Scottish Rite Scenery – Page 4

Tales from a Scenic Artist and Scholar. Part 1154 – The Binghamton Scottish Rite, 1923

In 1923, Thomas G. Moses painted the scenery for the Scottish Rite Theatre in Binghamton, NY. He was assisted by Edward Loitz, earning $2,500 to paint forty drops for the stage. Moses and Loitz were subcontracted by New York Studios for the work.

*Home to the Ancient Accepted Scottish Rite in Binghamton, New York.*

On October 17, 1923, the “Binghamton Press and Leader” reported, “Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets.” On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “The scenery for the auditorium was painted by the Sosman & Landis Co. of Chicago at a cost of $12,000. Much of this scenery was painted in the temple by Thomas G. Moses, scenic artist of this concern” (page 17). So why did the newspaper change from crediting associating Moses with New York Studios to Sosman & Landis over the course of a month?

Well, between Oct. 17 and Nov. 21, Moses realized that Hunt of New York studios had royally screwed him over. My guess is that Moses walked to the newspapers office and said, “When you mention my name again, make sure to add that I am representing Sosman & Landis.”

To briefly recap…Moses and Megan were in the process of purchasing the Sosman & Landis name, but could not until the company was liquidated (which would be in December). By the summer of 1923, Chicago Studios began using the Sosman & Landis address before just after negotiations with Moses stipulated that he could not use the company name until after the firm was completely. Moses’ negotiations were with Hunt of New York Studios, who was also running Sosman & Landis at the time. Chicago Studios started using the address, they sent out letters to Sosman & Landis clients announcing that they the successors to Sosman & Landis, just under a new name. Furthermore,

Moses & Megan immediately disputed the information circulated by Chicago Studios once they became aware of the deceit, sending out letters of their own and explaining that firm had not closed, just moved to a new location. On November 13, 1923, Moses and Megan sent a letter to the Scottish Rite in Salina, Kansas, writing “Dear Sir: It has recently some to our attention that a certain studio is advertising our old customers that they have bought the Sosman & Landis Company and are now operating same, combining it with their original company. We wish to assure you this is not a fact and that our original organization is intact, but our studio has been moved to better quarters.”

So, in the midst of the massive Binghamton Scottish Rite project, where Moses was painting on site for Hunt, Moses realized that Hunt had betrayed him. This is likely the reason that the second article about the scenery stated Sosman & Landis as the firm, and not New York Studios. Moses knew what Hunt was trying to do; Hunt was trying to discredit the new iteration of Sosman & Landis, the one that Moses and Megan would run. In the end, the scenery was credited to New York Studios. Moses never listed the Binghamton Scottish Rite in his resumé.

The Binghamton Scottish Rite was a massive undertaking and significant job, a credit to any studio. The Temple boasted 1,000,000 cubic feet, built at an expense of $400,000 The architects of the endeavor were Walter H. Whitlock and Charles H. Conrad of Binghamton, with the general work being done by the Mitchell Construction Co. On Nov. 21, 1923, the “Binghamton Press and Leader,” described, “Upon entering the main portal on Main street, one finds a large hall, or foyer. From this foyer one may enter the auditorium, the secretary’s rooms, a stairway and the elevator which reaches all floors. The auditorium, which is in the form of an amphitheater, occupies the greater part of the ground floor, first floor and first floor mezzanine. It has 4,700 square feet of floor space, in 28 feet in height and will seat 800 persons. It is connected with the stage by an opening 32 feet wide by 22 feet high. The stage, 1,720 square feet in area, is 30 feet deep, 57 feet wide and 58 feet high. There are 50 complete sets of scenery. At the sides of the stage, on three levels, are robing rooms representing 2,400 square feet of space” (page 17).

The fifty-seventh annual reunion of Otseningo Bodies, Ancient Accepted Scottish Rite, in the Valley of Binghamton, Northern Masonic Jurisdiction, United States of America, was held from Nov. 20-22. It was held in the new Masonic temple at Main and Murray streets. The Reunion was held in conjunction with the dedication of the new Temple.

The Scottish Rite class for the reunion was composed of 350 candidates from the six counties in the jurisdiction. Present membership at the time was approximately 1,800 members.

