Sosman & Landis – Page 14

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 2 – Harry J. Buhler, scenic artist.

Harry J. Buhler was a scenic artist who worked at Sosman & Landis during the nineteenth-century, c. 1883 – 1891. The first mention that I have located of Buhler representing the firm was from 1883. That year he painted and installed scenery at the Myers Opera House in Janesville, Wisconsin.

Buhler arrived in Janesville in October, with the “Janesville Daily Gazette” announcing “New Scenery at Myers Opera House.” On October 23, 1883, the newspaper reported, “Mr. H. J. Buhler, of Sosman & Landis scenic studio, Chicago, arrived in the city yesterday afternoon to begin the work of painting the scenery for Myers Opera House…There has been great improvement made of late in stage decorations, and standing at the front of artists in this line are Sosman & Landis. They have within the past year or so painted scenery for many of the largest theaters in the west” (page 4). Of the Sosman & Landis scenic artist, the article continued,” Mr. Buhler, who has been commissioned to do the work, is an artist of rare skill in the line. The decorations in many of the principal opera houses in the west are by his brush. He thoroughly understands the tendency of modern art as applied to the scenic department and will do some excellent work. It will take him about two weeks to complete the work and will be engaged both day and night.”

*A page from a nineteenth-century Sosman & Landis catalogue.*

On Nov. 12, 1883, the “Janesville Daily Gazette” described his work in detail, reporting,

“Mr. H. J. Buhler, from the scenic studio of Sosman & Landis, Chicago, who has been engaged in painting new scenery for Myers opera house for more than two weeks past, will finish the work on Wednesday of this week. To-morrow evening Mr. Buhler will arrange different stage settings which will show the general characters of the work done by him. This will be done for the accommodation of the press of the city.

“Among the pieces executed by Mr. Buhler are two tormentor doors and two tormentor wings, and a grand drapery border 12 feet wide and 25 feet long. The scenes include a kitchen set, a plain chamber set, a prison set, and a handsome box parlor set of modern Eastlake ebony comprising two pairs of flats and four wings, and borders to match. It is one of the finest sets to be found in any theater or opera house in this state, and is beautifully decorated with bric-a-brac armor, plaques, and so on. There is also a Louis 14^th gothic set which is also very beautiful. The landscape paintings embrace a country landscape; a dark wood scene; a rocky pass taken from the Yellowstone park; a garden set, including a garden backing, a set house, vases, and balustrade. There is also an ancient scene taken from Strasburg, and is, in all respects, a very effective scene. One of the finest scenes among the large collection which ornaments the stage of the opera house, is an ocean set, which is a splendid piece of marine painting.

“Very many of these sets and scenes will be used for the first time on Thursday night when Miss Anna Dickinson will produce Anne Boleyn. Mr. Buhler has kindly consented to remain here that night and arrange the scenery for the play. A new drop curtain, a very elegant one, costing not less than $200, has been ordered by Mr. Myers, and will be painted in Chicago. There is now four times more scenery in Myers opera house than ever before, and aside from the quantity, in artistic merit it is not excelled by that of any other opera house in Wisconsin. New gas-burner lights have also been put in above the stage, and also new rope which will greatly facilitate the changing of the scenery during the presentation of the play.

“Messrs. Sosman & Landis have a wide reputation as scenic painters, and have decorated many of the leading theaters and opera houses in the west; and they have served Mr. Myers well and have done the public a good service, by sending Mr. Buhler here to furnish the opera house with new scenery. He is a thorough artist, and having made scenery a specialty for years, he was in every particular fully competent for the task. He is a rapid workman and a genius in his line. The public will be surprised on Thursday evening to learn the great quantity of fine scenery he has turned out in so short a time. Every single piece is a credit to the artist, and a great advantage to the open house” (page 4).

On November 14, 1883, the “Janesville Daily Gazette” included another lengthy article describing each of the scene painted by Buhler. Of the scenic artist the article praised,

“Mr. Buhler has added considerable to his already wide reputation as an artist by the excellent work he has done for Mr. Myers. Messrs. Sosman & Landis are to be thanked for delegating Mr. Buhler to do the work, and the theatregoers of Janesville are under deep obligations to Mr. Myers for his enterprise in having the work done. We wish to state in connection with this notice of the new scenery that Mr. Buhler prepared the stage settings for Anna Dickinson’s first performance of Hamlet in New York, and for his skill and taste in doing the work he was highly complimented by that distinguished lady.”

Buhler’s first name varies in newspaper articles and other historical records over the years. Buhler was identified as H. J. Buhler, J. Harry Buhler, Harry Buhler and Henry Buhler; they were all the same individual.

Buhler was born in 1853, the second child of recently-arrived German immigrants Wilhelm Bühler (1818- ?)and Carolina Lorey (1830-1907). His parents were married in Speyer, Bayern, Germany, on August 28, 1845, and emigrated separately to the United States between, 1848 and 1849. Wilhelm arrived in Feb. 5, 1848 in New York Harbor, with Carolina and their daughter Anna F. (b. 1847) following in 1849.

Harry was born in New York City before the family continued on west. As the country expanded westward, new construction provided ample opportunity for employment. Little is known of Buhler’s early training, or exactly how he was introduced to the theatre trade. However, in 1870, the Federal Census places Henry J. Buhler in Little Rock, Arkansas. At eighteen years old, he had already painting a variety of projects in the area, living with another artist, Arthur W. Drewry, at a boarding house. Like most itinerant artists at the time, he completed a variety of painting projects that included sign painting, carriage painting and easel art exhibits. He soon partnered with another scenic artist named “Akin” to paint an advertisement drop for Little Rock’s theater hall. The two placed an advertisement in the “Arkansas Daily Gazette” on Nov. 4, 1870: “MERCHANTS TAKE NOTICE – That there are only a few card spaces left on the curtain painted for the theatre hall. All wishing a card should apply, signed Buhler & Akin” (, page 4).

By 1872, Buhler moved to Memphis, Tennessee. That spring he became the stage manager for the newly formed Memphis Amateur Dramatic Company. This meant that he was responsible for all of the backstage duties and all scenic contributions for various productions. By the fall he was painting at both the Memphis Theatre and Olympic Theatre in Memphis. At the Olympic Theatre, he was listed as “H. J. Buhler, Esq.” Buhler’s transformation scenes for “The Black Crook” received favorable reviews in the “Public Ledger” on October 17, 1872 (page 2). He also worked at the Memphis Theatre, first touched up the well-known drop curtain entitled the “Voyage of Life.” He was then engaged as an assistant to scenic artist Adam Walthew. Walthew became a well-known artist in both New York and Detroit, who passed away in 1886.

In 1879, Buhler was still painting the Memphis Theatre and was credited for providing the new drop curtain, replacing the one he previously touched up. On April 18, 1879, he “Memphis Evening Herald” reported, “New and elegant drop-curtain by Buhler. Magnificent new scenery and appointments, properties, flags, etc., etc., painted expressly for this opera [H. M. S. Pinafore] by Buhler” (18 April 1879, page 4).

