Scottish Rite Theater – Page 2

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…

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…

Tales from a Scenic Artist and Scholar. Part 1142: Scenery for the Davenport Masonic Temple, 1922

I return to the life and times of Thomas G. Moses after a four-week break.

In 1922 Thomas G. Moses wrote, “… got a train for Davenport, Iowa. Some fine daylight ride. Met Lester Landis and we set our model up for the Scottish Rite Bodies. No chance to close for some time.” Work had started on the building during the spring of 1921 and was completed in the fall of 1923. The old Masonic temple that housed the Davenport Scottish Rite was located on the corner of Third and Main Streets, built in 1886.

Davenport Masonic Temple, home of the Davenport Scottish Rite until 1923.

A picture of the old Masonic Temple in the “Daily Times,” Nov. 19, 1923.

Moses was representing Sosman & Landis Studio, whereas Toomey & Volland delivered the first Scottish Rite scenery to Davenport. In fact, a Toomey & Volland advertisement in “New Age Magazine,” listed the Davenport as one of sixteen Scottish Rites theaters using Toomey & Volland scenery by 1912.

By the spring of 1922, the foundation for the new Masonic Temple was completed, just in time for the Scottish Rite Reunion. There were nearly one-hundred candidates in the Cornerstone-Stone Class, named in recognition of the progress on the new temple. Six months later, the four-day fall reunion with the Zerubbabel Class was also very large. On Jan. 1, 1923, the membership strength of Zarephath consistory was 2,383. The building was dedicated during the fall reunion of 1923.

Moses wrote, “Made several trips to Davenport in hopes of getting the big contract of about $16,000.00, but we were too high.” It was a massive endeavor with scenery for two stages.

The main auditorium was located on the second floor. With a seating capacity of 2,700, it featured a pipe organ and motion picture booth. The main theater was not only intended for public entertainment but also Masonic ceremonial for the Ancient and Accepted Scottish Rite, Ancient Arabic Order of the Nobles of the Mystic Shrine and the Mystic Order of the Veiled Prophets of the Enchanted Realm (Grotto). There was also a smaller theater on the main floor, known as the Gothic Room. This secondary stage hosted ceremonials for the York Rite and Order of the Eastern Star.

Main auditorium in the Davenport Masonic Temple, 1923.

Doric Lodge room in the Davenport Masonic Temple, 1923.

Egyptian Lodge room in the Davenport Masonic Temple, 1923.

The new Masonic Temple was completed by the fall of 1923. When the building opened, the “Daily Times” announced, “Davenport’s new million-dollar Masonic temple is a monument to the faith and perseverance of a group of Davenport Masons who long ago conceived the idea of sheltering all of the local Masonic lodges and clubs in one large building. It has always been the hope of Davenport Masons that this city should eventually have one of the most beautiful temples in the state, representative of the prominent position occupied by Davenport in Iowa Masonry. More than 10 years ago progressive members of the various lodges began to study out plans whereby their ideal might be worked out, and October 1913, the first committees are said to have been named to consider the project and to report upon its possibilities. Strange enough, the earliest committees on the new temple project agreed upon the site at Seventh and Brady streets as one of the most ideal locations in the city for the new temple. Today the Masons are dedicating their new temple…The temple together with its site cost approximately $1,040,000 and this amount has been raised through subscription by the members of all the Masonic bodies of Davenport, in the form of stock in the New Masonic Temple association” (Nov. 19, 1923, page 9).

On Nov. 19, 1923, “The Daily Times” included a series of articles about the new building. Of the theater, the newspaper reported, “The new Masonic temple has the finest auditorium in the tri-cities and offers exceptional facilities for public concert work and other forms of entertainment. The auditorium is built in the amphitheater style and is illuminated by the largest indirect lighting fixture in the United States……As an auditorium devoted to music and the art of dancing, the Masonic temple will in a large measure take the place of Davenport’s lost ‘legitimate’ theater.”

