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Tales from a Scenic Artist and Scholar. Part 1150 – Moses & Megan, 1923

In 1923 Thomas G. Moses wrote, “As I have very little time to paint, I feel that I am not producing what I should, and I am not feeling very jubilant over money affairs. I am not drawing enough to keep my small house expenses going; our only extravagance is the movies, which we attend twice a week either at home or downtown…The studio is not doing well, and the prospects are anything but encouraging. We all cut our salaries (the office only). That wouldn’t be so bad if we could draw it every week, but when our current bills and salaries are taken care of there is very little left for the officers… Hunt wants me to remain in the studio, but I can’t see it.”

By the end of 1923, Moses wrote: “On December 26th, Megan and I met Sosman and Landis Company at Richard’s office and paid our first installment for the name and good will of Sosman and Landis Company, which we now own and will operate, but for a while we will have to use our names of Moses and Megan, until the old company can liquidate. We will then get a new charter.” When the company liquidated, Hoyland & Lemle purchased the studio’s contents.

Moses selected Fred R. Megan for his business partner in 1923. Megan was not only a scenic artist, but also a very successful salesman for the Kansas City Scenic Co. He was a good pick, as Moses needed partner who understood all aspects of the business from sales to installation. Megan drummed up business in 1923 while he and Moses waited to officially claim the name of Sosman & Landis. Although Moses made a name for himself over the decades, his designs and painting were integrally linked to the Sosman & Landis brand. It is not surprising that Moses believed that he needed the Sosman & Landis name to continue.

Although I have written about Megan in the past, here is a brief recap of this incredibly interesting individual.

Frederick Rishel Megan (1873-1939) was the son of a Dr. James W. Megan and Cornelia Wookey. Like many in the medical profession during the nineteenth century, Dr. Megan traveled throughout a region, establishing one practice after another as the family moved from one small town to the next slightly larger town. The Megan’s early residences in Kansas included Pawnee Rock, Little River and Home City.

In 1893 the Megans moved from Home City to Olsburg before continuing on to Leonardville. On October 18, 1894, the “Olsburg News-Letter” reported, “Dr. J. W. Megan expects to move to Leonardville after election and will practice medicine there as well as look after editorial duties of the Monitor” (page 8). Their time spent in Olsburg signified a turning point, as Dr. Megan began to branch out beyond the medical profession. After Olsburg, the Megans moved to Leonardville, Kansas, where father and son commenced a new business venture – a publishing company. On October 25, 1894, the “Clay County Star” reported, The Leonardville Monitor has changed hands, assuming editorial charge, F. R. Megan, assuming editorial charge, and Dr. Megan & Son appear as publisher. From appearances they start in with an excellent patronage and will no doubt keep the paper up to its former high local standing” (25 Oct. 1894, page 3). Frederick R. Megan was listed as the editor for Dr. Megan & Son, publishers. The publication was advertised, “a spicy 5-column quarto, neatly printed and is Republican in politics” (Leonardville Monitor, Leonardville, Kansas, 8 Nov. 1894, page 4).

By 1896, Fred Megan set out on his own and relocated to Kansas City (“The Topeka Daily Capital,” 9 April 1896, page 8). It is unclear what prompted the move and resulted in his career in theatre. By 1897 Megan was touring with the Barrett & Barrett Company (The Leonardville Monitor, Leonardville, Kansas, 2 Dec. 1897, page 8). Within the next decade, Megan would work as a salesman, scenic artist, installer. Megan married Thenia Jones, in Jackson, Missouri, on April 14, 1898, likely while Megan was touring. The couple celebrated the birth of a daughter Anabel L. Megan in 1900.

Megan is first associated with the Kansas City Scenic Co. in 1901. On June 27, 1901, the “Rooks County Journal” of Stockton, Kansas, reported, “F. R. Megan of Kansas City, spent Saturday in the city soliciting advertising to place on a new drop curtain which he will place in the opera house. We were told he sold Mr. Bigge about $300 worth of theatre supplies of various kinds”(page 50).

The next year, Megan secured the scenery contract for the Tabor Opera House’s newly renovated stage in Leadville, Colorado. He also landed another scenery contract for the Columbus opera house. His visits to Colorado that were fortuitous, as the Kansas City Scenic Co. completed multiple contracts in the region over the next decade, including West’s Theatre in Trinidad. On July 10, 1902, “The Columbus Courier” reported, “Fred R. Megan, representing the Kansas City Scenic Co., is in the city today with full samples of scenery. He sold a good-sized order for the LaRue Investment Co. for the Opera House” (page 5).

