Thomas G. Moses – Drypigment.net

Travels of a Scenic Artist and Scholar: Robert Earl Sudderth and the Oakland Scottish Rite

In 1927, Thomas G. Moses hired Earl Sudderth to be his second scenic assistant on site at the Oakland Scottish Rite Theatre. Moses had already secured the services of Lenn Harris (1889-1930), the topic of my previous post. However, the size of the project necessitated a second pair of hands when Moses stepped away to complete an earlier project in Utah. Of the addition, Moses wrote, “I had to get Earl Sudderth to help Harris while I was back in Salt Lake on the 10^th of November to get ready for the Dedication where I found plenty to do in order to get ready.”

Earl Sudderth was actually Robert Earl Sudderth (1891-1957). In 1927, Robert E. Sudderth was listed in the Oakland Directory as an artist at the Western Scenic Studio. He had been with the firm since 1925 and had known studio owner Larry Abrott for well over a decade. At the Oakland Scottish Rite, the installation of the scenery and stage machinery was under the personal direction of Abrott. In Oakland, Moses both worked and socialized with Abrott and Sudderth. Many of their after-work outings were recorded in his memoirs. Unlike most scenic artists at this time, Sudderth was repeatedly featured in the news. There are even photographs of his painting for Western Scenic Studios.

Robert Earl Sudderth painting in 1935. From the *Oakland Tribune* 25 Nov 1935 p. 17

Robert Earl Sudderth was born on Sept. 14, 1891, in Lenoir, North Carolina. For geographical context, Lenoir is approximately 28 miles south of Boone. It is in the same area as Grandfather Mountain and Blowing Rock. Robert Earl was the eldest of six children born to Charles T. Sudderth (1864-1923) and Mary Lou Hartley (1870-1937).

When he was 10 years old, his father headed west in search of a new home. On Feb. 8, 1901, The Weekly News reported, “Mr. Charles T. Sudderth has decided to sell out and go west. He hopes to get off in March. He will go first to Stockton.” That summer, the corner stone for the new Masonic Hall was laid in Lenoir by the lodge that Charles attended – Hibriten Lodge No. 262. Two years later, the Sudderths journeyed west, settling in Everett, Washington, where they welcomed another child in 1903. The family left Lenoir just as the Cotton Mill and Caldwell County Courthouse were being completed.

Once settled on the West Coast, the Sudderths moved again. In 1907 the ventured south to California, where Maguerite was born. In San Jose, Earl became a machinist at the Victory Motor Car company, while his father continued as a carpenter. At 19 years old, Earl was now the eldest of six kids in the Sudderth home, located at 276 Clay. By 1910, Earl listed his occupation as an artist in the studio industry when the US Federal Census was taken that year. He soon became associated with the Essanay Film Company, working at their Western Studio in nearby Niles, California. [https://essanaystudios.org/about-us/employees/ ] at their Western Studio in Niles, California. Niles is now known as an historic district in Fremont. There is a remarkable book that traces the early years of Essanay in Chicago and their Western Studio. Written by David Kiehn, Broncho Billy and the Essanay Film Company was published in 2003. He included a short biographical entry for Earl Sudderth in his book:

“(Robert Earl Sudderth) 14 September 1891 Lenoir, North Carolina – 10 June 1957 Oakland, CA. A student of the artist A. D. M. Cooper, he was a scenic painter with Essanay beginning in November 1913. He went to the Liberty Film Company in September 1914 but returned to Niles by March 1915. He later worked at Lawrence Abrott’s Western Scenic Studios in Oakland.”