Although, Buhler was living in Memphis, he was still traveling as an itinerant scenic artist and completing projects across the country. Work brought him to Illinois by 1878. That year Buhler was working at the opera house in Paxton, Illinois, and was credited with nursing the Flack family back to health after a disastrous incident. At the time, he was identified as “the scenic painter at the theatre” (The Weekly Standard, Paxton, Illinois, 5 Oct. 1878, page 3).

At the same time that Sosman & Landis were starting up their scenic studio in Chicago, Buhler got married. On July 12, 1879, “The Memphis Herald” announced “Last night Mr. Henry J. Buhler, the well-known scenic artist was married to Miss Alice C. Garrett, daughter of S. S. Garrett. The wedding took place at the residence of Capt. Garrett. 382 Vance street, and the ceremony was performed by Rev. S. Landrum.” The 1880 census records that Harry and Carry were living with the in-laws – Sirus and Sarah Garrett. At the time, Buhler was listed as an artist and Garrett at a boat inspector. The couple soon moved and were living in Chicago by the early 1880s, living at 295 Wabash. In 1885, Buhler was also listed in the Scene Painters Show (see past post 13: https://drypigment.net2017/06/29/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-131/). This was an event that solidified the network of many Midwestern scenic artists, particularly those working for Sosman & Landis.

In 1887, Buhler joined the Order of Chosen Friend (a fraternal benefit order), and was active as a trustee for the Apollo Council No. 29 in Chicago. In 1888, Buhler was also listed in the “Minneapolis Directory” working at the Pence Opera House and boarding at 224 Hennepin Ave.

His permanent residence was in Chicago at this time, where he and Carrie began a family, celebrating the birth of two children in: Blanch W. Buhler (b. Sept 1888) and Edgar Garrett Buhler (b. Sept. 1, 1892).

By the 1890s, Buhler continued to filter in and out of the Sosman & Landis studio, working on a variety of projects for them throughout the region. Thomas G. Moses later mentioned working with Buhler on the Temple Theatre in Duluth, Minnesota, for Sosman & Landis in 1891. Moses, Buhler and Joe Hart were credited for their scenic contributions in the “Duluth Evening Herald” on July 11, 1891. In 1892, Buhler was mention in the “Chicago Sunday Tribune” article “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” – “H. J. Buhler is another artist whose interiors are excellent examples of careful drawing, in which projection and shadow are most skillfully handled.”(Dec 18, 1892, page 41). Like other Sosman & Landis artists, he sporadically left to form a partnership; work was quite plentiful.

In 1897, Buhler was working with A. L. Lamphear at Havlin’s Theatre. However, he was also painting with artist Henry Asper, Buhler and Asper delivered ceremonial scenery for the Knights of Khorassan at the Al Hathim Masonic Temple (Inter Ocean, 24 Oct. 1897, page 16). Everything was going quite well when tragedy struck.

At the end of 1898 Buhler lost all of his business supplies in a fire at the Lincoln Theatre on North Clark Street. Previously known as the Windsor, it was renamed the Lincoln after it was partially destroyed by another fire and rebuilt a decade earlier. On Dec. 6, 1898. The “Chicago Tribune” reported, “H. J. Buhler, the scene painter, had his collection of models and a library destroyed, with no insurance.” This suggests that Buhler ‘s own scenic studio was at the Lincoln Theatre. Interestingly, the 1898 Chicago City Directory listed the Buhler family as residing at 636 North Clark Street in Chicago in 1898; they were still residing there at the time in 1900.

The 1900 Federal Census listed the Buhler household as including Harry, his wife and two children as well as his Mother, Caroline Buhler (1830-1907), and sister, Annie Chapman. Hermania Atwood, aged 33 yrs. old, was also living there and listed as a “daughter” – his sister though. I have yet to find anything about the passing of his father beyond the fact that he mother and Anna previously resided in Portland, Oregon.

Julius Cahn’s Official Theatrical Guide of 1899 listed Buhler as the scenic artist who delivered stock scenery to Chicago’s Alhambra Theatre, New Lincoln Theatre and New Lyric Theatre. In addition to working for other studios, Buhler established at least three partnerships throughout the duration of his career: Buhler & Mann with William Fletcher Mann (1851-1926); Buhler & Peltz with Herman Peltz, Sr. (1869-1908); and Buhler, Peltz & Carsen with Robert Carsen (1876-1958).

By the turn of the twentieth century, Buhler partnered with William Fletcher Mann with the two delivering scenery for several productions between 1904 and 1907. In 1906, however, Buhler was identified as a scenic artist at the Criterion Theatre in Chicago. At the Criterion he worked directly for scenic designer Lincoln J. Carter. Carter’s models translated to the stage by master machinist Herman Peltz and scenic artist Buhler. Buhler continues to work with both Peltz and Mann for the next few years, but struggles with his health. He moved south to Arizona for health reasons in 1907.

By 1909, Buhler and Peltz begin to work with Robert P. Carsen, establishing the Buhler, Peltz and Carsen Studio in Chicago. They continued to work with Mann, although Mann transitioned to a producer.

In 1910, the Buhlers are still living in Chicago, and then them seem to disappear. For whatever reason, I can find no mention of Harry, Carry or their son after 1910.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 1 – Frank Landis, salesman.

Sosman & Landis Scene Painting Studio was founded by Joseph S. Sosman and Perry Landis in Chicago by 1879. Prior to establishing a permanent home studio, the two traveled the country as itinerant scenic artists. After setting up their establishment on S. Clark Street in the Windy City, Sosman & Landis began an aggressive marketing campaign, advertising mail order scenery. They posted advertisements in various cities and stated that they would ship scenery anywhere in the country. For this business model to succeed, they needed to employ other individuals who would travel as company representatives; the two founders could not be in all places at once. That is where Perry’s younger brother Frank fits into the history.

Picture of Frank Landis posted at ancestry.com

In 1879 Frank was representing the firm in Kansas. He may have worked longer for the company, had he not settled down and began working for their father as a jeweler in Rushville, Indiana. It has taken me thirty years to track down the Landis family history. Without online research tools available at my fingertips, it would be nigh be impossible to piece this particular family tale together. Here is a brief summary of the family history that places Perry and Frank in within the family.

Frank and Perry were two of twelve children born to Henry H. Landis (1809-1893) and Catherine Johnston Landis (1817-1902). The couple was married on Oct. 6, 1831, in Franklin, Indiana. You can trace the Landis family’s movement by the birth locale of each child; it is still a bit confusing as they did not settle in any one place for long but shifted between Ohio and Iowa. In no particular order, their homes included: Franklin, Ohio; Clifty, Ohio; Rushville, Indiana, Steady Run, Iowa, Steady Run, Iowa; and Fairfield, Iowa.

*Map to show distances between Steady Run and Fairfield, Iowa, to Connersville, Indiana.*

In the decade following the Civil War, the children scattered like seeds in the wind, establishing homes across the country, including in Ohio, Iowa, Illinois, Indiana, Colorado, California and Oregon. By the 1890s, the majority of the family gathered in Chicago and became quite successful.