Like Moses, Megan not only contracted the work to produce new scenery for a variety of entertainment venues, but also designed and painted the contracted settings. A few years later he represented the firm in Lead, South Dakota, working as a scenic artist on site. On October 8, 1906 the “Lead Daily Call” reported, “Fred R. Megan, who has the work of painting the scenery and decorations was on arrival on the Burlington last evening. He comes from Kansas City, and is an artist in his line, one of the best in the country. He will begin just so soon as the carpenters give him room, which will be in a day or so, to erect his stagings and make other preparations for doing the work of adornment, and when he has finished the interior of the little opera house will be one of the handsomest in the west, and no pains will be spared to make it so. Mr. Megan will have his work well under way before the week is over, and will have it completed before the winter season really begins.”

Megan also worked as an installer for Kansas City Scenic Co. In 1908, Megan installed the scenery at the Haydn-Parke theatre in Gadsden, Alabama (“Gadsden Daily Times-News,” 26 Sept. 1908, page 2).

Megan represented the Kansas City Scenic Co. until 1918. The last record of his involvement is in his WWI draft registration card. The card still listed Megan’s occupation as a traveling salesman for the Kansas City Scenic Co., located at 24th and Harrison Streets in Kansas City, Missouri. That same year, Megan was appointed to the Liberty Theatre office in Washington as Supervisor of Maintenance and Construction (Variety, Vol. LII, No. 10, page 19). By 1920, Megan was simply listed as Government Supervisor in Washington D. C. Keep in mind that many scenic artists began working for the government on painting projects during WWI, especially at Liberty Theaters and in the newly established camouflage trade. Many continued their government service in the post-war years, finding more security there than in commercial theatre endeavors. The 1920 US Census listed Megan and his wife at 16th Street in Washington, D.C. This was a second residence for the couple, as the still lived part-time in Kansas City, Missouri.

It was in 1923 that Megan teamed up with Moses to purchase the Sosman & Landis name, initially leasing the old Fabric Studio in Chicago. While waiting for the firm to liquidate and officially secure the Sosman & Landis name, the two briefly established Moses & Megan. This meant that Megan returned to work as a traveling salesman, representing both Moses & Megan, as well as the second iteration of Sosman & Landis. When they secured the Sosman & Landis name, Megan became the vice-president and treasurer for the firm. While Megan was on the road, Moses made models and painted scenery. This is how Sosman & Landis started, successfully operated from 1877 until Landis’ passing in 1905. Landis was on the road and Sosman was on site or painting in the studio. This is also how Kansas City Scenic Co. functioned, with J. V. Bronaugh on the road securing work and B. F. Dunn painting scenery. As project loads increased for each of the aforementioned studios, additional staff members were added, with more salesmen on the road and more scenic artists painting in the shop on new projects. However, each just started with two individuals and an established labor pool.

Moses and Megan continued working together throughout the 1920s.

*Advertisement from the “Oakland Tribune,” 12 Dec 1927, Page 17*.

By 1933, Megan was listed as the manager at Sosman & Landis, residing at 819 Dobson in the Evanston, Illinois. Moses passed away the following year in 1934, with Megan following in 1946. At the time of Megan’s death, his occupation was listed as a “paint contractor.”

To be continued…

Travels of A Scenic Artist and Scholar: Relocating the Richmond Scottish Rite Scenery Collection, 2021.

This is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona this month. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.

*Drop by Toomey & Volland Scenic Studio for the Scottish Rite theatre in Richmond, Virginia, c. 1902*

Painted detail. Drop by Toomey & Volland Scenic Studio for the Scottish Rite theatre in Richmond, Virginia, c. 1902

Tales from a Scenic Artist and Scholar. Part 1149 – William Pitt Moses

In 1923 Thomas G. Moses wrote, “The New Year found the madam and I in Trenton, N.J. enjoying a visit with Pitt and family, also an annual visit to his plant, which was quite interesting.” The “Madam” was his wife Ella.

*Detail of a letter from Thomas G. Moses to his son Pitt.*

Thomas William “Pitt” Moses (b. 1879) was the eldest of four children, the others being Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886) and Thomas “Rupert” Moses (1889).

