses and moving them to another place… I go up to Fox Lake every Saturday, looking after the house and I hope to complete it on time.”

Moses was back at Sosman & Landis after two tumultuous years of working for New York Studios and Chicago Studios.  He was constantly suffering from headaches much of the time and had all but six teeth extracted. Yet he made time to visit and work on the Palette & Chisel Club’s house on Fox Lake. In two years, he would lose interest and begin focusing on the west coast.

In 1904, Moses became a member of the Salmagundi Club in New York, sponsored by R. M. Shurtleff.  Moses joined the Palette & Chisel Club when he was 50 years old in 1906.

Founded in 1895, the Palette & Chisel Club was an association of artists and craftsmen for the purpose of work and study. The organization’s members were reported to be “all wage-workers, busy during the week with pencil, brush or chisel, doing work to please other people” (Inland Printer, 1896). But on Sunday mornings, they assembled for five hours to paint for themselves.

In 1905, the members of the Palette and Chisel Club established a seasonal camp at Fox Lake, Illinois.

In 1906 Moses wrote, “I joined the Palette and Chisel Club at the Chicago Society of Artists.  I don’t know why, as I had so little time to give to pictures, but I live in hopes of doing something someday, that is what I have lived on for years, Hope, and how little we realize from our dreams of hope.  As the years roll by, I think one’s whole life is one continuous dream, unless we are wonderfully gifted and fame drops on us while we sleep.” 

The year that Moses joined the Palette and Chisel Club, the group consisted of sixty local painters, illustrators, and sculptors. The Chicago Tribune reported that it was “primarily a working club, being the oldest organization in the west” (Chicago Tribune, 6 Jan. 1906, page 2). That year, the club’s new enterprise was the maintenance of a permanent exhibition in the clubrooms on the seventh floor of the Athenæum building.

In the beginning it was quite rustic. Of the camping experience, Moses wrote, “June 1^st, I made my first trip to the Palette and Chisel Club camp at Fox Lake, Ill.  Helped to put up the tent.  A new experience for me, but I enjoyed it.  I slept well on a cot.  Made a few sketches.  A very interesting place.  I don’t like the cooking in the tent and there should be a floor in the tent.  I saw a great many improvements that could be made in the outfit and I started something very soon.” The Palette and Chisel Club camp drew a variety of artists during the summer months.  An artistic community was formed along the shores of Fox Lake, providing a haven far away from the hustle and bustle of work in Chicago. There were many Sosman & Landis employees who also became members of the Palette & Chisel Club, escaping to Fox Lake whenever they could. 

In 1908, Moses wrote, “I bought the portable house that we built years ago and at that time we received $300.00 for it.  I finally got it for $50.00, some bargain.  It cost $25.00 to remove it and we will put it up at Fox Lake in the Spring.  It has been used in Forest Park all summer to show “The Day in the Alps.”

By 1909, Moses wrote, “As we had put up the portable house in Fox Lake, I was better contented to go up.  I gave the camp a portable kitchen and it was some class.  I felt sure I would manage to get a camp outfit worth while and the boys all fell in line with me.” Moses enjoyed his scenic retreats to Fox Lake, escaping from the hard grind of the studio whenever he could during the summer. He painted numerous landscapes of Fox Lake and the Palette & Chisel camp house over the years, including on that I own from 1909. “

In 1910, Moses wrote, “Fox Lake appealed to me all summer.  I went up as much as possible and made good use of my time.  How I wished in vain for time and money to spend all summer sketching.  I know I could do something worthwhile.” Regardless of his own opinion, Moses was making progress in the eyes of Palette and Chisel Club members. By 1912 the Palette and Chisel Club honored Thomas G. Moses by giving him a big dinner and a new nickname – “Uncle Tom” of the Club.

