After a two-week break, I am back to the life and times of Thomas
G. Moses. To recap, in 1918 Moses resigned as the president of Sosman &
Landis. He initially worked for New York Studios and then left to join Chicago
Studios. However, both were short lived, as by the spring of 1920, Moses was
back at Sosman & Landis. We he returned to the studio, Moses agreed to only
an annual contract. The same spring that Moses returned, Sosman & Landis Scene
Painting Studio was credited with scenery for the Redpath Chautauqua’s
production of “H. M. S. Pinafore.”
From the “Morrison Gazette,” 20 May 1920, page 4.
Annual Chautauqua events, or tent shows, were held in cities
across the country during the spring and summer, featuring programs with all
types of entertainment that ranged from popular Broadway shows and orchestra
concerts to magicians and lecturers. During its peak, some 12,000 communities
hosted a Chautauqua. The Redpath Chautauqua was massive circuit with hundreds
of shows and thousands of entertainers. Although there were many Chautauqua
agencies that contracted entertainers and lecturers, one of the most notable was
the Redpath agency.
From the “Watchman and Southron,” 24 April 1920, page 3.
The “Newberry Weekly” included a picture of the 1920 Redpath
Chautauqua production with the caption, “A feature of the coming Redpath Chautauqua
here will be the presentation of a complete production of the famous Gilbert
and Sullivan light opera ‘Pinafore,’ with special lighting and scenic effects,
the scenery having been built especially for the Redpath production by Sosman
& Landis, noted scenic artists of Chicago” (Newberry, South Carolina, May
4, 1920, page 3).
From the “Newberry Weekly,” Newberry, SC, 4 May 1920, page 3.
The “Bedford Daily” reported, “Three seasons ago the Redpath
management presented a complete production of ‘The Mikado; which was so
enthusiastically received that Chautauqua patrons have ever since been asking
for another Gilbert and Sullivan opera”(5 June 1920, page 2). “The Mikado”
production had also boasted scenery by Sosman & Landis. In 1917, a company
of thirty, selected in part from the Chicago Grand Opera Company, had performed
“The Mikado.” For more information about the Redpath Chautauqua Circuit and “The
Mikado” tour, see past post 967 (https://drypigment.net2020/04/21/tales-from-a-scenic-artist-and-scholar-part-967-the-redpath-chautauquas-mikado-1917/).
By 1920, Sosman & Landis contracts ran the gamut, from tent
shows to charity balls. Although Moses returned in April, he and his wife left
for a 40-day western vacation that summer. Of his trip, he wrote, “We left for
the West August 19th…Arrived home on September 28th,
having been gone forty days, it was certainly some trip… It took me a few days
before I was I the harness again, and working just the same as I did before I
left two years ago. Landis and I got out
after business within a few days after my arrival and succeeded in landing a
few good ones. I started to do some
painting but it did not last long, as I had too much other business to do. I found the conditions altogether different
from what I supposed them to be – too much overhead. It will be awfully hard to keep up the output
to balance it all I was very well pleased to learn that from September 1st,
we made a profit of $12,000.00 before January 1st. I am afraid we will use it all up before
spring.”
He would remain on annual contract. In 1921 wrote, “we had a
director’s meeting and it was settled that I remain at $8,000.00 a year.” The
monetary equivalent of an $8,000 annual salary in 1920 is approximately $103,000.00
today.
From August 9 to 24 I painted a grand teaser (border) and two grand tormentors (legs) at the University of Minnesota in Duluth for the Sanderson Arts Centre in Brantford, Ontario, Canada. The three pieces form a portal, reducing the proscenium opening from 50 feet wide to 25 feet wide for more intimate performances, with trim heights ranging from 14 feet to 18 feet. Although the design was finalized and all materials ordered in June, the project became delayed when the paint space became unavailable due to COVID-related concerns. At the beginning of August, the space was again available for my original timeframe, now only a week away. Everything shifted into high gear as I planned for an Aug. 9 start. The rental was only possible if I worked there completely solo and constantly wore a mask; so, the unloading of supplies, setting up the space, unfolding drops, snapping lines, and handling bending sticks was just me. Keep in mind that the sizes of the scenic pieces were 54’w x 12’h (teaser) and the two torms at 19’w x 20’h 9 (legs); still doable by a single person, but just unpleasant.
I left Minneapolis on Sunday, August 9 at 6:15AM in the morning. By 9AM I was unloading all of my supplies into the humid shop and jumped into the project. The days were a blur of 12-hr. to 14-hr. days. I finished the teaser on August 19 and the two torms on August 21. August 22 was a day for tweaking, with my final day in the space reserved for clean-up. The drops shipped on Monday, August 24. I returned to Minneapolis last night after my fifteen-day absence. In regard to the logistics of the project, the border was painted on the main stage floor and the legs on the motorized paint frame. Being able to paint all three pieces simultaneously was the plan, as I could shift from one piece to another, allowing for ample dry time. It also meant that I was able to shift position constantly, something that is incredibly helpful when physically doing a long stretch.
I can’t wait to see how to pieces look in place as this is a permanent installation. More later.
Design by Wendy Rae Waszut-Barrett for the teaser and tormentors.Painted teaser that is 12′ high by 54′ wide.Stage right tormentor that is 20′ high x 18′ wide.Stage left tormentor that is 20′ high x 18′ wide.Painted detail, stage-left tormentor.Painted detail, stage-left tormentor.Painted detail, stage-left tormentor.Painted detail, stage-left tormentor.Painted detail, stage-right tormentor.Painted detail, stage-right tormentor.Painted detail, stage-right tormentor.Painted detail, stage-right tormentor.Completed teaser.Painted detail from the teaser.Painted detail from the teaser.Painted detail from the teaser.Wendy Rae Waszut-Barrett in front of the completed teaser.
For the next two weeks, I am taking a break from my blog to complete an out-of-town painting project. I will return to posting on Aug. 24, 2020.
This spring I designed a permanent portal for the Sanderson Centre for the Performing Arts in Brantford, Ontario, Canada. The next two weeks will be spent painting the three pieces. Based on historical samples and color palettes, the drops are quite large, and intended to reduce the 50’ proscenium opening for more intimate performances. The top piece (Grand Border) measures 12’h x 54’w and will be painted down. The side pieces (Grand Tormentors), 20’h x 18’w, will be painted up, on a vertical frame. I will post the process photos upon completion.