Pitt’s WWI draft registration card described him as tall and of medium build, with brown hair and blue eyes. Pitt initially followed “Uncle Frank” Moses, moving to Trenton, New Jersey, in 1900 and working at a gas plant. Frank Deming Moses made a name for himself designing, installing, and supervising the new gas plants that were appearing all across the country. He was extremely well known and respected for his work. Here is my post about Frank Moses: https://drypigment.net2017/07/30/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-162-frank-deming-moses/

In 1903, Pitt married Stella Martin (1881-1962) of Trenton and soon changed professions. The couple celebrated the birth of three daughters, Eleanore (b. 1906), Ruth (b. 1908) and Dorothy (b. 1913). By 1910, Pitt was working as a pipe fitter for the railroad and was still working in this capacity a decade later. However, Pitt changed occupations again, and began working as a parcel post clerk in 1930. He was still working for the Postal Service in 1940, and eventually retired from the profession.

It is Thomas G. Moses’ letters to Pitt that provided an incredible amount of information about Moses health and financial losses. Copies of letters written by Moses to both Pitt and his wife Stella were collected by Dr. John Rothgeb at the Universtiy of Texas-Austin during the 1970s. The majority of the letters collected were written between 1931 and 1933, providing great insight into Moses’ continued struggles. These same subjects were glossed over in his typed memoirs, an understandable omission; writing it down somehow makes it more real.

Sometime between 1922 and 1923 Moses developed a bronchial cough; a cough that would continue to plague him until his passing in 1934. Moses repeatedly wrote about his “terrible spasms of the chest.” Moses also mentioned that it was difficult for him to walk any distance, especially if there was the any dampness in the air. Regardless of health concerns, during the last decade of his life, Moses continued to design and paint one scene after another, producing a remarkable number of drops during this time.

Health concerns made Moses plan for the worst in his final years. In one letter to his son, Moses wrote, “I want you to know where we stand regarding finances,” outlining the funds given toward business ventures and family emergencies, especially previous attempts to help his children. At the end of this letter, he wrote, “I want you to know all this, because, should I pass away suddenly I want Mother to feel that you would look out for her interests in disposing of the property. While I hope to enjoy a few more years in painting, the sudden death of Illie [sister], Frank [brother] and Lucia [sister] 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 for many years after I am gone.”

In a later letter Moses wrote, “I found that my years will not admit of too much hill climbing with my forty pounds of sketching equipment.”

A 1932 diary entry by Moses mentioned his deteriorating health, writing, “I do not feel as good in health as I would like to be, but I hope that Dr. Klumph will pull me through. I sincerely hope that the New Year will lift a heavy load of my shoulders and give me one good year to make up for this past bad year.” On June 23, 1932, Moses enjoyed a brief respite from his cough, and wrote to Pitt, “My awful bronchial cough has stopped, thanks to a new M.D. The first time in ten years that it has stopped while in Oak Park. It leaves in California, but starts again as soon as I get here.” The cough would return.

Regardless of his health or any small improvements, Moses could not stop working. On November 7, 1933, Moses shared his continued health struggles with Pitt, writing, “I jumped into the church job as soon as I arrived and I find it was too much after a trip of 2700 miles and I am now at home getting myself in shape. I see no work in sight, and the heavy expenses of keeping the house going without any help is bearing down on me. Especially with my condition and age against me. It is so hard for me to go upstairs and walk more than three blocks that I fully realize that I can’t last much longer with the added uncertainty of making a living. It is too much. I have been too fortunate in making a good living for the past fifty years to accept this present state of affairs. I dislike to write you a blue letter, but it is uppermost in my mind this morning being a gloomy one. I know without asking that when I pass on, that you will do all you can to see that your mother will be taken care of in settlement of property. I will say no more.”

To be continued…

Travels of a Scenic Artist and Scholar: The 1902 Little Rock Scottish Rite Scenery Collection and its Relocation to the Pasadena Scottish Rite in 1925.

Backdrop by the Sosman & Landis Scene Painting Studio of Chicago for the Scottish Rite Theatre in Little Rock, Arkansas. This scene was removed from the Little Rock Scottish Rite in 1923 and placed into storage until 1925. In 1925 it was sold to the Pasadena Scottish Rite and installed in their new theater. This same scene was also featured in the 1904 Souvenir Program for the Little Rock Scottish Rite Reunion.

*Scenery by Sosman & Landis for the Scottish Rite Theatre in Little Rock, 1902. This scene was installed in the Pasadena Scottish Rite in 1925, under the supervision of Thomas G. Moses.*

Scenery by Sosman & Landis for the Scottish Rite Theatre in Little Rock, 1902. This scene was featured in Little Rock’s 1904 Reunion program. This scene was installed in the Pasadena Scottish Rite in 1925, under the supervision of Thomas G. Moses.

