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Part 537: W. H. Clifton and the Washington Opera House in Maysville, Kentucky

In 1899, Sosman & Landis had a project in Maysville, Kentucky. Maysville is located just down stream of Cincinnati along the Ohio River. W. H. Clinton, a Sosman & Landis’ stage carpenter, in the city to install scenery and stage machinery in the new Washington Opera House. The original Washington Opera house from 1851 had recently been destroyed by fire during January 1898. As with many communities of the time, as soon as one opera house down, plans were implemented for its replacement. Theaters were a significant part of many communities. The new Washington Opera House in Maysville was a combination Opera House and Fire Department. The “keeper of the keys” became the President of the Washington Fire Company, and not the theater manager. Interestingly, he was also the Editor of the local newspaper –Thomas A. Davis.

According to Harry Miner’s Dramatic Directory from 1884, the original Washington Opera House had a seating capacity of 600. At the time, Mayville also had a 500-seat Court House and 300-seat hall, both listed as available for touring shows in Miner’s directory. The size of the original stage was 36×47 and included a “full set of scenery.” Julius Cahn’s Official Theatrical Guide from 1896 provides a little more information about the the 1851 Washington Opera House. The proscenium opening was 26 feet wide by 22 feet high and had five sets of grooves. The height of the grooves accommodated painted wings that were 13 feet high. The size of the stage was listed as 38×45, and the height to the rigging loft was 24 feet. This venue likely used a wing and shutter system, with a few roll drops thrown in for good measure.

The new opera house boasted a rigging loft 66 feet above the stage floor with fly scenery, or drops that could be flown in and out during a production instead of rolled. By 1901, Julius Cahn’s Official Theatrical guide noted “no grooves” at the second Washington Opera House, reinforcing that the venue was an up-to-date performance venue for touring shows.

 

The 1899 opening weekend for the second Washington Opera House was on February 9^th, 10^th, and 11^th (Maysville, Kentucky, 23 Jan. 1899, page 1). The first program included a series of tableaux vivant presented by Maysville women and a Corps Drill by men from the Commandery Knights of St. John No. 89. There was one nail-biting moment during opening week, however, and that was the scenery was delayed in its arrival.

On Monday February 6^th, only three days before opening, he “Public Ledger” reported, “The scenery for the Opera-house arrived Saturday and was immediately started for its proper place on stage. This statement is made so that any misgivings as to the opening Thursday night may be dispelled” (6 Feb. 1899, page 4). I am sure that this delay caused quite a bit of anxiety, especially for the local performers. However, on Sunday, February 13, “The Evening Bulletin” reported “Mr. W. H. Clifton, the stage carpenter who put up the scenery at the opera house, left for home in Chicago Sunday” (Maysville, Kentucky, 13 Feb 1899, page 4). Clifton stayed for all of the opening activities to ensure the scenery all worked properly and then immediately headed home.

A local newspaper reported the final cost of the New Washington Opera House (The Public Ledger, 20 Feb. 1899, page 1). Of the $23,543.28, Sosman & Landis were paid $1474.99 for “scenery and stage equipment.” The 1000-seat Washington Opera House included a proscenium opening measuring 28 feet wide by 26 feet high. Julius Cahn’s Official Theatrical Guide for the 1900-1901 season noted that the height of the scenery was 18 feet and the height to the rigging loft was 66 feet. There were no grooves, suggesting leg drops for masking. The depth under the stage was 12 feet with 3 traps. The Washington Opera House is listed as the fifth oldest performing arts theatre in the United States.

To be continued…

Part 536: W. H. Clifton, Yore’s Opera House, and Bell’s Opera House in Benton Harbor, Michigan

This is the second post installment about Sosman & Landis employee W. H. Clifton. In 1889, the “News-Palladium” reported on the completion of Yore’s Opera House in Benton Harbor, Michigan (Benton Harbor, Michigan, 14 June 1889, page 3). Clifton was mentioned as the Sosman & Landis stage machinist sent to superintend the installation.

The News-Palladium article noted, “Messrs. Sosman & Landis of Chicago, furnished the scenery and stage fixtures – Will H. Clifton, stage machinist, having been sent here by the firm to superintend the work some four weeks ago. He has just finished up this task of fitting the stage carpets – one green and the other red.

“The stage is admirably appointed. There are seven compete sets of scenery, namely, Parlor, Kitchen, Open Wood, Garden, Prison, Water View and Street, and all accompanying wings, borders, box scenes, etc., necessary to a first class theatre. All the doors and windows in scenery are “practicable: instead of being blind, as is usual in small theatres. There are also a number of “set” pieces – set rocks, set water, balustrades, a set house, a pair of garden vases, etc. The drop curtain is a handsome work of art and is unsurpassed in Michigan outside of Detroit and Grand Rapids, the scene being “The Hudson River from West Point.” Size of curtain 42×30 feet.