By 1913, Moses was still spending time at Fox Lake, writing, “I enjoyed the summer at Fox Lake, as the motorboat kept us busy and I enjoyed the water.  I also did quite a number of sketches, a few very good, balance rather doubtful.”  That same year, he wrote, “The Palette and Chisel Club boys wanted me to give an exhibit at the club.  I always refused, claiming that I am not in the picture game, and paint pictures for pleasure only.  September 3^rd, a committee came to the house and insisted on going to the studio, I had over three hundred pictures in the studio; some very good but the other 275 were not as good, but the boys seemed to think I had at least 250 good ones, which was quite flattering.” That year, Moses also commented, “The Palette and Chisel Club were anxious to buy a lot near the lake, but we found it would cost too much.” Yet the search for a new home continued the following year.

In 1914, Moses wrote, “Early in April a number of Palette and Chisel Club boys, including myself, went to Fox Lake to look for a new site.  We didn’t find anything worthwhile, so we will remain where we are for another season… Miss Maude Oliver, Art Critic of the Herald, wanted to see the animals fed and housed, so she went to Fox Lake to the camp.  She requested that we all act perfectly natural and not put on any frills and do nothing out of the ordinary to entertain her.  I never saw a bunch act worse.  It was awful.  I think she got plenty of local color and artistic atmosphere for her article in the Sunday Herald the next week – convinced me that she had drunk a glass full of camp life…I am not very regular at Fox Lake this year and I miss sketching.  I also miss my rocks and running brooks.  I have to go some distance for that kind of a motive.”

By 1915, Moses commented about the Palette and Chisel Club’s new site on Fox Lake, “April 17^th a crowd of us went to Fox Lake and took down the old house and moved it to our new site south of the track on a very high hill, overlooking Pistakee Bay.  Got the carpenter and lumberyard men together and we arranged for credit and ordered the material for a new house 22 x 50, was soon ready for members.  We certainly got great sport in assisting the carpenter.  Pretty hard work for an artist, but they all did very well.”

The next few years include only a few sporadic entries in Moses’ memoirs. In 1917, Moses wrote, “I went to Fox Lake on Decoration Day, official opening.  I had a new cot sent up and it was certainly and improvement over the old one.  I actually rest now and enjoy going up.” In 1918, Moses wrote, “I have not been out to Fox Lake this year, the first I have missed in twelve years.  The business is in such an upset condition that I felt I should stick to it.” In 1919, Moses and his son Rupert made several trips to Fox Lake where he made a few sketches. He wrote,  “It is very nice to make the trip in a car, as we made it in three hours.  The roads were not any too good.”

By 1922, Moses wrote, “I made one trip to Fox Lake Camp.  It is not the same, and I am very sorry to say that I have lost interest in it, besides I feel that all the good sketching had been worked to death.” He did not write about Fox Lake again.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “June and July found us tied up with a lot of repaint stuff for the Junior Orpheum, all over the country, and there was some awful stuff sent in to be repainted, while there was some that was really good.” Junior Orpheum theaters were the Orpheum Circuit’s “popular-priced” vaudeville houses.

There are a few things to consider about Moses’ diary entry. The first is that stage settings were never meant to last. Repainting backdrops and flats were a common occurrence when theaters could not afford to purchase a new scene, or entire stock scenery collection. Due to the nature of the paints, the scenery did not just receive another coat of paint. The tempera paint was scrubbed down, effectively removed to leave a slightly stained piece of fabric that was ready for a new coat of paint.

Painted scenery was a major investment for any performance venue at the time. Scenic studio catalogues even offered the refurbishing of old flats and fabric as an alternative to purchasing new. From 1889 to 1894, Sosman & Landis catalogues included a “Special Notice.” The section noted, “When there is already a stock of Scenery on the stage, and it is desired to add some new scenes and wings, we can easily make them to fit the frames of present scenery, and they may be mounted on the backs of other ‘flats’ and ‘wings.’ We can do this work for you much better, and we think cheaper than you can have an artist do it on stage, and it will save you considerable trouble. If you intend putting any new Scenery this coming season, we hope we will hear from you, and we will try and make it to your interest to at least give us a trial order.” At the time, the firm advertised they had already supplied 1700 opera house, theaters and halls in the United States and Canada with stock scenery. By 1894, Sosman & Landis catalogues announced, “Over 4,000 places of amusement are to-day using scenery made by our firm.” By 1904, it was close to 6,000.