Painted detail. *Scenery by Sosman & Landis for the Scottish Rite Theatre in Little Rock, 1902. This scene was installed in the Pasadena Scottish Rite in 1925, under the supervision of Thomas G. Moses.*

Backstage at the Little Rock Scottish Rite, 1904. Counterweight system by Sosman & Landis for the Scottish Rite Theatre in Little Rock, 1902. This system was installed in the Pasadena Scottish Rite in 1925 by Harrey E. Naile, under the supervision of Thomas G. Moses.

*Number painted on top show arbor placement at the Little Rock Scottish Rite. Numbers on the side show current location at the Pasadena Scottish Rite.*

Backstage at the Pasadena Scottish Rite, 2016. Counterweight system by Sosman & Landis for the Scottish Rite Theatre in Little Rock, 1902. This system was installed in the Pasadena Scottish Rite in 1925 by Harry E. Naile, under the supervision of Thomas G. Moses.

Backstage at the Pasadena Scottish Rite, 2016. Scenery and counterweight system by Sosman & Landis for the Scottish Rite Theatre in Little Rock, 1902. This system and scenery were installed in the Pasadena Scottish Rite in 1925 by Harry E. Naile, under the supervision of Thomas G. Moses.

Thomas G. Moses, president of Sosman & Landis, became a Freemason in 1925, joining both the Pasadena Scottish Rite and Ancient Arabic Order of the Nobles of the Mystic Shrine. After forty years of designing and painting Masonic scenery, he finally became a Freemason.

Here is a link to that story at my official blog:
https://drypigment.net2021/01/28/tales-from-a-scenic-artist-and-scholar-part-1148-thomas-g-moses-and-freemasonry-1922-1925/?fbclid=IwAR3GHwTWb6PZmFYur7MAW3kLd0wu70NkAltaNHVaEgiaGHazqb46-QyXSNg

For more information about the 1923 scenery painted by Moses for the Little Rock Scottish Rite, visit https://drypigment.net2021/01/27/tales-from-a-scenic-artist-and-scholar-part-1147-thomas-g-moses-and-the-little-rock-scottish-rite-1921-1923/

Tales from a Scenic Artist and Scholar. Part 1148 – Thomas G. Moses and Freemasonry, 1922-1925

In 1922 Thomas G. Moses wrote, “On November 21^st I signed a petition to the Fair Oaks Blue Lodge. I sincerely hope it is accepted. A little doubtful on account of my age.” Moses was 66 yrs. old and initiated into Freemasonry at the Masonic Lodge in Oak Park, Illinois.

*The Masonic Temple in Oak Park, Illinois.*

In 1923 Moses wrote, “March 1^st, I took my first degree in Masonry. I don’t know when I shall get around to the others; rather interesting and I would like to go through the Shrine.” Only a few blocks from his home, he was initiated at Fair Oaks Blue Lodge No. 1006 A.F. & A.M. The Masonic Temple was located at Oak Park Avenue and Lake Street. The building still exists and is now known as Scoville Square, a 72,000 sq. ft. complex.

*Scoville Square in Oak Park, Illinois.*

Two more years passed before Moses returned to his Masonic degree work; this time in California. In his defense for the delay, it was a challenging period in his life, with his health deteriorating, Sosman & Landis studio closing their doors, and Moses struggling to secure projects in an entertainment industry that was gradually turning away from traditional scenic art. In the end, he purchased the name “Sosman & Landis” and began targeting Masonic scenery contracts. Scottish Rite theater scenery installations offered traditional scene painting projects with substantial profits. Although Moses was not a Mason, he intimately understood the designs and demands of many Southern Jurisdiction stages. Finishing his Blue Lodge work and becoming a Scottish Rite Mason would give him an edge in landing these lucrative projects. After the passing of Joseph Sosman in 1915, Sosman & Landis lost their Masonic ties. Sosman was a Mason. Moses may not have realized it when he became president of the company in 1915, but having a Masonic connection made all the difference in the world as it was often the determining factor when Scottish Rite Valleys selected a studio to manufacture scenery for degree productions. Between 1915 and 1925, Toomey & Volland took the lead in Scottish Rite Theatre production as Hugo Volland was a Scottish Rite Mason in St. Louis, Missouri.