“Three traps, stage braces, stage screws and other stage paraphernalia complete Sosman & Landis’ branch of the work, which has been done in first-class shape. The proscenium opening is 36x24feet; depth of stage, 30 feet; 75 feet wide and 33 feet in length, with full set of grooves; flats 18×26; depth beneath stage, a little over 7 feet; sets of grooves, four; two roomy fly galleries. There is a special scenery entrance in the rear and also a private stage entrance. The stage will be brilliantly lighted by two rows of border lights, the footlights and numerous other side lights – electric” (Benton Harbor, Michigan, 14 June 1889, page 3). The seating capacity for the opera house was 1,027.

In 1896, the first Yore Opera House caught fire, sometime after manager J. J. Simon closed the theater around 11 p.m. This immense blaze threatened the entire town of Benton Harbor and calls of distress were sent to fire department of St. Joseph (The Herald-Palladium, 19 June 1992, page 44). Eleven firefighters lost their lives battling the flames when a theatre wall collapsed; a twelfth firefighter died from complications a few days later. The Yore opera house became an example in the dangers of firefighting in the area. However, like many theaters destroyed by fire during the late-nineteenth century, another was constructed in its place and the community soon anticipated the completion of their “new, modern, first-class playhouse” (News-Palladium, 15 August 1899, page 4).

In regard to the necessity of an opera house in Benton Harbor, the “News-Palladium” reported, “An opera house? Of course we need one. No city of any enterprise or importance but can boast of a large auditorium where meetings, conventions, and entertainments of whatever nature, political, religious or educational, can be held with comfort and convenience. One of the most forcible illustrations of our need of a large auditorium was the funeral of the brave boys who dies to save the Yore’s opera house. There was no room in the city that could hold the Congregations” (5 Sept. 1899, page 1). Several plans for a new building were proposed, but all failed, until Dr. John Bell and George A, Mills entered the picture.

On the August 14, 1899, a franchise was granted “for the construction of an electric road to connect various resorts about the city, and as soon as it was given the promoters of the road surprised the alderman by showing plans of a $25,000 opera house that they have arranged to build” (Owosso Times, 18 August 1899, page 3).

On November 11, 1899, the “News-Palladium” reported “The new auditorium, which is being constructed by Dr. John Bell and Geo. A Mills, was obtained in a novel way. The promoters of the opera house desired to know whether of not the citizens really wanted the play house and in order to see what encouragement they would receive, Dr. Bell and Mr. Mills offered to erect a modern building if the business men would buy 1000 tickets for the opening performances at $5 each. The citizens responded generously and in a few days the tickets were sold” (News Palladium, 11 Nov. 1899, page 3). The article also reported, “Representatives of Sosman & Landis a scenery firm of Chicago, are here today making estimates for the scenery and scenic supplies.” But the contract was not awarded to Sosman & Landis, instead the work went to Armbruster of Columbus, Ohio; accidentally published as “Ambrewster & Company on opening night.” By that fall, the cornerstone of the new Bell Opera House was laid and fraternal orders planned a grand celebration for the occasion. On Wednesday, May 9, 1900, the Bell Opera House was dedicated.

Architect C. A. Brehmer of South Bend, Indiana, planned Bell’s Opera House after the famous Harrigan’s of New York City. In speaking of the opera house, Mr. Brehmer said, “There are two points which no play in the entire country can excel – its points for egress in case of fire or other necessity and the superior arrangement of the seats” (News-Palladium, 10 May 1900, page 1). On opening day, the “News-Palladium” provided detailed descriptions of the new building (0 May 1900, page 1):

“The auditorium is lighted by 450 incandescent lights and the beautiful blue tinted dome is brilliantly illuminated with 99 electric lights. The system of lighting was planned by James W. Pearl and the wiring done by the English brothers under the supervision of Henry Mason. The switch board for the main part of the building is located on the stage and is so arranged that any number of lights may be turned on or off as the occasion demands. The switch board for the lights in the halls and ticket office is in the box office, Both boards are of the latest pattern. The stage is 9 feet longer and 2 feet wider that the stage of the burned Yore auditorium and the height of this part of the building is 60 feet from the stage to gridiron, giving accommodation for any spectacular performances played in the larger cities. The theatre is fully equipped with its own scenery of the latest patterns, including slide drop curtains, side scenes, flies, and other stage setting. The scenery was painted and manufactured by Armbruster & Company, or Columbus, Ohio. The stage has fourteen dressing rooms with all improvements and conveniences.”

To be continued…

 

Part 535: W. H. Clifton, Stage Carpenter for Sosman & Landis

In 1905 there were two articles about a Sosman & Landis stage carpenter in the “Weekly Journal-Miner” (Prescott, Arizona, 1 Feb. 1905, page 2). In February, W. H. Clifton finished installing the curtains and scenery at the Elks Opera House in Prescott, Arizona. It was a name that I had not encountered before and decided to do a little digging. By 1905, Clifton had worked at Sosman & Landis for fourteen years.