William J. Klinck was manager for the main auditorium. Of the new theater, Klinck reported, “We have gone to a great deal of additional expense to equip the stage for practical show purposes. Of course, there are over a hundred sets of stuff for the Masonic work alone, but aside from this, we will be able to accommodate any stage attraction, no matter how large. We are not planning any theatrical attractions this season, but for next year I am trying to line up Al Jolson, the Passing Show, the Greenwich Village Follies, the Barrymores and many other high-class attractions. We will have nothing whatever to do with mediocre shows and will not even listen to any proposition that does not include the binging here of performers regarded as real stars.”

To be continued…

Travels of a Scenic Artist and Scholar. The Salina Scottish Rite

In 2018, I visited the Scottish Rite theater in Salina, Kansas. It was on my return trip from Santa Fe, New Mexico, to Minneapolis, Minnesota. Although I had documented the Salina collection before, I want to see the current condition of the deteriorating drops.

The Salina Scottish Rite theater was part of a 1920s Masonic building boom. Many Scottish Rite theaters with existing scenery collections enlarged their facilities and purchased new collections, trading in their old scenery for credit on a new purchase. These used scenery collections were then resold to other Scottish Rite theaters for a fraction of the original cost. In other cases, the Masons brokered their own used scenery deal, transferring scenery from one theater to another. That was the case with the 1908 McAlester scenery collection. The Salina Masons purchased the used scenery collection from the McAlester Scottish Rite. The collection was originally painted at the Sosman & Landis Studio. Here is the cathedral setting; one of the more complex scenes. For more information about Scottish Rite scenery and theaters, visit www.drypigment.com and use the keyword search function

*Scenery by Sosman & Landis with original shipping label for McAlester, Oklahoma*

Tales from a Scenic Artist and Scholar. Part 1134 – Thomas G. Moses and the Tacoma Scottish Rite Theatre, 1921

In 1921 Thomas G. Moses secured the new Tacoma Scottish Rite scenery contract. Of the project, he wrote, “It took some work to close the Tacoma job at $6,400.00. Will come back to do the work myself.” He intended to start the Tacoma Scottish Rite project at the beginning of December 1921, but was delayed. Moses wrote, “I should have been back in Tacoma December 1^st. I have written them on the cause of my delay…“January 1^st found the Madam and I enjoying ourselves in Tacoma, Washington. I had the Scottish Rite Temple work pretty well started, went back to the old theatre to work.” Moses painted the scenery for the Tacoma Scottish Rite at the Tacoma Theater before it was installed in the new building. Of the installation, Moses wrote, “Harry Naile showed up the latter part of February. We then started to get things into the Temple and it began to look like a job. I did a picture of Jerusalem for the asbestos curtain, and it came out very good.”

*Cathedral setting painted by Thomas G. Moses for the Tacoma Scottish Rite in 1922*

Other than one photograph of the cathedral setting, I have yet to locate an photographs of the scenery painted by Moses in 1922. Moses also decorated other parts of the building during his stay in Tacoma. He wrote, “The Scottish Rite Bodies asked me to look after the decoration which I did, partly successful. The ceiling of the main auditorium went bad, and took a good deal of scrumbling to get it even.” It would be wonderful to see what Moses considered “bad” at this time.

Before Moses left Tacoma, he wrote, “On the completion of our contract and on the eve of our departure, the trustees gave us a dinner in our honor, which was attended by Harry Naile, it was very fine – we certainly felt honored.”

As with other Masonic projects in the 1920s, the planning and construction of the new Scottish Rite in Tacoma made newspapers across the country. On July 27, 1920, the “Oregon Daily Journal” reported, “Tacoma Scottish Rite Masons are about to construct a temple at the cost of $350,000” (page 48). Other Masonic construction projects were listed in the article, noting “Cincinnati Masons are to construct a Masonic temple to cost $2,000,000…Birmingham, Ala., is to have a Masonic Temple costing $1,000,000.” At the time, Portland Masonic bodies also built a $1,000,000 temple. For context, $1,000,000 in 1921 is the equivalent of approximately $14,500,000 today.