In 1925, Moses wrote, “I have made up my mind to go on with my Masonic degrees and have a coach for the Blue Lodge work. I was very fortunate in getting young Champion, as he has a lot of patience and I am afraid he will need all of it, as I can’t commit very easily and especially when it is word of mouth entirely. It will be very hard, but I want to get in the Scottish-Rite class at Pasadena.” After being initiated at Fair Oaks Lodge, Moses was passed and raised in Carmelita Lodge, No. 599, F. and A.M. in Pasadena, California. In 1925, Carmelita Lodge held their meetings on Thursday nights (The Pasadena Post, 2 April 1925, page 8). Fortunately for Moses, he was in town for an extended period of time delivering the Pasadena Scottish Riet scenery for the opening of the new cathedral. Meetings were held on the third floor at the Masonic Temple, located on the corner of Raymond and Colorado streets.

*The Masonic Temple in Pasadena, California, where Thomas G. Moses completed the 2nd and 3rd degrees, became a Master Mason*.

Moses later wrote, “On February 10^th, we completed the Pasadena job – and I finished my 2^nd Degree in the Blue Lodge, Carmeleto [sic.]. The worshipful Master gave me a nice record for my past labors and for my future life, which I hope I will be able to follow to the line.”

*Thomas G. Moses was included on the front page for his scenic contribution to the new Pasadena Scottish Rite cathedral’s stage. “Pasadena Evening Post” Feb. 14, 1925.*

Moses was officially recognition in the “Pasadena Post” on Feb. 14, 1925. An article on the front page announced, “Maj. Skillen is donor of Scenic Drop. Beautiful Curtains Painted for Cathedral Stage by Thomas G. Moses.” The article continued, “The magnificent scenic drop curtains which have been hung in the new Scottish Rite cathedral to be dedicated Thursday evening, are the gift of Maj. Charles M. Skillen, in memory of his son, the late Dr. Ralph G. Skillen. Both father and son were charter members of the Pasadena Consistory. The 73 drops represent some of the finest work that the artists of Sosman & Landis company of Chicago have ever produced, according to Thomas G. Moses, president of the firm, who is in Pasadena to personally supervise the work installing them. Each of the drops were especially designed and finished for the Pasadena cathedral. Months were spent in the preparation of them, it is said. About half were painted in the Chicago studios of the company and the remainder finished in this city. Mr. Moses has watched carefully the painting of the curtains, much credit for their final perfection must go to the assistant and scenic artist, F. B. Fulton. Mr. Fulton believes the scenic work to be some of the finest he has ever produced. The final work of hanging and installing the curtains will be under the supervision of Harry Nail, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Nail was brought from Chicago so that no mistakes in installation could be made.”

First of all, the drops noted as being painted in Chicago were the used drops from Little Rock Scottish Rite. With the impressive scope of the project, it is understandable that the Pasadena Scottish Rite did not want to advertise that they were purchasing used scenery.

*King Cyrus setting pictured in the Little Rock Reunion program, 1904.*

*Detail from same setting, now used at the Pasadena Scottish Rite.*

*A scene at the Pasadena Scottish Rite that was originally painted for the Little Rock Scottish Rite in 1902.*

These used drops, a few new drops, fabric curtains and stage machinery were purchased and installed for $8,500. Harry Naile removed both the used drops and stage machinery in Little Rock, so it only made sense that he installed the same equipment in Pasadena.

*The stage left area of the Pasadena Scottish Rite stage showing the bottoms of drops and counterweight system originally manufactured for the Little Rock Scottish Rite in 1902.*

*Used counterweight system installed by Harry Naile in 1925 at the Pasadena Scottish Rite.*

The original line numbers for use in Little Rock and the new line numbers for the Pasadena Scottish Rite stage.

I have written about Naile in the past, as he installed the scenery and stage machinery for Moses at Scottish Rite theaters in Tacoma and Binghamton. Here is the link: https://drypigment.net2020/12/16/tales-from-a-scenic-artist-and-scholar-part-1137-thomas-g-moses-and-harry-e-naile-1922/

In regard to completing the third degree, Moses wrote, “My third was given to me on February 23^rd, just in time for me to get into the Scottish Rite Class on the 24^th.” This is interesting, as the third degree was officially planned for Masons at Carmelita lodge on Feb. 26, and not Feb. 24^th in 1925. On Feb. 26, 1925, the “Fraternal News” section of the “Pasadena Post” reported, “Carmelita Lodge, No. 599, F and A.M., will meet tonight at 7:30 o’clock on the third floor of the Masonic temple. The third degree of Masonry will be conferred, and all members are urged to attend” (page 6). This meant that Moses was considered a special case and was raised three days before the scheduled degree work.