The twelve Landis children included: Mary (1833-1860, born in Indiana), John A. (1835-1915, born in Xenia, Ohio), David J. (1839-1863, born in Ohio), Jacob H. (1841-1911, born in Ohio), Joseph (1844-1936, born in Fairfield, Iowa), Infant daughter (1846-1846, no information beyond the dates), Julia Ann (1847-1847, no information beyond dates), Perry (1848-1905, born in Clifty, Indiana), James Henry (1851-1860, born in Indiana), Edgar (1852-1914, born in Indiana), Franklin (1856-1923, born in Fairfield, Iowa), Charles (1858-1923, born in Iowa).

When the eldest daughter, Mary, came of age, the Landis family was living Steady Run, Iowa. She married Robert Marshall and continued to live on a farm in Steady Run with her husband. She died only five years later in 1861. Mary was the fourth of the twelve children to pass away by this time, with her older brother David dying from injuries sustained during the Civil War in 1863. Five of the Landis boys joined the Union Army between 1862 and 1864. Edgar, Frank and Charles were too young to serve during the war.

John Landis was the first to enlist at the age of 27 on June 6, 1862. He was a Captain in the 1^st Calvalry, Co. D in the 18^th Regiment, Iowa Infantry. John received a Captains commission after capturing a Rebel flag during the Battle of Blackwater in Missouri. He was wounded severely in Springfield, Missouri, on Jan. 8, 1863, and was mustered out on Feb. 28, 1863. John moved west and spent the remainder of his life in Oregon.

David also was injured during battle in Springfield, Missouri, and died from complications after returning home. He was 24 yrs. old and living in Martinsburg, Iowa, when he enlisted with the Union Army on Aug. 15, 1862. David was mustered out on August 23, 1862, as a Private in the 18^th Regiment, Iowa Infantry. He was injured in battle on Jan. 8, 1863, and severely wounded on May 8, 1863. After being discharged, he returned home and passed away by the end of the year from complications.

Perry Landis enlisted in the Union Army in Layfayette, Indiana and was mustered August 12, 1863. He mustered out a second time out on March 1, 1864. Landis served as a private in Co. F of the 166^th Regiment, Indiana Infantry. His future business partner, Joseph S Sosman, enlisted on May 8, 1864, and served as a private in Company C of the 149^th Regiment, Ohio Infantry, for 100 days.

Jacob Landis enlisted on May 14, 1864, and was mustered out that same day as a private with Company K of the 131^st Infantry, Ohio. He was mustered out a second time on Aug. 25, 1864, Camp Chase, Ohio. After the war, Jacob returned to work on the family farm before marrying and moving west to California.

Joseph Landis registered for military service along with his brothers David and Jacob in in Steady Run, Iowa. However, I have yet to locate any specifics about his military service. The same is true for Joseph Landis.

Before the Civil War began, the Landis family was living in Steady Run, Iowa. Steady Run is due north of Fairfield, Iowa. After the war, the family had moved back to Indiana and were living in Connersville. The 1870 Federal Census still listed the family living on a farm and selling produce throughout the region. That year Perry was also living in Connersville with his family. On September 21, 1870, The Connersville Examiner listed Perry Landis in the “Fruits” section as selling the “best and greatest variety of grapes.” It was this trade that he continued when headed west to Denver by 1871.

Frank also made the newspaper a few times selling produce, finding tarantula spiders in with banana shipments, and so forth. By 1877 the Landis family moved a few miles west to Rushville, Indiana. That year, Frank began courting his future wife in Liberty, Indiana. Liberty was 28 miles due east of Rushville, with Connersville being half-way between the two. After one visit to Liberty, the “Rushville Weekly Republican” republished an announcement that originally appeared in the “Liberty Herald.” On May 17, 1877, the “Liberty Herald” announced, “Frank Landis, of Rushville, spent the Sabbath in town. Cause – female attraction.” Nothing quite like nineteenth-century social media where everyone knew your business and all of your comings and goings.

1879 is the year that changes everything for Frank. He does not work for Sosman & Landis long; life changes and he changed professions. Frank married Emeline “Emma” Danser of Liberty on January 1, 1880. Instead of moving to Chicago, he takes over command of his father’s jewelry business.

The jewelry store surprised me, as up until this point the Landis family were farmers and sold produce; or so I thought. Sometime between 1870 and 1879, Henry H. Landis began operating a jewelry store in Rushville. Even at the time of his passing in 1893 (Chicago), he was listed as a silversmith. Previous to this point, Henry H. Landis was consistently listed as a farmer. In 1880, the jewelry and watch establishment formerly known as H. H. Landis & Son, became Landis and Danser. I think the original “son” in H. H. Landis & Son was Frank’s old brother Joseph or Jacob. Joseph moved to Liberty in the post-war years and became engaged in the jewelry business there. He remained in the area until the 1890s when he moved to Chicago and began working with Perry Landis and Joe Sosman, establishing the American Reflector and Light Co. Frank, Joseph, Charles, Perry and their parents were all living in Chicago by the 1890s. However, Jacob also worked as a silversmith and jeweler in California, first living in Paskenta, California (1880) and later in Red Bluff, California.

As for Frank and the jewelry business… in 1880 he became the new owner of his father’s jewelry store, although his father stayed on to continued watch repair. Immediately after marrying Emma Danser, Frank partnered with his new brother-in-law, Leander “Lee” Danser. H. H. Landis & Son. Became Landis & Danser; Henry H. Landis sold his portion of the business to Lee. In 1880, Emma and Frank celebrate the birth of a son – Hugh H. Danser. Emma became gravely ill and died soon after their first anniversary. Frank remarried by 1882, and his second wife was Tillie Winship. Frank married Miss Mathilda “Tillie” Winship on Oct. 3, 1882.

Until marrying Frank, Tillie took care of her father, Jabez L. Winship, a retired farmer in the area. At the time, Jabez was sixty-five years old and had buried three wives. Tillie was the youngest of his children. I think Frank was Tillie’s escape from spending the remainder of her father’s life in servitude. When Jabez passed away in 1884, his will was very specific that his youngest daughter was to receive nothing, writing, “Jabez L. Winship divides his estate between his 4 adult children: Susan Loag of Wabash County, IN; Jesse Winship, Joseph S. Winship and Benjamin Winship of Rush county. I have given to my youngest daughter Tillie Landis, formerly Tillie Winship, her full share of my estate. It is my express will that she have no more of my estate.”

*Jabez specifying that Tillie had already received her inheritance.*

By 1885, Frank, Tillie and Hugh were living in Little Walnut, Kansas, where Frank is listed as a front agent. They don’t stay in Kansas for long, and soon move to Chicago. In 1887, Frank became involved in real estate, and that is was he made a fortune. All of the Landis brothers do extremely well in the beginning.

