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The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). Here is the continuation of that article started in installment #245.

“Passing reference to some of the eminent American scenic artists and their work is appropriate in this connection. The late Matt Morgan was a genius, remarkable in everything, correct occasionally. His color was French, his tone exquisite, and he boasted of never using anything deeper than burnt sienna for his most profound shadows. Morgan was ambidextrous and worked with great rapidity. It is said that he could paint life-size figures in an hour, and he used a sponge with remarkable dexterity to make foliage. His “Chariot of the Sun” on a drop of the Olympic and “Birth of Drama” for the Academy are well remembered in this city.

Richard Marston, one of the pioneers of the modern school, for years painted the scenery at the Union Square in New York. His production gave vigorous incentive to rivals, for his work was remarkably accurate, and considering the fact that he painted for a stage only 28 feet deep his scenes were marvels in perspective.

Harley Merry is another master I the same school in perpetuating the English ides of water-color. His dainty work is to be observed in the decoration and stock scenery of the opera house at Pullman. Merry is the greatest painter of monochromes and photographic backgrounds in the country. He has two sons who inherit his talent. Phillip Goatcher of New York, is a well-known artist of the old school, famous for his oriental color and tropical foliage.

David Porter of San Francisco is another of the famous old scenic artists, whose Norman and Gothic architecture has seldom been surpassed. In the same class is Joseph Pigott of New Orleans, whose production of “Aida” at the French Opera House, in 1878, was recognized at the greatest operatic spectacle up to that time.

One of the foremost figures in the scenic world today is Henry Hoyt, an artist of remarkable power and versatility. In architecture he is a trifle irregular but always interesting, has a taste for the rococo, and in the duplication of plushes and velvet textures he is unequaled. That he is facile in clever conceits and delicate color is testified in his output of pink and green ball-rooms for the New York Casino. “The Isle of Champagne” produced here last summer was one of his hasty but brilliant ideas.

And the list in the article will continue in tomorrow’s post. I have covered some of these scenic artists in the past installments and examined their influence on scenic art and design. To see some of their contributions discussed in past posts, see: Richard Marston (installments #124, 127, 138, 140, 171, 179 and 215); Harley Merry (installments #127, 133, 136, 138, 139, 140, 141, 142, 143); Henry Hoyt (installments #138, 140 and 179); and Phillip Goatcher (installments #133 and 217). At a later time, I will cover David Porter and his family.

To be continued…

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). Here is the continuation of that article started in installment #245:

“The scene bridge being the highest inhabited portion of the stage few people are familiar with its surroundings, or how the artist gets his effects. He paints primarily for location in a great “shadow box,” which is the stage, always making calculations for distances, angles, and the witchery of lights. Scenic art of high grade is, however, regarded today as only different from other studio art in its breadth – a mere question of scale. As to the quality of finish it may be remarked that when scenery is lacking in detail it is due to lack of knowledge in the painter, lack of time, certainly not in accord with any principle of stage painting. Formerly the theatrical painter was expected to be truly catholic in his accomplishments, and was called to attempt any subject that the playwright might designate. Now this work, as in other lines of art, is falling more to specialists, and with far better results in figure, drapery, landscape, or architectural design. In spite of many drawbacks in the past, scene painting as a school has been an excellent one. Witness many good men who have left it to win distinction in the galleries of Europe and America: De Loutherbourg, Porter, Boulet, Jacquet, Lavignoc, Leitch, Stanfield, Roberts, Allen, Cole, Detaille, Kingsbury, Potast, Rymnosky, Wets, Guetherz, Peigelheim, H. Fillaratta, Homer Emmons, Charles Graham, and J. Francis Murphy. It will be observed that this list has members of the English Royal Academy, some famous Germans and Frenchmen, and, too, America is ably represented.

Scenic painting is not necessarily a course art because one cannot read a square yard of a scene 70×40 feet at a distance of a few feet. To judge any picture one should be sufficient distance to allow the eye to take in the entire subject. On the basis of this test a well and carefully painted scene will be found to be as finished as the majority of pictures, or even more so.