Keihn is the historian for Niles Essanay Silent Film Museum and has compiled a list of Essanay staff. In addition to scene painting, Earl Sudderth was also known to play small parts in the films that he worked on. He was on staff during a brief shakeup of the studio in 1914, briefly leaving that spring to work for Jess Robbins newly-formed Robbins Photo Plays Co. in Los Angeles. Sudderth left Essanay at the same time as Robbins, Larry Medieros, Al Griffin, Harris Ensign and Emory Johnson. They later returned to Essanay in the spring of 1915, only to have the Niles location closed the following year. It was at Essanay that Sudderth likely met Larry Abrott, the firm’s head carpenter. This connection may have also been through his father, who was also a carpenter in the area. Sudderth and Abrott were part of the Western Essanay staff until Feb. 16, 1916 , when the studio in Niles was shuttered.

Between 1915 and 1916 Sudderth listed his address as 276 S 19^th St in San Jose. He also painted for the Liberty Film Co., a short-lived film production company launched by Mrs, E. O. Lindblom. This firm was followed by the Banner Film Company of Oakland, another Lindblom business that Sudderth worked for during this time. Lindblom was not only the president of both companies but also performed leading roles in her productions.

In 1915, Earl was still living with his family, listing 276 S 19^th as his residence in the Oakland Directory. Interestingly, Sudderth’s WWI draft registration (dated June 5, 1917) card lists him as a machinist for the Bean Spray Pump Company as a machinist, noting that he was producing agricultural machinery in his request for exemption section.

Top of a spray pump manufactured by the Bean Spray Pump Co.

At the time, he was still listed as a painter in the 1917 Oakland Directory. His draft registration described Sudderth as medium height, slender, blue eyes and brown hair.

Image of Robert Earl Sudderth posted to family tree at ancestry.com

Over the years, members of the Sudderth family bounced back and forth between Oakland and San Jose. In 1917, Sudderth and his family were living at 321 S 3^rd St. By 1918 the family had moved to 220 S 9^th St. where they remained until 1920. During this period, Sudderth was also listed in the 1919 Motion Pictures Studio Directory as a scenic and cartoon artist. His biographical listing noted that he had painted at a variety of film studios, including Essanay, Pathe, Liberty and Banner. The following year, the US Federal Census listed Sudderth as an artist in the general design industry.

Listing for Earl Sudderth in the 1919 Motion Picture Directory.

For quite some time his father had suffered from kidney problems, forcing him to abandon carpentry and work as a salesman at a dry goods store. In 1920, Charles T. Sudderth returned to Lenoir, North Carolina, where he was later admitted to the Charlotte Sanitorium in Mecklenburg, passing away in 1923. His immediate family, however, remained in California. The year before his passing, Earl was employed as an artist, living at 250 S. 19^th; only a few doors down from his previous address at 276 S 19^th, c. 1915-1916. In 1923 Earl was living with his brother and mother at 641 S 3^rd. In 1924, only his mother was listed in the San Jose Directory, listing her address as 445 S. 7^th. In 1925, Earl was working as a scenic artist for Western Scenic Studio, a position that he would retain for the next decade.

He married the year before working with Moses at the Oakland Scottish Rite. On July 21, 1926, The San Francisco Bulletin included Sudderth in a list of couples who applied for San Francisco Marriage licenses: “Robert E. Sudderth, 34, Oakland, and Gertrude E. Sagardia, 20, Whitcomb Hotel.” Her full name was Gertrude Esadora Sagardia (1905-1986)

Portrait of Gertrude Sudderth posted at ancestry.com

While working at the Oakland Scottish Rite in 1927 and 1928, Earl drove Moses to various activities and events. Early in 1928 Moses wrote: “Earl Sudderth took us out to Mills College to see an exhibit of pictures. The radicals were out in full force. There were only a dozen out of two hundred which were worth spending any time on.” On Feb 13, 1928, the San Francisco Chronicle announced, “Mills College Scene of Art Exhibition.” The article reported, “Artists with new ideas as to what makes a picture or expresses the soul of an artist as the case may be given their due share in the sixth annual Oakland Art Exposition at Mills College, which opened yesterday afternoon. About 170 paintings were on display, mostly oil paintings, and mostly the work of artists of the bay region. The jury of selection, however, rejected 50 per cent of the works offered, so the standard is high. According to Roi Partridge and Forrest Brissey, who had charge of hanging the pictures, the tendency of the exhibit is toward modernism, that is toward novelty, there being comparatively few conservative works. A radical group of paintings has been hung on the west wall of the gallery.”