The new Scottish Rite building in Tacoma was formally dedicated on April 7, 1922. The Scottish Rite was located at 5 South G St. Designed by Sutton, Whitney and Dugan, the five-story Masonic complex was located at Park Heights & Division Avenue overlooking Wright Park.

The Masons did not hold onto the building for long, and I have to wonder whatever happened to Moses’ scenery after they vacated the building. On January 9, 1937, the “Spokesman Review” announced, “Masonic Cathedral Bought by Church.” The article continued, “Purchase of the Tacoma Scottish Rite Cathedral for $50,000 was voted by the Independent Bible church of Tacoma last night. The building, lost by the Scottish Rite on a mortgage some time ago, is now the property of Washington Mutual Savings bank of Seattle” (page 11).

The Scottish Rite Temple stood the test of time until recently, becoming a rare example of poured concrete architecture in the city. Despite the rarity however, the building could not be saved; churches are not subject to landmark laws in Washington State. The old building was demolished in October 2017. Although the demolition could not be prevented, negotiations with the City of Tacoma Historic Preservation Officer, resulted in some mitigation steps that included some documentation and salvage. Here is the link to an article about it: https://www.preservewa.org/most_endangered/scottish-rite/

*Salvaging architectural ornament from the Tacoma Scottish Rite Theatre before demolition.*

Prior to fall demolition, much of the architectural ornament in the building was stripped from and resold. Here are some of the materials that were resold at a second use shop: https://www.seconduse.com/2017/11/featured-job-tacoma-bible-presbyterian-church/

To be continued…

Tales from a Scenic Artist and Scholar. Part 1122 – Omaha Scottish Rite, 1921

In 1921 Thomas G. Moses recorded that he secured a contract with the Omaha Scottish Rite for $2,400.00 worth of work. He later wrote, “I have plenty to do on Masonic models and I am afraid I will have to get some help.” By 1921, the country was experiencing another wave of Scottish Rite Theatre construction. The building of massive Masonic structures and the expansion of existing ones were occurring all across the county.

This also signaled that money was flowing into the Scottish Rite at an almost unprecedented rate, helping fund these endeavors. WWI had paused many Masonic construction projects, as had the Spanish Flu pandemic and had a brief recession. Many Scottish Rite Valleys returned to an investment in membership experience; stages and new degree productions were a significant part of the membership experience.

The story surrounding the original Sosman & Landis scenery for the Omaha Scottish Rite is quite fascinating. In 1914, the “Omaha Daily Bee” described, “The new Scottish Rite Cathedral is a three-story structure, with high basement, built of Bedford granite, with imposing Ionic columns and porticos. The auditorium on the second and third floors where the initiations will take place is an attractive modern theater, with a stage 30×40 feet and a seating capacity of about 1,000. It is tinted in cream and pink decorated panels and has all the arrangements for lighting, stage settings and precautions against fire, of the most up to the minute theater. It has a wardrobe and paraphernalia room adjoining” (1 Nov. 1914, page 25). M. C. Lilley subcontracted the 1914 scenic portion of the project to the Sosman & Landis Studio in Chicago. The firm had also created an earlier set for the previous building. Other Scottish Rite theatre projects in the Sosman & Landis studio that year included Grand Forks and Pittsburgh.

This was also the same year that Joseph S. Sosman passed away on August 7,1914, and the board of directors elected Moses as the company’s new president. He recorded, “On the 10^th, a stockholders meeting was called, and I was elected president of the Sosman and Landis Company. Arthur Sosman was elected vice-president and P. Lester Landis, secretary and treasurer. It is very strange to me that I had never given this change of the business a thought. I had never thought of Sosman dying.”