Extending over the rear of the stage on a level with the “fly gallery” is the scene bridge. It is from six to eight feet in width, but this is the distance from which the artist must regulate his perspective and study his color effect. The canvas to be painted having been glued in its frames, and hung in position so that its top is level with the gallery, the great frame on either side of the bridge being raised or lowered as occasion requires, the canvas is treated to a coat of priming by an assistant. The artist then goes over this surface with a charcoal crayon enlarging the scale of design from a small model previously prepared. He may then outline detail in ink and dust off the charcoal. As the color work is all done in distemper and dries rapidly, the artist must not only be active but certain in the performance of his task. If the scene be an exterior, particular care must be observed in the blending of the sky, as laps of color will ruin atmospheric effect. In using distemper the artist must paint solidly, otherwise his work will take the dirty complexion of thin oil and be ruined. He must avoid powerful greens which become coarse; strong blues which grow black; exaggerate yellows which are robbed of strength by excessive light; and, if the management is economical, use carmine sparingly.

Limited space will not permit of any description of scenic work in interesting detail. It is a curious fact that in Europe scenery is painted on the floor instead of having the canvas stretched on a framework. The original outfit of the Auditorium was thus painted in Vienna. Long-handled brushes are used in this work and the artists perch high on stools to gain their idea of perspective.

Note: I was fascinated that the article mentioned the first scenery for the Chicago Auditorium was painted in the European style – on the floor and not on a vertical paint frame. Then there is the suggestion that this only pertained to the first set, not all other painted scenery produced for the venue. Furthermore, the article included an illustration of the Auditorium paint bridge.

To be continued…

The same year that Sosman & Landis’ Annex studio opened on the West Side, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). The title was followed with a brief recap of what would be covered in the article – “Art Required to Produce the Gorgeous Stage Effects That Delight Modern Audiences – Cost of Setting an Elaborate Spectacular – How Scenery Designed for Theaters Is Painted – Chicago Is Universally Acknowledged as the World’s Greatest Scenic Center – Work That is Done.”

I am posting portions of this article over the next few days due to its length and the information that is covered. Here is the first installment:

“The theatrical stage in China is the oldest in the world, yet it is barren of scenic investment today as it was in its most primitive period. In Elizabethan age, during the greatest epoch of dramatic achievement, no attempt was made at scenic illusion. The stage was almost bare; properties and costumes were few and simple; painted scenery was unknown; tapestry-covered scenes marked the entrances and exits; locality was indicated by a placard bearing the name: “The Forest of Arden,” “Rome,” or “Venice,” as the case might be; while the canopied seat, the rough couch,” or the table crowded with tankards served for the throne-room, the bed-chamber, or the wayside inn.

The past simplicity was natural to the stage, beauty and pageantry were integral parts of daily life, and the theatre needed only to suggest them. Today, less showy life has reversed conditions, leaving the citizen no longer an actor. As a mere spectator he demands the picturesque. Perhaps even the Puritans would wonder at the plainness of our daily attire. Processions have almost disappeared, court ceremonial has simplified, and color is a passing incident as far as its current influence in civil life is concerned. Taste, beauty, and historical accuracy together with most liberal and enlightened expenditures for their attachment appear to be the present characteristics of stage art. Realism undreamed of by our progenitors, and correctness that astonishes the precise student of the drama and art lovers have characterized the theatre this last quarter of the nineteenth century. Occasionally in time past ambitions and art-loving managers have made elaborate productions, rich in spectacular effects; but they were fitful and could not, in either ingenuity or point of finish, compare with the sustained scenic effect that now attends nearly all forms of theatrical entertainment.

The portentous and striking combination of play and spectacle is largely due to the influence of Henry Irving. Rare artistic discrimination and liberality have invariably given distinction to his productions. Alma Tadema, or Seymour Lucas, or other famous artists with antiquarian knowledge have furnished designs for costumes, while scenery came from master brushes of William Tellin [Telbin] or Hawes Cravens. The late Lawrence Barrett followed the precedent established by his distinguished brother actor from across the ocean in productions marked by scenic merit; and now the fashion has become universal from high tragedy down through the repertoire even to rollicking farce comedy. Occasionally the complaint is voiced that “the play was lost in the setting; the painter made the playwright indifferent.” This may be true in some cases, notably burlesque or melodrama, but fine scenic investiture cannot belittle good poetry.