Images in article about the Mills College art exhibition. *Oakland Tribune* 19 Feb 1928 p 63.

That year, Sudderth was living at 439 40^th St. in Oakland. After the Oakland Scottish Rite project was completed, Moses continued to associate with Sudderth. In 1929, Moses wrote, “Visited the Art Exhibit at the Bohemian Club, San Francisco, with Earl Sudderth and John McEwing. We also dined there. A wonderfully fine club!” The Bohemian Club also held an annual art exposition. Of the event, The San Francisco Examiner reported, “Modernism is conspicuous by its absence. There is not an ugly canvas on the walls, and not one that puzzles the visitor as to its meaning. All is calm, conservative and even conventional…and marvel of all marvels for an art exhibition, there is not a nude in the whole show. Everything would have passed muster ion the most prim of mid-Victorian circles. A restful exhibition” (16 Feb 1929).

Article with image from the Bohemian Art Club Exposition. *The San Francisco Examiner* 16 Feb 1929 p. 9

In 1930 the US Federal census listed Sudderth as a theatrical artist living in Oakland with his wife at 439 40^th St. He was again mentioned in Moses’ diary: “April 10^th, Received our warranty deed for our Elmhurst property from Sherlock. A drive with Earl Sudderth over to Mt. Diablo, resulted in two good sketches.” Mount Diablo is part of the Diablo Range in Contra Costa County of the eastern San Francisco Bay area.

Painting gifted to the Oakland Scottish Rite by Thomas G. Moses.

Like Moses, Sudderth was also an easel artist and a member of the Society of Western Artist’s, San Francisco, now known as the Society of West-Coast Artists . I have located only a few of Sudderth’s artworks in recent online searches. In 1931, he painted a small eastern-themed composition, now listed at 1stdibs.com. It provides some insight into his figure work.

Link to image: https://www.1stdibs.com/furniture/wall-decorations/paintings/earl-sudderth-1931-orientalist-interior/id-f_466318/#zoomModalOpen

One of his paintings from 1933, entitled “Mountain Landscape with Heavy Cloud” was sold at auction in 2010. An image of the painting is available to askart.com

Link to image: https://www.askart.com/auction_records/Robert_Earl_Sudderth/11187110/Robert_Earl_Sudderth.aspx

Sudderth was also a Freemason, joining Park Boulevard Lodge No. 668, F. and A. M. and the Oakland Scottish Rite. His father had also been a Mason in Lenoir, North Carolina, joining in Hibriten Lodge No. 262, before moving west. In an early portrait, Charles Sudderth wears a Masonic pin.

FB post with photograph of the cornerstone laying ceremony in Lenoir, NC, 1901.

Earl joined the Oakland Scottish Rite after he assisted in painting their scenery. On Nov. 14, 1932, the Oakland Tribune listed Sudderth as one of the Eastbay residents in the Oakland Scottish Rit’s Fall Reunion class. Newspapers announced that became a 32^nd degree Scottish Rite Mason on Nov. 15, 1932. However, his name was again included in 1933 and 1934 announcements, each time listed as part of a candidate class slated to receive the 32^nd degree. The last announcement was published in the Oakland Tribune on May 18, 1934. This was the same year that Moses passed away. Gertrude Sudderth was a member of the Eastern Star, the Women’s Athletic Club of Alameda, and the East Bay Opera League.