Grand Border and Grand Tormentor design.Design detailPounces (patterns) for the project.
In 1920 Thomas G. Moses wrote, “Walter Moses went to
Colorado Springs in June to sketch and invited the Madam and I to call on him,
which we will do…We left for the West August 19th. As I have written the trip up very fully in
my travelogues, I will not repeat it here.
Arrived home on September 28th, having been gone forty days,
it was certainly some trip.”
Thomas G. Moses’ half-brother, Walter F. Moses.
Walter Farrington Moses (1874-1947) was his
half-brother, and a well-known American Landscape painter.
The Wikipedia entry for Walter notes the following: “After
studying at the School of the Art Institute of Chicago, he founded the Art
Craft Club of Chicago in 1916 and was art director of Vogue Studios. He was an
instructor at the Fashion School of Illustrating in Chicago. He was the
author-illustrator of Artistic Anatomy and managing director of the
California Art Club in 1922. A prolific plein air painter, his works are
infused with light and air and captured the unspoiled beauty of Southern
California of the 1920s and 1930s. He settled in Los Angeles in 1922 and
founded the Art Guild Academy in 1930 where he taught for many years. He lived
in Eagle Rock, California until his death on October 25, 1947. Moses signed his
paintings using various variations of his name, including Walter Farrington
Moses, Walter Farrington, W. Farrington, Farrington, Moses, Farrington
Moses, W.F. Moses and Walton. Here is a link to some of his work previously
sold at auction: https://www.invaluable.com/artist/moses-walter-farrington-kosq2fakok/sold-at-auction-prices/
Walter F. Moses’ book on anatomy.
Walter was the second of two sons born to Lucius Moses from
his second marriage to Adeline G. Moses (sometimes spelled Adaline). She was
eighteen years younger than Lucius, born on April 17, 1874. Walter primarily grew up in Chicago after his
parents left the small town of Sterling.
In Chicago, Lucius ran a grocery store. At the time Walter lived with
his father, mother, brother Kirke, and much older half-sister, who was an actress.
On June 7, 1899, Walter married Florence S. Babcock in
Kankakee, Illinois. The couple raised two children, Horace J. and Edith S. The 1910 census listed Walter as a commercial
artist, living in Kankakee. His mother
was living with them too at the age of 75.
There is so much information about Walter out there; really too
much to fit in a single post. On Oct. 15, 1916 Moses placed an ad in the
“Chicago Tribune.” The want ad noted, “ARTIST _ A firm in Toronto, Canada,
operating a complete publishing plants, desires the services of a high grade
designer – one who is capable of earning $75 a week; must have had experience
in preparation of dummies for catalogues, folders, etc. For further particulars
see MR. WALTER F. MOSES, Commercial Art School, 116 S. Michigan-av.” (Chicago
Tribune 15 Oct 1916, page 64).
Walter’s WWI Draft Registration card listed his occupation as
“Art Prop. School,” and his employer’s name as “Commercial Art School” at 116
S. Michigan Ave in Chicago. In 1918, his physical description noted that Walter
was short, of medium build, with brown eyes and gray hair. Walter was 44 years
old at the time. His residence was at 317 N. Humphrey St. in Oak Park, nine
blocks away from his older brother.
By 1919, Walter Moses placed an ad in the “Chicago Tribune:”
ARTIST.
Figure man, capable of doing commercial illustrating: $5,000
per year guaranteed, with opportunity of making $6,000 or $7,000; out of town
position, Apply to Walter F. Moses. Commercial Art School. 116 S. Michigan”
(Chicago Tribune, 23 Jan. 1919, page 20).
An example of the many Walter F. Moses paintings listed online from past sales
The 1920 census still listed Walter living in Oak Park and
working as a landscape artist. He and his older brother lived in the same area,
and both were well-known for their painted landscapes.
At the beginning of 1921, Thomas G. Moses wrote, “Walter
Moses called and we talked over our plans for the coming summer at Colorado
Springs and Manito, where we expect to clean up a fortune on small pictures
besides getting some sketches around Pike’s Peak.”
Later
in 1921, Thomas G. Moses wrote, “December 13th the Madam and I were on
our way to Kansas City where we put in a day, then on our way to Los Angeles
where we arrived early Saturday morning.
Spent the day with Walter Moses and family.”
After
working in Tacoma in 1922, Thomas G. Moses wrote, “On completion of our work,
we went to Oakland for a day’s visit with Walter and family, the we proceeded
on our way to Los Angeles.”
In
1924, Moses wrote, “I went over to see Walter and family. September 1st we went out on a
sketching trip and I certainly enjoyed it very much.. Had a delightful
Christmas day at Walters.”
By
1929, the “Los Angeles Times” reported that Walter Moses was teaching “short
cuts in business” for artists (27 Jan. 1929, page 64). The article announced, “Guild
Academy Offers Students Practical Aid in Learning Profession. An Unusually
interesting offer to students who wish to make commercia art their profession
is offered by the Art Guild Academy. Under this offer young artists are given
the privilege of testing their drawing ability without charge for the tuition.
The test includes life and illustrative drawing and creative subjects in art
fundamentals. After the test the students are frankly advised as to just what
their possibilities for us success are in commercial art. This development in
commercial art which is offered by the academy has been built and is personally
directed under Walter F. Moses. The Art Guild Academia is aware that this is a
commercial and industrial era and its entire curriculum is composed of subjects
for which there is demand. It’s training leads directly to the most desirable
branches of commercial art. The training of the academy appeals only to the
student who wishes to enter the field professionally. The course offers a
thorough study of the practical application of art in the commercial world. The
aim of the school is to fit students for commercial artists without serving
student apprenticeship. A feature of this course is that the lessons are all
illustrated and printed for the convenience of students who wish to do
additional work at home.”
In
1930, the Academy was still going strong. The “Los Angeles Times” reported,
“Training of young men and women for good positions in the practical commercial
art profession is the aim of the Art Guild Academy, 2405 West Sixth Street,
according Walter F. Moses, founder and principal of the institution” (26 Jan.
1930, page 55). One of Moses’ more successful students was Herb Schmidt
(Hi-Desert Star, Yucca Valley, California, 7 Jun 1978, page 20). He certainly made
his mark in the fine art world.