Chicago is today the largest scenic supply center in the country. Of the eighteen theatres in this city the major portion have their own scenic artists. Three mammoth studios here send their art product as far east as Maine and all over the West to the shores of the Pacific. The oldest firm here in this line of work claims to have supplied nearly 1,300 opera houses, theatres, and halls with scenery during the last ten years, and of late business has increased enormously. All the scenic effects used in Modjeska’s recent picturesque revival of “Henry VIII” were painted in this city and used for the first time in New York. Many instances might be cited where productions of similar artistic value presented by the late Lawrence Barrett, Joseph Jefferson, William Crane, and others have been furnished in Chicago and presented for the first time in New York, Boston, or Philadelphia, winning recommendation in spite of sectional prejudice against Western art product.”

To be continued…

In 1892, the Sosman and Landis Company opened another studio space on the West Side of Chicago. They rented the “old Waverly theatre” and referred to this second space as “the Annex.” According to Thomas G. Moses, the studio measured 93 feet wide by 210 feet long and 40 feet high. It had four paint frames with plenty of floor space for all kinds of work. This space was specifically secured for Moses and his crew. By August 1892, Moses found the new Studio all finished and they moved in immediately. His arrangement with Sosman & Landis was to receive all of their sub-contracted work. This statement has always intrigued me as the majority of Masonic installations were subcontracted to Sosman & Landis by M.C. Lilley. When did the subcontracting begin, and if not Masonic, who else was subcontracting work to scenic studios – architectural firms?

Furthermore, he wrote that Sosman & Landis would supply all of the paint supplies for the Annex Studio at no charge. Moses records that his studio crew included A. J. Rupert, Frank Peyrand and Harry Vincent besides a number of assistants and paint boys. He wrote, “It was awfully hard to keep the building warm. It was so big we had to use stoves.” Even with his own studio, however, Moses was still constantly sent on the road to complete on site work for the company. During these extended absences, Ed Loitz took charge of the Annex studio.

Very little is known of the first Waverly Theatre space in Chicago. It was advertised as “Chicago’s Parlor Theatre” in Chicago Tribune during 1888. “Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Posters, Etc.” (1889) noted that the Waverly was “formerly Grenier’s Garden & Theatre” on West Madison, Throop and Ada Streets. The 1892 “World Almanac and Bureau of Information” published that the physical address of the old Waverly theater was 454 W. Madison St. This is not to be confused with a later Waverly Theatre constructed in 1913. The stage old Waverly’s stage measured 40’ x 60’ with a seating capacity of 1400. This would have made a sizable studio and been a particular challenge to heat in the winter, especially when trying to keep the size water for painting in a liquid state.

In 1888, the Waverly’s manager was Burr Robbins with Andy Mackay as the assistant manager. By 1889, W. H. Powell was listed as the new manager. On June 30, 1889, the Chicago Tribune announced, “The Waverly Theatre has lately changed hands and is now being run as a first-class family theatre. The audiences for the last two weeks have been largely made up of the leading people of the West side and the performances were worthy of patronage. The Gaiety Opera Company under the management of A. Mackay has been playing to large houses in “Fra Diavolo.” Next week there will be a revival of “H.M.S. Pinafore,” with Messrs. Alonzo Hatch and Mack Charles and Miss Golde in the leading roles. The theatre is admirably adapted and well located for a family theatre and under the new management ought to prosper” (page 15).”

Four years later in 1892, the theatre was transformed into the second studio for Sosman & Landis. Obviouosly the management fof the Waverly theatre had not been successful. I was intrigued with the reason for the reconfiguration of the space and started digging through newspapers. I wanted to see if there was any mention about the Waverly’s close or transformation into a scenic studio space. Just about the time I had exhausted all possibilities, I came across a phenomenal article that included the line, “Chicago is universally acknowledged as the World’s Greatest scenic center.” This caught my attention. As I read the article, another paragraph stood out:

“Chicago is today the largest scenic supply center in the country. Of the eighteen theatres in this city the major portion have their own scenic artists. Three mammoth studios here send their art product as far east as Maine and all over the west to the shores of the Pacific. The oldest firm here in this line of work claims to have supplied nearly 1,300 opera houses, theatres, and halls with scenery during the last ten years, and of late business has increased enormously.”