The earliest mention of Clifton working for Sosman & Landis was in 1889. That year the “Sterling Gazette” reported, “Mr. W. H. Clifton of Sosman & Landis, stage furnishers and scenic artists of Chicago, returned to Chicago this morning after completing his work in the Wallace Opera House. He has been engaged for the past two weeks in fitting up an entirely new outfit of scenes and stage appliances, and has done his work well. The Opera House now has, for its size, one of the best furnished stages in the state outside Chicago” (19 April 1889, page 3).

Thomas G. Moses grew up in Sterling, Illinois, before moving to Chicago where he became a scenic artist. In 1878 Moses returned to Sterling to paint scenery for various of venues. His incentive to return home was to marry his childhood sweetheart Ella Robbins. Moses continued to work as a scenic artist in Sterling after his marriage, painting an advertising drop and later some scenery for a “barn storming company.” Soon he was employed to both decorate Sterling’s Academy of Music and paint ten full sets of new scenery for the theater.  But there wasn’t enough work in Sterling to keep him there.

Moses returned to Sterling again in 1886 to repaint many of the Academy of Music scenes; this was the same year that his daughter, Lillian Ella Moses, was born. In 1886 Moses wrote that he was in Sterling “to repaint the work I did eight years ago. It didn’t look good and I soon made an improvement over the old stuff.” The Academy of Music was a 900-seat theater illuminated with gas and electricity. The proscenium measured 35 feet high by 30 feet wide. The depth of the stage was 40 feet from the footlights to the back wall. The height of the grooves was 16 feet. A decade later in 1896, Charles J. Kennedy was listed as the scenic artist for this venue in Julius Cahn’s Official Theatrical Guide.

Harry Miner’s American Dramatic Directory for the season of 1884-1885 listed the Wallace Opera House as being a 1000-seat theater with a 21×23 stage, and “fair stock scenery.”

“The Sterling Gazette reported that same year, “The opening of the Wallace Opera House, tomorrow, promises to be one of the great theatrical events in the history of Sterling. The house has been thoroughly renovated and equipped with new and costly scenery, painted by Sosman & Landis, of Chicago, which is being put into place today, under the personal supervision of this celebrated firm of scenic artists. The attraction selected for the opening could not be better. The Gorman’s Spectacular Minstrels, is one of the leading recognized legitimate attractions on the road and that the opening will be a proud success there can be no doubt, as manager Lawrie has pledged the hearty support of our leading citizens. He has also received word from Prophetstown, Prairieville and Milledgeville that goodly crowds will come from those places. The Gorman’s have made it a feature to cater to the better classes, and this fact being so well known the wealth and culture of Sterling will be fully represented. The sale of seats has been very brisk and lovers of refined merriment of the very high order of excellence should procure seats as early as possible and avoid the rush which is sure to be at the door at night. This house will be opened to stay and the management and its support promise to furnish theatre-goers with nothing but the very best attractions” (The Sterling Daily Gazette, 3 April 1889, page 2).

To be continued…

Part 534: Thomas G. Moses and Marshall Field

Early-twentieth century scenic artists painted for a variety of venues, such as retail stores. What first brought Thomas G. Moses and Will Hamilton together to form Moses & Hamilton was the creation of Christmas decorations for a large New York department store. In 1905, Moses was still painting store displays.

Moses wrote “[I did] a lot of work for Marshall Field and Company, retail store-full decorations.”

The story of Marshall Field is quite interesting, especially in light of the BBC series about a once Marshal Field employee – Selfridge. In 1856, Marshall Field (1834-1906) moved to Chicago and worked at the dry goods firm of Cooley, Wadsworth & Company.  In 1860, the company’s bookkeeper Levi Z. Leiter (1834-1904), Field and John V. Farewell, Sr. (1825-1908) established Cooley, Farwell & Company. In 1864, the company was renamed Farwell, Field & Company.

The founder of P. Palmer & Co., a very successful dry goods store, was in very poor health and looking for a solution for his business. At the beginning of January 1865, Field and Leiter entered into partnership with Potter Palmer and his brother Milton Palmer, forming Field, Palmer, Leiter & Company. In 1867, the store was renamed Field, Leiter & Company, or “Field & Leiter.”