Frank and Joseph end up moving to Oak Park; this is also where Thomas G. Moses lives until his passing in 1934. In 1908 the “Oak Park Directory” listed Franklin Landis as a broker in the real estate industry. At this same time, Joseph is still running the American Reflector & Lighting Co. with Sosman. The two brothers end up living on South Oak Park, at 215 and 221

Frank Landis passed away on Dec. 27, 1923 in Oak Park, Illinois at the age of 67. He was buried in the family plot in Rushville,

His passing was announced in the Rushville newspaper:

“Franklin Landis Succumbs

Former Rushville Jewelry Dealer Expires in Oak Park, Chicago. Franklin Landis, of Oak Park, Chicago, uncle of Mrs. Jeanette Carr and Mrs. Frank Reynolds, of this city, died at six o’clock this morning following a short illness. He was a former resident of this city, having been engaged in the jewelry business with his father Henry H. Landis, at the place where the Abercrombie Jewelry store is not located. The deceased was a brother of Charles Landis, who died November 23, at his home in Lagrange, Ill. He is also survived by his wife, who was formerly Miss Mathilda Winship. No definite word has been received here of the funeral arrangements, but it is believed that the body will be brought here for burial.”

More information was provided after Frank’s funeral:

“Franklin Landis.

Funeral services for the late Franklin Landis were conducted last Saturday afternoon at 3 o’clock at his residence, 215 South Oak Park avenue, Rev. R. E. Vale officiating. Burial was at Rushville, Ind. Mr. Landis suffered a stroke of paralyses in March, 1918, while he partially recovered and sought relief in warm climates, he never fully regained his health. About two weeks ago he was subjected to a complication which his weak heart was unable to withstand. His condition was aggravated by grief over the death of his youngest brother a month previous. Mr. Landis was born in Fairfield, Iowa, in 1856 and came to Chicago in 1888, He was a land broker, his judgement being taken as authoritative and sound. As recently as last April he made a trip to inspect some large holdings and it was on that trip that he suffered a complete breakdown. Mr. and Mrs. Landis moved to Oak Park in 1903. Mr Landis was fond of nature and especially flowers. Besides Mrs. Landis, one brother, Joseph Landis, 221 south Pak Park avenue, survives.

Tillie went on to live until 1948, remaining a very wealthy woman. Upon her passing she donated $1,000 to the cemetery so that her grave would always be tended. On Feb 26, 1948, the “Rushville Republican” reported, “$1,000 Bequest Given Cemetery…The East Hill Cemetery Association was included in the bequest of $1,000, in the estate of Tillie J. Landis, former resident, who died Feb 6 in Oak Park, Ill…The estate was reported to be quite large. The $1,000 granted to the local cemetery is to be in trust in perpetuity, and the earnings to be used in keeping in good condition the lots and monument thereon in which are interred the remains of her husband. Also included in the will is the sum of $500 to Ruby Riley Dixon, a former resident, who also is given two fur coats of the deceased. The will distributed large sums of money, jewelry and real estate to several persons in the Chicago area.”

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. The Beginning.

Today’s post was to be about Frank Landis, Perry Landis’ younger brother. He was the first individual to represent Sosman & Landis beyond the two founders. However, you need a little backstory first to see where he fits into the picture, or nothing else about the studio history and staff will make sense.

On June 27, 1891, “The Dramatic Mirror” published an interview with Perry Landis of the Sosman & Landis Scene Painting Studio. The article described the first meeting between Joseph S. Sosman and Perry Landis: “Thirteen years ago Perry Landis was twenty-nine years of age, and in that happy condition known as ‘out of a job.’ With the exception of a few stray dollars in his pocket, Mr. Landis was practically on his uppers when he met Mr. Sosman in Ohio by accident. Mr. Sosman was a year older than himself, and the two young men became friendly and finally chummed it” (page 8).

This story is a little suspect, as it places the year of their meeting in 1878. That may have been the year they decided to open a scenic studio in Chicago, but it was not the year they met nor the first year they began working together. By 1876 the two were traveling companions and crisscrossing the country. In fact, twice that year they visited Landis’ former hometown in Fairfield, Iowa. On June 11, 1876, the “Fairfield Ledger” reported “Perry Landis and J. S. Sosman spent a few days in the city last week.”

The Landis family traveled quite a bit during the 1860s and 1870s. The patriarch, Henry H. Landis, hauled his family back and forth between Indiana and Iowa a few times. Both of Landis’ younger brothers were born in Iowa. In fact, Frank Landis was born in Fairfield, Iowa. By 1871 Perry Landis moved west to Colorado. He lived in Denver between 1872 and 1875, frequently returning to Fairfield to visit friends. He even submitted articles to the “Fairfield Ledger” about the history of Denver and nearby sites. It was likely on one of his return trips to Fairfield in 1875 that he met Sosman. In 1875, Sosman was working in Fairfield, painting scenery for Semon’s Opera House. It is important to understand that 1875 was only two years after Sosman began his career as scenic artist. His first theatre job was in the spring of 1873 when he assisted T. B. Harrison, an itinerant artist from Chicago. Harrison and Sosman painted scenery for the new Chandler’s Opera House in Macomb, Illinois. On April 17, 1873, the Macomb Journal reported that young “Joe” Sosman was assisting T. B. Harrison, of Chicago. Sosman was hired to mix paints and assist with various aspects of the painting process. Hehad some experience with basic painting, doing a little work as a sign painter. In 1873 Sosman was 28 years old, had served in the Union army during the Civil War, and moved from Chillicothe, Ohio, to Macomb, Illinois. He was unusually old to become a scenic art assistant. Most successful scenic artists began their careers by16 years old, if not earlier. That being said, there is no doubt that he was a gifted artist. Unfortunately, his lack of early training at an academy or in the theater would always put him at odds with artists who were trained at an early age. As I look at the success of Sosman & Landis, I cannot help but wonder if their rise to the top stemmed from the fact that scenic art remained a business for both men and not a passion.

On October 14, 1875, the “Fairfield Ledger”described Sosman’s work at Semon’s Opera House. The article reported, “The scenery was painted by Mr. J. S. Sosman, of McComb, Ills. [sic.], and bears evidence of the work of a master painter, and a man skilled in his profession.” After a lengthy description of Sosman’s scenic contributions, the article concluded “The painting is a great credit to the artist and all pronounce Mr. Sosman a painter of ability.”

Until the two established their first studio in Chicago, they were constantly on the road, with both men painting. Sosman always led the artistic end of the business and was listed as the senior partner for the firm. Landis also assisted with the art end in the beginning, but soon focused on sales. On February 6, 1878, the “WilmingtonJournal” published an article from the “LebabonGazette.” The article reported, “Messrs W. H. Rannells, Robert McMillan and Perry Landis were here [in Lebanon] from Wilmington, on Wednesday last, for the purpose of looking through the new hall. Mr. Landis is a scenic artist of rare accomplishments and is engaged at present in ornamenting the hall at Wilmington. These gentlemen expressed themselves well pleased with the grand outside, and exterior arrangments of our hall.” Rannells and McMillan were local Wilmington businessmen; Landis was the itinerant artist. This newspaper announcement suggests that Sosman & Landis had enough work at this time that they needed to work on separate locations.

Interestingly, after a decade with the firm, Landis’ role with was defined in an 1891 article for the “New York Dramatic Mirror.” The article reported:

“Landis did not know anything about the painting part, but he took charge of the business while Sosman wielded the brushes. Perhaps there were never two partners who worked so many years in such harmony.”

