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Copyright © 2020 by Wendy Waszut-Barrett

Sosman & Landis were still waiting for the final payments related to government cantonment theater work in January 1918. In 1917, Thomas G. Moses wrote, “We closed a contract with H. Robert Law of New York City for a lot of scenery for the Government Cantonment Theatres.  First contract was $12,600.00, second $3,600.00, and third $980.00 for installing one job.  All to be completed November 7^th – some hustling.  I went down to the studio on five Sundays – something I haven’t done in fifteen years, and every night until 8:30.  Some of the boys slept in the studio.  Everyone hustled.  We completed the work on the day set and inside of a week it was all out of the studio.” This was a project to help the war effort; a big one that brought in $17,180 in a short period of time. That is the monetary equivalent of $364,438.00 today; no small project.

On January 3, Moses left Akron, Ohio, and headed to New York City, where he planned to “settle up with the Government work with Law.”  Of the trip between Akron and New York, Moses wrote, “All day a cold car.  The first time I ever had to keep my overcoat on in a sleeping car.  Very cold all night – no lights in the car, everything was frozen.  Nine hours late.  After leaving Philadelphia, we passed a bad wreck.  A passenger train had run into another one standing on the side track.  The engine had plowed through the rear coach, which happened to be a “dead head.” No one in it.  The coach settled down on the engine, covering it completely.  Strange to say, no one was badly hurt.  Transacted my business in one day.” Unfortunately, the trip was not a success.  Sosman & Landis would have to send another representative to New York later that year to collect the final payment. Of this second trip, Moses wrote, “Lester Landis went to New York and finally got a settlement with Law for our government work.  It has cost us a good bit to get it settled.”

This becomes a reoccurring theme in the final years of Sosman & Landis, one that directly contributes to the eventual closure of the firm.

At the end of 1917, Moses wrote, “The greatest handicap to a profit sharing business is procrastination among the managers.  The eleventh hour idea of getting scenery, we can either take it, or work night and day to get it out on a close margin, or let it alone and allow someone else to creep in and steal our business.” This represented one hardship the firm was repeatedly encountering. Add on collecting funds on projects with a “close margin,” such as the Law project.  It took two trips to New York, sending a Sosman & Landis representative to meet with Law in person to collect the owed funds. Two trips, with train fare, lodging expense and meals, plus the loss of time on other projects to collect money for completed work.  I then look at the career of H. Robert Law, who was in and out of courts for much of his career, also trying to collect payment for his work (see past post #962). What a mess.

The theatre industry, like any other business, is based on trust; the understanding that you will be paid for your work as identified in contractual agreements.  Unfortunately, that is not always the case. Many of us have weighed the options when trying to collect money from clients for completed work. For Sosman & Landis in 1918, additional project-related expenses included two trips to New York and the loss of time.  Much remains unknown about the work contracted with H. Robert Law Studios in 1917.  It is possible that Sosman & Landis were simply subcontractors to Law, and he was also waiting for payment from the US government. 

The point of this tale in the big picture for the studio is money owed for completed work. The delayed payment in 1918 did not cause Sosman & Landis to crumble in the same way that might have been the case with a smaller firm. However, it did leave a mark, and those marks turned into a major scar. A series of projects with delays and non-payments eventually took a toll on the studio.  Keep in mind that Sosman & Landis financed the stage portions of many Scottish Rite theater projects for almost two decades – 1/3 upon delivery, 1/3 a year later and the final 1/3 a year after that. That work made up approximately 25% of all projects for twenty years. I the end, Sosman & Landis had consistent difficulties in collecting the final payment from many Scottish Rite Valleys; this was well after the client had received the contracted goods in their entirety.  The continued absence of money owed added up in the end. It became the perfect storm to cause a studio’s downfall. This occurred at the same time that demand for painted scenery began to diminish. And in the midst of these difficulties, studio founder Joseph S. Sosman passed away and a series of internal struggles began. Times were certainly changing for the major theatrical supplier. 

 To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918, Thomas G. Moses wrote, “The new St. Edmond’s Parochial School within two blocks of our home needed scenery, so I got a little line from one of the Parishioners.  Met Father Code and he was willing to spend $600.00, but wanted a figure curtain.  I had a fine wood cut of “The Landing of Columbus” which he selected, and we were very successful in getting a very good curtain.  He was well pleased with it.” Moses was referring to Rev. Msgr. John J. Code of St. Edmund, the first Catholic Parish in Oak Park, Illinois.  St. Edmund’s Catholic School opened in the fall of 1917 and operated until 2016.

