Fraternal Supply Company – Page 3

Tales from a Scenic Artist and Scholar. Part 630 – Bestor G. Brown and the E. A. Armstrong Manufacturing Co.

Part 630: Bestor G. Brown and E. A. Armstrong Manufacturing Co.

In 1909, Moses wrote, “The Dallas Masonic work came in early, so did San Francisco and Cleveland, Ohio.” That year, Moses also supervised scenery collections for Scottish Rite theaters in Kansas City, Kansas, Winona, Minnesota, and Atlanta, Georgia. Today we look at the Kansas and Bestor G. Brown (1861-1917) before looking at the Scottish Rite installation in Kansas City, Kansas, during 1909.

Starting in the 1890s, Kansas became a hot bed of Scottish Rite activity. Theatre construction, new degree productions, and Masonic celebrations drew men together from across the region. It was during this time that both fraternal and business alliances were formed. Bestor G. Brown became the central hub on a spinning wheel of fraternal activity. As I have discussed in recent posts, Brown, would become the future western sales representative of the M. C. Lilley & Co., with his regional offices in Kansas City, Missouri. Brown joined Siloam Lodge No. 225, on March 11, 1884, where he served as Master in 1887 and 1888. Brown was also involved with other Masonic orders, such as the Ancient and Accepted Scottish Rite of Freemasonry, York Rite, Ancient Arabic Order of the Nobles of the Mystic Shrine, and Order of the Eastern Star. In fact, Brown’s outstanding fraternal service gained him title to Kansas Lodge No. 433 A. F. & A. M. Lodge on March 1, 1923. It is now the Bestor G. Brown Lodge No. 433. Brown was involved with other non-Masonic fraternities, such as the Independent Order of Odd Fellows, the Knights of Pythias and the Benevolent and Protected Order of Elks. I have to ask myself where the guy found enough time to do it all as he traveled so much.

Bestor G. Brown pictured in the American Tyler, 1908, page 471.

Brown became a traveling salesman, peddling supplies for E. A. Armstrong during the 1890s. This was before Brown became the western sales manager for M. C. Lilley & Co. in 1904. From 1897 until 1902, Brown had special charge of the Armstrong’s Masonic department and secured ALL of the consistory contracts except one. That one was in Columbus, Ohio, however, by 1909, he would secure that Consistory contract too. In the 1902 publication “Masonic Voice-Review,” an article titled “Original and Reliable” commended the quality of products manufactured by the E. A. Armstrong Manufacturing Company of Chicago and Brown’s contribution. The article noted, “Excepting the Consistory at Columbus, Ohio, they have furnished the equipment and paraphernalia for every Consistory in the United States that has been in the market for an outfit in the past five years… The Consistories that have been equipped within the period mentioned by the company are located at Indianapolis, Ind.; Little Rock, Ark.; Galveston, Tex.; Kansas City, Miss.; Wichita, Kan.; Guthrie, Okla.; Fargo, N.D.; and St. Louis, Mo.” The article continued, “The Eminent Sir Bestor G. Brown has special charge of the Masonic Department, and his intelligence and energetic methods coupled with a thorough knowledge of the requirements of the Craft has much to do with the notable success of this branch of the business.”

This is a big deal, as it suggested that E. A. Armstrong captured the Scottish Rite theater business of the entire Southern Jurisdiction after Pike’s passing; remember, Pike, was not a supporter of stage degree productions and he was in charge of the Southern Jurisdiction until his death in 1891.

Brown was there when the Southern Jurisdictions first designed and installed their new scenery. He would be there again when these Masonic venues grew and needed new scenery a decade later. The only difference was that Brown would later be representing M. C. Lilley & Co. Consider this…the Valley’s were repurchasing scenery thru Brown. This did not necessarily mean that they were going with another company; they were going with the same man who just happened to now work for a new company. Brown knew what they wanted and what they already had. In other words, the Consistories believed he would take care of them as a fellow 32nd degree Scottish Rite Mason.

The April 15, 1908, issue of “The American Tyler” would credit Brown as “the only Masonic stage manager in the country.” The article would further explain, “This is because he has a national reputation among scenic artists and builders of stage appliances, and because he created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees. More value is probably attached to his opinion in such matters than to that of any other man in the country, and he is almost invariably consulted in regard to the construction of stages for the work of the Scottish Rite, everywhere throughout the United States.”