Walter
passed away on Oct. 25, 1947, thirteen years after his older brother Tom.
The
“Los Angeles Times” published his obituary on Oct. 28, 1947:
Walter
F. Moses
Funeral
Rites for Walter Farrington Moses, 72, landscape artist, of 5215 Rockland Ave.,
will be conducted at 10:30 a.m. today in the Wee Kirk o’ the Heather Forest
Lawn Memorial-Park. Mr. Moses died Saturday at Queen of Angels Hospital. He has
been a resident of Los Angeles since 1927, coming here from Chicago where he
founded the Commercial Art School. The artist established the Art Guild Academy
here. The artist leaves his widow, a son Horace, daughter, Mrs. Edith M. Wills,
and a brother.”
Walter F. Moses is buried at Forest Lawn Memorial Park in Glendale, California.
In 1920 Thomas G. Moses wrote, “Sister Lucia passed away on June 23rd, and I had about an hour to get ready to make the trip to Woonsocket, R.I., after a good deal of hard work. I got down and back very quickly. Frank and Pitt came over to the funeral. I went home with Pitt and remained overnight. Left on Sunday. Arrived in Chicago early Monday ready for a hustle.”
Gravestone of Lucia G. Moses Cook
In a 1932 letter to his son Pitt, Moses wrote, “While I hope to enjoy a few more years of painting, the sudden passing of Illie, Frank and Lucia has forced me to realize that I have only a few more years at the most and when I do pass out, I want to feel that my life has not been wasted, and my work will live on for many years after I am gone.”
Lucia but also kept a diary, an 85-page book that she
described as “My special occasions diary . . . a
record, not of every day’s trivial round, but the events in each year which
most express the general tenor of our lives.” She made entries from 1898
until the time of her death in 1920. Lucia is included in “A Guide to Women’s
Diaries in the Manuscript Collection of the Rhode Island Historical Society
Library,” edited by Rick Stattler. Her brother Tom is repeatedly mentioned in
some of the excerpts posted online.
Although I have written about it before, here is a little
background on the Moses family. Lucia was part of the first family, born to
Lucius Manlius Moses and Mary W. Titcomb Moses. After Mary’s death, he remarried
and fathered two more children with his second wife.
Capt. L. M. Moses was born in Great Falls, New Hampshire, in
1823. A sea captain and part owner in the ships that he sailed, he was the son
of a sailor -Theodore Bland Moses, a merchant marine. Capt. Moses’ last ship
was a bark built by William Hanscom in 1833.
Of the ship, Thomas Moses recorded, “The wonderful full rigged ship
‘Pactolus’ was handed over to another Master, much regretted by my Father, for
he loved saltwater and sailing. As I do
sketching and painting, I am afraid I inherited some of his roving
disposition.” The family sailed as far as east India, and as far south as Rio
de Janeiro. Both Lucia and Thomas Moses were born at sea. Moses’ diary records
that that his father was fortunate in the fact that he was allowed to bring his
family along on seas voyages. Life on the sea, however, was never without
tragedy. Two of the Moses’ children died while at sea, their first son Lucius
and their daughter Kate. The remaining
children were Lucia Gray (1854), Thomas Gibbs (1856), Frank Deming (1858), and
Illinois “Illie” Mary (1860). Capt. Moses then married his second wife, Adeline
(Adaline) Gowen, Fifteen years his junior, the family increased in size again,
with the births of Kirk W. and Walter D.
Moses.
Capt. Moses was a sea captain for twenty-two years. He left
the sea in 1859, selling his interests in the ships and moving his family inland. They headed west and eventually settled in small
town of Sterling, Illinois. The “Sterling Daily Gazette” reported Lucius Moses to
be “one of several old New England sea captains who settled in Whiteside
county” (Dec. 13, 1927, page 2). The newspaper article also recounted, “A
number of older residents of Sterling remember the Moses family. John Dundon’s
father sold his first residence here to Mr. Moses when the family came here, and Mr. Dundon went to school with the two
Moses boys and their sister, Grace Moses.” “Grace” Moses, was actually Lucia
Gray Moses, who went by “Gray” when she was young
I know that I have mentioned this before, but it is
extremely difficult to track down a woman’s history because their names are
constantly changing. It is like they disappear
when their name becomes erased and replaced with another. For example, when
Lucia Gray Moses married her husband, she did not just get a new last name;
that would have made it easy. At first,
she was listed as Mrs. Lucia Gray Cook, Mrs. Lucia G. Cook, and Mrs. L. G.
Cook.” Later the initial of her middle
name even changes; “G,” is replaced with “M” to signify her maiden name of
Moses – Mrs. Lucia M. Cook. In other
cases her entire birthname is completely dropped, and she is solely noted as
Mrs. Stephen R. Cook, or Mrs. Stephen Cook.
Now if you throw in a nickname, like Grace or Gray, it becomes even more
difficult. Or when an individual goes by their middle name, it is doubly hard. Even
my husband goes by his middle name, Andrew, and not first name, George. In
1870, Illie was listed by her middle name of “Mary,” and similarly, Lucia was
listed by her middle name, “Gray.” “Grace” was the name used by childhood
friends in Sterling.
In Sterling, Illinois, Capt. Lucius Moses established
Sterling Hide and Leather Shop with a partner. His business was a successful
one and eventually he owned sole interest in the company, also running a
tannery and harness shop. On Jan. 2, 1875, the “Sterling Gazette” advertised,
“There are two tanneries in the city, one owned by Captain L. M. Moses, both
doing good business) (page 2). He would
later move to Chicago and run a grocery store on Randolph Street. His second
family was raised in the windy city, a far different experience for his younger
sons Kirke and Walter.
Back to Lucia’s story… On Feb. 2, 1883, the “Boston Globe”
announced the marriage of Samuel P. Cook and Lucia G. Moses, “both of
Woonsocket” (page 3). The couple celebrated the birth of a son (Theodore P.) and
daughter (Gertrude N.) In 1900, Samuel Cook was employed as a bank cashier, and
the two children ages 14 and 15 were in school. By 1910, Cook was listed as a
banker.