This is a horrible turn of events that forever changed the fate of the studio in regard to Masonic contracts. It placed a non-Masonic scenic artist in charge of a scenic studio that specialized in Scottish Rite scenery. Sosman had been the driving force for years, as he was a well-respected Scottish Rite Mason in Chicago, a member of the Oriental Consistory. There was a new problem; Moses was not yet a Mason who understood how to navigate the Fraternity, or how to manage all of the necessary administrative duties at the studio.

In 1921, the Omaha Consistory held its annual session in Omaha from November 14-17 (Bloomfield Monitor, 3 Nov 1921, page 9). An attendance of 1000 members was anticipated, likely prompting the purchase of additional scenery. (Alma Record, 4 Nov. 1921, page 3).

I had the opportunity to visit the Scottish Rite Theatre in Omaha, Nebraska, on June 15, 2018. This was the first of many stops at historic theaters on our way to New Mexico. I was heading to Santa Fe to participate in the book signing event for “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018).

The host for my stop at the Omaha Scottish Rite was Micah Evans, Development Director of the Scottish Rite Foundation of Nebraska. Evans could not have been more accommodating or generous with his time, as I slowly documented all of the scenery painted by Maj. Don Carlos DuBois. I knew I was not going to see the original Sosman & Landis collection from 1914 or the additional scenery ordered in 1921. The Omaha Scottish Rite now uses Masonic scenery that was originally installed at the Scottish Rite Theatre in Kansas City, Kansas. In 1996 the collection was purchased for $40,000, and after all removal, transportation and installation, the tab was approximately $140,000.

The whereabouts of the original Sosman & Landis scenery remain unknown, only a few stage artifacts remain in lobby display cases.

To be continued…

Travels of a Scenic Artist and Scholar – The Richmond Scottish Rite, October 24-26, 2020

Copyright © 2020 by Wendy Waszut-Barrett

It has been a busy month, and I am currently in Richmond, Virginia. The Richmond Scottish Rite Theatre appeared on my radar again last month. The timing was less than ideal, since I was packing to leave for the Tabor Opera House in Leadville, Colorado. On September 17, I received word from Art DeHoyos that the Richmond Scottish Rite was selling their building and had no plans for the historic scenery collection. I immediately contacted Rex Hutchens, as a few years ago we tried to purchase the Winona Masonic scenery collection in an online auction.

In regard to the Richmond Scottish Rite, I was well aware of the potential sale, just not the timeline. Immediately after receiving the information from Art, I was on the phone with Rex, asking if he was still interested in acquiring a collection. After chatting briefly with him about the compositions, I contacted the Scottish Rite Secretary in Richmond to get more details, leaving a message. When I headed west to Colorado on the morning of September 19, I had little hope that I would ever see the Richmond scenery, or that it would find a new Scottish Rite home.
I did not think about the Richmond Scottish Rite again until Rex called last Sunday, October 18. By Thursday, October 22, I was on the road again. The plan was to arrive in Richmond the next day; it was an eighteen-hour drive. I would catalogue the collection over the weekend, from 8AM-6PM each day, and depart on Monday. I needed to determine the scope of the collection and whether the drops would withstand the move. If everything checked out, I would come up with a transportation plan based on the impending sale of the building. Fortunately for me, I had slide collections from both Larry Hill and Lance Brockman, taken when they documented the drops a few decades ago. Prior to my departure I created a drop inventory based on the slides.

One of the slide images by Lance Brockman.

In addition to the slides, I knew that Toomey & Volland sold scenery to the Richmond Scottish Rite in 1920. From 1920 to 1921 the Richmond Scottish Rite enlarged their existing building and renovated the stage area. This meant that the Richmond Scottish Rite either acquired a new collection from Toomey & Volland or purchased additional settings for their existing collection. Regardless of what was purchased in 1920, the entire scenery collection was moved to a new building by 1968.
The move meant that the collection was possibly reduced at this time. In the case of the St. Paul Scottish Rite, their move to a new building meant that the collection shrunk in size by one-third. For example, if a setting consisted of a leg drop, cut drop and backdrop, either the leg drops or cut drops were removed, effectively reducing the number of line sets required in the new space. This same thing may have happened in Richmond; meaning that the excess scenery was thrown out during the move, or it was tucked away somewhere in the building.Within ten minutes of arriving at the Richmond Scottish Rite, I had answers to many of my questions. There were only 49 lines hanging in the air, and most of the original sandwich battens had been removed; replaced with jute webbing at the top and pipe pockets at the bottom. Heaving a sigh of relief, I contacted Rex and explained the situation. Over the course of the day I shared photos with him and began to plan for the future move.

Scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.

Because of the limited number of drops, there was more time to play with lighting while documenting each scene. All was fun and games until the Secretary mentioned that there were about four drops tucked away above the stage left storage area. No problem. I was ahead of schedule and would have ample time on Sunday afternoon to unroll the drops, as well as fully documenting the unique rigging system. When I arrived at 8AM on Sunday morning, I asked to see where the four rolled drops were stored…

…and this is when everything changed.

There were many, many more drops stored above the properties room, stage left. Unfortunately, they were beneath a dozen lighting instruments, chairs, and storage racks. This was not a simple hand-them-down-and-unroll-them project. In a glance, I knew that this would tack on an extra day, and it would be dirty work. Now cataloguing a collection of hanging scenery is an entirely different task than lowering and unrolling drops that have been compressed for a few decades. First of all, there is a dirt factor. Within minutes of handling rolled drops that are a century old, your clothes, hair, neck, face and hands are covered in black soot. The drops require gentle handling or clouds of dust float everywhere. Needless to say, I was not appropriately dressed for the task at hand, nor was the crew.
This project required many hands, and there were five of us: Michael Powers, Richard Finkelstein, Bridgette Dennett and Sarah Phillips. Bridgette and I handed down the drops to Sarah (on ladder), then Michael and Richard. After a few drops, I realized that we needed a sixth person, so I tracked down Paul, our Scottish Rite host that morning. Thank goodness he was willing to help. The addition of Paul meant that Sarah was able to stay on the ladder, while Paul, Michael and Richard placed drops on the stage floor. Slowly, and carefully, the drops were placed from the upstage wall to mid-stage; twenty-five in all.

Rolls of scenery by Toomey & Volland for the Scottish Rite Theatre in Richmond, Virginia.

One of the drops that was stored above the properties room at the Richmond Scottish Rite.

Meanwhile…

The stage lights had also malfunctioned, so while Michael was dealing with that issue, Bridgette, Sarah and I unrolled each scene. Richard photographed each piece from the top of a ladder, as he able to adjust the skewed perspective. While he was doing that, I climbed halfway up the ladder to photograph entire composition, then took detail images from the floor, catalogued the scenes, and labeled each drop for transport. Several top battens were broken, which meant it was not an easy unroll and re-roll task. However, we finished the project by 6PM.

Tomorrow, Richard, Michael and I will finish documenting the remaining scenes that are still hanging. Michael and I depart on Tuesday for the two-day drive home. It has been a challenging, but delightful time, as we have had the opportunity to photograph the settings under various lighting conditions. I will return to my blog “Tales of a Scenic Artist and Scholar” next week.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1083 – Hella Temple, Dallas, Texas, 1921

In 1921, Thomas G. Moses wrote that he secured a scenery contract with the Dallas Shrine. In addition to supervising Shrine settings being built in Chicago, Moses was also negotiating a new scenery installation for the Little Rock Scottish Rite Theater. Of the upcoming projects, Moses wrote, “ “I have plenty to do on Masonic models and I am afraid I will have to get some help.”

This Dallas project was for Hella Temple, Ancient Arabic Order of the Nobles of the Mystic Shrine. Moses recorded that Sosman & Landis “furnished a big set for the Shrine which was done in Chicago.” This means the actual construction and painting for the setting was completed in Chicago; the setting was shipped to Dallas that spring. In April, the Hella Shrine Temple hosted the Shrine Director’s Association of North America annual convention. The painted setting was possibly for use at that event.