When news broke of the 1871 Great Chicago Fire, the store’s employees at Field & Leiter worked tirelessly to remove much of the merchandise before fire overcame the structure. Six months later, Field & Leiter reopened in an unburned building at Madison and Market Streets. Two years later, during October 1873, Field & Leiter returned to State Street at Washington, and opened a new five-story store at their old location. They now leased space from the Singer Sewing Machine Company. This store was expanded in 1876, only to be destroyed by fire again in November 1877. The Singer Company built a new, and even larger, six-story building on the ruins of their old 1873 store. Field, Leiter & Company bought the structure and reclaimed their traditional location at the northeast corner of State and Washington by April 1879. By 1881, Field bought out the junior partners of the firm and renamed the company Marshall Field & Co. The firm was divided into a wholesale store and a retail store.  In 1887, Harry Gordon Selfridge (1858-1947) was appointed to lead the retail store as it evolved into a modern department store.

In 1892, the structures between the 1879 building on State Street and Wabash Avenue to the east were demolished; the architectural firm of D. H. Burnham & Co. was hired to design a new building in anticipation of the impending World Columbian Exposition. The Burnham associate, Charles B. Atwood, supervised the construction of the nine-story “Annex” at the northwest corner of Wabash and Washington Streets, that opened near the end of the World Fair. In 1897, the old 1879 store was rebuilt and had two additional floors added, while the first of Marshall Field’s iconic landmark Great Clocks was installed at the corner of State and Washington Streets.

In 1901, Marshall Field & Company was incorporated. Selfridge spurred on Marshall Field to raze the three buildings north of it, as well as the Cetral Music Hall at the southeast corner of State and Randolph Streets. The twelve-story building fronting State Street opened in 1902, and included a grand new entrance. A third new building was also under construction on Wabash Avenue, eventually to open in 1906. This was the project that Moses was working on. However, midway through the construction, Selfridge resigned and bought a rival store in 1904– Schlesinger & Mayer. However, he sold it only three months later to Otto Young, who leased it to Carson, Pirie Scott and Co. firm. After a brief retirement, Selfridge went on to open Selfridge’s of London.

On January 16, 1906, Marshal Field died in New York from pneumonia, a mere six weeks after the death of his son. A widower since 1896, Field, at the age of 70, had married fifty-year old Delia Spencer Caton. Caton was a widow and his neighbor for years. The couple had only been married four months at the time of his death.

On the day of Field’s funeral 900 stores and business offices in Chicago were closed. The artist, Luther D. Bradley, drew a tribute to Marshall Field after his death with the saying “There is an honest way to wealth.” It was published on January 19, 1906, in the Chicago Tribune.

To be continued…

 

 

 

 Part 533: George Cohan’s “45 Minutes from Broadway”

In 1905 Thomas G. Moses designed and created the models for George M. Cohan’s new show “45 Minutes from Broadway.”

Abraham Erlanger had just lured Fay Templeton away from Weber & Fields, convincing her to sign a contract with the Theatrical Syndicate. Erlanger approached Cohen to create a play for his new star.   This was to be a vehicle for Templeton that would possibly boost her career into stardom. Temple played the role Mary Jenkins for two seasons before leaving the stage to marry William J. Patterson, a Pittsburg Millionaire. “45 Minutes from Broadway” also starred “Kid” Burns as Victor Moore, Donald Brian as Tom Bennett, Julia Ralph as Mrs. David Dean, and James H. Manning as Daniel Krohman. Cohan created a show with only eight chorus girls, a new concept that concerned Erlanger in the beginning.

According to railroad timetables, New Rochelle, New York, is 45 minutes from Broadway. The plot began with Tom Bennett’s arrival to New Rochelle after the death of his millionaire Uncle Castleton, who presumably did not leave a will. Bennett’s wisecracking secretary, “Kid” Burns, accompanies him to New Rochelle, “Kid” is a retired prize-fighter. Bennett’s fiancée, Floradora Dean, follows him to New Rochelle with her mother, Mrs. David Dean.

“Kid” Burns discovers that Bennett’s uncle left all of his possessions to Mary Jenkins, the favorite servant of the millionaire. Jenkins, engaged to be married to Dan Cornin, is the most popular servant girl in New Rochelle. Cornin is a promoter of bucket shops; his business thrives in the first two acts. By the way, in a bucket shop “trades” were carried out instantly according to the prices listed on the board; the prices came from Wall Street by telephone or tickertape.

A scandal arises at the announcement of Jenkins and Cornin’s engagement; the girl is accused of being in league with Cornin, who it is soon discovered, has robbed the girl’s employer by selling him bogus shares in the Montana Copper Mine.

This information is only discovered at the death of Cornelious Castleton, for whom Mary has been working for thirteen years. Upon the arrival of the heir, Thomas Bennett, Jenkins is asked to leave town. She is upheld, however, by the citizens and asked to stay until proven innocent. The arrival upon the scene of young Bennett’s fiancée starts another scandal. Bennett’s fiancée is retiring from a musical comedy chorus to become the wife of the millionaire. It is only through the diplomacy of Mary Jenkins that the actress is accepted by the so-called New Rochelle society. Through methods that he employs, he accidentally discovers that Mrs. Dean is an old friend of Cornin. Finally he drives the woman and her daughter back to Broadway. He asks Mary to marry him, and having spent 24 hours in New Rochelle, starts back to New York, declaring that “the little town is 45 Minutes from Broadway isn’t any more civilized than Providence, R.I.”