On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “This is the largest class of the Scottish Rite in the history of Masonry in Binghamton.” The class was named the Longley-Wear class in honor of the Rt. Rev. Harry S. Longley of Des Moines, Iowa, suffragan bishop of Iowa, a former rector of Christ church in Binghamton, and D. Walker Wear, one of the most prominent Masonic in Binghamton who had a large part in the erection of the new temple.

The ceremony of consecrating the new consistory was followed by several speeches, including Bishop Langley. On Nov. 23, 1923, the “Binghamton Press and Leader” reported, “Bishop Longley told the members that those who have in the present week taken the degrees that teach the ideals of Scottish Rite Masonry must have come to realize what a tremendous force and power masonry can wield in a world crying out for leadership. These masonic ideals must sway any movement for the reconstruction of the destruction that was started nine years ago in Europe, He declared that it is becoming more and more realized that any solution of world unrest must have as a foundation the spiritual truths taught in masonry. Civilization is at stake and he urged all to do their part by standing up for their ideals and maintaining and abiding faith in the omnipotence and goodness of God.”

The structure opened to great fanfare, with numerous articles about the endeavor, announcing “Masonic Temple is in First Rank of State Fraternal Buildings” (Binghamton Press and Leader, 17 Nov 1923 page 17). Unfortunately, this was Moses’ last painting for the Northern Masonic Jurisdiction. The rest of his fraternal work would shift to solely the Scottish Rite’s Southern Jurisdiction.

*Plans for the Binghamton Scottish Rite theater*

To be continued…

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

A leg drop and cut drop painted by Toomey & Volland Scenic Studio for the Scottish Rite Theatre in Richmond, Virginia. These two pieces were relocated to the Scottish Rite in Tucson, Arizona last month (Jan 2021). When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. These two drops were rolled and placed in storage, high above the properties room, stage-left. However, the backdrop to accompany the scene is missing.

All three pieces formed a classical rotunda setting for the 30^th degree (Scottish Rite degree setting). We know what the missing backdrop looked like, as this same scene was delivered to the Louisville Scottish Rite.

*Backdrop design that would have accompanied the Richmond leg drop and cut drop. This backdrop is from the Louisville Scottish Rite.*

*Second leg drop at the Louisville Scottish Rite.*

*First leg drop at the Louisville Scottish Rite.*

*Painted detail. Richmond Scottish Rite scenery.*

Unfortunately, the two leg drops were repositioned at the Louisville Scottish Rite and the setting can no longer be viewed as originally installed. The two leg drops were erroneously placed on neighboring lines.

Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net…/travels-of-a-scenic-artist-and…/

Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/

For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite” at www.drypigment.net.

Tales from a Scenic Artist and Scholar. Part 1153 – Thomas G. Moses, New York Studios, and the Binghamton Scottish Rite, 1923

In 1923, Thomas G. Moses wrote, “I put in fully a week in Binghamton at the Arlington Hotel on designs for Masonic work and I believe we will get the contract.”

*Arlington Hotel in Binghamton, New York*

Sosman & Landis didn’t get the contract but Moses still painted the scenery. Somehow, David Hunt of New York Studios landed the profitable contract. Keep in mind that New York Studios was the eastern affiliate of Sosman & Landis, and Sosman & Landis was preparing to close.

*From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.*

By summer, Moses wrote, “I have arranged to go to Binghamton, N.Y. for Hunt, $2,500.00 for the job. Sent Loitz on ahead, September 5th.”

Moses was referring to Ed Loitz. Loitz, who had worked with Moses since the 1883. He was a loyal painting assistant and friend who had followed Moses across the country, working alongside him wherever he went. Whether Moses had established a partnership, or was working at Sosman & Landis, Loitz was there. Loitz traveled one step ahead, preparing the next jobsite for Moses’ arrival and then workied on site. Loitz was almost a decade younger than Moses, being born in 1865. In 1923, they had been working together for forty years together. At the time, Moses was sixty-seven years old and Loitz was fifty-eight years old. Loitz was both a scenic artist and carpenter, taking care of everything needed before Moses arrived on site to paint.

Scenery painted by Thomas G. Moses, assisted by Ed Loitz. From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.