On 27 March 1921, “Galveston Daily News” announced “Six Hundred to Attend Dallas Shrine Meeting” (page 8). The article continued, “Dallas, Tex., March 26.- Reports received by the arrangements and reception committee for the convention of the Shrine Director’s Association of North America, which meets in Dallas April 7 to 9, are to the effect that about 600 delegates will attend. The directors are meeting in Dallas in the third annual convention for the purpose of checking up of the curriculum of events encountered along the desert sands over which the novices travel at each ceremonial given by the Shrine Temples in North America. The meetings in Dallas will not be open to the general membership of Hella Temple, but will be confined exclusively to the directors and the committees in charge. Hella Temple will be host to the convention and will entertain the visitors while in Dallas. James E. Forrest is president of the association.”

On the last day of the convention, Frank H. Cromwell, of Ararat Temple, Kansas City was chosen president of the association (Austin America-Statesman, 9 April 1921, page 1)

To be continued…

Tales from a Scenic Artist and Scholar. Part 1081 – The Majestic Theatre of Dallas, 1921

In 1921, Thomas G. Moses wrote, “Mitchell of Mitchell and Halbach has engaged my services for Dallas, Texas, for the new Majestic Theatre.”

To clarify, a well-known interior decorating firm subcontracted some of the work for the new Majestic Theatre in Dallas to Thomas G. Moses, representing Sosman & Landis. Since the establishment of Soman & Landis, the firm delivered stage scenery and painted décor for a variety of venues. This does not mean that Moses was credited for any of the Majestic Theatre painting as a subcontractor.

Since the late nineteenth century, Mitchell and Halbach were well known interior decorators and furnishers, located at 1715 S. Michigan Ave. in Chicago, Illinois. In 1921 they advertised as “specialists in high class interior decorations and furnishings for public and private buildings. Moses had even hired Mitchell & Halbach to decorate the rooms in his own home.

Later in 1921 Moses specified his contribution to the Majestic Theatre in Dallas, writing, “I was successful with the asbestos curtain, and then went on to the wall decorations, which were very interesting and finally the playroom which was doubly interesting.” Moses remained in the south for nine weeks, working on the Majestic Theatre, Dallas Shrine scenery, and negotiating future contracts with the Scottish Rite in Little Rock, Arkansas.

Asbestos curtain painted by Thomas G. Moses, representing Sosman & Landis, that was subcontracted by Mitchell & Halback for the Majestic Theatre in Dallas, Texas, 1921.

Moses was accompanied by his wife Ella [Madam] when they headed south that February, writing, “On the 15^th I started for Dallas, where I arrived the next day, late in the afternoon. I was pleased to get this work as it was away from the extreme cold weather and a novel adventure for the Madam and myself.”

Later that spring, 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. I enjoyed the trip as I saw some very interesting old buildings. On my return to Dallas, it didn’t take me long to complete the work.

Of Moses’ Majestic Theatre painting, advertisements announced, “In the vast auditorium that seats 3,000, a Roman Garden has been reproduced in detail. Overhead a sunset sinks to rest, sending the flaming amber tinted farewell to a sky that heralds the night with its millions of twinkling stars. One every side, seen over flower-covered walls, is a vision of ‘Gods Out-of-Doors, cloud-kissed hills with dormant Vesuvius rising on the distance to greet them” (Corsica Daily Sun, 1 April 1921, page 10).

Dallas Majestic Theatre advertisement published in the “Corsicana Sun,” 1 April 1921, page 10.

The Majestic Theatre in Dallas opened on April 11, 1921. It was advertised as the “New 2 Million Dollar Peak on the Dallas Sky-line” (Corsicana Daily Sun, 1 April 1921, page 10). This was the flagship of Karl St. John Hoblitzelle’s Interstate Amusement Company chain of theaters. Replacing Hoblitzelle’s previous Majestic Theatre from 1905 that burned to the ground in 1916. Located at the corner of Commerce and St. Paul streets, the five-story building boasted 20,000 square feet and was also home to business offices for Hoblitzelle. The Renaissance Revival structure was designed by John Eberson.” Later in 1921, Moses would write, “Did two watercolors for Mr. Hoblitzelle, which I trust will be pleasing to him and his wife.” Moses frequently gifted fine art paintings to his theatre clients. It was a personal thank you for the work and added credibility to the artistic works for the stage.