“Kid” Burns goes to his employer and implores him not to marry the actress, whom he knows is one of the mercenary maidens. Meanwhile, Mrs. Dean plots to have both Jenkins and Burns discharges from Bennett’s employ. Enter, Daniel Krohman, the unscrupulous stock broker and con man who swindled the millionaire uncle with phony mine stocks. Krohman also knows Mrs. Dean and threatens to reveal her true identity unless she divulges the combination to Bennett’s safe. Although she concedes, Krohman is caught red-handed with attempting to steal back the phony bonds in New York. As the police close in, Mrs. Dean and Floradora flee to the city. Burns confesses to Jenkins that he is in love with her, but is unable to marry such a wealthy woman, handing her the millionaire’s will to which she is the recipient. Determined to make her own fate and happiness, she rips up the will.

The show went on to become the largest grossing musical since the “Black Crook” in 1866. During the show’s first eight weeks, it grossed $104,851.50 (The Scranton Republican, 24 Dec. 1905, page 6). Side note: For the “Black Crook,” it was Moses’ colleague and friend, David Austin Strong who was one of the original scenic artists for the 1866 “Black Crook” at Niblo’s Garden. In 1905 Moses and Strong were still working together at Sosman & Landis’ studio. Both the “Black Crook” and “45 Minutes from Broadway” had spectacular scenic effects. For the third act in “45 Minutes from Broadway,” Moses designed a life-size replica of a train car pulling out of the station.

After an exceptional run in Chicago during the fall of 1905 at the Colonial Theatre, the production opened at the New Amsterdam Theatre on January 1906 where it played a limited 90 performances before returning to Chicago for several months. Ad’s in Chicago included, “Yes, sweetheart, I’ve seen it a dozen times and, like old wine, it gets better as it lives on” (Chicago Tribune 19, November 1905, page 70. By November 5, 1906, “45 Minutes from Broadway” returned to Broadway at the New York Theater on November 5, 1906 for another 32 performances.

To be continued…

Part 532: Thomas G. Moses and the Jefferson Theatre in Goshen, Indiana

In 1905, Thomas G. Moses worked on the stock scenery and asbestos curtain for the Jefferson Theater. Of the project, he wrote, “Goshen, Indiana, was a good contract.” The painted curtain by Moses, representing the Sosman & Landis firm, is partially visible in an early photograph. It depicts his signature composition, a babbling brook running through a heavily wooded area.

Listed as the New Jefferson Theatre in Julius Cahn’s Official Theatrical Guide, Sosman & Landis were listed as the scenic art firm that produced the stock scenery collection. The width of the proscenium measured 37 feet 6 inches wide by 32 feet high. The depth of the footlights to the back wall was 42 feet 6 inches, the distance between side walls was 64 feet, and the distance between the fly girders was 54 feet. The height to the rigging loft was 64 feet and the height to the fly gallery was 32 feet. One bridge connected the fly galleries. There were no grooves, just a “scenic rack” to store flats and interior box sets.

“The Indianapolis Star” reported, that the Goshen promoters named the new opera house for the deceased actor Jefferson (29, April 1905, page). The article noted, ““The Builders of the new theater in this city have decided to call the house the Jefferson Theatre. This will be the first city in the country to pay such tribute to the memory of the dead actor since he passed away. The owners had already decided to name the house the Goshen Opera House, but when the news of Jefferson’s death was received they changed this decision.” In May 1905, construction began on the theater. In July, a scaffold collapsed injuring three brick masons after they fell from the third floor to the first (Bristol Banner, 28 July 1905, page 1).

During construction, “A Twentieth Century History and Biographical Record of Elkhart Country, Indiana” was published. An article on the Goshen Opera House provides some details about the performance venue, located at 216 S. Main Street in Goshen. The book’s editor was Anthony Deahl of the Elkhart County Bar.

Here is Deahl’s entry for the new Goshen Opera House in 1905.

“The new business block and theatre building, in course of erection in the summer of 1905 by the Sanders, Hay and Neidig Company, gives Goshen another institution of distinctive character and one which the citizens may well feel proud. Erected at a cost of $75,000, with a frontage of 111 feet and depth of 162 feet, three stories high, material and buffed Bedford limestone and buffed mottled Roman brick, the entire building is of usually beautiful proportions and effective design. The theatre, 67 by 162 feet is on ground floor. Three sets of doors go from the street to the main vestibule, and two sets admit to the lobby. To the right as the lobby is entered is a private office of the theater manager. Adjoining it is the box office, with ticket window opening into the lobby as well as the gallery passageways. Next to the box office, and with an opening from the foyer, is a checkroom for hats, coats, etc. Two sets of doors open from the lobby into a 10-foot foyer, at the right and left of which are stairways, each 4 ½ feet wide, leading up to the balcony. The stairs are very easy, the rise being six inches and the tread 11 inches.