The Junior Orpheum Circuit was just one more client who opted to repaint existing stock scenery collections for upcoming touring shows and a variety of vaudeville acts.

Of the Junior Orpheum Circuit, the “Los Angeles Evening Express” interviewed Martin Beck, managing director of the Orpheum Circuit on April 9, 1920 (page 29). He explained the theater chain in seven cities that will be grouped under the name of the “Junior Orpheum” circuit. In the interview Beck stated, “In naming the theaters that are to make up the Junior Orpheum circuit, we intend calling them after the intersecting streets on which they are located. Thus, in Kansas City we have named that theater the Fourteenth-Main, and the one in Minneapolis has been called the Ninth-Hennepin. The Los Angeles theater will be known as the Hill and the name of the other street on which it will be situated. It is impossible to give the exact location of the Los Angeles theater at the present time, as the full title of the property has not been acquired.” 

Mort H. Singer was the manager of the Orpheum Circuit. He explained, “By the establishment of the Junior Orpheum we will be able to book more and better material for the regular Orpheum system of theaters which has always been far above the best of any vaudeville circuit. Contract will be made for an entire year, and the acts will play first the regular Orpheum Circuit and then double back on the Junior Orpheum circuit, thus maintaining the same high-class performance on the Junior circuit and in the regular Orpheum theater. There will be no reserved seats in the Junior Orpheum theaters, and the admission charged will be at popular process. Patrons will be assured of more than three hours of high-class entertainment.” This reminded my of second run dollar theaters; same show, a little later, and a lot cheaper.  Really quite brilliant from a business sense. You are able to extend the run of a show, and have a secondary venue simply based on volume.

Moses had previously worked with both Beck and Singer, so the Junior Orpheum selecting Sosman & Landis to refurbish all of their existing stock scenery is not a surprise at all.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island.  Had to get a permit.  I enjoyed myself immensely.” At the time, the “old Block House” was only four years old; a replica constructed in 1916.

Moses was referring to the Block House at Fort Armstrong on Rock Island. Located on the Mississippi River, the Fort Armstrong was erected as one of the many frontier defenses after the War of 1812.  The construction of the fort began on May 10, 1816 and was intended to establish a military presence to dissuade French and English Canadians from settling the territory. Ironically, this was part of the Americans settling land inhabited by the Sauk, native Americans of the region.

A century later, in 1916, a replica of the three-story block house was built. This was the structure that Moses sketched in 1920.

That same year, H. H Cleaveland announced plans to build a new hotel and social center on the island. The Fort Armstrong Hotel Co. was formed and plans to raise money for the endeavor. It took a while, but investors finally raised $451,000 and construction commenced March 17, 1925. The area has remained a popular tourist attraction over the decades.

For more information about Fort Armstrong, visit the Digital Research Library of Illinois History Journal by Neil Gale, PhD. Gale presents some wonderful background for the fort. Here is the link:  https://drloihjournal.blogspot.com/2018/08/fort-armstrong-illinois-1816-1836.html

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island.  Had to get a permit.  I enjoyed myself immensely.  Saw all the old places, also had a visit with Charlie Kindt.” This was the year before Kindt retired at the age of 58. Charlie was the son of German immigrant and well-known panorama painter Louis Kindt (1832-1923). For more information about the artistic career of Louis Kindt, visit http://www.wisconsinart.org/archives/artist/louis-kindt/profile-1809.aspx

The 1920 US Federal Census lists Charles T. Kindt as a 57 yrs. old theatre manager, living at 120 17^th St, in Davenport, Iowa. Kindt was living with his wife, Helena. Daughters, Helena (age 28) and Julia (age 30) were also living with them, as well as their grandsons Stoddard and Kindt Fields. At the time, Kindt was manager for the Burtis Opera House. In 1921, the famous opera house would be gutted by fire. The 1600-seat venue was originally constructed by J. J. Burtis in 1867. Kindt began managing the theater in 1890. Of the tragedy, “The Daily Times” reported, “Mr. Kindt lives in the Perry apartments next to the opera house and was one of the first to be notified of the fire. He and Mrs. Kindt and their daughter Julia, dressed and were among the first on the scene. Mr. Kindt remained on the scene for three hours watching the fames and talking to friends, who extended their sympathy. He took his loss philosophically, no losing any of his joviality, which characterizes him. ‘Yes, there have been some great people who have played on the old Burtis stage,’ he reminisced. ‘Many before my time and many since I took over the management. There’s not any salvage in the building. I guess it’s a totals loss. But what’s the use of hollering about it? It’s not going to do any good.’ …Scores of autographed photographs, presents from friends in the theatrical world, were destroyed or badly damaged. Mr. Kindt is unable to say what his future plans will be. He has been negotiating for some time a new theater and it may be the fire will hasten such plans” (26 April 1921, page 2).