The same year as her passing, Lucia was mentioned in “History
of the State of Rhode Island and Providence Plantations: Biographical” (NY: The
American Historical Society, Inc. 1920). She was part of the entry for her
husband:
“SAMUEL PENNY COOK — When a youth of eighteen years,
just out of high school, Samuel P. Cook entered the service of the Producers
National Bank of Woonsocket. That was nearly half a century ago, and from
the year of his admission, 1870, until the present, 1918, he has known no other
business home nor a greater business interest. This long term of service,
eleven years of which has been as president of the bank, coupled with the fact
that for a quarter of a century he was city treasurer, has given him a grasp of
matters financial and brought him so prominently before the people that his
opinions on finance carry the weight of authority. The radical changes made in
the banking laws during the past few years, although not at first cheerfully
accepted by the financiers of the country, and the problems presented were
approached by bankers with characteristic caution, but as their value became
apparent and their ability to meet national and international demands was
proven, all doubt vanished and the splendid response made by national banks and
bankers to the enormous demands made upon their financial resources and upon
their patriotism is the best answer to any criticism of either American banking
laws or upon the patriotism and good faith of American bankers. No
business has been called upon for greater sacrifice during these years of
national stress and storm, and the best thought of the financial world has lent
itself to the solution of the war’s financial problems. As executive head
of Woonsocket’s leading bank, Mr. Cook has borne his part in carrying the
financial burden imposed upon this city and has as well ably fulfilled his
obligations to those who look to the Producers Bank as their source of
financial supply…Samuel P. Cook, son of Ariel Lindsey and Mary Harris
(Phillips) Cook, was born in Albion, Rhode Island, July 20, 1852. He
attended graded and high schools of Woonsocket until 1870, then entered the
employ of the Producers’ National Bank of Woonsocket, that bank having a
savings department bearing the same name. He developed unusual banking
ability, and in 1885 was elected cashier of the Producers National Bank and
treasurer of the Producers Savings Bank. He held that office until
January 14, 1907, when he was elected president of the Producers National Bank,
his present high and responsible office. He is a thoroughly capable
financier, learned in the law of national finance as applied to banking,
conservative yet not timid, ready at all times to trust his judgment in
financial matters. For twenty-five years he was treasurer of the city of
Woonsocket and his business interests in the city are not inconsiderable. Mr.
Cook is a member of the State Banking Association and of other societies,
financial in their scope, is a Republican in politics, and an attendant at the
First Universalist Church, his club the Squantum Association. He holds
all degrees of York Rite Masonry, belonging to Morning Star Lodge, Free and
Accepted Masons; Union Chapter, Royal Arch Masons, and Woonsocket Commandery,
Knights Templar. He is interested in the welfare of his adopted city and
is generous in his support of all worthy aims.
Mr. Cook married, in 1883, Lucia G. Moses, and they are the
parents of Theodore Phillips, born in Woonsocket, August 7, 1884, now receiving
teller of the Producers National Bank, and a daughter, Gertrude Nourse, born
April 15, 1886.” Here is the link: http://sites.rootsweb.com/~rigenweb/articles/125.html
As I mentioned earlier, Lucia also kept a diary. She is
included “A Guide to Women’s Diaries” in the Manuscript Collection of the Rhode
Island Historical Society Library (https://www.rihs.org/mssinv/WomenGuide.htm#Intro).
The document was originally compiled for a University
of Rhode Island seminar in women’s history with Dr. Sharon Strom, April 1997. It
was greatly expanded with the help of Rhode Island Historical Society staff and
volunteers, June 2004.
Here is the full entry for Thomas G. Moses’ sister, Lucia:
Notes on the Lucia G. (Moses) Cook Diaries
Entries dated 1898 to 1920
Biographical:
Name at birth:
Moses, Lucia Gray
Name
after marriage: Cook, Lucia G. (Moses)
Birthdate and place:
Circa 1854, at sea
Death date and
place: Between 1920 and 1928
Age range during
diary: 44 – 65
Residence during
diary: Woonsocket, RI
Places written:
Woonsocket; Digby, Nova Scotia.
Biographical
note: Raised in New Hampshire, married a Woonsocket banker, and raised two
children there.
Ethnicity: Yankee
Social class:
Upper-middle
Background
and comments:
Number of
volumes: 1
Number of pages:
85
Exact dates:
September 23 1898 to January 1 1920
Frequency of
entries: Very irregular – perhaps two or three entries per year.
How was author
identified?: Label on front cover
Brief
description: Describes the diary herself as “My special occasions diary .
. . a record, not of every day’s trivial round, but the events in each year
which most express the general tenor of our lives.” Most entries are
retrospective, covering the events of the past several months.
Writing quality:
Generally good, although the handwriting is somewhat difficult.
Related papers at
RIHS: Letter written by Lucia to her grandmother, 1868, inserted in diary.
Family
members:
Father’s name:
Moses, Lucius M.
Father’s
occupation: Ship captain, born New Hampshire, died Chicago. Married 2nd:
Adeline Gower.
Mother’s name:
Titcomb, Mary W.
Mother’s dates:
1825-1861
Brothers: Thomas
G. Moses (1856-), Frank D. Moses (1858-), Kirke W. Moses (1871-) (half-brother),
Walter F. Moses (1874- ) (half-brother)
Sisters: Illinois
Mary (according to genealogy)
Husband’s name:
Cook, Samuel P.
Husband’s dates:
1852-1928
Husband’s
occupation: President, Producers National Bank of Woonsocket
Marriage date and
place: January 31 1883, Boston
Father-in-law’s
name: Cook, Ariel L.
Father-in-law’s
dates: 1823-1886
Mother-in-law’s
name: Phillips, Mary H.
Mother-in-law’s
dates: d.1917
Sons: Theodore
Phillips Cook (1884-)
Daughters:
Gertrude N. Cook (1886-, m. Smith?)
Topical
content:
Events discussed:
“On this day the awful world war ended, peace was declared! Banks,
schools, mills, shops closed, and a joyous pandemonium reigned all day! The
awful strain ended. Everyone relaxed!” [11/11/1918]
Social life: On
12/31/1910, “I gave a tea, to which I invited 204 people! Every morning, I
was up at five, writing my invitations, and arranging my house. I had a caterer
from Providence, and Raia the harpist… People were kind enough to say the
affair was a great success.” [4/1910]
Family: On
Christmas, “Cousin Theodore was an unexpected but welcome guest… Cousin
Theodore spent a week, and left us, as he always does, the richer for the
visit, for his outlook on life is broad and uplifting.” [12/25/1898]
“I sat before the blazing open fire and read a bundle of my mother’s
letter, which Tom sent me. They were written fifty years ago, and I am selfish
enough to wish they were going to be mine.” [1/1903] Trouble with mother-in-law:
“Mrs. Cook came to make her home with us… Right after X-Mas we began
doing over what was my maid’s room for a room for Mrs. Cook…. The winter from
then on was hell, no less. My children will know this and if this
record falls into other hands I do not care… Mrs. Cook never liked me, and it
is the irony of fate that she should have to end her days with me – only I am
convinced that I should go first. But one lives through a great deal!”