Code was appointed by Archbishop James Quigley to organize the Oak Park church, serving from June 1907 until October 1956. Father Code made plans to construct a school on the corner of Oak Park Avenue and Pleasant Street in Oak Park and selected architect Henry J. Schlaks. Schlaks designed the new school after the Palace of Justice in Rouen, France.

The cornerstone for St. Edmund’s school was laid on May 20, 1917, with dedication ceremonies on October 14 of that year. The original structure had five classrooms, one of which housed the nuns; the Dominican Sisters from Adrian, Michigan were the instructors. A convent was later purchased for the nuns on the southwest corner of Euclid and Pleasant Street. Over time the school expanded to 17 classrooms. An annex to the school was completed in 1948, with four new classrooms, a music hall and library. In 1959 and a modern two-story addition was added on the south. Unfortunately enrollment declined for a variety of reasons by the twenty-first century.

On Jan. 13, 2016, the “Chicago Tribune” reported, “The Chicago Archdiocese has announced that one more school will close at the end of the academic year, just one year short of celebrating its centennial. St. Edmund Catholic School in west suburban Oak Park could not overcome years of declining enrollment and financial difficulties, the archdiocese said. There are three other Catholic schools in Oak Park: Ascension, Sr. Giles and St. Catherine Siena-St. Lucy.”

Here is the current website for the church: http://www.stedmund.org/

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1918, Thomas G. Moses wrote, “2^nd of January, I had to go to Akron to see about the Masonic work, where I spent one day… Made more models for Akron.  It seems we make fifty percent more sketches and models than we did twenty years ago.”

Moses was referring to the Akron Masonic Temple that opened during the fall of 1918. Located at 103 S. High St., the new 66,000 sq. ft. building was designed by Harpster & Bliss; built at a cost $500,000. The seven-story building had an exterior of sandstone and terra cotta and a grand interior. There were double marble staircases leading to a third-floor balcony, lodge rooms on the fourth floor, and an auditorium on the sixth and seventh floors, and a grand ballroom. The building was reported to be “one of the finest temples in the state” (News Journal, Mansfield, Ohio, 10 Sept. 1918, page 5). Initially, dedication ceremonies were scheduled for Nov. 16, with the Grand Lodge of Ohio Masons dedicating the Blue Lodge room under the direction of Grand Master Henry M. Hagelbarger and the Grand Commandery of Ohio dedicating the Asylum Theatre the direction of Grand Commander William B. Baldwin. The “News Journal” reported, “The ceremonies will not be elaborate as planned when the temple was started because of war conditions. The preparations are along conservative lines” (Mansfield, Ohio, 10 Sept. 1918, page 5). The ceremonies became a little more elaborate and were delayed.

The dedication of the new Masonic Temple in Akron, Ohio, actually occurred on Nov. 21, 1918. It coincided with the seventy-sixth annual state conclave for the Grand Commandery, Knights Templar of Ohio (Akron Beacon Journal, 20 Nov. 1918, page 1). Hundred of Masons from all over the state attended the ceremony. A parade headed by the new Akron Masonic band preceded the dedication ceremonies, with the Mayor making the opening address and tendering the keys of the city to the Grand Commandery. Then Oliver D. Everhard made the address of welcome on behalf of the Akron Commandery, No. 25, of the Knights Templars. The dedication of the Blue Lodge and Asylum Auditorium continued as originally planned.

The Asylum Theater, located on the sixth and seventh floors, had a seating capacity of 450. I have yet to uncover any information about the stage house or original scenery delivered by Sosman & Landis in 1918.

The building went up for sale in 1999, with a price tag of 1.3 million.  “The Akron Beacon Journal” reported “The Akron Masonic Temple is used by five different lodges, and their membership, about 2,500 at last count – is a post-World War II low…Once flush with members and money, these groups built magnificent halls that in recent years have become too costly to maintain. Some of these buildings get torn down; others are saved” (1 July 1999, page 37).