In 1922, Moses wrote, “I met my old friend Chas. Kindt in Davenport.  He is manager for the Thos. Cusock Company, on the site of the old Burtis Opera House.”

Charles Kindt also started out as a scenic artist like his father, but soon transitioned to theatre management by the age of 25, in 1888. Kindt married Helen “Nellie” Stoddard in Chicago on March 22, 1882. By 1888, Kindt was acting as assistant manager for the Turner Opera House in Davenport, Iowa (The Morning Democrat, 17 July 1888, page 4). He was working with manager Charles Becker. By 1889, Kindt became manager of Davenport’s Grand Opera House. In 1890 he was manager of the Burtis Opera House.

A year later, Chamberlin, Kindt & Co, was formed, and the firm began managing the Burtis Opera House (Quad City Times, 10 Dec. 1906, page 10). The firm continued to expand, controlling over 25 theatres on the Illinois-Iowa circuit.  Their theatres were located in Marshalltown, Rock Island, Ft. Madison, Burlington, Oskaloosa, Davenport, Galesburg, Monmouth, Muscatine, Rockford, Grinnell, Keokuk, Kewanee, Creston, Sedalia, Quincy, Peoria, Boone, Joliet, Elgin, Waterloo. Chamberlain passed away by the end of the 1906, a severe blow to Kindt and the company. That same month J. R. Lane, C.T. Kindt and Isaac Deutsch purchased the Burtis property, consisting of the Burtis Opera House and Kimball House for $55,000 (The Dispatch, Moline, Illinois, 13 Dec 1906, page 4).

In 1906, F. W. Chamberlin & Charles T. Kindt purchased and remodeled the Burtis theater. Sosman & Landis delivered new scenery to the renovated stage. If Kindt did not know Moses from the Chicago scenic art scene, he would have met him at the Burtis. Of the Burtis Opera Houses 1906 renovation “The Daily Times” reported, “The theater will be completely remodeled from stage to foyer” (Davenport, Iowa, 16 March 1906, page 6). Manager Kindt, was quoted as stating, “The Burtis will be completely remodeled. In fact, when it is improved, it will be practically a new theatre. Everything that is in it will be removed, and it will be fitted up in modern shape throughout” (The Daily Times, 24 March 1906, page 12).

Kindt passed away in 1947. His obituary reported, “Charles T. Kindt, 86, a veteran Davenport theater operator and a partner in the old Chamberlin-Kindt Theater corporation, which operated theaters in Moline and other cities, died at 3:40 yesterday in Mercy hospital, He had been ill for some time. Mr. Kindt was the first exalted ruler of the Davenport Elks’ lodge…Mr. Kindt was best known as the owner and operator of the old Burtis theater. He had not been in active business since 1921. Mr. Kindt, who lived at 1104 River drive, Bettendorf, was active in Bettendorf civic affairs many years. At one time he was president of the Bettendorf Chamber of Commerce. He was born in Sandusky, O., on March 28, 1861, and was reared in Chicago. Mr. Kindt became acquainted with the theater business through his father Louis Kindt, and became a scenery painter in Chicago. He came to Davenport in 1888 on a contract to paint scenery for the Grand Opera house there. Later he became manager of that opera house and in a few years became manager of a second opera house in Davenport. He formed the Chamberlin-Kindt partnership, which operated a chain of 51 theaters in the middlewest. An organizer of the Elks’ lodge home in Davenport, Mr. Kindt was the only surviving charter member. He married Helen Stoddard in Chicago March 22, 1890. She died in 1937. Surviving are a son, C. Roy Kindt of Davenport; two daughters, including Mrs. John A. Martinelli of Davenport; a brother; three sisters, including Mrs. Julia Donald, of Davenport; 11 grandchildren and seven great-grandchildren” (The Dispatch, 11 July 19487, page 20).