In 1934, Sudderth was listed as a scenic artist in the Oakland Directory, living at 662 Jean. In 1935, the Oakland Directory again listed Sudderth’s association with the Western Scenic Studio. That year, Sudderth was listed as part of the firm’s staff helping with the Santa Claus project in Oakland. On Nov. 22, 1935, The Oakland Post Enquirer reported, “On a special order from the Downtown Merchants’ association, the jolly old gentlemen set carpenters and painters to work at the Western Scenic Studio, Thirty-second and Magnolia Streets, on a project designed to make downtown Oakland a festive scene when he and his reindeer soar into town on Christmas Eve…The decorations are scheduled to be up by Nov. 28, according to Lawrence Abrott, manager of the studio. Workman helping with the Santa Claus project are Fred Schneider, Robert Sudderth, Charles Schlosser, Terry Lawlor and Morman MacLeod.” He was pictured under the caption “Right Out of a Story Book,” putting finishing touches on two gnomes in the Oakland Tribune on Nov. 25, 1935.

He was again pictured painting for the firm the next year, working on scenery for Christmas decorations again in Oakland.

Suddderth painting at the Western Scenic Studio in 1936. From The Oakland Post Enquirer 26 Nov 1936.

Sudderth was still listed as a Western Scenic Studio employee in 1938. When he registered for the draft in 1942, Sudderth listed his home address as #2 Home Place East Oakland, California. He now listed his occupation as a self-employed scenic artist. During this time, Sudderth and his wife listed apartment management as their primary occupation in the 1940 and 1950 UD Federal Census reports. They managed the multiunit building known as “Home Place,” located at 428 E. 19^th Street. Getrude also worked for the department store, I Magnin & Co.

Robert Earl Sudderth passed at the age of 65 in 1957. His obituary erroneously credited him with the design of scenery for the Oakland Scottish Rite, instead of his assisting Moses. As time passes, stories change. Sudderth was also credited with the design of scenery for the War Memorial Opera House in San Francisco, which also makes me contemplate his actual contribution. Built in 1932, the 3,146-seat venue was designed by Arthur Brown Jr. Now known as the Herbst Theatre, the two original buildings of the San Francisco War Memorial is considered the birthplace for the United Nations. The War Memorial Opera House was inaugurated with a performance of Tosca.

Tosca Production at the War Memorial Opera House in 1932.

On June 13, 1957, the Oakland Tribune announced, “Funeral Tomorrow for Robert Earl Sudderth.” The obituary stated:

“Funeral services will be held tomorrow for Robert Earl Sudderth, 65, Bay Area artist and designer who died Monday in an Oakland hospital after a short illness.

A student of A.D.M. Cooper, noted California artist, Mr. Sudderth designed the stage drops at the Scottish Rite Temple [incorrect, assisted Thomas G. Moses] in Oakland and the War Memorial Opera House in San Francisco.

A native of California, he was an Oakland resident for 35 years. He was a member of the Society of Western Artists of San Francisco, Scottish Rite Bodies, the Park Boulevard Lodge No. 568, F and AM, and the Airplane Owners and Pilots Association.

Surviving are his wife Gertrude of 315 Park View Terrace; a brother, Carl Sudderth of Los Angeles; three sisters, Mrs. Marguerite Fletcher of San Francisco, Mrs. Caroline Cameron and Mrs. Kathleen Coen, both of Los Angeles.

Services will be held at 11 a.m. at the Great Miller Mortuary 2850 Telegraph Ave.”

Gertrude outlived her husband by almost three decades. She passed away on April 27, 1986. They are buried at Mountain View Cemetery in Oakland.

Grave of Robert E. Sudderth (1891-1957) and Gertrude E. Sudderth (1906-1986) at Mountain View Cemetery in Oakland (MM Section 8, 26, T3).

To be continued…

Travels of a Scenic Artist and Scholar: Lenn C. Harris and the Oakland Scottish Rite

In 1927, Thomas G. Moses hired Lenn Harris as his on-site assistant for the Oakland Scottish Rite scenery project. Very little is left of Harris’ contribution to American theatre. Over the years, there are a few artists whose story I just can’t let alone. Harris is one of them. I have spent far too much time tracking down the life and career of Lenn Charles Harris (1889-1930). In many ways, I have far more questions now than when I began in November 2025.