[10/1909] “Mrs. Cook spent the month with Ida Lord. For this relief, much
thanks.” [1/1915] Death of mother-in-law on 2/26/1917 [4/12/1917].
Childhood:
“Theodore and Gertrude were the best-looking children there – the best –
but if they only fulfill the promise of their youth!” [9/13/1903]
Marriage:
“My twenty-fifth wedding anniversary! Does anyone who has had a happy
married life ever realize how the years slip away like summer clouds!”
[1/31/1908]
Health: Lengthy
description of diseased glands under daughter’s arm (possibly caused by
vaccination) which resisted three operations and took several months to heal,
interrupting her freshman year of college. [5/1905]
School: “In
August Sam and I decided after grave deliberation to send Theodore to
Phillips-Exeter. our chief reason being his lack of self-reliance.”
[11/1901] Sends daughter Gertrude to Wellesley College so she can continue her
music studies with Mrs. Hamilton. [9/1904] Theodore’s graduation from Exeter
“the very happiest week of my life.” [5/1905] Daughter graduates from
Wellesley. [4/1911]
Class relations:
Trouble with an inexperienced servant: “I had under my elastic roof at one
time Tom and Ella, Louise Greene, Horace Holden. Then Ernest Greene and Louise
visited me, and they made the welkin ring. It was very hot, and I had a green
Norwegian, but I somehow managed.” [6/1906] “The first of November,
the axe fell. Mary Dooley, after living here three years, and serving good
meals, garnished by a bad temper and lies, departed to live at the Donahoes and
cook. With her went domestic peace. From the first of November until the first
of June a procession of imbeciles, idiots and incompetents passed through my
kitchen – seven in all. Most of the time I was my own chief cook and bottle
washer.” [9/1912] “In May I made my usual visit to Dover: when I
returned Polish Sofie gave her notice to earn $25 a week in a factory!”
[11/11/1918]
Travel: Circa May
1898, “I began to agitate the question of Sam’s going to England. After
his many years of faithful service in the bank he badly needed a change of
thought and scene. He needed a great deal of persuasion before he could be
induced to go.” [9/23/1898] Visits Ogunquit Beach in Maine 8/1900
[11/1900]. Spends a few weeks in Digby, Nova Scotia at second family home
called “Bleakside” late each summer.
Geographical and
architectural: “We had our first X-Mas celebration in the new house.”
[12/25/1898] “Every year I realize more and more that, though
transplanted, my roots are deep in New Hampshire soil.” [7/1901] Describes
minor house renovations. [5/1902]
Cataloging
information:
Catalog number:
MSS 9001-C
Collection title:
Lucia G. (Moses) Cook Diaries
Location
within the collection:
Size: 10″ x
8″
Condition:
Excellent
Graphic
content: 1920 photograph of Nova Scotia home after final entry.
Provenance: 2002.
43. 2, gift of L.H. Strickland
Cataloged
by Rick Stattler, July 2002
Bibliography:
Moses,
Zebina. Historical Sketches of John Moses of Plymouth…, 219.
Hartford: Casey, Lockwood & Brainard, 1890
Woonsocket
directories, 1920-1928
1920
U.S. Census, Rhode Island E.D. 336, page 11
Subject headings:
Nova
Scotia – Description and travel
Woonsocket,
R.I. – Social life and customs
If you
happen to visit, Lucia’s diary is in MSS 9001-C Box 12.
In 1920 Thomas G. Moses wrote, “Early in June I went to Fox
Lake to see about tearing down the club houses and moving them to another place…
I go up to Fox Lake every Saturday, looking after the house and I hope to complete
it on time.”
The Palette & Chisel Club House at Fox Lake.
Moses was back at Sosman & Landis after two tumultuous
years of working for New York Studios and Chicago Studios. He was constantly suffering from headaches
much of the time and had all but six teeth extracted. Yet he made time to visit
and work on the Palette & Chisel Club’s house on Fox Lake. In two years, he
would lose interest and begin focusing on the west coast.
In 1904, Moses became a member of the Salmagundi Club in New
York, sponsored by R. M. Shurtleff. Moses
joined the Palette & Chisel Club when he was 50 years old in 1906.
Founded in 1895, the Palette & Chisel Club was an
association of artists and craftsmen for the purpose of work and study. The
organization’s members were reported to be “all wage-workers, busy during the
week with pencil, brush or chisel, doing work to please other people” (Inland
Printer, 1896). But on Sunday mornings, they assembled for five hours to paint
for themselves.
In 1905, the members of the Palette and Chisel Club
established a seasonal camp at Fox Lake, Illinois.
In 1906 Moses wrote, “I joined the Palette and Chisel Club
at the Chicago Society of Artists. I
don’t know why, as I had so little time to give to pictures, but I live in
hopes of doing something someday, that is what I have lived on for years, Hope,
and how little we realize from our dreams of hope. As the years roll by, I think one’s whole
life is one continuous dream, unless we are wonderfully gifted and fame drops
on us while we sleep.”
The year that Moses joined the Palette and Chisel Club, the
group consisted of sixty local painters, illustrators, and sculptors. The
Chicago Tribune reported that it was “primarily a working club, being the
oldest organization in the west” (Chicago Tribune, 6 Jan. 1906, page 2). That
year, the club’s new enterprise was the maintenance of a permanent exhibition
in the clubrooms on the seventh floor of the Athenæum building.
In the beginning it was quite rustic. Of the camping
experience, Moses wrote, “June 1st, I made my first trip to the
Palette and Chisel Club camp at Fox Lake, Ill.