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “Marshall also closed up a contract with the Ascher Brothers, so we have plenty of business.” 

Fred Marshall was a scenic artist and salesman who would later represent the United Scenic Artists’ Association of New York City. Born in Woodridge, New Jersey, on March 24, 1895, he was the son of Louisiana native and mural artist, Frederick Marshall, Sr. (b. 1851).

Marshall was first mentioned in Moses’ memoirs in 1918. When Moses resigned as President of the Sosman and Landis Company on Sept. 1, 1918, he joined New York Studios. Moses fully expected to get a studio and an office to do business as part of the contract, but finding space was an unending problem.  Moses wrote, “Marshall of the New York Studios and I had to hustle out for a studio.  Got an office in the Consumers Building.  I did two borders for the Chateau Theatre at the old place.  We tried very hard to buy out the old place, but they want too much money.  I was willing to make a big reduction on my claim, but it was no use.  We have to find a studio.” He worked closely with Marshall in 1918 and again in 1920. Unfortunately, Moses would only last with New York Studios for a year before signing another contract with Chicago Studios.

Marshall became a real mover and shaker in the world of American scenic art world.  However, in 1920, he was a young man of young man of 25 working as a studio salesman. The contract that he landed that year was with Ascher Bros., managers of the Ascher Theatres chain.  In 1920, Ascher Theatres included the Oakland Square Theatre, Metropolitan Theatre, Frolic Theatre, Columbus Theatre, Peerless Theatre, Kenwood Theatre, Chateau Theatre, Lakeside Theatre, Terminal Theatre, Albany Park Theatre, Adelphi Theatre, Calo Theatre, Milford Theatre, Lane Court Theatre, Midway Theatre (Chicago Eagle, 6 March 1920, page 9).

On Nov. 6, 1920, the “Post-Crescent” reported of a new theater in Manitowoc – the Capitol (Appleton, Wisconsin, page 7): “The new Capitol theater being built by George Bros. Co. upon its completion will be leased to Ascher Bros., well known lessees of vaudeville and motion picture houses of Chicago. This was announced following a visit to Manitowoc of Lewis P. Newhafer, general manager of Ascher Bros., and J. J. Cotter, mechanical expert who conferred with the builders. The theater will be opened the latter part of December. It will be used as a movie, as well as a legitimate playhouse. George Bros. are spending $200,000 on the venture.” I think that this is the contract that Marshall landed that year.

The George Bros. would have been responsible for the construction of the building, but not the scenery on stage; that would have been the responsibility of the lessees – the Ascher Bros. Therefore, Marshall would have negotiated the scenery for the Capitol in 1920, meaning that Sosman & Landis delivered the scenery to Manitowoc.

In an unbelievable twist of fate, I toured the Capital last summer. Here is my post about the space: https://drypigment.net2019/08/04/travels-of-a-scenic-artist-and-scholar-aschers-capitol-theatre-in-manitowoc-wisconsin/

I even photographed some snippets of the original scenery, tucked away in the nooks and crannies; high quality stuff. What a small world.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “My models for the Shrine got us a good contract in Helena, Montana, something over $11,000.00.”

This was the Algeria Mosque for the Ancient Arabic Order of the Nobles of the Mystic Shrine, also known as the Algeria Shrine Temple. Designed by George S. Carsley and Charles S. Haire, the building included a 17-story minuet. When the structure was completed, local newspapers announced that 3,500 individuals could fit in the auditorium (Glasgow Courier, 8 April 1921, page 2).

On Dec. 10, 1920, the “Glasgow Courier” reported, “Algeria Temple is planning one of its most important ceremonials next March, when the new mosque will be dedicated, and it is expected the officers of the imperial council will be present. In addition, invitations will be sent to many of the leading Shriners in North America. The date for the ceremonial will be announced later. It is understood a large class will be on hand for the trip over the sands at that time” (page 1).