The Akron Masons sold their building for less than asking price to developer Jeffrey O’Neil. O’Neil was from California and the son of former General Tire chairman Jerry O’Neil. He planned to use it as a special event/entertainment center and office building. The Masons were to still occupy the fourth floors, with the rest of the building being used for social and artistic events. This seems to be the key in purchasing a Masonic Temple; you can pay less than the asking price, if you continue to rent a portion of the building to the organization; a win-win for the buyer. O’Neil’s involvement with the endeavor did not last long. After starting an extensive restoration of the building, he ran into unanticipated expenses and had a cash flow problem. Fortunately for O’Neil, the city bailed him out less than two years after his purchase in 2001 (Akron Beacon Journal. 8 Feb., 2001, page 40). In the end, the city paid 2.6 million dollars to buy the building from O’Neil and leased it back to him for 15 years, after which time the property was to revert to O’Neil. The city’s purchase of the Masonic Temple amounted to a 30-year loan at the federal discount rate – then at 5 percent – with a balloon payment after 15 years; that’s when the building would revert back to O’Neil. The city’s ownership was intended to be temporary, with O’Neil leasing the building back with the intent to buy it. However, by 2009, O’Neil severed his ties to the property, citing the weak economy. There is much more to the story, but it echoes strains of what has happened all over the country as the Fraternity slowly collapses.

The building is now known as Greyston Hall. Here is the link to the rental webpage: https://www.greystonehall.org/

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

At the close of 1917, Thomas G. Moses wrote, “We have had a good year as far as quantity is concerned, but I hope we have made some money.  The payroll has kept up on account of the night work.  The greatest handicap to a profit sharing business is procrastination among the managers.  The eleventh hour idea of getting scenery, we can either take it, or work night and day to get it out on a close margin, or let it alone and allow someone else to creep in and steal our business. No vacation this year and very little picture painting.  Quit the camp very early.” In 1918, Moses wrote, “Our business is not good – far from it.  Raw material has advanced so rapidly that we are unable to keep up with it, and I am very much worried about the outcome.” By summer 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.”  But Moses couldn’t weather this particular storm, and by the end of summer in 1918 wrote, “September 1^st, I resigned as President of the Sosman and Landis Company which severs my connection with the firm after thirty-eight years of service.  I joined the New York Studios and expect to get a studio and an office to do business…The Sosman and Landis Company have only done $85,000.00 worth of work for the past year.  We should have done about $116,000.00 worth to make money.” It was not until 1923 that Moses and Fred R. Megan would purchase “the name and good will of Sosman and Landis Company.”

Like many American studios, Sosman & Landis weathered many economic downturns since their establishment in 1877. Although WWI provided a brief period of economic growth, an economic recession continued after WWI. As military veterans returned to civilian life, there was a surge in the labor pool and problems ensued as veterans were absorbed back into peace-time production. This also affected the theatre industry. During the war years, there was a certain percentage of work directly related to wartime propaganda and patriotic-themes shows. However, between January 1920 and July 1921, America dipped into a depression. Ironically, this is the same time that Prohibition began. There are a few economic factors to consider as I examine the life and times of Moses before his purchase of the Sosman & Landis name in 1923. I believe that Moses’ 1918 departure signals the end of the firm. With both founders gone. Moses was the institutional memory and intimately connected with most of the projects since 1880.

In April 1917, Congress declared war on German. By October 1917 Congress passed the War Revenue Act. This bill lowered the number of tax exemptions while increasing tax rates. For example, an individual with a $40,000 annual income was subject to a 16 percent tax rate, while an individual with an income of $1.5 million was subject to a 67 percent. Tax revenue increased from $809 million in 1917 to a whopping $3.6 billion in 1918, a much-needed increase for adapt for war-related expenses.

Keep in mind that between 1916 and 1918 the U. S. expenses for troop training, weapons and munitions increased fifteen fold.  This means that by the time World War I ended, income tax generated from the War Revenue Act had paid for only one-third of all war expenses. Spending outpaced funding for the war, and the government implemented the sale of war bonds to help cover the gap. By the spring of 1918 the federal government had sold approximately 10 billion dollars worth of war bonds and treasury certificates. There is a fascinating article about the Federal Reserve’s role in WWI too: https://www.federalreservehistory.org/essays/feds_role_during_wwi

As American went to war, there are a few factors to consider about its citizens. In 2017, “The Saturday Evening Post” published an article on “The Average American Today and on the Eve of World War I,” noting, “What it means to be an ‘Average American’ today is in many ways so different from what it meant a century ago, when the United States entered World War I.” Here are a few numbers provided in the article:

In 1917, there were 103 million Americans.