On Feb. 24, 1925, the “Pasadena Post” reported, “Masons of Pasadena were the guests Saturday evening of local Scottish Rite Masons at a reception given in the new cathedral on North Madison avenue. A short program in the auditorium included a display of the costumes and scenery used in the degree work of the order. Following the program, dancing was enjoyed in the large ballroom and the guests were given an opportunity to inspect the new edifice. A reunion will be held at the cathedral, beginning today and ending Saturday, when degree work will be put on for a class of candidates every afternoon and evening” (24 Feb 1925, page 11).

The Pasadena Scottish Rite Reunion took place from Feb. 24 to Feb 29, with degree work put on each afternoon and evening. Moses wrote, “On the 28^th I was a 32^nd Degree Mason and very proud and thankful for it. It was like a dream to me as all my Masonic knowledge was only padded over by the ritual and some new work which was thankfully received. So, after forty years of designing and painting these degrees, I will now go into the work with a better understanding.”

*Thomas G. Moses’ Scottish Rite patent from 1925. From the Waszut-Barrett Theatre Collection.*

*Backside of Thomas G. Moses’ Scottish Rite patent from 1925. Some members used their patent to collect signatures from other Masons, like a yearbook.*

The next month, Moses wrote, “On March 25^th, I crossed the “Hot Sands” of the Al Malaikah” Shrine.” So, from Feb. 10 to March 25, 1925, Moses became a Master Mason and joined both the Scottish Rite and Shrine. With this work completed, Sosman & Landis once again became a major contender for Scottish Rite projects again.

*Thoms G. Moses’ patent for the Shrine. From the Waszut-Barrett Theatre Collection.*

To be continued…

Travels of A Scenic Artist and Scholar: Relocating the Richmond Scottish Rite Scenery Collection, 2021.

*Backdrop by Toomey & Volland for the Scottish Rite in Richmond, Virginia, 1902*

Painted detail. *Backdrop by Toomey & Volland for the Scottish Rite in Richmond, Virginia, 1902*

*Fabric detail. Backdrop by Toomey & Volland for the Scottish Rite in Richmond, Virginia, 1902*

Notation indicating line number (100) and Scottish Rite degree (29th degree, first section). *Backdrop by Toomey & Volland for the Scottish Rite in Richmond, Virginia, 1902*

Here is the link to my post about the January 2021 relocation project: https://drypigment.net2021/01/19/travels-of-a-scenic-artist-and-scholar-relocating-the-richmond-scottish-rite-scenery-collection-to-tucson-arizona-jan-5-14-2020/

Tales from a Scenic Artist and Scholar. Part 1147: Thomas G. Moses and the Little Rock Scottish Rite, 1921-1923

In 1921 Thomas G. Moses wrote, “Made a side trip to Little Rock to settle on the Scottish Rite Temple. I hope to be able to close the contract very soon.” He returned to Little Rock later that summer to close the contract for $9,548.00. However, it was only a verbal agreement that year. The original contract specified, “When our designs are completed, submitted and accepted, it is agreed that the painting can be started during our dull season soon after January 1, 1922. We agree to store the finished work covered by insurance until such time that it can be taken care of in Little Rock.”

Later in 1922, Moses wrote, “Went to Little Rock to see Mr. Rosenbaum.” He was still trying to finalize a written agreement with Little Rock, although some painting had already begun on the project. In the end, the contract would not be signed until 1923; two years of watching, waiting and starting the work. Those two years made all of the difference in the world for the life of the studio.

It was not until the spring of 1923 that Moses finalized the Little Rock contract under his own name, and not that of Sosman & Landis. He wrote, “I arrived on the 16^th of May with the contract of $10,040.00 in my name, out of which I am to get enough to pay Sosman and Landis’ indebtedness to me. I hope I will be able to do it.” Sosman & Landis had closed its doors by the time Little Rock finalized the work. In 1923, Moses was trying to buy the Sosman & Landis name after all of the studio’s assets were liquidated.

*The 1902 Scottish Rite stage and auditorium in Little Rock, Arkansas. Illustration in a 1904 Souvenir program.*

From the beginning, Sosman & Landis financed the majority of the Masonic stage projects, with clients paying nothing up front, one-third upon delivery and then the remainder over the next few months, or years. It made sense, as the studio landed the work with an appealing payment plan, winning out over their competitors. However, this only worked if the Scottish Rite Valleys honored the contractual obligations and made all of the agreed upon payments in a timely manner; many did not. Inevitably, that final payment always seemed to be a battle to collect. On top of everything else, Masons did not always understand what they were purchasing or receiving, so the numbers of scenic pieces in final contracts went up and down as specific settings were added or removed during contractual negotiations. Initially, a studio representative was sent to help supervise the scenery during its first use at a Reunion.