Moses was still splitting his time between painting for Hunt (New York Studios) and Sosman & Landis. Sosman & Landis were in the process of liquidating all assets and closing their doors. Moses and Fred Megan were waiting to purchase the name.

The New York Studios project was the stock scenery collection for the Scottish Rite Theatre in Binghamton, New York. This project was completed was just before Moses realized that Chicago Studios was sending out letters to Sosman & Landis clients, explaining that they were the successor to Sosman & Landis, already having secured the same address. David S. Hunt was behind the establishment of Chicago Studios, as well as running both New York Studios and Sosman & Landis. Even though he knew Moses was going to purchase the Sosman & Landis name after the company liquidated their assets, Hunt was using his position at Sosman & Landis to his advantage to discredit any new iteration of Sosman & Landis. This would all happen in November 1923 while he was on site in Binghamton.

On October 17, 1923, Binghamton’s “Press and Sun-Bulletin” featured Moses and his work. The article was entitled “Vies with Nature in Realms of Beauty,” and stated, “Thomas G. Moses Wields a Well-nigh Magic Brush in Painting Scenery, Curtains and Drops for New Masonic Temple.” Here is the article in its entirety:

“Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets, need no assistance of Brownies or other mystical helpers in making things beautiful in the opinion of those who have seen examples of his work.

Fairyland in all its mystical wonderfulness could not surpass the beauty that is represented on the canvas with the paint from the brushes carefully wielded by Moses. Mechanical curtains on which a moon may be seen rising, Persian temple interiors and water, wooded and open scenes are all in the new temple to bring admiration from all the Masons who are privileged to see them all.

Forty drops are being painted by Mr. Moses.”

[Moses was being paid $2,500 dollars for the project, so we can estimate that his average painting fee per drop was no more than $62.50/each, assuming he wasn’t paying for travel, lodging or meals out of that amount. The money equivalent of $62.50 in 1923 is $952.02 in 2021.The contract was for $12,000]

“Each set is used for some one of the 32 degrees prescribed in the ranks of the fraternity. Each degree is exemplified in a different setting. Some are on the plains, others in a temple painted from Biblical descriptions of King Solomon’s temple, extensive Egyptian quarries and water scenes.

The full equipment will be used for the first time on Nov. 18, 19 and 20, when the annual reunion of Otseningo Consistory, Ancient Accepted Scottish Rite, will be held. Exemplification of degree work at that time will be the first that it has been done in full form in four years. Equipment of the Masonic body was destroyed four years ago in a fire in the temple on Chenango street.

All paintings of the scenery are done by Mr. Moses from scale drawings which he completed several months ago. The small scale drawings were drawn from outlines by officers of lodges here. Mr. Moses on a platform suspended from the top of the loft sketches in charcoal on the canvass the scene which he wishes to paint.

Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts. Installation of the drops is supervised by H. E. Naile. The three men have worked together in many cities, their last contract being in Little Rock, Ark.

The stage in the temple here and the scenery and drops being painted are the largest ever handled in a Masonic Temple by Mr. Moses. He says he is well satisfied with the progress of his work and in a short time it will be finished. He expects to remain here to paint some work for another temple.

Products of the brush of Mr. Moses and his assistant, Mr. Loitz, are not entirely new to Binghamton. Mr. Moses painted the landscapes and architectural exteriors for the State hospital theater and Mr. Loitz did the interiors. Mr. Moses painted the original scenery for the Stone Opera House and upon visiting that place a few days ago he found some of the equipment still in use.

Tom Moses, as he is nationally known, was found today busily engaged in painting a drop 21 feet by 40 feet representing an interior of an old German chapel. The picture is complete with stained glass windows and the chapel is profusely decorated with flags, shields and bits of armor.

Tom Moses’ father was a captain of a sailing vessel and when he left the bounding main he started a leather business. He intended his son should follow his footsteps. The world might have been richer with a reliable captain or an expert on leather, but Tom had ideas for a different vocation, and thus the world has not been deprived of a master painter who transfers the sometimes unreal to the real with an intricate movement of his paint brush.

All this was 45 years ago. During the 45 years he has been painting scenery, Mr. Moses has gained much praise throughout the land. His friends are legion. He is short and stocky and has a radiating personality that brings a friendly reception wherever he goes and he has no enemies.