In 1917, 86% of the American population was Caucasian.

In 1917, American women couldn’t vote, couldn’t obtain birth control, and had a life expectancy on 49 years. The life expectancy of American men was 47 years.

In 1917, 14% of American homes had bathtubs with running water.

In 1917, 18% of American households had one live-in servant.

In 1917, only 10% of American men graduated from high school.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

On May 11, 1917, “The Washington Standard” reported. “Olympia theater is now provided with two drop curtains, one painted by Sosman & Landis, Chicago, entitled “The Water Place,” and the historic painting of Olympia by Mr. Lange, which was used at the Spokane Fair during the canvass for state capital”  (Olympia, Washington, page 7). This is another one of the many jobs by Sosman & Landis not mentioned in Thomas G. Moses’ memoirs. This is a single article with no follow-up information, so I am left with very little to go on.

The article notes that a painting created for a country fair was repurposed for a theatre, used as a drop curtain. This is not unusual. In 1893, a 20×30 mural for the California building at the world fair was repurposed as a drop curtain for the Native Sons of the Golden West Hal in San Francisco.  I explored this subject a few years back (see post #294). The Reed & Gross Panorama Company created large scale paintings for the California State Building with compositions that included: the harbor of San Francisco and the city, as viewed from Goat Island; Christmas in Pasadena; the Stanford Ranch in northern California; Leland Stanford’s Vineyard; Leland Stanford Jr. University in Palo Alto; New Years at Hotel del Monte in Monterey, Santa Barbara, and Fresno.James D. Phelan, one of the of the World’s Fair Commissioners in 1893 purchased the 20’ x 30’ painting from the California State Building after the fair, intending to use it as the new drop curtain at the Native Sons of the Golden West’s Hall.  At the time, the organization was constructing a new building in San Francisco. Phelan was the association’s president and purchased one of the paintings. Unfortunately the painting was irreparably damaged in transit.

On January 10, 1896, “The San Francisco Call” reported, “A Fine Painting Spoiled” (page 8). The original painting by Thaddeus Welch depicting “Golden Gate as Viewed from Goat Island” was sold for $3,000. The article noted, “On Tuesday it was found that the painting had been ruined by the careless persons who packed and shipped it two years ago. Instead of winding the canvas around a roller these bunglers wrapped it around a 4 by 4 inch scantling and every four inches the canvas is cracked so that it is doubtful if it can be used.” 

There are a few factors to consider:

The first is that the 1893 world fair painting was likely an oil painting, as it cracked. Even if it had arrived safely, it may have looked horrible under stage lights due to the sheen, characteristic of oil paintings. Those unfamiliar with scenic illusion, for example Phelan, may not have realized this, or that the oil painting would propose a fire threat once on stage. However, I am intrigued with the basic idea that any large painting could be transformed into a drop curtain for the stage.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

Sosman & Landis delivered scenery for a “Mikado” production that toured the Redpath Chautauqua circuit in 1917. Annual Chautauqua, or tent, events were held in cities across the country during the spring and summer, featuring programs with all types of entertainment that ranged from 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. In 1917, one of the Redpath touring shows was the “Mikado.” A company of thirty, selected in part from the Chicago Grand Opera Company, performed in the Gilbert and Sullivan classic that year.

The “Critterden Record-Press” reported, “The Redpath Chautauqua special train of six cars, carrying over a hundred of the big Redpath family, left Chicago on Tuesday afternoon, April 10, for Jacksonville, Fla. The arrival in Jacksonville was scheduled for Thursday, April 12^th, the opening day of the Redpath Chautauqua circuit for 1917”  (Marion, Kentucky, 14 June 1917, page 9). The season ran until the end of summer, closing the first part of September.

On June 12, 1917, the “Owensboro Messenger” reported, “The Redpath chautauquas have been doubly fortunate in securing two eminent artists for their production of ‘The Mikado’ here Chautauqua Week” (Owensboro, Kentucky, page 7). The show featured the talents of Ed Andrews as Ko-Ko and Arthur Aldridge as Nanki-Pooh. The “Steuben Republican” reported, “The orchestra is under the dynamic direction of Miss May Valentine, a band and orchestra leader who is rapidly gaining wide recognition” (Angola, Indiana, 4 July 1917, page 4). The article also noted, “Mr. Arthur Aldridge is, like Mr. Andrews, one of the great interpreters of his role, Nanki-Pooh. In the recent revival of the Gilbert and Sullivan Opera he scored tremendous success with De Wolfe Hopper. He has appeared recently in the mammoth New York Hippodrome productions and is now recognized s New York’s leading light opera tenor. Indeed, some critics have been so kind as to claim that he has few equals among the world famous grand opera tenors”    (Angola, Indiana, 4 July 1917, page 2).