Col. J. M. Wood, the architect, has followed the classic style of the architecture in the interior of the theatre and tends somewhat toward the Ionic. The decorative effects will be subdued, dignified and very artistic. The scheme of coloring will be a harmony of delicate greens, blended with old ivory. All of the furnishings, including the draperies, carpets, etc., will be handsome and in keeping with the general character of the theater.

Over 1,100 people can be seated in the theatre. The main auditorium measures 64 feet wide and 66 feet long. The height is about 45 feet. The four proscenium boxes, two on either side, seat six persons each and two loges, one of either side, four persons each. The boxes are in the Ionic style, with huge pillars as the dividing line.

The balcony seats 325 people. The orchestra pit is 5 ½ feet wide with under stage entrance. The proscenium is 38 feet wide and 28 feet high. The arch itself is an ellipse, 20 feet deep ad 50 feet long, extending from the outer edges of the boxes. It will be done in relief plaster, with magnificent decorations and prove the attractive feature of the theatre. Built of steel and brick, the arch will, when the asbestos curtain is lowered and fire-proof doors closed, completely separate the stage form the auditorium, doing away with much of the danger of fire, as fires in theatres nearly always start on the stage.

The architect has been careful to comply with the state law in detail. A general heating plant in the basement will furnish heat for the whole block. Steam will be used. All the plumbing is of the attest kind. In all there are seven exits, the lower floor, balcony and gallery all having openings in to the alley on the south of the building. The law provides for 20 inches of exit space for every 100 people. Col. Wood’s plans provide 40 inches, just double the amount required by law. All apparatus for fire fighting will be placed in the theatre.

A wide stairway south of the double room will lead to the upper floors of the entire block, wide corridors being arranged. The offices will be furnished in the metropolitan style, steam heated, electric lighted and with toilet rooms. The woodwork will be in oak, with red beech floors. There are several suites. On the third floor, over the double room, will be a lodge room, with kitchen, buffet, billiard room, card room, reception parlor, etc.

Suspended from the building by means of heavy iron chains a wrought iron, highly ornamental, and prism glass canopy or porte cochere, will extend out over the full width of the sidewalk, affording shelter in front of the whole entrance to the playhouse.

The Sanders, Hay and Neidig Company, through whose enterprise this fine building has been erected in Goshen, was incorporated February 6, 1905, with the following well known business and financial men as its officers: George W. Hay, president; Daniel A. Sanders, vice-president; Harry M. Sanders, secretary; and David W. Neidig, treasurer.”

The Jefferson Theatre was completed shortly before the first performance of “The Merchant of Venice,” on 6 Nov. 1905. Richard Mansfield, who played Shylock, dedicated the building on opening night. Sadly, the venue was destroyed by fire the next year, on December 18, 1906. The fire began in the next door basement of Stiver & Smith’s Furniture Store. Despite the best efforts of local fire departments, the flames consumed the block. The newspaper reported that the opera house building originally cost $85,000 to build, was insured for only $40,000 (Garrett Clipper, 27 Dec. 1906, page 8). Construction for a new opera house began immediately.

The Chicago architectural firm of Patton & Miller designed a new Jefferson Theatre that opened in 1907.

To be continued…

Part 531: Midwinter Golf and Suydam’s Drug Store

For the past few installments I have looked at Thomas G. Moses’ art exhibition and mural work for Suydam’s drug store in Oak Park, Illinois. The drug store was repeatedly advertising for a series of positions, including registered druggists, drug clerks, assistant drug clerks and relief clerks. As I industriously sought information pertaining to the store an owner, J. D. Suydam, I came across this interesting article in the “Oak Park Review” during 1909. It has nothing to do with Moses or the Oak Park art scene, but it just made me smile when I read it. There is nothing quite like finding activities to do in the Midwest when the weather turns cool!

Suydam’s drug store was mentioned in a unique game of midwinter golf (Oak Park Review (29 Jan. 1909, page 3). The article reported, “Ball again driven over two mile course and into drug store without breaking any windows. Midwinter golf on a cross country course may become popular in Oak Park as a result of a contest yesterday which was won by A. J. Musselman, who completed the course from Suydam’s drug store to the Westward Ho Golf Club and back in ninety strokes.

This contest is the second of the unique golf games played by Musselman, C. H. Wells, and L. B. Scidmore, who on Christmas day attracted the attention of a crowd by playing over the same course.

The distance is two miles and the object of the players was to make a record by driving the ball from the inside of the drug store at Oak Park avenue and South boulevard to the Westward Ho clubhouse, then return, the ball to be driven inside the drug store without breaking any of the windows.”