Each Scottish Rite Valley’s loyalty was to Brown and not necessarily the company he represented – M. C. Lilley. The scenic studio of Sosman & Landis was closely linked to Brown and his business. Brown and Sosman were both Scottish Rite Masons. After Sosman died in 1915 and Brown died in 1917, the Masonic connection dried up and much business went to Toomey & Volland who had been steadily building up their Masonic repertoire. And guess what? Volland was a Scottish Rite Mason and in charge of the stage direction at the Scottish Rite in St. Louis; the same as Brown who had been in charge of the stage direction in Wichita, Kansas. Volland was the “shiny new thing” on the Masonic playground. Volland got his Masonic scenery start in 1902, when Toomey & Volland were subcontracted by E. A. Armstrong to deliver $6,200 worth of scenery and stage equipment to the St. Louis Consistory during May and Brown was the one to negotiate the contract.

To be continued…

Tales from a Scenic Artist and Scholar. Part 622 – Leftover Lights for Lawrence, Kansas

Part 622: Leftover Lights for Lawrence, Kansas

In 1909, the Scottish Rite Masons in Lawrence, Kansas, were planning for the construction of a new home. By 1911, their Egyptian-Revival style building included a stage with 55 backdrops produced by Sosman & Landis studio in Chicago, Illinois. Between the initial planning stages and final dedication ceremony, several things were in play in regard to stage, scenery and lighting. Let’s start with lighting.

Letterhead for M. C. Lilley & Co. with Bestor G. Brown as manager in Kansas City, ca. 1910.

In 1910, the Scottish Rite in Lawrence was mentioned in a letter from Bestor G. Brown, western sales representative for M. C. Lilley & Co., to Frank A. Derr, secretary of the Oklahoma Consistory, in Guthrie, Oklahoma. Guthrie was enlarging the stage of their building, requiring all new scenery and stage machinery.

The home for Scottish Rite Masons in Guthrie, Oklahoma, 1901.

The building in Guthrie, Oklahoma, after the addition. This building included the new stage with scenery by Sosman & Landis of Chicago.

The used scenery was returned for credit on the new scenery. The Guthrie bodies were upgrading all of their equipment, including the border lights. On July 26, 1910, Brown wrote, “I shall probably go to Lawrence some time within the next few days and if I can dispose of your electrical equipment, I will be very glad to do so. It is old and will not pass inspection. The borders have a wooden strip on the top and that disqualifies them under the present regulations. If the Lawrence people want to buy them with the full knowledge of the facts, I shall be very glad indeed to see them get them.” In other words, “these could catch on fire, but if they know that we’re all good.”

Brown continued in his letter, “The battens on the scenery could be left there if you want to use new battens for your job. In that event, however, the people at Lawrence would have to pay us more than we allowed you for your scenery because you will remember we were to retain the battens at Guthrie and use them in your new scenery. It is impossible to get lumber that is the equal of the lumber in your own battens. I do not think you will have a great deal of trouble with the new lumber, but at the same time, the old battens will curl less in Guthrie than the new battens would curl in Lawrence on account of the difference in climate.” This is the first mention that I have ever encountered about warping battens. The lumber that was always specified noted white pine. This meant old growth, first cut pine.

The original stage lighting for Guthrie was listed in a contract between the Guthrie Scottish Rite and E. A. Armstrong Mfg. Company of Chicago, dated April 28, 1900. The Armstrong company was located at 300-302-304 Wabash Avenue, Chicago, and listed as “Manufacturers of Secret Society, Military and Band Supplies.” The lighting, scenery and stage work for the new Guthrie stage was provided by through M. C. Lilley and Co. The companies western sales manager, well-known Mason Bestor G. Brown, subcontracted the new work to Sosman & Landis.

E. A. Armstrong <fg. Company letterhead, 1900

The original stage lighting order from Armstrong for Guthrie included:

“Four (4) Borders, each 24 feet long, each containing 60 lights wired for three colors; sockets and wiring complete but no lamps-

Four (4) portable ground rows, each 10 feet long, each containing 15 lights, wired for three colors, sockets and wiring complete – but no lamps

Two (2) Strip rows, each 16 feet long, each containing 24 lights, wired for three colors; sockets and wiring complete but no lamps

Two (2) eight light, porcelain lined, swing head, iron stand bunch lights; complete with extension cord and plug, but no lamps-

Six (6) Cast iron floor pockets

Twenty-four (24) Slate receptacles

Fourteen (14) Plugs for receptacles, three attached to each of the ground rows and one each to bunch lights

Four (4) 40 Ampere dimmers, German silver wire wound

Three (3) Ampere dimmers, German silver wire wound

One (1) Slate switch board, full fused, containing 1 main 3 service and 32 subordinate double contact knife switches – 36 switches in all; connections on board all made

$620.00 (Today’s equivalent in approximately $18,200 – pretty good deal).