Newspapers across the country noted that Andrews was the best Ko-Ko of his generation, having performed the part more than 1200 times to date. The “Knoxville Sentinel” reported, “He is a small dark man, swarthy of skin with a beak like an eagle. He possesses a thunderous bass voice all out of proportion in volume to his small body. He sings the part with zest and a delightful enthusiasm” (May 24, 1917, page 5). Of the scenery, the articled added, “Beautiful and unique effects have been secured in the scenery built especially for the Redpath chautauquas by Sosman & Landis, of Chicago. These scenic artists have just completed the effects for a spectacular Madison Square Garden production.” “The Nashville Banner” reported, “At first it was thought that it would be practically impossible to give ‘The Mikado’ an adequate setting on the Chautauqua stage, but all difficulties were overcome and most gratifying results have been obtained” (Nashville, TN, 2 July 1917, page 28).

The University of Iowa Libraries holds a massive Redpath Chautauqua Collection, contained in 1,132 boxes. The cite gives a brief history for the circuit:

“Circuit or ‘tent’ Chautauqua had its beginning in the lyceum movement, which started in Massachusetts as early as 1826, and in the Chautauqua assemblies held at Lake Chautauqua, New York, beginning in 1874. The purpose of the lyceum movement was self-improvement through lectures and discussions on literary, scientific, and moral topics. After the Civil War, commercial lyceum bureaus were founded; among them was the Redpath Lyceum Bureau of James C. Redpath in 1868. In 1901, Keith Vawter purchased a one-third interest in the Redpath Lyceum Bureau and became the Redpath booking agent in Chicago, later moving his headquarters and operations to Cedar Rapids, Iowa. In the summer of 1904, Vawter launched the first Chautauqua circuit with the assistance of Charles Horner. The Redpath Lyceum Bureau had offices in other American cities, including White Plains, New York; Columbus, Ohio; Chicago; and Kansas City, Missouri. Vawter’s territory was roughly Iowa, Minnesota, the Dakotas, Nebraska, and Missouri. Another Iowan and former Vawter employee, Harry P. Harrison, ran the Chicago office. Under the name “Redpath-Chicago,” Harrison launched a major Chautauqua circuit in 1912. His territory was Illinois, Indiana, Ohio, Michigan, Kentucky, Tennessee, and the Gulf States. In 1912, Horner established in Kansas City the “Redpath-Horner Chautauquas.” His territory was Missouri, Arkansas, Texas, Oklahoma, Kansas, Nebraska, Wyoming, Colorado, and South Dakota. Circuit or tent Chautauqua began to expand and became an even greater influence about 1913, but World War I interrupted the circuits somewhat. In the years after the War (1920-1924), Chautauqua reached its peak of attendance. In 1920 there were twenty-one companies operating ninety-three circuits in the United States and Canada. The Great Depression brought an end to the circuits. The final circuit folded its tents in 1932 and the splendor of tent Chautauqua was over.” Here is a link to this remarkable collection, http://sdrc.lib.uiowa.edu/traveling-culture/inventory/msc150.html 

The publicity brochures in this collection have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php  Additionally, there are over seven hundred photographs and postcards in the Chautauqua Collection with subjects ranging from tents and parades to audiences and performers, cities, and other scenery. These have been digitized and are available online at http://digital.lib.uiowa.edu/tc/index.php

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1917, Thomas G. Moses wrote, “Stella and the girls arrived on December 22^nd. Pitt came out on the 24^th. We certainly had some family this Christmas – 17 at the table and two in the kitchen, and we had a fine dinner.  I had Eugene Hall come to the house and pose us and he got one good negative.  Had to use a flash as the light was very poor.  I have wanted this for a good many years, and I am pleased to get it, even if it is not as good as a gallery pictures.”