What remains curious is why public records continued to list Landis’ occupation as a scenic artist. Even his obituary credited Landis an artist. On Dec. 13, 1905, the “Newark Advocate” announced:

“WELL KNOWN ARTIST.

Perry Landis Junior Member of Chicago Firm, Dies After Three Years’ Illness.

Chicago, Dec. 13. – Perry Landis, well-known artist and clubman, died at his home in Evanston following an illness of more than three years’ duration. Mr. Landis, who was born in Clifty, Ind., 55 years ago, was a junior member of the firm of Sosman & Landis, and was well known among artists all over the United States.”

And yet, on Dec. 16, 1905, the “Evanston Press” announced, “Mr. Landis was not an artist, as has been stated elsewhere, but was a member of the firm Sosman & Landis, which owned and controlled a scenic studio on Clinton Street, Chicago.” This is odd, especially since the Evanston City Directory had repeatedly listed Landis’ occupation as a scenic artist. It made me wonder if this correction came from the Landis family, particularly the businessmen. It is possible that the role of “businessman” may have carried much more importance than that of “artist.”

Regardless of Landis’ artistic abilities, he eventually became responsible for company sales and other administrative tasks. He was the consummate salesman and networker that helped make the firm a success. His previous employment as a news agent worked well with the firm’s aggressive marketing campaign. Throughout the 1880s, Landis traveled from town to town, securing one contract after another. Sosman followed Landis, close on his heels with an assistant, completing each job. Just as Sosman needed help with painting, Landis needed help with sales. In fact, the first sales assistant was hired before the first scenic art assistant. Frank Landis was working for the firm as a salesman by 1879. Thomas G. Moses was hired to assist Sosman on various painting projects in 1880. Soon, there were two crews of salesmen and scenic artists; they continued to multiply. The staff increased throughout the remainder of the nineteenth-century.

In 1879, Sosman and Landis selected Chicago for their permanent offices and studio. They rented space at 277 and 279 South Clark Street by May, likely seeing the rental advertisement in the “Chicago Tribune” that month. Here was the ad in the rental section:

“TO RENT. The large store No. 279 South Clark-st. , northeast corner Van Buren; has been a Clothing Store for 15 years. Apply to Isaac Marks, 277 So. Clark.”

By May 17, 1879, Sosman & Landis published their first advertisement in the “Chicago Tribune” with the new address. Their listing advertised:

“Scenery for Halls – and elegant landscape drop curtain – only $30; a parlor scene, $18; wood scene, $18; street scene, $18; kitchen scene, $15; prison scene, $15, all new and first-class, suitable for small halls or amateur societies. Can be shipped to any part of the country. SOSMAN & LANDIS, 277 and 279 South Clark -st., Chicago.”

This advertisement was the beginning of an aggressive marketing plan. They immediately began painting and shipping scenery throughout the country. To make this work, they needed to rapidly market a product and get a salesman on the road. This is where Frank Landis comes into the picture. On August 16, 1879. The “Atchison Daily Patriot” reported, “Frank Landis, representing the firm of Sosman & Landis, is in Atchison [Kansas]” (page 4). Frank was covering the western region while his older brother focused on the easter region.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1199 – Sosman & Landis, Shaping the Landscape of American Theater

It has taken me four years to explore the life and times of Thomas G. Moses from 1856 to 1924. There is one whole decade to go until his passing in 1934. Moses started his art career in 1873, so I have covered fifty-one-years’ worth of scenic art projects, significant events, and interesting personalities.

My initial plan was to have my daily posts result in three books: The Life and Times of Thomas G. Moses; the History of the Sosman & Landis Scenic Studios, and Scenic Art in America, 1880-1920. The first book was to tell the complete story of Thomas G. Moses’ career from 1873 to 1934. By the time I reached 1900, however, I realized that the story would have to be told as a trilogy, broken down into three separate time spans: 1873-1904, 1904-1923, and 1924-1934.

I then recognized that my story about Moses really had to start with the establishment of Sosman & Landis. I started writing about the firm and got quite far in my manuscript, with only last section to go. The final part of my book included brief biographies of Sosman & Landis scenic artists, stage mechanics, and other employees. I have identified over fifty individuals who passed through the Sosman & Landis doors between 1879 and 1924. As with every personal project, however, the time I set aside to work on my book evaporated as my business workload increased.

*Illustration in the 1894 Sosman & Landis catalogue. From the author’s collection.*

Starting tomorrow, I take a two month break from my current storyline and return to the history of Sosman and Landis. I will post a brief biography for each of the studio staff that I have identified to date.

What makes the establishment and success of Sosman & Landis so unique is its founders. Neither Sosman, nor Landis, came from a theatre lineage. They did not grow up working at an opera house or touring with a production company. They did not spend their youths as apprentices to scenic artists or decorative painters. Each man grew up in a small midwestern town, starting out in another profession before selecting a theatre career.

Sosman and Landis met in 1875 and the two immediately became friends and traveling companions. Their working partnership began as “Sosman and Landis, scenic artists.” It was not until 1879 that they settled in Chicago and officially established “Sosman & Landis Scene Painting Studio.” Thomas G. Moses was the first scenic artist who joined their firm in 1880, shortly following the addition of one salesman. From June 1881 to July 1882, Sosman & Landis delivered scenery to seventy-four theaters, opera houses and music halls in nineteen states and three territories.

An 1889 Sosman & Landis catalogue advertised that the firm had installed scenery in more than 2000 opera houses and halls nationwide. This number increased to 4,000 by 1894 and 6,000 by 1901. In 1902, Sosman & Landis not only supplied scenery to stages in the United States, Mexico and Canada, but also to other countries. At their peak, they employed a staff of sixty-five at the main studio and a staff of twelve in the annex studio. So far, I have a list of fifty-one individuals who worked on their staff. Starting tomorrow, I am going to slowly work my way through that list.

Tales from a Scenic Artist and Scholar. Part 1197 – Harry Naile and the Pasadena Scottish Rite, 1925

On February 14, 1925, the “Pasadena Post” reported, “While Mr. Moses has watched carefully the painting of the curtains, much credit for their final perfection must go to the assistant and scenic artist, F. B. Fulton. Mr. Fulton believes the scenic work to be some of the finest he has ever produced. The final work of hanging and installing the curtains will be under the supervision of Harry Naile, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Naile was brought from Chicago so that no mistakes in installation could be made.”

*Previously-owned rigging system designed for the Little Rock Scottish Rite, installed at the Pasadena Scottish Rite by Harry E. Naile in 1925.*

Note the old line numbers from Little Rock (top) and the newly painted numbers for Pasadena (side). *Previously-owned rigging system designed for the Little Rock Scottish Rite, installed at the Pasadena Scottish Rite by Harry E. Naile in 1925.*

*View of bottom battens on scenery at the Pasadena Scottish Rite,*

Harry Naile and Fitch Fulton were repeatedly mentioned by Moses in the 1920s. Other projects with stage carpentry and installed by Naile include the Tacoma Scottish Rite and the Binghamton Scottish Rite. In regard to the Binghamton project, Moses wrote, “I insisted on having Naile on the job…He and Mrs. Naile arrived on the 1^st of October and we then proceeded to get things going.” Between 1924 and 1925, Moses, Naile and Fitch Fulton bounced from one project to another. Although, I have written about Naile in the past, here is a recap as he plays a more prominent role in the storyline at this point.