A portion of 1900 contract between the Guthrie Scottish Rite and E. A. Armstrong Mfg. Company that includes some of the lights.

Sockets all of Edison pattern

MISCELLANEOUS LIGHTING APPARATUS

One (1) Lamp and chaser 32.00

One (1) 4,000 c/p focusing lamp and reflector, stand and rheostat included 42.50

Large and small carbons – no charge

One (1) Lighting box, Complimentary

Note – Goods packed and shipped by American Reflector and Lighting Co. Charges collect, but to be paid and applied on bill.”

Keep in mind that Abraham Perry Landis, of Sosman & Landis, was one of the founders for the American Reflector and Lighting Co. Joseph S. Sosman was also an investor in the company.

To be continued…

Tales from a Scenic Artist and Scholar. Part 475 – Brown’s Special Counterweighted System

Part 475: Brown’s Special Counterweighted System

Brown’s Special Counterweighted System at the Scottish Rite in Santa Fe, New Mexico.

M. C. Lilley’s western sales representative, Bestor G. Brown, subcontracted Sosman & Landis for the painted scenery, props, and stage machinery for their large Scottish Rite Theatre contracts. By 1912, many of the counterweight rigging systems installed in Scottish Rite theaters by Sosman & Landis were referred to as “Brown’s Special Counterweighted,” such as the one at the Santa Fe Scottish Rite.

Brown’s Special Counterweighted System at the Scottish Rite in Santa Fe, New Mexico, 1912.

So what do we know of the system referred to as “Brown’s Special Counterweighted” style of installation and how many are left? There are still examples of Brown’s Special Counterweighted System, however, some are slowly being removed and replaced with other rigging system. I first came across the designation in a series of letters between Bestor G. Brown, and the Austin Scottish Rite representative of Austin William G. Bell. Brown used the Dallas Scottish Rite as one example.

Wooden arbor cage with counterweights. Brown’s Special Counterweighted System at the Scottish Rite in Pasadena, California. This system was originally manufactured for the Scottish Rite Little Rock, Arkansas, during 1901.

Let me provide a little context for why the counterweight system came up in their discussion. Brown was trying to explain the intricacies of the installation process to a client who was completely unfamiliar with theatre. The Austin Scottish Rite was in the process of purchasing some of the Guthrie Scottish Rite’s old drops. Guthrie had been returned the old drops for credit on the purchase of new scenery when their stage was enlarged in the first building. M. C. Lilley had approximately 70 used Guthrie drops on hand to sell to another venue; they measured 15 feet high by 30 feet wide. A $1400.00 credit was given for the return of their 1901 scenery. The scenery collection was originally purchased for $8,000; today’s monetary equivalent is approximately $250,000, a significant purchase at the time.

Looking up into the flies. Brown’s Special Counterweighted System at the Scottish Rite in Pasadena, California.

On January 23, 1913, Brown also reported, “The [used] scenery is in very good shape – infinitely better that the average theatrical scenery used on the road. The writer personally went over the scenery at the studio last week. While our contract does not contemplate it, we are touching up some of the scenery and if it be properly lighted, you will have a handsome set of scenery that we would not undertake to paint and install for less than, at least, $8,000.00.”

View from under the fly rail. Brown’s Special Counterweighted System at the Scottish Rite in Pasadena, California.

The Austin Scottish Rite was initially interested in purchasing fourteen of the used drops, but wanted a definitive price for installation before determining the final number. Reading several letters of correspondence between Brown and Bell, it is obvious that Brown’s patience was wearing very thin as he had to repeatedly explain the final installation cost was based on the number of drops purchased. The continued correspondence, however, provides a wealth of information pertaining to the manufacture and installation of Scottish Rite scenery.

Brown’s Special Counterweighted System at the Scottish Rite in Austin, Texas, 1914.

As Brown negotiated, the Valley of Austin was purchasing and renovating the old 1821 Turner Hall. Brown mailed a scene plat to the Austin Scottish Rite. This was to reference while determining the final arrangement of scenes. Of this process, Brown wrote, “The arrangement of drops is one of the most difficult things.” Brown further explained that they would arrange the used scenery so that it could be “properly adapted to the different Degrees and the sequence of Degrees.” However, he warned that even after careful preparation, some modifications would still need to occur once the scenery was hanging. This was all an art of the haggling between the Austin Scottish Rite and M. C. Lilley. Bell, representing Austin wanted to pay as little as possible for the used scenery. The process was taking longer than expected and Brown was trying to get the Austin Scottish Rite to contractually commit so that the project could be scheduled. Finally, the Austin Scottish Rite committed to the purchase, but wanted an unrealistic timeframe. At this time, a much larger project was driving M. C. Lilley’s installation schedule – the Santa Fe Scottish Rite. Santa Fe’s new building, stage and scenery were delaying all other installations, such as the Austin Scottish Rite