It was the end of 1917. The United States was involved in a world war and the future remained uncertain. On Dec. 22, 1917, the “Daily Chronicle” reflected on America’s first Christmas of war (De Kalb, Illinois, page 4):

“1917 marks our first Christmas of war. Suddenly the spirit of the Christ child has taken a new meaning, ‘He that loseth his life for my sake shall find it’ is a precept now being put into practice. Fathers and sons have put aside peace-time pursuits to give their lives for world righteousness. And every wife and mother who has bidden them goodbye with a smile on her lips and a light in her eye has given her own life vicariously. She is ready to suffer separation, anxiety and sacrifice that righteousness may prevail. As this first Christmas season approaches, her hearts thrills with the thought of her own contributions to these momentous times. Individual gift-giving sinks into insignificance. Something bigger has come to life. She is losing her life that she may find it. It is a giving of self. Christmas cheer fills her own heart in helping to bring it to cantonment and camp. Already she has sent comfort kits and Christmas packages for those on the front. Now she is devoting herself to those soldiers still here and to their families. ‘How can I do most to help win this war?’ is the question she continually asks herself. And always she turns back to her own kitchen to find there her real work in the present struggles for the world’s redemption. To keep a stout heart and a steady aim, our soldiers must be well fed. This she knows. She also knows that the FIRST Christmas of war for her now marks the FOURTH Christmas of war for the brave women of France. They have known the thrill of that first Christmas when they gave of their still plentiful stores. Since then there has been for them two Christmas seasons when they gave from their more and more depleted stores. They are now facing their fourth Christmas of war, still with a brave smile and courageous spirit, but with an ever tightening food supply. Insistent has been their warning that the next few months will mean actual deprivation and need if abundant help is not forthcoming from the food supply of the United States. Every woman in America is preparing her Christmas baskets, in marketing for her Christmas dinner, in arranging for entertainment and festivity, should feel this enormous responsibility of sharing her food supply with those fighters and friends in France. Less wheat in bread and pastry; less butter on the table and on cooking; more turkey, chicken and fish in place of meat; more fruits and sweet-meats in place of candy and sugar desserts – all these requests of the Food Administration should be borne in mind in preparing the Yuletide menus. It is woman’s most direct and most important part in the world war. It is losing her life to find it and it is hastening the day when there shall be real “Peace on Earth. Good will to Men.”

We all know that there was a small percentage of the population who did not follow the rules and did not care about rationing supplies. We can see this now during the recent pandemic. This same segment of society still places themselves first at the expense of others. Citing individual rights, they jeopardize the rights of the others, just this time it is the elderly and those with weakened immune systems.

Pandemics, natural disasters, military conflicts, economic downfalls and other crises bring out both the best and the worst in people. Do you solely focus on yourself during a difficult time, or do you become part of a community effort to take care of others? If your are more concerned with your self, than you would have ignored food rationing during WWI, just as you would ignore any kind of shelter-on-place or social distancing actions now.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1917, Thomas G. Moses wrote, “Saw the “Daughter of the Sun” show, then went to Trenton for Thanksgiving dinner. The Sunday before I left New York, I went down to the Salmagundi Club.  Loafed part of the day.  Took luncheon there, and got on top of a bus and rode up to the Museum of Art and enjoyed the afternoon with the pictures.  Brother Frank was with us at Pitt’s and we again enjoyed the day.”

Moses belonged to many fine art societies and artistic groups during his life, including Chicago’s Palette & Chisel Club and the Laguna Beach Art Association. He joined the Salmagundi Club in 1904.

In 1903, Moses was living in Mount Vernon, New York, and running a successful scenic studio – Moses & Hamilton. He was also taking art lessons from R. M. Shurtleff, a well-known artist and member of the Salmagundi Club. Shurtleff sponsored Moses for membership in 1904.  Unfortunately that was the same year that Moses returned to Chicago, accepting the role as vice-president at Sosman & Landis.

In 1917, the same year that Moses took lunch at the Club, the group acquired their new headquarters from William G. Park. They purchased t old Irad Hawley mansion at 47 Fifth Avenue, built in 1852-1853.