Helped to put up the tent. A new
experience for me, but I enjoyed it. I
slept well on a cot. Made a few
sketches. A very interesting place. I don’t like the cooking in the tent and
there should be a floor in the tent. I
saw a great many improvements that could be made in the outfit and I started
something very soon.” The Palette and Chisel Club camp drew a variety of
artists during the summer months. An
artistic community was formed along the shores of Fox Lake, providing a haven
far away from the hustle and bustle of work in Chicago. There were many Sosman
& Landis employees who also became members of the Palette & Chisel
Club, escaping to Fox Lake whenever they could.
In 1908, Moses wrote, “I bought the portable house that we
built years ago and at that time we received $300.00 for it. I finally got it for $50.00, some
bargain. It cost $25.00 to remove it and
we will put it up at Fox Lake in the Spring.
It has been used in Forest Park all summer to show “The Day in the
Alps.”
By 1909, Moses wrote, “As we had
put up the portable house in Fox Lake, I was better contented to go up. I gave the camp a portable kitchen and it was
some class. I felt sure I would manage
to get a camp outfit worth while and the boys all fell in line with me.” Moses
enjoyed his scenic retreats to Fox Lake, escaping from the hard grind of the
studio whenever he could during the summer. He painted numerous landscapes of
Fox Lake and the Palette & Chisel camp house over the years, including on that
I own from 1909. “
Painting of Fox Lake by Thomas G. Moses. Back side. Painting of Fox Lake by Thomas G. Moses.
In 1910, Moses wrote, “Fox Lake
appealed to me all summer. I went up as
much as possible and made good use of my time.
How I wished in vain for time and money to spend all summer
sketching. I know I could do something
worthwhile.” Regardless of his own opinion, Moses was making progress in the
eyes of Palette and Chisel Club members. By 1912 the Palette and Chisel Club
honored Thomas G. Moses by giving him a big dinner and a new nickname – “Uncle
Tom” of the Club.
By 1913, Moses was still
spending time at Fox Lake, writing, “I enjoyed the summer at Fox Lake, as the
motorboat kept us busy and I enjoyed the water.
I also did quite a number of sketches, a few very good, balance rather
doubtful.” That same year, he wrote,
“The Palette and Chisel Club boys wanted me to give an exhibit at the
club. I always refused, claiming that I
am not in the picture game, and paint pictures for pleasure only. September 3rd, a committee came to
the house and insisted on going to the studio, I had over three hundred
pictures in the studio; some very good but the other 275 were not as good, but
the boys seemed to think I had at least 250 good ones, which was quite
flattering.” That year, Moses also commented, “The Palette and Chisel Club were
anxious to buy a lot near the lake, but we found it would cost too much.” Yet
the search for a new home continued the following year.
In 1914, Moses wrote, “Early in
April a number of Palette and Chisel Club boys, including myself, went to Fox
Lake to look for a new site. We didn’t
find anything worthwhile, so we will remain where we are for another season… Miss
Maude Oliver, Art Critic of the Herald, wanted to see the animals fed and
housed, so she went to Fox Lake to the camp.
She requested that we all act perfectly natural and not put on any
frills and do nothing out of the ordinary to entertain her. I never saw a bunch act worse. It was awful.
I think she got plenty of local color and artistic atmosphere for her
article in the Sunday Herald the next week – convinced me that she had drunk a
glass full of camp life…I am not very regular at Fox Lake this year and I miss
sketching. I also miss my rocks and
running brooks. I have to go some
distance for that kind of a motive.”
By 1915, Moses commented about
the Palette and Chisel Club’s new site on Fox Lake, “April 17th a
crowd of us went to Fox Lake and took down the old house and moved it to our
new site south of the track on a very high hill, overlooking Pistakee Bay. Got the carpenter and lumberyard men together
and we arranged for credit and ordered the material for a new house 22 x 50, was
soon ready for members. We certainly got
great sport in assisting the carpenter.
Pretty hard work for an artist, but they all did very well.”
The next few years include only
a few sporadic entries in Moses’ memoirs. In 1917, Moses wrote, “I went to Fox
Lake on Decoration Day, official opening.
I had a new cot sent up and it was certainly and improvement over the
old one. I actually rest now and enjoy
going up.” In 1918, Moses wrote, “I have not been out to Fox Lake this year,
the first I have missed in twelve years.
The business is in such an upset condition that I felt I should stick to
it.” In 1919, Moses and his son Rupert made several trips to Fox Lake where he
made a few sketches. He wrote, “It is
very nice to make the trip in a car, as we made it in three hours. The roads were not any too good.”
By 1922, Moses wrote, “I made one trip to Fox Lake
Camp. It is not the same, and I am very
sorry to say that I have lost interest in it, besides I feel that all the good
sketching had been worked to death.” He did not write about Fox Lake again.
In 1920 Thomas G. Moses wrote, “June and July found us tied
up with a lot of repaint stuff for the Junior Orpheum, all over the country,
and there was some awful stuff sent in to be repainted, while there was some
that was really good.” Junior Orpheum theaters were the Orpheum Circuit’s
“popular-priced” vaudeville houses.
There are a few things to consider about Moses’ diary entry.
The first is that stage settings were never meant to last. Repainting backdrops
and flats were a common occurrence when theaters could not afford to purchase a
new scene, or entire stock scenery collection. Due to the nature of the paints,
the scenery did not just receive another coat of paint. The tempera paint was
scrubbed down, effectively removed to leave a slightly stained piece of fabric
that was ready for a new coat of paint.
Painted scenery was a major investment for any performance venue
at the time. Scenic studio catalogues even offered the refurbishing of old
flats and fabric as an alternative to purchasing new. From 1889 to 1894, Sosman
& Landis catalogues included a “Special Notice.” The section noted, “When
there is already a stock of Scenery on the stage, and it is desired to add some
new scenes and wings, we can easily make them to fit the frames of present
scenery, and they may be mounted on the backs of other ‘flats’ and ‘wings.’ We
can do this work for you much better, and we think cheaper than you can have an
artist do it on stage, and it will save you considerable trouble. If you intend
putting any new Scenery this coming season, we hope we will hear from you, and
we will try and make it to your interest to at least give us a trial order.” At
the time, the firm advertised they had already supplied 1700 opera house,
theaters and halls in the United States and Canada with stock scenery. By 1894,
Sosman & Landis catalogues announced, “Over 4,000 places of amusement are
to-day using scenery made by our firm.” By 1904, it was close to 6,000.