“Three mammoth studios” with one being noted as “the oldest firm.” The names of the studios were not provided, so I started thinking about who was in operation at this point in Chicago. By 1891, Walter Burridge had partnered with Ernest Albert and Oliver Grover to create Albert, Grover & Burridge. That had to be one of the three studios. The oldest firm also had to be Sosman & Landis. Who owned the third “mammoth studio” in Chicago that I had never stumbled across? What it an individual’s company that used an actual theater space?

The article was fascinating and read as a “Who’s Who” in scenic art by 1892. It is certainly worth posting in it’s entirety for historical record. Therefore, I have turned it into a word document. It will be the topic of my next few posts due to its length.

Another treasure! This article is a proverbial “holy grail” for the scenic art world.

To be continued…

After completing the scenery for the Fisher Opera House in San Diego, California, Thomas G. Moses and Ed Loitz returned to Chicago at the beginning of 1892. Moses wrote, “On January 2nd. we returned home. I worked in the studio until February 22nd. Then Loitz and I went to Springfield, Mass. to Gilmore’s Court Square Theatre. This was a very fine building.”

The original Gilmore Opera House was opened in 1857. The second was the 1892 Gilmore Court Square Theatre, designed by Frederick S. Newman. Moses commented about this new edifice and the owner, writing, “Mr. Gilmore was a bachelor and an odd one – very close and drove a hard bargain. He owned the ‘old trap’ of a theatre and this new one was a monument to himself.”

Moses recorded “We stopped at his hotel and found everything to our liking and he arranged for us to be satisfied with the working facilities at the theatre.”

The dedication of the building was held on September 5, 1892. Opening night performances included “If I Were You,” a comedy by William Young, and “Diana,” a burlesque by Sydney Rosenfeld and performed by the Manola-Mason Company.

In 1900, there was the addition of the Court Square Hotel to the theater on the south side of the building (State Street). The five-story theater building was topped with a sixth-floor and connected to the newly constructed Court Square Hotel, which effectively gave the structure a footprint spanning a city block, stretching between Elm and State streets. The construction the Court Square Theatre and Office Block cost approximately $250,000 to complete.

Interestingly, one of the most popular online images from the Gilmore Court Square Theatre is a program designed by William Henry Bradley (10 July 1868 – 25 January 1962). Bradley was an illustrator and artist, nicknamed the “Dean of American Designers” by the Saturday Evening Post. At one time, he was the highest paid American artist of the early 20th century.

Bradley moved from Chicago to Springfield, Massachusetts, in late 1894 and briefly illustrated programs for the Gilmore. Born in Boston, at the age of 12 he obtained a job as an apprentice for a weekly newspaper — the Iron Agitator, later known as the Iron Ore. At 17 years old, he left for Chicago where he held a few brief jobs as a wood engraver and typographer, soon turning to illustration. He moved back to Massachusetts and set up the Wayside Press, where he served as an illustrator, editor, typographer, designer, and press manager.

He had achieved financial success, but his health deteriorated and he collapsed at the age of 28. Although he recovered, Bradley was forced to sell the Wayside Press.

He later worked as a consultant for a variety of publications, including American Type Founders and Collier’s Weekly. He also worked for William Randolph Hearst’s film division as a supervising art director and assistant director on the Wharton Brothers’ serial films ”Beatrice Fairfax” (1916) and “Patria” (1917). He then founded his own production company, Dramafilms, and went on to write, produce and direct his own films, including “Bitter Fruit” “Moongold” and “The Tame Cat” (1920-1921).

In 1954, a memoir was published of Bradley’s life called Will Bradley: His Chap Book. Bradley continued to design up until his death at age 94. He was considered one of the foremost illustrators and poster designers of the Art Nouveau movement.

To be continued…

In November of 1891, Thomas G. Moses and Ed Loitz left for San Diego, California to paint scenery for the John C. Fisher Opera House. Moses wrote, ”Here was another fine job. The climate was great.” His heart would remain in California for the remainder of his career and he would seek out employment along the west coast many times.