Many of Moses friends and fellow scenic artists were members of the Salmagundi Club, including Ernest Albert and Harry A. Vincent. In 1932, Moses recalled his studies with Shurtleff writing, “My love for the deep forests led me to the studio of R. M. Shurtleff in New York, whom I considered a wonderful painter of the woods. I was very happy when he consented to take me on as a pupil. When he suggested my joining the famous Salmagundi Club I was doubtful if I could make it. As the picture I gave the club for my initiation fee was sold to one of the club members, this alone placed me in a good position and had I remained in New York instead of coming to Chicago I feel that I would have forged ahead in the higher art, and would have succeeded.” On January 6, 1915, newspapers reported that the artist Shurtleff fell dead of heart disease in front of 860 Ninth Avenue while on an errand for his wife (“The Sun,” 7 Jan. 1915, page 13). He was only 78 years old.

The Salmagundi Club still exists and has an online presence (http://www.salmagundi.org/). Its current website states, “Founded in 1871, the Salmagundi Club is one of the oldest art organizations in the United States. Housed in an historic brownstone mansion in Greenwich Village, New York City, the Club offers programs including art classes, exhibitions, painting demonstrations, and art auctions throughout the year for members and the general public. The Salmagundi facilities include three galleries, a library, an elegant period parlor, and a restaurant and bar with vintage pool tables. All facilities are available for special events and private rentals. The Club owns a collection of over 1,500 works of art spanning its 140 year history and has a membership of nearly 850 artists and patrons. Its members have included important American artists such as Thomas Moran, William Merritt Chase, Louis Comfort Tiffany, N.C. Wyeth and Childe Hassam. Today the Club builds on this legacy by providing a center for the resurgence of representational art in America. The Salmagundi Club is a 501(c)(3) nonprofit organization.”

The Club’s history page also includes an excerpt from Alexander W. Katlan’s book, “The Salmagundi Club Painting Exhibition Records 1889 to 1939: A Guide to the American Exhibition of Oil Paintings and the Annual Exhibition and Auction Sale of Pictures.” Here is the link: http://www.salmagundi.org/SalmagundiClubHistory.pdf

“Originally formed as the Salmagundi Sketch Club in 1871, the Club adopted its present name a hundred years ago after Washington Irving published his potpourri of wit and wisdom called “The Salmagundi Papers”. The name also serves as the club dining room’s famous “Salmagundi Stew”.

The Club fosters an atmosphere of conviviality that encourages discussions on art and other topics and leads to lasting friendships among both artists members and patrons. While members are mainly residents of the Tri-State area, Salmagundian’s are to be found throughout the Unites States and Canada, as well as such faraway places as London, Amsterdam and Lisbon. Through the years the Club has been the singular gathering place for such great artists as Childe Hassam, William Merrit Chase, Howard Pyle, N.C. Wyeth, Louis Comfort Tiffany, Ogden Pleisner and many others. Honorary members have included such luminaries as Sir Winston Churchill, Buckminister Fuller, Paul Cadmus, Al Hirschfeld, Thomas Hoving and Schuyler Chapin.”

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1917, Thomas G. Moses wrote, “I went to New York, November 22^nd.  Hustled up the ‘Hero Land Work.’  “Hero Land” was advertised as a “16-day Military Pageant, Theatrical Entertainment, Oriental Wonderland and Charity Mart; Devised, Created, Managed and Financed by One Hundred Approved National War Relief Organizations for the Benefit of American and Allied Relief” (New York Tribune, 24 Nov. 1917, page 9). Newspaper advertisements announced, “Hero Land is the Greatest Spectacle the World has ever seen, for the Greatest Need the World has Ever Known.” Its objective was to bring images of the war home to encourage American support.

“Hero Land” opened at the Grand Central Palace on November 24, 1917. The event ran until Dec. 12 and was open every day of the week from 11 AM to Midnight, except Sundays.

Legions of workers began to transform Grand Central Palace for the exhibition on November 10 that year. Advertisements listed the “Marvels at Hero Land” describing the attractions in detail. There were reproductions of forts, battlefields, bomb shelters, and trench lines. Special features were the Hindenburg Line and Britannia, a Mark IV British tank.