The Junior Orpheum Circuit was just one more client who opted
to repaint existing stock scenery collections for upcoming touring shows and a
variety of vaudeville acts.
Of the Junior Orpheum Circuit, the “Los Angeles Evening
Express” interviewed Martin Beck, managing director of the Orpheum Circuit on
April 9, 1920 (page 29). He explained the theater chain in seven cities that
will be grouped under the name of the “Junior Orpheum” circuit. In the
interview Beck stated, “In naming the theaters that are to make up the Junior
Orpheum circuit, we intend calling them after the intersecting streets on which
they are located. Thus, in Kansas City we have named that theater the
Fourteenth-Main, and the one in Minneapolis has been called the Ninth-Hennepin.
The Los Angeles theater will be known as the Hill and the name of the other
street on which it will be situated. It is impossible to give the exact
location of the Los Angeles theater at the present time, as the full title of
the property has not been acquired.”
Mort H. Singer was the manager of the Orpheum Circuit. He
explained, “By the establishment of the Junior Orpheum we will be able to book
more and better material for the regular Orpheum system of theaters which has
always been far above the best of any vaudeville circuit. Contract will be made
for an entire year, and the acts will play first the regular Orpheum Circuit
and then double back on the Junior Orpheum circuit, thus maintaining the same
high-class performance on the Junior circuit and in the regular Orpheum
theater. There will be no reserved seats in the Junior Orpheum theaters, and
the admission charged will be at popular process. Patrons will be assured of
more than three hours of high-class entertainment.” This reminded my of second
run dollar theaters; same show, a little later, and a lot cheaper. Really quite brilliant from a business sense.
You are able to extend the run of a show, and have a secondary venue simply
based on volume.
Moses had previously worked with both Beck and Singer, so
the Junior Orpheum selecting Sosman & Landis to refurbish all of their existing
stock scenery is not a surprise at all.
In 1920 Thomas G. Moses wrote, “In May I went to Rock Island
to make a sketch for the old Block House on the island. Had to get a permit. I enjoyed myself immensely.” At the time, the
“old Block House” was only four years old; a replica constructed in 1916.
Historic postcard of the Rock Island Block House for sale online.
Moses was referring to the Block House at Fort Armstrong on Rock
Island. Located on the Mississippi River, the Fort Armstrong was erected as one
of the many frontier defenses after the War of 1812. The construction of the fort began on May 10,
1816 and was intended to establish a military presence to dissuade French and
English Canadians from settling the territory. Ironically, this was part of the
Americans settling land inhabited by the Sauk, native Americans of the region.
A century later, in 1916, a replica of the three-story block
house was built. This was the structure that Moses sketched in 1920.
That same year, H. H Cleaveland announced plans to build a
new hotel and social center on the island. The Fort Armstrong Hotel Co. was
formed and plans to raise money for the endeavor. It took a while, but investors
finally raised $451,000 and construction commenced March 17, 1925. The area has
remained a popular tourist attraction over the decades.
In 1920 Thomas G. Moses wrote, “In May I went to Rock Island to make a sketch for the old Block House on the island. Had to get a permit. I enjoyed myself immensely. Saw all the old places, also had a visit with Charlie Kindt.” This was the year before Kindt retired at the age of 58. Charlie was the son of German immigrant and well-known panorama painter Louis Kindt (1832-1923). For more information about the artistic career of Louis Kindt, visit http://www.wisconsinart.org/archives/artist/louis-kindt/profile-1809.aspx
The
1920 US Federal Census lists Charles T. Kindt as a 57 yrs. old theatre manager,
living at 120 17th St, in Davenport, Iowa. Kindt was living with his
wife, Helena. Daughters, Helena (age 28) and Julia (age 30) were also living
with them, as well as their grandsons Stoddard and Kindt Fields. At the time,
Kindt was manager for the Burtis Opera House. In 1921, the famous opera house would
be gutted by fire. The 1600-seat venue was originally constructed by J. J.
Burtis in 1867. Kindt began managing the theater in 1890. Of the tragedy, “The
Daily Times” reported, “Mr. Kindt lives in the Perry apartments next to the
opera house and was one of the first to be notified of the fire. He and Mrs.
Kindt and their daughter Julia, dressed and were among the first on the scene.
Mr. Kindt remained on the scene for three hours watching the fames and talking
to friends, who extended their sympathy. He took his loss philosophically, no
losing any of his joviality, which characterizes him. ‘Yes, there have been
some great people who have played on the old Burtis stage,’ he reminisced. ‘Many
before my time and many since I took over the management. There’s not any
salvage in the building. I guess it’s a totals loss. But what’s the use of
hollering about it? It’s not going to do any good.’ …Scores of autographed
photographs, presents from friends in the theatrical world, were destroyed or
badly damaged. Mr. Kindt is unable to say what his future plans will be. He has
been negotiating for some time a new theater and it may be the fire will hasten
such plans” (26 April 1921, page 2).
The Burtis Opera House was destroyed by fire in 1921. Thomas G. Moses visited Charles Kindt in 1920 and 1922. Article from “The Daily Times,” 26 April 1921, pages 1- 2.The Burtis Opera House after the fire, from “The Daily Times,” 26 April 1921, pages 1- 2.
In
1922, Moses wrote, “I met my old friend Chas. Kindt in Davenport. He is manager for the Thos. Cusock Company,
on the site of the old Burtis Opera House.”
Charles Kindt also started out as a scenic artist like his father, but soon transitioned to theatre management by the age of 25, in 1888. Kindt married Helen “Nellie” Stoddard in Chicago on March 22, 1882. By 1888, Kindt was acting as assistant manager for the Turner Opera House in Davenport, Iowa (The Morning Democrat, 17 July 1888, page 4). He was working with manager Charles Becker. By 1889, Kindt became manager of Davenport’s Grand Opera House. In 1890 he was manager of the Burtis Opera House.
Charles T. Kindt listed as manager of the Burtis Opera House. From the “Daily Leader,” Davenport, Iowa, Sept.13, 1893, page 4.