The article commented, “It is considered quite a credible performance to tee from the store without breakage” (The Pharmaceutical Era, Vol. XLI, Jan. 1909).

To be continued…

Part 530: John D. Suydam and J. W Young Art Galleries

During the spring of 1905, Thomas G. Moses exhibited a painting at Suydam’s drug store in Oak Park, Illinois. Later that summer Moses painted a mural for the drug store.

The drug store was owned by J. D. Suydam. He was quite an interesting individual. Suydam appreciated art, and eventually left the drug store business to become an art dealer by 1911.

In 1911, the “Oak Park Leaves,” linked Chicago artists with Suydam’s Drug Store (24 June 1911, page 156). The article reported, “John D. Suydam, for many years a druggist in Oak Park, has embarked in a new business, having sold his store at Oak Park avenue and South Boulevard. He has become a dealer in paintings of the highest artistic value and his work in Iola, Kansas. Is reported by the Daily Register of that place as follows: ‘There is over the whole country an awakening to the better things in art, says John D. Suydam, a representative of J. W. Young, critic and art collector of Chicago. The movement, starting in the east and spreading westward, is, according to Mrs. Suydam, just reaching Kansas, and Iola is to wake up with the other commissions. And one would be inclined to believe Mr. Suydam’s words upon seeing the interest manifested by Iolans in the collection of paintings he has in his room at the Kelley hotel.”

J. W. Young of Young Art Galleries was founded in 1897. The gallery sold watercolors by American, actively supporting many artists, such as Winslow Homer, Frederick Church, Robert Henri, Childe Hassam, Hobart Nickols, and E. Irving Course. In 1911, Young’s Art Galleries were at Kimball Hall, at Jackson and Wabash in Chicago (Chicago Tribune, 5 Feb. 1911, 21). At the time, some of artworks exhibited were by John W. Alexander, Frank W. Benson, Hilda Belcher, George DeForest Brush, Frederick S. Church, Lillian Genth, Wallace Gilchrist, Jr., George Inness, Jr., Tony Nell, and F. Ballard Williams. By 1917, Young’s Art Galleries were located at 66 E. Jackson Boulevard in Chicago and advertised as “Home of the American Art in the West” (American Art Annual, 1917, Volume 13, page 464)

The 1911 “Oak Park Leaves” article also reported, “Many people have been to see the pictures, and the ladies of the Iola Art Club are enthusiastic about them. Mr. Suydam has with him pictures by fifty famous artists, many in watercolors, and several in oil. Water-colors have come to be a favorite medium with artists, as the effects obtained are equally as good, if not better than oil. Some of the oil paintings in the collection are very fine, however, ‘The Equinoctial Day,’ by Simoni are very noteworthy pictures in this medium. All the pictures in both mediums would well repay a visit by those interested in art, the watercolors having been done by such painters as Eaton, Inness, and Ranger.

Those interested in art, says Mr. Suydam, are welcome to view the pictures. Mr. Suydam is not only a critic, but an artist as well. He pays a high compliment to the work of Rev. Carl Nau of Iola, who he says, has in him the making of a great painter.”

In 1931, Rev. Nau sent the Iola Public Library one of his watercolors for the Kansas Room. An article was published about the donation and the artist in “The Iola Daily Register 22 Jan. 1931, page 1). “He studied art and design in London for seven years at he Birkbeck Institute, connected to the Kensington Art Academy. After designing for one year in New York for a Fifth Avenue concern he gave up his profession and decided to study for the Ministry.”

Arriving as a deacon to Iola, Rev. Nau was the rector of St. Timothy’s Episcopal church when Suydam visited the city in 1911.

To be continued…

Part 529: Thomas G. Moses’ Mural at Suydam’s Drug Store, 1905

Thomas G. Moses exhibited a painting at Suydam’s drug store in Oak Park during the spring of 1905. That summer, he was hired to paint a mural for the same store. Of this project, Moses wrote, “In June, I painted a large picture for Suydam’s Drug Store, which came out very nicely. Everyone was well pleased with it.”

The “Oak Park Leaves” reported, “J. D. Suydam has recently equipped his drug store at 109 Oak Park Avenue with an “innovation fountain.” It is built of solid mahogany and white Italian marble. The draft column is of Mexican onyx and is surmounted by a beautiful art glass shade for the electric light. In the background is a painting by Thomas G. Moses, the Oak Park artist. It is a large oil painting consisting of an entrancing woodland scene with a brook breaking through the forest and bubbling over the stone. The picture is surrounded with art glass ornamentations beautifully illuminated with electric lights. Beside making these marked improvements at his Oak Park avenue store Mr. Suydam has also established a first-class drug store at Sixty-fourth avenue and Lake street. He started in this place about six weeks ago, during which time the building has been thoroughly reconstructed and remodeled throughout, making a modern pharmacy with everything new and complete. W. W. Wilcox who has been employed at the Oak Park avenue store, is in charge of he new store.