The cornerstone laying ceremony was planned for June 19, 1920, immediately after the four-day Scottish Rite Reunion. On April 8, 1921, special trains carrying Shriners arrived in Helena for the dedication of the building (“Independent-Record,” 26 March 1921, page 9). The “Glasgow Courier” reported, “Chicago, Sioux City, Spokane, Omaha and St. Paul are sending large delegations. Great Falls, Billings, Butte, Miles City and Missoula are planning for special pullman loads of stockmen, businessmen and bankers. The Helena commercial club, which is in charge of local arrangements is expecting to take care of 1500 people” (April 8, 1921, page 2).

On April 9, the “Butte Miner” reported, “With more than 3,000 out of town members of the Mystic Shrine in attendance, the new temple of the Algeria Shrine (Helena) was dedicated today. Imperial Potentate Ellis Lewis Garretson was here from Tacoma, Wash., and officiated at the dedicatory ceremonies. A large class was initiated into the order at a ceremonial last night when the new temple was used for initiation for the first time” (April 9, 1921, page 1).

The building changed hands after extensive damage caused from an earthquake in 1935. As Shriners were unable to fund the necessary repairs, the city purchased the building by 1938.

In 1939 a fire station was added to the structure and the building became home to government departments until 1979. The Algerian Temple is now known as the Helena Civic Center. For more information about the space, visit “Helena As She Was” – http://www.helenahistory.org/civic_center.htm

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920 Thomas G. Moses wrote, “The Madam and I have concluded to go to California this summer, so we started to make our plans, going in August.” 

“We left for the West August 19^th.  As I have written the trip up very fully in my travelogues, I will not repeat it here.  Arrived home on September 28^th, having been gone forty days, it was certainly some trip.” This was Moses’ “summer vacation” before really settling in at the Sosman & Landis main studio. Although Moses’ desired to move west, his strong ties to Chicago kept him tethered in the Midwest. Later in life, Moses would spend an increasing amount of time in California, joining the Pasadena Scottish Rite and frequently landing scenery contracts along the Pacific Coast.

Moses was one of many scenic artists across the country who migrated west as employment opportunities continued to skyrocket; they followed the work.  The scenic art business was rapidly changing as the demand for painted scenery continued to decline in many areas. However, California continued to offer new opportunities that ranged from parade floats and circus shows to legitimate theater and film sets. In addition to an abundance of work, the temperate climate was ideal. Many Chicago scenic artists moved to the west coast, after apprenticing in Chicago. One California contemporary of Moses was O. L. Fest. Only four years older than Moses, he began working as a scenic artist in Chicago and then moved to San Francisco by the late 1870s. Fest became a mainstay at the Tivoli Theater, a venue where Moses’ mentioned stopping to visit friends.

In 1920, the “San Francisco Examiner” announced Fest’s passing:

“Scenic artist at Tivoli Dies. Oscar L. Fest Widely known among theatrical people passes away at 67” (6 March 1920, page 4). The article continued, “Oscar L. fest, for more than twenty years the chief scenic artist at the old Tivoli Opera House, died yesterday at his home, 1616 Turk st., after a lingering illness. Fest arrived in this country from Germany when 9 months old. His work as a scenic artist was a feature of the Tivoli operas, and his yearly transformation scenes at Christmas were much admired by early-day theatre-goers.

“He was a life member of Cleveland Lodge, No 211, F. & A. A., and of Golden Gate Camp No. 64, Woodmen of the World. A widow [Minnie] and two daughters, Helen A. and Mattie Lois Fest, survive. Funeral services will be held this afternoon from the undertaking parlors of Theodore Dierke & Co., 901 Divisadero st., Interment will be private.”

“The San Francisco Chronicle” added, “Fest is well remembered by those who attended the performances at the old Tivoli Opera house a generation ago and up to the time of the 1906 fire, where he was a scenic artist, and his Christmas season transformations were considered wonderful” (7 March 1920, page 12.)