A year later, Chamberlin, Kindt & Co, was formed, and the firm began managing the Burtis Opera House (Quad City Times, 10 Dec. 1906, page 10). The firm continued to expand, controlling over 25 theatres on the Illinois-Iowa circuit. Their theatres were located in Marshalltown, Rock Island, Ft. Madison, Burlington, Oskaloosa, Davenport, Galesburg, Monmouth, Muscatine, Rockford, Grinnell, Keokuk, Kewanee, Creston, Sedalia, Quincy, Peoria, Boone, Joliet, Elgin, Waterloo. Chamberlain passed away by the end of the 1906, a severe blow to Kindt and the company. That same month J. R. Lane, C.T. Kindt and Isaac Deutsch purchased the Burtis property, consisting of the Burtis Opera House and Kimball House for $55,000 (The Dispatch, Moline, Illinois, 13 Dec 1906, page 4).
In 1906, F. W. Chamberlin &
Charles T. Kindt purchased and remodeled the Burtis theater. Sosman &
Landis delivered new scenery to the renovated stage. If Kindt did not know
Moses from the Chicago scenic art scene, he would have met him at the Burtis. Of
the Burtis Opera Houses 1906 renovation “The Daily Times” reported, “The theater
will be completely remodeled from stage to foyer” (Davenport, Iowa, 16 March
1906, page 6). Manager Kindt, was quoted as stating, “The Burtis will be
completely remodeled. In fact, when it is improved, it will be practically a
new theatre. Everything that is in it will be removed, and it will be fitted up
in modern shape throughout” (The Daily Times, 24 March 1906, page 12).
Kindt passed away in 1947. His obituary reported, “Charles
T. Kindt, 86, a veteran Davenport theater operator and a partner in the old
Chamberlin-Kindt Theater corporation, which operated theaters in Moline and
other cities, died at 3:40 yesterday in Mercy hospital, He had been ill for
some time. Mr. Kindt was the first exalted ruler of the Davenport Elks’ lodge…Mr.
Kindt was best known as the owner and operator of the old Burtis theater. He
had not been in active business since 1921. Mr. Kindt, who lived at 1104 River
drive, Bettendorf, was active in Bettendorf civic affairs many years. At one
time he was president of the Bettendorf Chamber of Commerce. He was born in
Sandusky, O., on March 28, 1861, and was reared in Chicago. Mr. Kindt became
acquainted with the theater business through his father Louis Kindt, and became
a scenery painter in Chicago. He came to Davenport in 1888 on a contract to
paint scenery for the Grand Opera house there. Later he became manager of that
opera house and in a few years became manager of a second opera house in
Davenport. He formed the Chamberlin-Kindt partnership, which operated a chain
of 51 theaters in the middlewest. An organizer of the Elks’ lodge home in
Davenport, Mr. Kindt was the only surviving charter member. He married Helen
Stoddard in Chicago March 22, 1890. She died in 1937. Surviving are a son, C.
Roy Kindt of Davenport; two daughters, including Mrs. John A. Martinelli of
Davenport; a brother; three sisters, including Mrs. Julia Donald, of Davenport;
11 grandchildren and seven great-grandchildren” (The Dispatch, 11 July 19487,
page 20).
From “The Dispatch,” Moline, Illinois, 11 July 1947, page 20.
In 1920 Thomas G. Moses wrote, “Marshall also closed up a
contract with the Ascher Brothers, so we have plenty of business.”
Fred Marshall was a scenic artist and salesman who would
later represent the United Scenic Artists’ Association of New York City. Born in
Woodridge, New Jersey, on March 24, 1895, he was the son of Louisiana native
and mural artist, Frederick Marshall, Sr. (b. 1851).
Marshall was first mentioned in
Moses’ memoirs in 1918. When Moses resigned as President of the Sosman and
Landis Company on Sept. 1, 1918, he joined New York Studios. Moses fully expected
to get a studio and an office to do business as part of the contract, but
finding space was an unending problem. Moses
wrote, “Marshall of the New York Studios and I had to hustle out for a
studio. Got an office in the Consumers
Building. I did two borders for the
Chateau Theatre at the old place. We
tried very hard to buy out the old place, but they want too much money. I was willing to make a big reduction on my
claim, but it was no use. We have to
find a studio.” He worked closely with Marshall in 1918 and again in 1920. Unfortunately,
Moses would only last with New York Studios for a year before signing another
contract with Chicago Studios.
Marshall became a real mover and shaker in the world of
American scenic art world. However, in
1920, he was a young man of young man of 25 working as a studio salesman. The
contract that he landed that year was with Ascher Bros., managers of the Ascher
Theatres chain. In 1920, Ascher Theatres
included the Oakland Square Theatre, Metropolitan Theatre, Frolic Theatre,
Columbus Theatre, Peerless Theatre, Kenwood Theatre, Chateau Theatre, Lakeside
Theatre, Terminal Theatre, Albany Park Theatre, Adelphi Theatre, Calo Theatre,
Milford Theatre, Lane Court Theatre, Midway Theatre (Chicago Eagle, 6 March
1920, page 9).
On Nov. 6, 1920, the “Post-Crescent” reported of a new theater
in Manitowoc – the Capitol (Appleton, Wisconsin, page 7): “The new Capitol
theater being built by George Bros. Co. upon its completion will be leased to
Ascher Bros., well known lessees of vaudeville and motion picture houses of
Chicago. This was announced following a visit to Manitowoc of Lewis P.
Newhafer, general manager of Ascher Bros., and J. J. Cotter, mechanical expert
who conferred with the builders. The theater will be opened the latter part of
December. It will be used as a movie, as well as a legitimate playhouse. George
Bros. are spending $200,000 on the venture.” I think that this is the contract
that Marshall landed that year.
Aschers Capitol Theatre in Manitowoc, Wisconsin.Aschers Capitol Theatre in Manitowoc, Wisconsin.Aschers Capitol Theatre in Manitowoc, Wisconsin.
The George Bros. would have been responsible for the
construction of the building, but not the scenery on stage; that would have been
the responsibility of the lessees – the Ascher Bros. Therefore, Marshall would
have negotiated the scenery for the Capitol in 1920, meaning that Sosman &
Landis delivered the scenery to Manitowoc.
I even photographed some snippets of the original scenery,
tucked away in the nooks and crannies; high quality stuff. What a small world.
Extant flat at the Capitol Theatre in Manitowoc, Wisconsin.Painted detail Extant flat at the Capitol Theatre in Manitowoc, Wisconsin.Painted detail. Extant flat at the Capitol Theatre in Manitowoc, Wisconsin.Painted detail. Extant flat at the Capitol Theatre in Manitowoc, Wisconsin.