Mr. Suydam is one o f the honest, energetic businessmen of Oak Park, prominent alike in business and social circles. He came to Oak Park fifteen years ago from Philadelphia, where he was a graduate of the Philadelphia College of Pharmacy, one of the oldest institutions of the kind in the country. In Oak Park he is the successor of Gale & Blocki, and has not only maintained the reputation established by that firm but has earned the measure of success to which he has attained” (June 17, 1905, page 30).

Throughout the duration of Moses’ career, he completed many murals; churches, public halls, fraternal spaces and commercial properties provided many opportunities for a good scenic artist. Moses had started doing decorative painting and architectural ornamentation for P. M. Almini & Co. in Chicago during the 1870s. In 1925, he gifted a similar mural to the one that was described at Suydam’s drug store for the Pasadena Scottish Rite building. Although painted twenty years later, the description for the Suydam’s drug store mural could be the same for the mural over the fireplace in Pasadena.

To be continued…

Part 528: Thomas G. Moses, “The Edge of the Wood” at Suydam’s Drug Store

In 1905, Thomas G. Moses exhibited a painting at Suydam’s drug store in Oak Park, Illinois. He would later paint a mural for the same store. The owner, J. D. Suydam, greatly appreciated art and provided numerous opportunities for local artists to exhibit their work. After many years as a druggist, Suydam would change professions in 1911, and become an art dealer.

Suydam’s drug store was located on Oak Park Avenue in Oak Park, a village adjacent to the west side of Chicago. Railways and street cars connected the village to a variety of jobs in Chicago and was a popular place for artists to settle.. Frank Lloyd Wright and his wife moved there in 1889. Moses and Ella purchased their first home in Oak Park during 1893. In 1902, the village incorporated and became a growing hub for many artistic residents.

Moses’ painting exhibited at Suydam’s drug store during the spring of 1905 was titled “The Edge of the Wood.” His painting depicted a view on the historical Bronx River near New York. The “Oak Park Leaves” published an article on Moses’ painting at Suydam’s – “T. G. Moses, Artist. Oak Parker Famous as Designer of Scenic Productions – excels in Forest Pictures.”

Here is the article in its entirety:

“Among the residents of Oak Park who are possibly more famous throughout the country than in their own hometowns Thomas G. Moses of 223 South Euclid avenue, whose fame as a scenic artist and designer of scenic productions is co-extensive with the theatrical world. But Mr. Moses’ art is not confined to commercial lines. He is a lover of art for art’s sake, and his leisure moments after many a hard day’s toil, are devoted to the painting of beautiful forest scenes in oil whose merits entitle him to a prominent place among the woodland painters of the country. His last picture, “The Edge of the Wood,” presents a view on the historical Bronx river, near New York, and has been completed during the last month. It is now on exhibition at Suydam’s drug store on Oak Park Avenue. The painting is a fine representation of Mr. Moses’ art, imbuing the viewer with that spirit of restfulness characteristic of the quiet old woods of the east, with the outside sunshine percolating in through the trees and softening into a gentle glow.

Mr. Moses was born in Liverpool, England. His early life was spent in Sterling, Ill, where he received his first instruction in drawing. When quite young, he took up decorative art with P. M. Almini & Co. of Chicago. The head designer was Louis Malmsha, a famous scenic artist of that time, who became interested in the young man and made him his assistant. This proved to be the making of Moses, as it placed him more in the line of work he wanted, landscape, forest interiors and mountain scenes, schooling him largely to the designing of drop curtains and scenic productions. He is now of the firm Sosman & Landis, the great scenic artists of Chicago. Mr. Moses has traveled quite extensively in this country, has been to California six times to do big scenic productions, such as Booth & Barrett’s Hamlet and Marie Antoinette and Macbeth and Mary Stuart for Modjeska. During the past five years he and his family have resided in New York, where he designed and painted the scenery for the famous Florodora and Silver Slipper. During the summers he sketched the beautiful scenery in the vicinity of Watkin’s Glen, and in the Catskills near Ellenville, N.Y.

Two years ago he was admitted to the famous Salmagundi club of New York City, which has membership of their leading artists and sculptors of New York and many non-residents. He has sketched forest from California, New Mexico, Arizona, Oregon and Washington. But none appeal to him as the woods of the east, more quiet and restful, with the delicate birch and beach; a few oaks and moss covered rocks, with a small brook and plenty of sunshine. His pictures are exhibited in New York twice a year. For several years he painted in the studio of R. M. Shurtleff, the well-known painter of forest interiors, where he has secured valuable assistance” (15 April 1905, page 25).

To be continued…