Moses recorded that the supervising architect for the theater was Mr. Haupt, “a clever fellow” whom he became very “chummy” with throughout the duration of the project.

The opening show was performed by the William T. Calton Opera Company to a packed house in January 1892. Moses refers to this project as “the first real theatre build in San Diego.” He wrote “When I painted the curtain it was left wholly up to me to select the subject. I took a street scene in Verona, Italy. There was a life size figure on the very bottom of the curtain as there was no border or frame. The figure looked as if it was standing on the stage. One evening I was standing in the rear – the curtain was down. Two young men came up to it and one said, ‘Hurry up, the curtain is up.’ He had only glanced at the curtain and seeing the lower half thought my figure was a real one. Quite a compliment.”

Fisher opened his opera hose on January 11, 1892. The theater’s seating capacity for the space was 1400 (approximately 420 seats in the parquet and dress circle, 420 seats in the first balcony, and 70 seats in the twelve gallery boxes). The venue was promoted to be “one of the finest ever constructed in San Diego – probably the best theater on the West Coast in its time.” The building was situated on the entire block between Fourth and Fifth Streets for 200 feet. The entrance to the theater was Romanesque surmounted by a turret that rose 120 feet above the sidewalk. The first two stories were constructed of granite with the top three of pressed brick. The entrance was located on Fourth Street with the stage door on Fifth.

The Fisher Theater was also one of the first theaters in the country to use a complete electrical system. It is interesting to note, however, that space was also left for the use of gaslight on the stage. The inclusion this second system, although not practical at all, was intended as a precautionary measure. The electrical system consisted of 1,000 “sixteen-candle power” Edison incandescent lamps. This gave both the auditorium and the stage an illumination never encountered in a West Coast performance venue before this one.

John C. Fisher was described as “a rotund Kentuckian who came to town in 1887 as manager of a furniture store.” He was soon president of the Chamber of Commerce, an active in the cable-car company, and an owner of the Florence Hotel. Moses wrote that, “The Hotel Florence was on a high point overlooking the whole bay and the country was also fine. There were many ‘one lungers’ at the hotel, as the majority of guests were idlers. They had a lot of time to be very inquisitive as to my very active business and any of them called on me at the theatre. I more than enjoyed every moment that I was there. I met Miss Joy of Portland, Oregon, one evening in the hotel. I didn’t recognize her. Mr. Fisher called me to the veranda and she overheard it and spoke to me. She and her Mother were spending the winter in California. I didn’t have my overalls on and she had to remark at the difference it made in me.”

Moses continued, “I was strolling down town one December morning in my shirt sleeves – too warm for a coat. A battleship was coming into harbor, firing a salute. It was a fine sight. I afterwards went aboard the same ship. The last day of the year I finished the job and was forced to file a mechanics lien on the building to protect ourselves. I took a dip in the surf in December and enjoyed it. There was a good swimming pool at Coronado Beach Hotel, which was patronized quite often.” How very interesting. The mechanics lien was just tossed in there between leisure activities. I wonder what that was all about?

To be continued…

[Emphasis

Much of the history was from San Diego History online. Here is the http://www.sandiegohistory.org/collection/photographs/fisher/

After painting the Alvin Theatre in Pittsburg, Thomas G. Moses briefly returned to the studio. Almost immediately he was sent back on the road again. This time, he traveled to Joliet, Illinois, for another painting project. Although the project is unidentified in his typed manuscript, I believe that Moses was in Joliet to create scenery for the newly constructed opera house.

In March 1891, the first Joliet Opera House was destroyed by fire. As in many towns, the owners wasted no time before rebuilding. The new opera house opened the following year in 1892 at the same location, on the corner of Chicago and Clinton Streets. Patrons entered the theater through the arched entrance on Clinton Street, just below the exterior stairs. A decade later, the Joliet Public Library was constructed on the west side of the opera house.

The original Joliet Opera House had opened in 1873 at a cost of $60,000. The venue hosted a variety of hosted a entertainments besides theater and opera. Other events ranged from burlesque shows to religious revivals. During the financial panic of 1873, the popular “Parlor Music Club” gave benefit performances to raise money for the city’s poor.