Harry Elmore Naile was born in Pierceton, Indiana, on June 15, 1879. He was one of four children born to Mary Elizabeth Orr (1854-1900) and Louis Phillip Naile (1855-1918). His siblings were Roy, Grace, and Ralph. He also had a halfsister, Loretta; Naile’s father remarried after the death of his mother. I have yet to find any information about Naile’s early life or when he entered the theatre profession. However, he came by the trade naturally as his father was a house carpenter. It is not a surprise that he was born into the trade. Like many young men at this time, he headed west and settled in Colorado Springs.

In 1907, he married Georgia E. Robinson in Colorado Springs. She was the only child of William W. Robinson (1863-1926) and Mary A. “Mamie” Rogers (1869-1954). Her father was a painter, and possibly provided an initial introduction for the couple. At the time Harry was twenty-seven years old and Georgia was nineteen years old. The couple spent the majority of their marriage apart, with Harry lodging in various hotels and boarding houses for work as a stage carpenter. By 1913, the Polk County directory listed “Naile, Harry E. (Georgia), removed to Chicago, Illinois, from Colorado Springs.” In 1916 he was working for Sosman & Landis on a New York project with Nicholas J. Pausback.

Naile remained in the Chicago area for much of his life, working as both a stage carpenter and stage mechanic. By 1918, he was at the Chateau Theatre on 3810 Broadway. His WWI draft registration noted that he was 5’-7” tall, with a slender build and blue eyes. No hair color was mentioned at all. By 1920, the Naile was living at 57 East Van Buren Street.

After the Pasadena Scottish Rite project, Moses, Fulton and Nail worked on a project in San Jose, California. Of the project, Moses wrote, “I started for San Jose on March 27^th and found Naile had everything in good shape.” The trio also worked in Los Angeles on the “Fullerton job.” By 1930, Naile was still living in Chicago, now at the Kenmore Beach Hotel, 552 Kenmore Avenue. The 1930 US Federal Census listed Naile as a superintendent for a theatrical supply company, although it remains unclear as to which firm.

He died shortly after the US Federal census recorded his employment. Naile passed away on September 15, 1930. He was only fifty years old at the time and had been married to Georgia for twenty-three years. I have yet to locate any death notice or obituary, giving any cause for his passing. Georgia was left a widow at forty-six years old and never remarried. Of Georgia’s own passing the Colorado Springs “Gazette Telegraph” printed, “Naile- Mrs. Georgia Naile, 2612 W. Cucharras, passed away Tuesday at a local nursing home” (12 March 1975, page 4).

Both Georgia and Harry are buried in Colorado Springs’ Evergreen Cemetery.

To be continued…

Tales from a Scenic Artist and Scholar. Part 1196 – Thomas G. Moses, Fitch Fulton, Harry E. Naile and the Pasadena Scottish Rite, 1924-1925

Between 1924 and 1925, Thomas G. Moses, Fitch B. Fulton and Harry E. Naile delivered scenery to several Masonic theaters. The Pasadena Scottish Rite project began on the heels of the Fort Scott Scottish Rite project. It all started with Fort Scott, Kansas.

In August 1924, Moses wrote, “Fulton is now in Fort Scott getting ready for our big work. I bought a round trip ticket for a long western trip and started on the 16th of August arriving in Fort Scott on the 17th. Put in one day with Fulton, leaving on the 19th.”

Fulton was on site setting up the paint space in the theater and was already painting when Moses arrived for a day in Fort Scott. The two worked on a platform twenty-feet above the stage-left side of the theater. The project would be completed in spits and spurts that year.

After leaving Fort Scott and stopping in Salt Lake City, Moses arrived in Los Angeles on the afternoon of the August 22, He wrote, “Got busy immediately at Pasadena for ten days. As a final deal, I offered the Little Rock drops for $8,500.00, closed the deal and at Los Angeles for a big interior for the Consistory.”

So, while Fulton began the Fort Scott job, Moses landed the Pasadena job.

Moses returned to the Fort Scott Project, finished the work with Fulton, and then headed back to Chicago. By November 1924, Moses wrote, “I must get back to Pasadena as they want to open on the 24th of February, so we put the house in perfect shape for cold weather and got our tickets via the D.R.G. through Colorado. Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we reached the 3rd Street Station just in time to catch a train for San Jose. Went to the Vendome Hotel and Mrs. Fulton came up. It took us eight days to close a $7,000.00 contract and get to Los Angeles where we spent two days, finally securing a fine apartment at the 159 S. Los Robles Avenue in Pasadena, where we will remain for two months. Had a delightful Christmas day at Walters.”

Moses and Fulton planned on preparing the used Little Rock scenery for installation and painting a few new scenes for the Pasadena Scottish Rite.

*Scene by Sosman & Landis for the Scottish Rite theater in Little Rock, Arkansas, 1902. It was sold to the Pasadena Scottish Rite and installed in 1925.*

*Backdrop painted by Thomas G. Moses and Fitch Fulton in 1925 for the Pasadena Scottish Rite.*

Painted detail. *Backdrop painted by Thomas G. Moses and Fitch Fulton in 1925 for the Pasadena Scottish Rite.*

On February 14, 1925, the “Pasadena Post” reported, “The magnificent scenic drop curtains which have been hung in the new Scottish Rite cathedral to be dedicated Tuesday evening, are a gift of Major Charles M. Skillen, in memory of his son, the later Dr. Ralph G. Skillen. Both father and sone were charter members of the Pasadena Consistory.“The 73 drops represent some of the finest work of the artists of Sosman & Landis company of Chicago have ever produced, according to Thomas G. Moses, president of the firm, who is in Pasadena to personally supervise the work of installing them. “Each of the drops was especially designed and finished for the Pasadena cathedral. Months were spent in the preparation of then, it is said. About half were painted in the Chicago studios of the company and the reminder finished in this city. While Mr. Moses has watched carefully the painting of the curtains, much credit for their final perfection must go to the assistant and scenic artist, F. B. Fulton. Mr. Fulton believes the scenic work to be some of the finest he has ever produced. The final work of hanging and installing the curtains will be under the supervision of Harry Nail, a member of the Sosman & Landis company. This work demands such expert workmanship that Mr. Nail [sic.] was brought from Chicago so that no mistakes in installation could be made.”

*The stage machinery at the Pasadena Scottish Rite installed by Harry E. Naile in 1925. This is the same system that was previously used at the Little Rock Scottish Rite from 1902 to 1923.*

*The Pasadena Scottish Rite theater became known as the Cobb Auditorium in 1935.*

*The original decor at the Pasadena Scottish Rite from 1925.*

*The renovated Pasadena Scottish Rite, ca. 1965.*

Only if you were standing backstage at the Pasadena Scottish Rite and saw “Little Rock” written all over the back of many of the scenes would you suspect that they scenery was not new. That a good portion of the collection was previously designed and installed at the Little Rock Scottish Rite in Arkansas.