Dallas Majestic Theatre advertisement published in the “Dallas Express,” 8 Oct 1921, page 7.

On October 13, 1921, the “Corsicana Daily Sun” reported, “When Fair visitors go to Dallas this year there will be one place they will all want to go – The New Majestic of Dallas, For to come to Dallas and fail to see this palatial show house would be like going to Rome and forgetting to visit the Vatican. The New Majestic of Dallas is conceded to be the peer of all playhouses in the world for it possesses a Majesticland. A playground that is all of 90 feet long and 50 wide- containing all manner of toys, animals, merry go rounds, slides, etc. Mary Garden the famous diva of the Chicago Symphony Opera Co. declared that even she – in her plans and ambitions for an ideal playhouse never dreamed of such innovation and theatredom as Majesticland. But Majesticland is the only one of the many perfect details of this beautiful theatre. Throughout it is an example of the highest art. Patterned after the beautiful decorations of Louis Sixteenth it stands alone in its simple elegance of beauty n in the entire southwest” (page 10).

Advertisements stated, “The ancients never thought of going to Rome without visiting the Coliseum. No one thinks of going to Paris without visiting the Louvre. No one thinks of going to Washington, D.C. without seeing the Capitol Building and White House. Correspondingly – on one thinks of going to Dallas without visiting the New Majestic Theatre – the Greatest Amusement Institution in America” (Dallas Express, 8 Oct. 1921, page 7).

The “Scenic Artists” column in “The Billboard” that year reported, “Thos. G. Moses, art director for the Sosman & Landis Studios, is at Dallas, Tex., painting the new curtain and mural gardens in the new Majestic Theater now under construction. Mr. Moses states that this new Dallas House is one of the most wonderful in the country, having a number of unique features that make it interesting.” This article was clipped by Moses and placed in his scrapbook. There is no exact date or page number.

To be continued…

Tales from a Scenic Artist and Scholar. Part 902 – The Pittsburgh Scottish Rite, 1915

The Pittsburgh Masonic temple under construction, 1914-1915.

Early in 1915 Thomas G. Moses wrote, “Started the Pittsburg Consistory job. One hundred drops – will keep us busy for a long time.” In addition to drops, the studio would have provided dozens of scenic pieces to accompany the scenes.

The Pittsburgh Masonic Temple was a nine-story building erected by the Masonic Fund Society at a cost of $150,000,000 between 1914 and 1915. This is the equivalent to approximately $38,199,207.92 today.

The Pittsburgh Masonic Temple was home to many Masonic organizations, including the Ancient and Accepted Scottish Rite of Freemasonry.

On May 6, 1915, the “Pittsburgh Post-Gazette” announced, “The handsome new Masonic Temple at Fifth, Lytton and Tennyson avenues, was the scene of a great housewarming last night, in which fully 6,000 Masons and their ladies and guests took part. The exercises were under the auspices of the Ancient and Accepted Scottish Rite of Freemasonry, Valley of Pittsburgh…There were a number of high-class attractions for the house-warming. Perhaps the one that appealed to the greatest number was the concert in the theater on the fourth floor, a beautiful room which comfortably seats 1,300, and which is equipped with a pipe organ and a spacious stage” (page 1).

In 1916, the Masonic Temple was featured in the publication “Pittsburgh, How to See It. A Complete, Reliable Guide Book with Illustrations, the Latest Map and Complete Index” by George T. Fleming. Here is the entry in the book that describes the edifice:

“The Temple is 200 feet in length and 120 feet in depth. It stands on a plot with frontage of 240 feet on Fifth Avenue, 454 feet on Tennyson avenue, and 454 feet on Lytton avenue. It is 50 feet back of the building line on Fifth avenue, and in the rear there is land 284 feet in depth to provide for further growth. Its total cost was $1,500,000 to which the decorating will add considerably.