In the summer of 1890, an expansion project was unveiled to provide more seating and an improved stage area. The loss of the building to fire was blamed on the local fire and water departments. They were criticized as the fire department was slow to arrive on the scene and indecisive about handling their equipment. Furthermore, insufficient water pressure at the hydrants compounded the problem, making it almost impossible to fight the fire effectively. The local newspapers also reported that fire chief arrived long after his men, and then directed what little water was available to the wrong areas of the building.

A few city councilmen also criticized the fire department, saying that the men looked fine on parade or playing checkers, but some new toot little about extinguishing fires. Later an investigation committee reported that the fire department was blameless and the responsibility was placed on a pump at the waterworks that had lost vacuum and failed to provide sufficient water during the blaze.

The space for the new auditorium was designed by architect G. Julian Barnes, and built from local Joliet limestone.

Moses’ diaries record that one evening in Joliet he met an actor in their hotel. They took up scenic art as a topic. The actor was well versed and made a bitter attack on Sosman and Landis, saying that they only did small houses – nothing big. Moses replied, “I think you are mistaken, I know they did a number of theatres on the Pacific Coast and they are now doing the Alvin in Pittsburg.”

The actor didn’t know Moses and replied, “Oh! Well, they could only do a few as they only had one artist that could do them, and that was Tom Moses.” The actor only knew Moses by reputation. Moses played along and said that he didn’t think “Moses was capable of holding down one of those big jobs,” explaining that they were all done in the studio. The actor continued to stick up for Moses. He enjoyed it for a while, then handed him his card. In the end, the actor laughed and they both had a smoke on the joke.

To be continued…

For more information about the history of Joliet, see “Joliet” by David A. Belden.

After a summer of painting scenery in Pennsylvania, Moses and his family returned to Chicago during early September. Moses only worked a week in the studio before he and Ed Loitz started for Pittsburg, They were to furnish all of the scenery for the Alvin Theatre.

The Alvin Theatre was owned by the actor named Charles Davis. Davis had made his fortune playing “Alvin Joslyn,” a rural farmer character.

The Alvin Theatre had a very large conservatory and substantial Art gallery. Moses recalled that the decoration of the space was also quite fine. The Alvin Theater’s stage was “ample and complete in every detail.” Moses and Loitz worked throughout September, finishing the job on November 10.

History records that Davis was not a good actor, but was an extremely good manager and press agent. Thomas G. Moses worked directly for Davis while in Pittsburg. Moses wrote many passages of him, describing,, “He carried a band furnished with the best and most expensive instruments. He wore some fine diamonds. His vest buttons had diamonds in them. A $7000.00 watch was a novelty. He had a body-guard who was close to seven feet tall, while he was only five feet there. On day in Cincinnati while dining, his body guard approached him, begged his pardon for being late, and counted out to Davis thirty $1000.00 bills, and apologized for not being able to get the balance. The table was filled with traveling men and as they opened their eyes at $30,000.00, Davis cooly put it in his vest pocket. As soon as the meal was over, he slipped the money back to his bodyguard who got it back to the bank where he had borrowed it for an hour. Of course, on good security. Just a little advertising. Everyone talked about it. He had many little stunts like that.”

Charles Lindsay Davis (1848-1900) was born in Baltimore, Maryland. Here is his obituary:

DEATH OF C. L. DAVIS

KNOWN THROUGHOUT THE COUNTRY AS ALVIN JOSLYN.

Character Actor Who Played in Great Hit Years Ago and Owner of a Theater at Pittsburg Dies March l.

Charles L. Davis (Alvin Joslyn), well-known character actor and owner of the Alvin Theater, of this city, died to-night, aged fifty-two years. He had been sick for several weeks with peritonitis and paralysis of the throat, and died after much suffering. Mr. Davis came of theatrical parents, and was born while his parents were on the road. He went on the stage at the age of five years, and was in the show business continuously from that time until 1889, when he retired and built the Alvin Theater at a cost of $225,000. At the time of its building the Alvin was considered the finest theatrical house in America, but it was too much of a burden, and in its second season the Fort Pitt Bank, which held much of Mr. Davis’s paper, took charge of the house, with the understanding that when the $170,000 indebtedness was cleared its owner should resume charge. The claims had all been met, with the exception of about $20,000, at the beginning of the present season, and Mr. Davis expected to be sole owner next season. Mr. Davis was known throughout the entire country as Alvin Joslyn, the New England farmer character, which he originated in the early sixties, and which was the medium through which he made a fortune. He was not known to have a living relative.