Part of the initial delay was caused by the Austin Scottish Rite, not M. C. Lilley; this concerned the ongoing negotiation pertaining to the estimated expenses of the final installation. The Austin Scottish Rite wanted M. C. Lilley to provide a firm number for the installation cost without specifying the number of drops that they were purchasing from M. C. Lilley. Brown explained that the final expense was directly tied to the number of drops purchased to be installed. The carpenter’s expense of transportation and maintenance were figured from the time he left home until he returned. So, if he were to install only fourteen drops, that part of the expense would be proportionately greater than if he were to install twice that number of drops. Brown also explained that there was a difference in transportation charges directly relating to number of drops purchased and installed, either a full carload of scenery or less than a carload lot. Brown also explained that M. C. Lilley could also furnish the hardware, such as pulley blocks and counterweight frames if the Scottish Rite wanted the installation done locally; this was the salesman trying to be accommodating.

Brown’s Special Counterweighted System at the Scottish Rite in Salina, Texas.

There was another complication; Brown noted that they had only one specific carpenter who was sent to direct a Scottish Rite installation which was why multiple installations could not simultaneously occur; this individual was actually a Sosman & Landis employee as they installed their scenery. Brown commented that the one who would be “superintending the installation” for the Austin project was currently occupied in Santa Fe at the Scottish Rite, installing an entirely new stage there. This necessitated that their expert stay on site for approximately three weeks. Shortly after Brown’s correspondence with Bell, Brown wrote that their superintendent and installation expert had died from an accident, causing another delay. Brown explained that this employee was the “only one thoroughly familiar with the special method of installing Scottish Rite scenery.” Brown wrote, “We do not mean that it is impossible to follow the same methods as heretofore, but it will take a longer time to do it because of a lack of familiarity with the work.” Thomas G. Moses also mentions the death of their head stage carpenter, writing, “Mr. Brown, our foreman carpenter” died very suddenly.

As Brown later explained, M.C. Lilley used only one employee who specialized in Scottish Rite scenery installation. I believe that this individual was the stage carpenter who Thomas G. Moses referred to in his memoirs – Brown. In 1892, the “Carlisle Weekly” reported that a “Stage Carpenter Brown” worked for the Metropolitan Opera House at the time it burned (Carlisle, Pennsylvania, 1 Sept. 1892, page 4). This may have been the same individual before he became associated with Sosman & Landis, as this is the same time when additional staff was added to Sosman & Landis’ studio for Columbian Exposition and other large projects.

Stage carpenter Brown was likely the individual who developed the counterweight system, and that the salesman Brown was mistaken for the namesake of the design. Newspapers would therefore erroneously refer to Bestor G. Brown as a “Masonic stage Carpenter.” In 1903 one article noted that Brown “created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States.” My findings suggest that “Brown’s Special Counterweighted” was credited to the salesman of the product and not the actual designer; this is understandable if they both shared the same last name.

In the end, the Austin Scottish Rite Bodies purchased 64 drops, not 14, on February 25, 1913, from M. C. Lilley. Thomas G. Moses would list the Austin scenery as one of the collections that he supervised while working at Sosman & Landis. The price for these used drops and their later installation was $1,650. The contract specified that a third of the amount was due upon installation (cash), a third due the following year, and the final third due in two years. Surprisingly, this financing was standard for Scottish Rite Theaters. Brown wrote, “In fact, if we had not been able to carry the Bodies in the Southern Jurisdiction as we have, we believe that fully one half of the development of the past ten years would not have been possible.” This is big as it presents how Scottish Rites were able to purchase state-of-the-art scenery, props, lighting and costumes – they were buying everything on credit and only had to pay a third upon receipt of goods. To pay off the rest meant increasing membership numbers that would generate even more income.

Brown died in 1917 at the Battle Creek Sanitorium after a relapse following an operation for kidney complications. At the time Brown was 56 years old and survived by his daughter, Mrs. Dana L. Davis of Topeka. It is sad to think, that a mere 14 years earlier he was a soaring star in both the Fraternity and fraternal supply business. Change can come so quickly.

To be continued…

Tales from a Scenic Artist and Scholar. Part 472 – Back to Bestor G. Brown in 1903

Part 472: Back to Bestor G. Brown in 1903

In 1903 Thomas G. Moses was living in Mount Vernon, New York, and maintaining a studio in New York City. His firm, Moses & Hamilton, employed a small staff, using the paint frames at the American Theatre. While Moses was busy creating a variety of settings for Broadway, touring productions, and outdoors amusements, the Masonic scenery market started to surge.