In addition to military-themed exhibits, there was an ice skating rink, submarine divers and the Street of Bagdad. Dining establishments included Café de Paris, Army canteen, Red Cross Tea Garden, the Allies Club, the Soda Water Fountain, and the Golden West Cabaret. The Old Cheshire Cheese, the “most famous chop shop in the world, which Samuel Johnson made his eating headquarters in London.” British chairs, tables, signs, recipes and cooks completed the picture. An area called Old Bowling Green, represented a past look when New York was known as New Amsterdam with Dutch Houses, fur traders and early settlers. There was also the Great Hall and Ballroom, a Louis XVI dancing pavilion and drill ground where balls, military parades and pageants were held throughout the event.  There were also three moving picture theatres that featured Government war films taken at the front and shown for the first time to the general public. Films of battle scenes were accompanied by lectures. Additional live theatre entertainments starred “a galaxy of stage, opera and vaudeville stars, dancers and moving picture artists.” Holy Land was intended to be “the most memorable entertainment festival ever held in the country.”

Some of the special days at Hero Land included American Day, British Day, French and Alsace-Lorraine Day, Belgian Day, Jewish War Relief Day, Italian Day, Polish Day, Russian Day, Lithuanian Day, Canadian Day, Armenian and Syrian day, Scotch-Irish day, Serbian Day, American Red Cross day, United States Navy Day, United States Army Day, President Wilson day and American Red Cross Day.” Ethel Barrymore even presided over the auction at the Belgian Booth on Dec. 14, 1917

“The News Journal” reported “Most entertainments are to be held in the great hall and all have been arranged under the supervision of Mrs. Charles Dana Gibson, acting in conjunction with Arthur Voegtlin, former producer of the Hippodrome, who has been engaged to stage the spectacular features on the entertainment program” (Wilmington Delaware, 17 Nov 1917, page 7). Sosman & Landis likely provided scenery to accompany the live entertainment in the Great Hall.  However, I have not located any specific mention of the firm.

To be continued…

Copyright © 2020 by Wendy Waszut-Barrett

In 1917, Thomas G. Moses wrote, “Gordon Holdcraft paid us a visit after spending several years in Korea as a Missionary.  We enjoyed his visit very much.” Moses was referring to Rev. Dr. J. Gordon Holdcroft. In 1917, Holdcroft returned to the United States from Korea, boarding the Empress of Japan in Shanghai and arriving at Port of Vancouver on August 8, 1917.

Holdcroft resided in Korea from 1903-1905, 1909-1917 and 1918-1921. In 1922, Rev. J. Gordon Holdcraft was the acting pastor of First Presbyterian Church (Passaic Daily News, NJ, 11 Feb. 1922, page 2). However, by 1923, he left again for missionary work, traveling to Japan, Korea, Hong Kong, Manchuria and China; he was working for the Presbyterian Board of Foreign Missions. In 1925, Rev. J. Gordon Holdcroft, D.D., was listed as a Presbyterian missionary in Seoul Korea, and was secretary (of Korea) for the World’s Sunday School Association.

James Gordon Holdcroft was born in Chicago on 31 Aug 1878. His father, George Nisbitt Holdcroft, was an Irish immigrant who entered the United States by way of Canada in 1875.

J. Gordon married Nellie Cowan (b. May 30, 1880) in Hobart New York, on Oct. 24, 1909. Holdcroft’s passport application in 1909 described him as 5’-8” tall with blue eyes, dark brown hair and a ruddy complexion.

Holdcraft spoke on his experiences in Korea for the remained of his life. In 1932, The Passaic “Daily News” reported that Holdcroft spoke at a Presbyterian Church Society program. The discussion was part of the Women’s Missionary Meeting” (Passaic, NJ, 2 March 1932, page 11). The article commented, “There were also messages from Dr. J. Gordon Holdcraft and Mrs. Holdcraft, who have been associated with the work in Korea for many years.” That was his topic. In 1940, Holdcraft was mentioned in the section Church News and Activities in Minneapolis and St. Paul in “The Minneapolis Star” (30 Nov. 1940, page 16). He spoke on “Christian Progress in Korea” and “Faithfulness and Betrayal in the Far East.”  He was again speaking about his missionary experience in Korea to Presbyterian congregation. By 1942, Holdcroft became the general secretary of the Presbyterian Independent Foreign Mission Board.

Holdcroft eventually settled in Philadelphia, becoming the president of The Associated Missions of the International Council of Christian Churches (ICCC). He became integral in discussions concerning ecclesiastical separation and representation before governments in the 1950s. Holdcroft was also involved in forming the Associated Mission of the ICCC in 1952 and became an officer in the organization in 1962.

In 1972 Holdcraft wrote “Into All The World.” The Independent Board for Presbyterian Foreign Missions published his work. That June he passed away.

To be continued…