To be continued…

Thomas G. Moses returned to the Sosman & Landis Studio during June 1891. This was after working on the Lyceum Theater scenery in Duluth, Minnesota, during March, April, and May. He enjoyed some work at the studio for only a few days before going on the road again. As usual, Ed Loitz was sent ahead to set up the on site shop and prepare the space for painting. Sosman & Landis had a painting project in York, Penn, but Moses’ typed manuscript fails to mention the venue.

I discovered that Moses was in York to paint the scenery for opera house on N. Beaver Street. Built, originally in 1881 at a cost of $38,000. By 1891, the York Opera House was an extremely popular attraction ready for an upgrade. In 1891, Moses was in York to paint scenery after a massive renovation. The venue was being reconfigured to include a fly tower! The York Opera House was replacing their current collection of roll drops with fly drops.

The June 10 issue of the York Daily (Vol 65. No 6405, page 1, second column) included an article titled, “The Opera House Improvements.” The article noted, “The curtain will not be raised by rolling as is the usual custom, but will be lifted bodily. This will prevent the cracking off of the paint and also make it impossible for any creases to appear. To make the proposed change, the roof of the house will be cut out and an addition built on the same which will allow the curtain to be lifted in the manner adopted.” Sosman & Landis were promoting a superior product; unlike roll drops, painted scenes on fly drops would not crack or crease. This identifies an problematic issue with roll drops and an opportunity for scenic studios to make the sale of a “new and improved” product.

The article continues to describe the scenery contracted by Sosman & Moses:

“In addition to this there are seventeen complete sets of scenery of one hundred and thirty five pieces. These sets will be painted here by the artist who, with his assistant when they leave here, will paint all of the scenery of the new “Alpha” theatre at Pittsburgh, PA. To give an idea of what is to be done here, we enumerate the sets. They are a “kitchen,” a “plain chamber,” an “oak chamber,” a “center door fancy,” a “two door fancy, “ a “prison,” a “palace,” a “modern street,” an “ancient street,” a “garden,” a “dark wood,” a “cut wood,” a “horizon” (ocean view), a “rocky pass,” a “landscape,” “cottages,” and “castles.” Not only will all the above be procured, but as complete a set of new drops, “set” pieces and stage properties to be obtainable will be added. All of the stage carpets will be entirely new. These improvements will cost with the new addition over $2500, and will be finished about the middle of August, n time for the opening of the next season. On account of the large expenditure necessitated by these improvements, and the short time at the disposal of the management, the proposed changes of the seats, and other changes will not be undertaken until early next spring. The season will be closed early for this purpose. The management should be congratulated on the extensive first steps towards the complete remodeling of our beautiful opera house.”

The newspaper noted that Mr. Perry Landis of the firm Sosman & Landis, scenic artists of Chicago, Illinois, was in the city to meet with directors about the “proposed changes in stage appointments.” The article explained that Mr. Landis attended the board of directors meeting. The Sosman & Landis model was received “with most gratifying success.” After the board examined the designs, they unanimously agreed to give Sosman & Landis the contract to furnish an entire new set of scenery and new drop curtain for the York Opera House. The article noted, “The new drop curtain will be painted in their Chicago studio, who execute no other kind of work. It will be in imitation of white satin with plush drapery. The design on it is entitled the “Witch’s Daughter,” after a celebrated painting and is a beautiful conception.”

The following month, Moses’ family left Chicago to join him on location in York. Moses wrote, “Ella got the children ready and we left for York on the 7^th of July. Arrived on the 8^th. After some trouble we found very good accommodations at the Central Hotel – a new addition to the hotel had just been completed and we were given two brand-new outfits.”

While working in York, Moses also “found plenty of good sketching.” The countryside was beautiful and Moses was always trying to improve his artistic skills with plein air painting and sketching. Moses wrote, “One week we went to Gettysburg and over the famous battlefield. The whole country is very picturesque and we more than enjoyed our stay.”