This brings us to the point of the theatrical manufacturers and suppliers who were outfitting Masonic theaters. Business alliances start to form, including that between M. C. Lilley & Sosman & Landis in Chicago. At this same time that Masonic business increases, Landis retires from the company due to poor health. This leaves Sosman overwhelmed with the combined duties of running both the shops and completing all necessary administrative duties. Landis was in charge of sales and marketing, whereas Sosman controlled the manufacturing end of the business.

Bestor G. Brown from “The Portsmouth Herald” on June 12th 1893 (page 3).

Enter, Bestor G. Brown, Mason and salesman for M. C. Lilley. Bestor G. Brown (1861-1917) was a key individual in the development of Masonic stages during the late-nineteenth and early-twentieth centuries; an instrumental figure in the promotion of Scottish Rite degree productions across the country. Brown entered Masonic regalia and paraphernalia sales in 1892, working as a traveling salesman with his home residence in Chicago from 1892 to 1898. The potential for future sales offered during the Columbian Exposition was a major incentive for Brown to leave Kansas and head to Illinois. In 1899, Brown moved to Topeka, Kansas, and then Kansas City in 1904, relocating to this central hub as the western sales manager of M. C. Lilley Company. The need for a regional office in 1904 was a direct result of sales skyrocketing in the western region. Brown was in the right place at the right time. For more information about Brown, see past installments #351-353.

Brown’s involvement with Freemasonry extended to the Scottish Rite, York Rite, Midian Shrine, and Order of the Eastern Star. This brings us to 1903, when Brown became the Grand Master of Kansas. He was also the Past High Priest of the Grand Chapter, Royal Arch Masons of Kansas; Past Master (and one of the first members initiated) of Siloam lodge, No. 225, A.F. and A.M.; Past Grand Master of the Grand Council; Past Grand Commander of Knights Templar in Kansas; General Grand Scribe of the General Grand Chapter of Royal Arch Masons; a Past Grand Sovereign of the Grand Imperial Council of the Red Cross of Constantine; and an officer in the national Grand Council. Brown also had the distinction of having sat at the Royal Lodge in London when King Edward presided (Fort Scott Daily Tribune, 12 July 1917, page 2). Other fraternities that Brown joined included the Odd Fellows, Knights of Pythias and the Psi Upsillon Fraternity, of which he organized several chapters.

Here is the section titled “Masonic” that appeared in“The Portsmouth Herald” on June 12th 1893 (page 3). I am posting the section in its entirety, as it is a wonderful snapshot into Masonic activity and Brown’s level of fraternal involvement.

“Masonic.

The new grand master of Kansas, Bestor G. Brown, has been unusually active in lodge, chapter and council work since his admission to the fraternity in 1884 and is noted for his devotion to Masonry. Mr. Brown is called the only Masonic stage carpenter in the country. He created and developed the application of modern scenic properties to the dramatic presentation of all Masonic degrees and in this work is almost invariably consulted everywhere throughout the United States. He was grand high priest of the grand chapter of Kansas in 1893, grand master of the grand council in 1891 and has held many other high offices. Mr. Brown was born in 1861 and is one of the best ritualists in the United States.

There are 110 lodges in Connecticut with a membership of 18,500, an increase of 784 for the past year.

At the recent session of the grand lodge of New York all of the officers of last year were unanimously re-elected.

Mecca temple, Nobles of the Mystic Shrine, of New York city now has a membership of 4,925.

At the last session of the grand lodge of New Mexico the grand secretary reported membership in that jurisdiction of 1,146.

A magnificent new Masonic temple will be erected in Phillipsburg, Kan.

There is talk of erecting a new Masonic temple in Schnectady, N.Y., to cost $100,000.

Membership reports read at the fiftieth annual conclave of the grand commandery of Pennsylvania showed good gains for the year. There are about 15,000 Knights Templar in the jurisdiction now, an increase of nearly 1,000 since the last conclave.

An application has been received from American Masons in Tientsin, China, for the establishment of a lodge there.

The Masonic home of Manchester, N. H., was recently dedicated by Grand Master Harry M. Cheney.”

Masonic activities abounded and Brown would be the perfect person to market the theatrical interpretation of degree work. He would subcontract Sosman & Landis for the scenery; Sosman would need help and this is where Moses would factor in again. Sosman needed Moses back in Chicago to supervise the shop.

To be continued…