*“Little Rock” written on the back of a drop at the Pasadena Scottish Rite.*

*“Little Rock” written on the back of a drop at the Pasadena Scottish Rite.* *Also included is information about the size, composition, scenic piece, and degree.*

When the Scottish Rite in Little Rock purchased new scenery in 1923, their old scenery was returned on credit, applied toward the purchase of new scenery. This used collection was stored and then split between the Miami Scottish Rite and the Pasadena Scottish Rite. When some of the old Little Rock scenery arrived in Pasadena, Moses and Fulton touched up the scenes and then added some drops.Over the decades, the scenery collection was expanded, touched up, and repositioned. A complete remodel of the auditorium took place from 1964-1965, greatly altering the overall aesthetic and proscenium opening that showcased the scenic artworks.https://www.pasadenascottishrite.org/about-us/history/

Mike Hume has a lovely post about the Pasadena Scottish Rite Cathedral at https://www.historictheatrephotos.com/…/Scottish-Rite…

as well as his photographs at Atlas Obscura (https://www.atlasobscura.com/places/scottish-rite-cathedral).To be continued…

Tales from a Scenic Artist and Scholar. The Fourteen Scenery Collections at the Tabor Opera House in Leadville, Colorado, 1879-1902.

For the past year, I have slowly plugged along on the Tabor Opera House scenery project. In addition to two site visits, I tracked down a massive amount of information pertaining to the individuals and scenic studios that produced scenery for the Tabor Opera House in Leadville, Colorado, and the Tabor Grand Opera House in Denver, Colorado. Both were built by silver magnate Horace Tabor in 1879 and 1881, respectively. The story of the Tabor Opera House is intertwined with the success of a boom town, a passionate love triangle, and the establishment of the Silver Circuit. Tabor and his opera houses have repeatedly been the topic for both fictional and non-fictional accounts, even inspiring the 1932 movie “Silver Dollar.” Tabor’s second wife was the famed beauty featured in the 1958 opera by Douglas Moore and John Latouche, “The Ballad of Baby Doe”(http://usopera.com/operas/ballad.html).

The Tabor Opera House in Leadville was planned by someone who did not understand theatre architecture nor the basic logistics. Horace Tabor was simply a patron of the arts with money to burn. Although his opera house opened in November 1879, the auditorium and stage were renovated by August 1882; the acoustics and stage machinery were an abysmal failure. There were more structural changes for the building two decades later when the building was purchased by Leadville’s Benevolent and Protective Order of Elks (B.P.O.E.). Tabor lost his fortune in the early 1890s, and the building changed hands before the Elks purchased it in 1901.

*The Tabor Opera House in Leadville, c. 1879-1882*

*The Elks Opera House (renovated Tabor Opera House) after 1902*.

By the way, the founder of the Elks (actor Charles Vivian) died in Leadville and his funeral was held at the Tabor Opera House.

When the Elks acquired the Tabor Opera House (then known as the Weston Opera House), they completely renovated the auditorium and stage. Part of the renovation included adding a fly loft and purchasing all new scenery from the Kansas City Scenic Co. The Kansas City Scenic Co. subcontracted some of their project to the Sosman & Landis Scene Painting Studio of Chicago. Sosman & Landis delivered at least two of the interior settings and a ceiling panel.

Between 1879 and 1902 new scenery was delivered multiple times as the venue transitioned from a wing-and-shutter scenery to a fly drops, box sets and folding wings. Scenic artists included decorative artist James E. Lamphere (C. A. Treat, Denver), T. Frank Cox (well-known theater architect and founder of Cox Bros. Great Southern Studio, New Orleans) and Henry E. Burcky (well-known scenic artist of Hooley’s Theatre in Chicago and the 1881 Cincinnati Opera Festival).

*Signature and date on back of tree profile by Frank Cox, 1888.*

*Moving painted shutters by T. Frank Cox.*

When the nineteenth-century scenery was replaced with new scenery in 1902, the old scenery was simply stored in the attic. Over the years a few pieces were lowered to the floor, but it was an arduous task to transfer it from the attic to the stage floor, so much remained untouched. Until 2020, much of the scenery remained stacked along one attic wall, patiently waiting under piles of dust and debris.

*Piles of nineteenth-century scenery were once stored in the attic of the Tabor Opera House. Photograph from June 19, 2018.*

I was hired in 2020 to document and evaluate the Tabor Opera House scenery collections. My task was to conduct a historical analysis of the collection, evaluate the condition of individual artifacts, provide replacement estimates, and create a collections care management program. At the time, I believed there were about 50 pieces on the stage and about 30 pieces in the attic. I was very, very wrong, and grossly underestimated the amount. I could not never have anticipated the size or scope of the collections. The sheer numbers surprised everyone.

*A small section of flats stacked against the back wall of the Tabor Opera House in Leadville, Colorado.*

To date, the documented stage artifacts comprise fourteen unique theatre collections, spanning from 1879-1902. There are over 250 individually painted compositions, as many pieces are double-painted. Nineteenth-century scenery once stored in the attic was designed for a wing-and-shutter system. The twentieth-century scenery was designed for a more modern stage with a fly loft. I have never encountered so much scenery delivered to one place, specifically one small opera house in the mountains. Even when the scenery was damaged over the years, it wasn’t discarded. We uncovered dozens of painted scraps and little broken bits, just tucked away, out of sight, out of mind.

*The packed stage before all of the attic scenery was lowered to the stage floor.*

I have completed two of three phases, as there are still piles of undocumented scenery scattered throughout the building, stored above attic rafters and elsewhere. The first phase of the project (February 2020) focused on the twentieth-century scenery and the second phase (September 2020) focused on the nineteenth-century scenery in the attic. The third phase will happen sometime this year and include a “rounding up” of the remaining artifacts. They just keep popping up all over the place.

The historical analysis of the fourteen Tabor Opera House collections is 440 pages long. I wrote the text in a conversational format to help communicate information to both the Board of Directors and architects. I included fun facts and stories for moments of levity, sharing the lives and careers of the many individuals involved with the stage from 1879-1902. I wanted these artifacts to personally impact those without a thorough understanding of technical theatre or theatre history. The title of my tome is “A Theatre Time Capsule: Scenic Collections at the Tabor Opera House.” My work places the collections and each artifact within a historical context, both nationally and internationally. This 440-page document does not include the individual conditions reports, replacement appraisals, recommendations or collections care program. That was a whole separate headache. When everything is put together, my work is just shy of 1300 pages. I am dreading making a hard copy of everything next month.

*A stray piece documented in the Tabor Opera House attic, June 2018.*

*That same stage artifact cleaned and lo*wered to the stage floor in September 2020.