“The first floor is arranged for the social features inseparable from the workings of the Fraternity. Back of the stately foyer are the dining room, and two reception rooms. The offices of the Masonic Fun Society and of the Ancient and Accepted Scottish Rite are also on this floor.

“On the second floor are Corinthian Hall and Gothic hall. Corinthian hall is the meeting place of four Chapters Royal Arch Masons, and the Council of Royal and Select Masters. Gothic Hall is the meeting place of the three Commanderies, Knight Templar.

“The third floor is the Blue Lodge home, and is subdivided into four halls, Ionic, Doric, Tudor and Egyptian. Fifteen Blue Lodges and the School of Instruction meet on this floor.

“The fourth floor is devoted entirely to the Ancient Accepted Scottish Rite of Freemasonry, the four bodies comprising the Rite being the Lodge of Perfection, the Council of Princes of Jerusalem, the Chapter of Rose-Croix, and the Consistory. The larger apartment is built on the lines of a theatre. The lower floor will seat 648 persons and the balcony 548 persons. The stage has a width of 53 feet, and depth of 41 feet, and a height of 20 feet at the proscenium arch. It is as completely fitted up as the most modern theatre, and the electric lighting system designed to control the stage effects is in advance of anything ever before attempted in Pittsburgh. The Moeller organ built for the Rite at an expense of $12,500 is installed in this apartment. In the west end of this floor is a hall 50 by 62 feet, which will be used for the ordinary meetings of the Scottish Rite bodies.

“While the building is divided into four main floors, in fact it is an eight-storied structure with a modern basement. In the latter there are two billiard rooms, bowling alleys and a gymnasium, which in all probability will be placed in the care and charge of the Masonic club composed of those who hold member ship in the Masonic bodies meeting in the Temple. The kitchen with a capacity for serving 2,500 guest and the machinery rooms are also located there.

“On each of the floors is a mezzanine. That on the first floor entirely surrounds the dining room and refreshments are frequently served here. The Masonic library is on the mezzanine and apartments have been reserved for a Masonic museum. The second floor mezzanine is used for lockers in which the individual equipment of the Knights Templar are kept. The Blue Lodge mezzanine is used for hat and cloak room for members of the lodges. The Consistory mezzanine opens into a balcony of the Consistory theatre and makes an admirable upper foyer.”

What a phenomenal space.

In January 1916, “The New Age Magazine” reported, “The 104^th annual meeting of the Supreme Council of the 33º Northern Jurisdiction of the United States of America was held in the city of Pittsburgh from September 16^th to the 21^st. The first exercises took place Saturday evening at 8 o’clock, September 16, when the Supreme Council consecrated and dedicated the apartments of the Ancient and Accepted Scottish Rite in the new Masonic Temple recently erected by the brethren at Pittsburgh at a cost of a million and a half dollars, and it is one of the most beautiful Masonic Temples in the United States, the exterior being particularly noticeable” (January 1916, Vol. XXIV, No. I, page 417).

Unfortunately, this is just one more building no longer owned by the Fraternity. On December 23, 1993, the University of Pittsburgh purchased the Masonic Temple for $8.5 million dollars. It was renamed Fifth Avenue Alumni Hall in February 2002, becoming home to the undergraduate Office of Admissions, the Center for Instructional Development and Distance Education, and the Pitt Alumni Association. From 1998 to 2000, the University spent $16 million dollars on a renovation and adaptation of the building for use by University departments. Here is an article that gives some specifics about the renovated spaces: https://en.wikipedia.org/wiki/Alumni_Hall_(University_of_Pittsburgh)

The Pittsburgh Masonic Temple is now know as Alumni Hall.

To be continued…