Harris really exemplifies the many generations of scenic artists who started as performers. They were restless and moved around a lot, always waiting for their big break that never came. They had opportunities, but everything seemed to end far too soon. In many ways, Harris’ work for Moses may have been the biggest project of his career. He passed away only two years later, with precious little to mark his passing. This may be one of the reasons that I have been compelled to keep scanning records for more information. Here is best that I could do to honor Harris’ theatrical legacy and contribution to our shared history.

Lenn Harris was listed as Thomas Moses’ Assistant in an article published in “The Oakland Tribune” on Dec. 12, 1927.

When 71-yrs. old Tom Moses hired 38-yrs. old Harris in 1927, he needed someone who was fast and accurate. He had previously worked with Fitch B. Fulton in California; the two working on numerous Scottish Rite projects that included Pasadena and San Jose. Unfortunately for Moses, Fulton was not available to assist Moses at either the Salt Lake Scottish Rite or Oakland Scottish Rite in 1927.

Although it is possible that Moses first met Lenn Harris in Oakland, California, each had deep ties to the Chicago theatre community. Lenn Charles Harris was born on Feb. 7, 1889, in Erie, Pennsylvania. He was the son of Frank P. Harris and Katherine A. Teeney. Like many scenic artists, his entry into the theatre profession began as a performer. By the time Harris was twenty years old, he was living in Chicago and touring as a performer. Between 1910 and 1913 he was with the Bush Temple Dramatic players of Chicago. In the spring of 1913, Harris became associated with the Glass Players. On April 16, 1913, the El Paso Times announced, “Lenn Harris, identified for three years with the Bush Temple Dramatic Players, Chicago, is registered at the Sheldon. Mr. Harris is to do important roles with the Glass combination. In a separate article in the same newspaper, the Glass Company at the El Paso Theater was featured. The Glass Players has arrived in El Paso after a successful fourteen week run at the Crawford Theatre. They delayed their opening in El Paso while waiting for new cast members, which included Harris. As a side note, the Glass Company was organized at the Spreckles Theatre in San Diego.

After a brief association with the Glass Company, Harris became the new leading man for Agnes DeVere’s The Circus Girl. On Jan. 23, 1914, the Marshall County News in Marysville, Kansas, noted, “Miss DeVere’s new leading man, Mr. Lenn Harris, is a young actor of ability and personality that alone can add perfection as the young clergyman in The Circus Girl. Mr. Harris has been connected with moving picture firms in the East, for years, he has always met with success as a moving picture actor, before accepting positions with road companies.” His first performance with the new company was at the Turner Hall in Marysville, Kansas, on Jan. 26, 1914. Agnes DeVere was the stage name for Agnes Duncan. Of her local connections, on Jan. 30, 1914, the Marshall County News reported “Mrs. Agnes Duncan, is a daughter of our townsman August Pintus, and was raised in Marysville, and as a child exhibited talent which was so marked that her friends induced her to take up the profession of an actress.”

On Jan. 28, 1914, Harris left Marysville for a northwestern tour, with stops throughout Kansas before heading to Nebraska and the Black Hills country. In Nebraska, The Gresham Gazette described the company as “small but each one an artist in their line” that spring. It remains uncertain as to how long Harris remained with DeVere. In March 1914, another young male actor joined the troop, possibly replacing Harris. In addition to The Circus Girl, the DeVere company performed Tempest and Sunshine, both advertised as clean and moral productions.

Agnes DeVere advertisement in “The Irving Leader” on Jun 5, 1914.

By the summer, Agnes DeVere’s company briefly joined forces with the Niblack picture show in Litchfield, Nebraska. Instead of performing in small halls, the Harris was now part of a tent show. In addition to film, other specialty acts began to accompany their standard fare for the Agnes DeVere Vaudeville Co. By September 1914, DeVere made a change to her program, dismissing two actors and hiring replacement for her upcoming production of The Million Dollar Girl (The Burton Independent 10 Sept 1914 p 1). This is likely when Harris left the DeVere Company, soon marrying an actress. Regarding DeVere, her company disbanded early in 1915, with the Marshall County News reporting, “Too heavy a salary list for receipts. Miss DeVere is now doing vaudeville” (5 Feb 1915 p 5).