Oscar Louis Fest was born 10 August 1852 in Breslau, Germany. His parents, John and Helena “Ellen” Fest, emigrated to the United States, sailing aboard the Mathilde, from Bremen, in 1853. In Syracuse, Fest’s father became a naturalized citizen on 29 Sept. 1858. The family was still residing in Syracuse, according to the 1860 US census. By 1870, the Fests were living in Chicago. At the age of 18, Oscar L. Fest was listed as a painter in the 1870 US Federal Census. His father was employed as a cooper. On May 6, 1874, Fest married Minnie Burkhart in Cook County, Illinois.

By 1877, Fest was listed in the San Francisco Directory as a scenic artist, residing at 548 ½ Tehama. At the time, he was listed with the Grand Opera House.

By 1879, the directory listed Fest was working for the Adelphi Theatre. The earliest mention of Fest at the Tivoli was in 1883. That year, “The San Francisco Examiner” reported, “The new drop-curtain, ‘The Spanish Mail” painted by Oscar L. fest, will be used during the run of the piece, which judging from the manner of its first presentation and the applause that welcomed each successive scene, will be a long period” (27 Feb 1883, page 3). In 1889 Moses recorded visiting fellow scenic artists at the Tivoli Theatre, including Bill Porter. In 1891 the San Francisco Directory still listed Fest at the Tivoli.

Fest’s 1896 passport application noted that the artist was 56 years old with a height of 5’-9.” His physical description listed brown eyes, iron gray hair, a square and high forehead, straight nose and “ordinary” mouth and chin.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

At the end of March 1920, Moses delivered Atlantic City Boardwalk scenery to the St. Louis Coliseum for a local charity event. At the time, he was working for Chicago Scenic Studios, having left both Sosman & Landis and New York Studios in Sept. 1918 and Sept, 1919 respectively.

By the spring of 1920, Moses wrote, “On the 20^th of April, I signed an agreement to return to Sosman and Landis Company to draw $6,500.00 for the first year and my stock returned to me, which means I will have a chance to get more if I can make the business pay.”

He was returning to a dying company, one that would close within three years. He wrote. “I have painted a large autumn canvas for the Sosman and Landis Company office, as the offices are going to be very nice.”

There were also a few events leading up to his return. Just before he recorded his decision of a return to Sosman & Landis, Moses wrote, “My head aches all the time – not severe, but a dull ache that is very annoying.” The headaches were likely from his 1918 head injury. That year, he wrote, “October 10^th, I was knocked down by a boy on a bicycle in Oak Park.  It was dark and I did not see the wheel.  It was thought by the doctor that I had fractured my skull.  It was a couple of months before I recovered.”  Moses didn’t take the time to let the injury properly heal and was on the road again too soon.  The headaches continued to plague him for the next few years.

Moses was also having problems with his teeth, something that doctors also thought may be contributing to his headaches. Later in 1920 he wrote, “Had an X-ray taken of my teeth and found them awfully bad, so I had to get busy and have them all extracted, excepting six lower ones.  It was some job.  Not as much of a shock as I expected.” A few months later, Moses wrote, “My headache still continues and there seems to be no help for it.  No one seems to know the cause, now that my teeth are all out, which everyone thought would be the remedy.” 

But there was another dynamic at play before his return to Sosman & Landis.

That spring Moses wrote, “Mr. Hunt arrived from New York and remained for a few days, then left for California where he will remain several weeks.  I interceded for Parker, formerly of Sosman and Landis with Mr. Hunt, and I think he will engage him to go to New York City.” Now this statement caught me by surprise. Moses had signed a one year contract with Chicago Studios during the fall of 1919, after having left the employ of David H. Hunt at New York Studios. Did he go back, and was New York Studios still considered the eastern affiliate of Sosman & Landis?