Born in Liverpool, England, in 1856, more than 67 years ago, of English parentage, Mr. Moses came to America with his father and mother but when a little child and settled in Sterling, Ill. His father was a sea captain and later a tanner. Tom’s mother, who died when he was but a youngster, possessed an exceedingly artistic nature and did much to install into her son the love of artistic.

Tom’s father was strict and was certain that the boy would be “better off” as a tanner with his brawny arms wrestling with a piece of hairy hide and covered with tannin. Use of a hickory switch proved to Tom that this would probably be much after his father declared only starvation faced the starving artists.

One try at the tanning game convinced Tom that he would rather be an artist. At the age of 17 he left home “with a forwarding address.” He hired out as a paint boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work.

Robert Hopkin, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist. At the age of 20 he returned to his home and married Miss Ella Robbin. The couple lived there until 1880 when they went to Chicago where Mr. Moses started working for the Sosman & Landis Co. He painted the first work of this concern.

In his long and varied career, Mr. Moses has done work for many famous artists and for many famous productions. It was he who designed and executed the original “Floradora” sets for John C. Fisher. He did them, not only once, but four times. The work of Tom Keene, John McCullough, Booth and Barrett, Col. Cody (Buffalo Bill), Julia Marlowe, Robert Lober, Joseph Murphy, Conried and Herman, Emma Abbott, Emma Juch, Sarah Bernhardt, Mme. Modjeska, and score of other greater and lesser figures of the American stage was enhanced by scenery executed by Thomas G. Moses.

Some of the famous productions, in addition to “Floradora,” which Mr. Moses has made are “Shenandoah,” and “Old Kentucky,” famous melodramas; “Marie Antoinette,” “Mary Stuart” and “Macbeth” for Mme. Modjeska; “Judas” for Mme. Bernhardt. Joseph Jefferson’s last “Rip Van Winkle”; “The Holy City,” “By Right Sword,” “Lost in the Desert,” “Quo Vadis,” “The Witch,” “Robinson Crusoe,” “Ben Hur” and scores of other big productions.

He has also produced some of those famous Luna Park spectacles at Coney Island, such as “Fire and Flames,” “The War of the Worlds,” “Trip to the Moon,” “20,000 Leagues Under the Sea,” “The Streets of Delhi” and others. “The Streets of Delhi” was produced at a cost of $100,000.

In the art world outside of scene painting he has received much recognition. He has the distinction of being a member of the world-famous Salmagundi club, that noted organization of artists in New York. Mr. Moses is also a member of the Chicago Society of Arts, the famous Palette and Chisel Club, the California Art Club of Los Angeles and the Laguna Art association of Laguna Beach, Cal.

Rapid advance of motion pictures has crimped the scenic painting industry, Mr. Moses says. “Because of the fewer number of dramatic shows now there is a less demand for drops. Movies take the place of the dramatic productions that one time held sway.”

To be continued…

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

.Copyright © 2021 by Wendy Rae Waszut-BarrettThis is one of the 73 drops relocated from the Scottish Rite Theatre in Richmond, Virginia, to the Scottish Rite in Tucson, Arizona in January 2021. The backdrop was painted by Toomey & Volland Scenic Studio for the Richmond Scottish Rite. When the Richmond Scottish Rite moved to a new building in 1968, one-third of the scenery collection was placed in storage. This backdrop was rolled and placed in storage, high above the properties room, stage-left.

*Cut drop by Toomey & Volland of St. Louis, Missouri, c. 1902*

Painted detail. *Cut drop by Toomey & Volland of St. Louis, Missouri, c. 1902*

The cut drop was part of a palatial scene for King Darius (16th degree), but was also used to supplement stage settings for King Cyrus (15th degree) – despite the different time periods.Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020

https://drypigment.net…/travels-of-a-scenic-artist-and…/Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite” at www.drypigment.net.

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

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

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

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

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

Here is a link for more information about my preliminary site visit to the Richmond Scottish Rite in October 2020 https://drypigment.net…/travels-of-a-scenic-artist-and…/

Here is the link to my post about the January 2021 relocation project: https://drypigment.net…/travels-of-a-scenic-artist-and…/

For more Richmond Scottish Rite drops, keyword search “Richmond Scottish Rite.”

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

To be continued…