Scenic studios constantly waited in fear of not receiving that final payment, making both artists and studios left begging for what was contractually owed. Masonic work made up approximately 25% of all Sosman & Landis studio projects for over two decades. I believe the constant battle to collect funds owed by the Masons created a perfect storm that contributed to the studio’s financial downfall. Unfortunately, this occurred at the same time that the demand for painted scenery also began to plummet. Moses learned much from these experiences at did not offer similar terms of payment once Sosman & Landis closed.

Scottish Rite scenery projects were massive undertakings, often taking months to paint. Masonic stock scenery collections were frequently more than twice the size of those delivered to commercial theaters.

It was not until the late spring of 1923 that the Little Rock contract was signed. Moses wrote, “Went to Little Rock early in April, had my designs O.K. and had made an agreement with Rosenbaum to do the work on the ground… I got settled at the Marion Hotel, Loitz and Naile got quarters up near the Temple. The Marion is a good-sized hotel, and I had a good room and bath. After some trouble getting our bridge and frame, Loitz and I ran through 30 drops in the first 3 weeks. Of course, these were not our hardest ones, as I wanted to make a showing, we worked hard and to good advantage. Early in June the weather got quite warm and the rain did not help us. The high-water mark soon reached in the Arkansas River and I had a wonderful view from my window. My first duty in the morning was to take a look at the river, for I expected it to rise over the banks and that meant to the foundation of the hotel.”

*Scenery by Thomas G Moses for the Little Rock Scottish Rite, 1923*

The project took longer than Moses hoped, and not due to his own failings. Mid-project Moses wrote, “Naile and his men are not giving me full service and I am getting desperate, as to my ability to pull the contract through with profit.” In the end, Moses completed the project in less than three months. He wrote, “Finished my work at Little Rock on the 4^th of August, got a settlement in full. The last check was $4,995.00 and the $700.00 in old scenery that I am still holding, and I hope I will realize at least $1,500.00 out of it.” I would bet that Moses refused to leave town until receiving the final payment; there was too much on the line and a pattern of non-payment.

In regard to the old scenery that was removed from Little Rock in 1923. Accepting old scenery as credit on a new purchase was always a risky proposition. Unless there was a Masonic client waiting in the wings, the return of an old scenery collection was never advantageous to the studio, only to a future client. Storing an entire scenery collection demands a sizeble storage space. It would take another year before Moses located another Valley to purchase the old scenery – the Pasadena Scottish Rite. During 1924 negotiations with Pasadena, he wrote, “As a final deal, I offered the Little Rock drops for $8,500.00.” Although the Pasadena contract was for $8,500.00, Moses only paid himself $700.00 for the Little Rock scenery.

For the installation of the new Pasadena Scottish Rite scenery, Moses rented an apartment at 159 S. Los Robles Avenue in Pasadena, where he remained for two months that winter after arriving on Feb. 24, 1925. Of the Pasadena Scottish Rite project in 1925, Moses wrote, “The Scottish-Rite Bodies are well pleased with the layout that we have arranged for their new stage, using the old scenery from Little Rock, Arkansas, which I took part payment when I put in the new equipment at the Albert Pike Memorial for Chas. Rosenbaum. The Pasadena contract was for $8,500.00, out if which I paid myself $700.00 for the Little Rock scenery. The settlement was quickly made, and everyone was highly pleased with everything we did. We had our plush curtains on from the studio in time everything arrived on time and was placed in position. The lighting effects were very good all through the 32^nd Degrees. Everyone worked hard for a big success which it certainly was in every detail.”

It was in Pasadena that Moses became a Scottish Rite Mason..

To be continued…

Travels of A Scenic Artist and Scholar: Relocating the Richmond Scottish Rite Scenery Collection, 2021.