By early spring 1920, Moses wrote, “We are having a hard time to keep a man in the office.  Nobody seems to please Mr. Hunt.” So, Moses was working with Hunt during the early spring of 1920, yet not associated with Sosman & Landis, but there was also no mention of Chicago Studios who he accepted a one-year agreement with from fall 1919 to fall 1920. After Moses’ returned to Sosman & Landis, Hunt is still in the picture. That summer, Moses wrote, ““Mr. Hunt sent Mr. Leo Staler on from New York to take my place and while he tried to be very nice about it, there was something about his attitude that didn’t ring true.” Mr. Hunt was also involved with Sosman & Landis finances, as Moses mentioned him in August 1920: “Mr. Hunt promised to send me a check for $700.00 on the 15^th of August.  I had to go without it, and received it in Colorado Springs after I had made all the arrangements for money to go with.  We left for the West August 19^th.”

The honeymoon phase of Moses’ return to Sosman & Landis had already worn off by summer. By the end of May Moses wrote, “The haggling and wrangling in the studio and office is certainly getting the best of me, and I will be glad when time comes for me to migrate to Clinton Street.” 

Moses must have migrated to the main studio on Clinton Street after returning from his summer vacation, August 19-Sept. 28. Upon his return, he wrote, “ It took me a few days before I was in the harness again, and working just the same as I did before I left two years ago.  Landis and I got out after business within a few days after my arrival and succeeded in landing a few good ones.  I started to do some painting but it did not last long, as I had too much other business to do.  I found the conditions altogether different from what I supposed them to be – too much overhead.  It will be awfully hard to keep up the output to balance it all.”

Sosman & Landis had flailed about for two years during Moses’ absence. Although he had returned, it was too late to resuscitate the dying company. He was trying to make the best out of a bad situation. But he was also returning home. His scenic career really started in the Clinton Street studio in 1880. He was there were Sosman and Landis built the space. He would be there when the firm left the space in 1923 too. Good or bad, it was everything familiar to him. At the end of 1920, Moses wrote, “I am pretty well satisfied with the result of this year’s work and I feel that changing back to Clinton Street was the best thing for me to do, as I really belong there, as my money will always be there unless the business is sold.” I have to wonder if he had any idea that the business would be sold in under three short years. He was 64 years old at the time.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1920, Thomas G. Moses wrote, “New models for an Indian decoration to be used in a Rock Island theatre.  Of course, a movie.  These were accepted by the owners and I know we can get something very effective out of it.” 

The Rock Island Theater has been one of the more difficult venues to track down, especially since there are multiple theaters named “Rock Island.” Does “Rock Island Theater” designate the name, location, or both name and location? There was an Illinois Theatre in Rock Island, Illinois.

If Moses installed the scenery at the Rock Island Theater in Venice, Illinois, it was possibly the same one noted at Cinematreasures.com, stating, “The Rock Island Theatre was operating as an African-American theatre between 1948 until at least 1955.” Here is the link: http://cinematreasures.org/theaters/56291 It makes me wonder if the venue also opened as an African-American theatre.

In 1921, “The Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory” included an “Index to Colored Theatres.” The beginning of the section notes:

“The following lists have been compiled within the past six month from information obtained in many ways. Since there has been no previous effort to list either attractions or houses the task has been rather difficult. The Guide is greatly indebted to M. C. Maxwell, former manager of the Liberty Theatre, Alexandria, La.’ The T.O.B.A.; the Comet Film Exchange of Philadelphia, the Micheaux Pictures Corporation and to Jackson of the Billboard for their kindly co-operation in collecting the necessary information. We make no pretense that the lists are complete, nor do we assure absolute freedom from inaccuracies, We do, however, present these results of painstaking effort with a view of serving the profession as much as it is possible with the information at hand, and with the object of encouraging additions and corrections that will make possible a complete and accurate tabulation of the theatrical interests of the group. Owners, managers and artists alike will be performing a distinct service to themselves by filing addresses and description of their interests with Julius Cahn-Gus Hill Theatrical Guide and Moving Picture Directory, thus enabling us to properly answer the many professional inquiries that come to us in your interest. List of theatres dependent upon colored patronage, either owned or operated for the race; with Negro population of cities where 1920 census were available, character of ownership and type of house, so far as has been ascertained:

KEY-W means white; O means ownership; C means colored; M means management; V means plays vaudeville or road shows; E means equipped for shows, but operated at present with pictures only; P means pictures only; D means drama.”

To be concluded…