*Nineteenth-century stage setting delivered to the Tabor Opera House.*

*Twentieth-century scene delivered to the Tabor Opera House.*

The scope of the collection is the broadest that I have ever encountered, not just in regard to the scenery, but also in regard to stage hardware. Yes, there is water damage, punctures, abrasions, poor repairs, alterations and the like, but much of the scenery is between 119 and 142 years old, so with that in mind, the scenery is in remarkable shape and all salvageable.

I will keep you posted once third final phase is complete.

Please consider making a donation to the Tabor Opera House. Here is alink to their website: https://www.taboroperahouse.net/

Tales from a Scenic Artist and Scholar. Part 1184 – The Pelican and the Worm

My post about the Scottish Rite scenery at Fort Leavenworth from 1924 included the standard Sosman & Landis design for the 18^th degree. Labeled “Peristyle,” the design included a landscape with river dividing the scene, a pelican feeding its young, and a few other symbolic objects. The pelican was supposed to be piercing its breast to feed its young – a symbol of sacrifice.

Correct image of pelican posted to the Traveling Templar. here is the link:
https://www.travelingtemplar.com/2013/08/the-pelican.html

This image is not unique to Freemasonry at all. It is found on stained glass windows in churches and even on the Louisiana state flag.

At Fort Leavenworth, however, Moses painted the pelican is feeding its young a worm.

*18th degree setting at Fort Leavenworth, Kansas.*

*Detail painted by Thomas G. Moses – pelican feeding a worm to its young.*

He had done this before – many times. Besides, pelicans are water birds, and don’t really search for worms in the ground. I had always wondered who kept adding the worm and should have made the connection long before now. After all, in 1904, the artistic direction at the studio was handed over to Moses when he returned and became the vice-president of the firm. Moses and Fred Megan purchased the Sosman & Landis name after the company liquidated in 1923 and continued to deliver Scottish Rite scenery. It was seeing the pelican with a worm on the Fort Leavenworth scenery this week that made me realize Moses was the culprit. After all, he didn’t become a Mason until 1925, so it is understandable. What I find humorous is that it wasn’t immediately pointed out, or quietly fixed over the decades.

*Correct depiction of pelican painted when Thomas G. Moses was not in charge of Masonic scenery production at Sosman & Landis.*

*Scottish Rite scene for Winona, Minnesota, painted under Thomas G. Moses’ supervision.*

*Scottish Rite scene for McAlester, Oklahoma painted under Thomas G. Moses’ supervision, 1908. This scene was later sold to the Salina Scottish Rite.*

*Scottish Rite scene for St. Paul, Minnesota, painted under Thomas G. Moses’ supervision.*

There are few Scottish Rite scenes that were solely designed for Masonic degree productions. Most stage settings that were used by the Fraternity originated for other venues. Many stage compositions had been used for centuries in a variety of theatrical and operatic productions. Palatial interiors, cathedrals, catacombs, dungeons, classical interiors, mausoleums, Egyptian temples, desert scenes, forests, rivers, landscapes, Gothic armories, rocky coasts, and garden scenes were all used for both commercial and fraternal productions.

The “INRI Peristyle” scene for the eighteenth degree, however, was unique. It would become a standard setting in many Southern Jurisdiction Scottish Rite theaters during the first decade of the twentieth century. This scene used a translucent lighting effect. The words “Infinity,” “Nature,” “Reason,” and “Immortality” were typically placed at the tops of columns. The first letter of each word (I.N.R.I.) was backed with red silk, allowing it to glow.

I am frequently asked questions about the subject matter and necessary symbolism in degree production scenery. How did the artists know what to paint? How did the Masons ensure appropriate symbolism on each backdrop without revealing any secrets? Did all of the scenic artists understand what they were painting on drops? The short answer is, “No, look at the pelican; it’s a perfect example of a detail being lost in translation.”

The pelican is an integral part of the eighteenth degree. In many stage settings it either appears on the backdrop or cut drop. Sometimes it is included as a set prop or light box.

*Pelican piercing its breast light box for the 18th degree at the Scottish Rite stage in Grand Forks, North Dakota.*

Screwing up this significant image is a big deal, and yet many Scottish Rite scenes still have a Pelican feeding a worm to its young.

This major faux pas, however, was not unique to Sosman & Landis. Once Volland installation at the Scottish Rite in Hastings, Nebraska has a lone Pelican piercing its breast – no young anywhere in sight. It’s like a pelican suicide.

*Pelican painted by Volland scenic artists for the Scottish Rite in Hastings, Nebraska.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 1177 – Thomas G. Moses and the Masonic Temple in Manhattan, Kansas

In 1924, Thomas G. Moses wrote, “We also did a small job at Manhattan, Kansas of $1,100.00.” It was York Rite scenery for the Masonic Temple.

*From the “Manhattan Mercury,” 20 May 1922, page 2.*

On Nov. 29, 1924, “The Morning Chronicle” announced, “Select Masters Degree to Four Candidates Tonight. New Scenery – Nine Drops and Four different scenes – to be used.” The article continued, “Four candidates will be given the Select Masters degree by the Masonic be the first to be performed by the Council tonight. The ceremony will council and the number of candidates was limited for that reason. There are about 25 candidates for the degree.

The new scenery for the temple arrived Thursday night and will be in position for the services tonight. The scenery consists of nine drops and four scenes. It is to be used by all the Masonic bodies.” The new scenery would be further described a year later when it was featured again. On June 30, 1925, “The Morning Chronicle,” reported “New scenery will be utilized.” The article continued, “A stunt night program in which all of Manhattan’s six Masonic orders will join is to be held in the Masonic Temple next Thursday evening…The occasion will afford a splendid opportunity to utilize the new scenery and lighting equipment to fine advantage.”

Moses’ work was well known in Manhattan, as Sosman & Landis delivered scenery to the new temple in 1922. On July 13 of that year the “Manhattan Nationalist” reported, “New Scenery Arrives. Drop Curtains Placed in Masonic Temple – to Confer Degree on Large Class.” The article reported, “The scenery which will be used by the Masonic in conferring the Most Excellent degree arrived Monday and has been put in position in the new Masonic temple. It is expected that it will be used the first time in conferring the degree upon a class of eight candidates from Wamego, who have signified their intention of coming to Manhattan for the ceremonies. The scenery was made by Sosman & Landis Scenic Co. of Chicago, one of the largest firms of this kind in the country and is considered a real work of art.”

The Sosman & Landis scenery was mentioned again the next year. In December 1923 the Royal Arch Masons conferred degrees on a class of 25 candidates from Manhattan and Wamego. “The Morning Chronicle” reported, “Historic hymns which are included in the ceremonial will be illustrated with lantern slides. The new scenery furnishing settings for degree work which was purchased and installed in the temple last year will be used in connection with the initiatory ceremonies.”

To be continued…

Travels of a Scenic Artist and Scholar: Salina, Kansas

In 1927, 117 drops were moved from the Scottish Rite Theatre in McAlester, Oklahoma, to the Scottish Rite Theatre in Salina, Kansas. The collection dates from 1908, originally delivered by the Sosman & Landis Scene Painting Studio of Chicago. Thomas G. Moses (1856-1934) supervised the design and painting of the collection.