*Scenery by Toomey & Volland for the Richmond Scottish Rite Theatre*

Translucent stars. *Scenery by Toomey & Volland for the Richmond Scottish Rite Theatre*

Back of tanslucent stars. *Scenery by Toomey & Volland for the Richmond Scottish Rite Theatre*

Painted detail. *Scenery by Toomey & Volland for the Richmond Scottish Rite Theatre*

Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net2020/10/26/travels-of-a-scenic-artist-and-scholar-the-richmond-scottish-rite-october-24-26-2020/
Here is the link to my post about the January 2021 relocation project: https://drypigment.net2021/01/19/travels-of-a-scenic-artist-and-scholar-relocating-the-richmond-scottish-rite-scenery-collection-to-tucson-arizona-jan-5-14-2020/

Tales from a Scenic Artist and Scholar. Part 1146 – The Fad for Fabrics, 1922

In 1922 Thomas G. Moses wrote, “Our work has been running fabrics, so much so that I have no notion to make on painting…We that paint, as well as design, frown upon the new fad for fabrics. We trust it will soon die out and we will all return to the old way of painting with up-to-date designs.”

Moses must have sensed that the situation would not change anytime soon, and he would be too old to profit from any future scenic art revival. In hindsight, he was at the wrong age, in the wrong profession, in the wrong location, and at the wrong time. In 1922, Moses was 66 years old. He passed away in 1934. In that twelve-year period, his health continued to decline and the stock market crashed, forever putting the death nail in the coffin for many scenic artists at the time. Although Moses’ mind was still sharp, his body was deteriorating, and work was rapidly drying up.

Scenic art techniques continued to shift in the 1920s, as the demand for scenic illusion on stage plummeted, accommodating ever-shifting designs and products. Many scenic artists saw the writing on the wall, and rapidly tried to adapt to the changing times. Moses was not one of them.

In 1923, Moses continued to worry about the decline of painting projects. That year he wrote, “Very little painted scenery for the vaudeville acts is being done, mostly fabrics, and if the wage scale keeps on, I don’t see where the artists are going to find enough painting. They will have to become dressmakers and learn to sew on sateens and velours. A few of the old melodramas would be very welcome.”

In 1923, Sosman & Landis also closed their doors, liquidating all of their assets. Moses and Fred Megan purchased the Sosman & Landis name, but it was too little too late. The live entertainment industry was slowly shifting from painted draperies to ornate textiles. If a scenic artist had not side-stepped into a compatible industry, it was almost too late to make a successful change. Yes, there was still a demand for painted scenery in the motion picture industry, Masonic theaters and other performance venues, but not at the previous scale.

Although a few big painting projects continued to appear on the horizon in the Midwest, the constant stream of opportunities slowed to a trickle. By 1925, Moses and Megan were running the new iteration of Sosman & Landis, constantly searching for work. That year, Moses wrote, “Megan left for the south where we have several good prospects, but I presume they will be chiefly draperies.” John Hanny, a one-time Sosman & Landis scenic artist and founder of Chicago Service Studios, wrote “About this time it was becoming evident that scene-painting, as such, was on its way out. Almost every Artist automatically was becoming a freelancer, picking up odd jobs perhaps a day or two here and there – ‘touch ups’ and the like.” It was the wrong time to own a scenic studio, one specializing in painted illusion.

In an undated letter to Dr. John H. Rothgeb at the University of Texas (c. 1980), Hanny described the decline of painted scenery during the 1920s and 1930s. Hanny began work as a scenic artist at Sosman & Landis in 1906; Moses was the one to hire him that year. By 1920, Hanny and four others established Service Studios of Chicago, a competing firm to their previous employer. Service Studios did not last and quickly became ACME Studios.

Of scenic art after the market crash, Hanny wrote:
“The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musicals, etc., if any, were being produced in New York and Hollywood. At this point all the Studios disappeared, but the scene painters just couldn’t disappear and had to become free lancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay. Most of the following 10 years were really tough and 1929 proved to be a big change in our business, in purpose, in design, paint and other materials. As the economy slowly improved – work was to be had on industrial exhibits, Home shows and Auto shows, etc. These were contracted for by such firms as Bromels Detroit, Dramaturgy Cleveland, Wildings Chicago and a few others. These were not Scenic Studios but rather combinations of carpenter and machine shops equipped to turn out booths, revolving turn-tables, electrical effects, and so on. The artwork was done in any available loft or vacant store space. The biggest change to us painters was our paints. Luminal Casene [sic. Luminall Casein] was pretty well established as a very practical and useful medium so, it, and show card color was the norm. So – no more ‘dry’ colors – no more soup bowls or hot size and of course no more paint frames. Drapes, if any were painted on the floor. The house painter’s sash brushes came into use and many of the former ‘tools’ such as snappers, and center-poles and others were no longer needed. The folding 2 ft. brass bound rule gave way to the yard stick.”

To be continued…