A livery stable owner next door to the theatre became interested in Moses’ work. Everyday he would drop on by to watch the scenic artists at work. That first Sunday in York, Moses hired a rig from him so that Ella could take the children out during the week. They stayed for about three weeks and the livery bill was only $10.00. The Central hotel was $21.00 per week, three adults and four children. Moses wrote, “Pretty cheap. I don’t see how they could do it.” I do. Moses captivated people with both his personality and talent. This was one more way to display appreciation for a new found friend and his contribution to the community. The job was completed by July 31, 1891 and soon, Moses and his family were on their way to Meridan, Conn. for another painting project.

Of their journey, Moses wrote, “We had to change cars for times – Harrisburg, Philadelphia, New York City and New Haven. I don’t know why, but we did. We were all tired out. We found a good hotel, but it was $36.00 per week. Same as we had in York for $21.00. There was no paint frame or bridge in the theatre, but we found a high platform ready for us. The following day we were at work painting.” While in Meridan, the Moses family enjoyed the many carriage rides out in the country and trips to the seashore. Savin Rock near New Haven was a particularly memorable adventure.

To be continued…

I return to the life and work of Thomas G. Moses in 1891. This was more than three decades before Moses would design and paint the Scottish Rite scenery for Fort Scott, Kansas. 

In 1891, Thomas G. Moses and Abraham “Perry” Landis went to Duluth, Minnesota. They were in town to close an $8.954.00 contract with A. M. Miller, owner of the Lyceum Theater. Moses commented that this northern Minnesota project was “a very good price and a good sized job.” Today’s equivalent of $8,954.00 is $232,060.70, a substantial contract indeed! On March 24, 1891, Moses arrived in Duluth and commenced his work for this ”very fine” building.

The theater was located at 423-431 West Superior Street and advertised as “the finest place of amusement in the Northwest.” The architectural firm of Traphagen and Fitzpatrick designed this brick and brownstone building with its massive corner towers.

The main entrance included a triple arch with bronze doors and “Lyceum” carved above the entry.

Theatre masques, lions, and floral motifs further decorated the exterior of the building. The seating capacity was 1,664 and electric light illuminated both the stage and auditorium.

Julius Cahn’s Theatrical Guide notes that the Lyceum’s proscenium opening was 39 feet high by 39 feet wide. The depth of the stage from footlights to the back wall was 45 feet, while the distance between the front curtain and footlights was 5 feet. The backstage width between the sidewalls 75 feet. The distance from the stage to the rigging loft was 75 feet with two bridges. The theatre had one set of grooves for painted wing possibilities that accommodated a height up to 20 feet. Furthermore, the grooves could be taken up flush with the fly gallery. The depth under the Lyceum stage measured 15 feet and included 6 traps. The stage carpenter for the venue was William Longstreet and the electrician O. Hutchenson.

The owner of the Lyceum was A. M. Miller, a Duluth lumber baron with humble beginnings as a railroad section boss. Moses noted that Miller “saved and invested years ago. He is now worth over $12,000,000.00 which all came from Timber Land. He is also the President of the Duluth Bank.”  Moses recalled that Miller was fine man who enjoyed his company. Miller financed the Lyceum that was initially home to operas, plays, and vaudeville. Live theater reined until 1921 when it transitioned into a movie house.

When Moses arrived in Duluth, he checked into the Spalding Hotel and soon got started on the list of scenes. Ed Loitz and Joe Hart assisted Moses with the painting. Loitz first joined the Sosman & Landis Studio in 1883 and would continue to paint with Moses until 1900, even after Moses left the studio for a second time to form another partnership in New York City. Moses wrote, “we had every convenience that enabled us to do good work in a short time.”

Moses recalled that although the weather was “bitterly cold” in Duluth, they all enjoyed it. He wrote, “We worked nearly every night. We had a big list of scenes and everything had to be done well! Nothing pleased us better than to know that our work would be mentioned years after.” He would continue on to describe that the scenery installation was “One of the most complete outfits of any theatre” to date.

Moses, Loitz and Hart completed their work at the Lyceum on June 1.^. Moses was surprised when he received a check in full upon the immediate completion of the project. He commented that the prompt payment was “something unusual.”

To be continued…