Harris wed actress Freda Martha Giesel (1896-1980) in Washington, Iowa, on Nov. 16, 1914, listing his profession as an actor on their marriage certificate. Bride and groom both listed Chicago as their permanent residence. It is possible that both were on tour when they married that year. Freda and her family are difficult to track down as their surname varies in historic records from Giesel to Geisel. The spelling of Freda’s first name also shifts from Freda to Fredah, Frieda and Frida. Regardless, she was the daughter of Rev. Ernest Oscar Giesel (1849-1912), a Lutheran minister, and Elizabeth Herbert (1858-1936). She spent much of her childhood in Platteville, Wisconsin. In 1909 they moved to Illinois and were counted in the 1910 US Federal Census, living in Chemung, Illinois. For geographical reference, Chemung is approximately 75 miles northwest of Chicago. Freda’s stage name was “Ruth,” but after her marriage she also went by Freda Ruth Harris and Mrs. L. C. Harris.

In 1915, Lenn Harris was also working as a scenic artist to supplement their income. He made news that fall after he was contracted to paint a panorama for the International Wheat Show in Wichita, Kansas. On Sept. 14, 1915, the Wichita Beacon reported, “A Large Scenic Painting. Chicago Artist Will Make a Big Canvas for Wichita.” The article continued: “One of the largest pieces of scenic paintings ever shown in Wichita will be exhibited at the International Wheat Show during October. The painting which will be done in water colors [distemper], will be 150 feet long and 10 feet wide. It will form the background for the horticultural display in the building at the rear of the Forum. Lenn Harris, scenic artist from Chicago, started work on the canvas today and expects to have it completed in two weeks. The painting will depict a Kansas Orchard at harvest time and the orchard scenes will blend away to those of harvest field and pastoral surroundings. Apples and other Kansas orchard products will be on a large, inclined platform which will extend to the picture in the rear the natural fruits fading away in the distance and those on the painted scene gradually replacing them.”

Lenn Harris mentioned in the “Wichita Beacon” 14 Sept. 1915.

After completing the project, Harris organizing his own company and toured The Heart of the Rockies that fall. Harris was also responsible for the production’s scenery. The production was described in detail in the Oxford Register on Nov. 15, 1915:

“An undeniable treat is assured the playgoers of Oxford in Mr. Lenn Harris’ production of Lula Guereld’s powerful western story ‘The Heart of the Rockies.’ Mr. Harris has given to the production much careful preparation, selecting players of true type and proven merit, scenery to fit the local ideal, and an attention to detail that covers every requirement. The story deals with the life in the cattle lands of Arizona and has a human interest that is tense and convincing. The comedy is wholesome and natural, and characters are clearly and powerfully drawn. It is a play worth seeing.”

Harris placed an advertisement for the production in the Bella Plain News that November.

Advertisement in “Belle Plain News” 11 Nov. 1915, p. 1.

In On Nov. 11, 1915, the Belle Plain News described Harris’ contribution to the production, reporting, “Mr. Harris has given the production much careful preparation selecting players of true type and proven merit, scenery to fit the local idea, and an attention to detail that covers every requirement.” The show toured throughout Kansas as a one-night stand, with stops including the Belle Plain Opera House (Nov. 15), Oxford Opera House (Nov. 16), Winfield’s Grand Opera House (Nov. 17), Cedar Vale Opera House (Nov. 18), Cherryvale Opera House (Nov. 19), Dexter Opera House (Nov. 22), Conway Springs Opera House (Nov. 23), and then into Oklahoma: Alva’s Majestic Opera House (Nov. 25). Early in 1916, the Harrises settled in Liberal, Kansas, and produced a local version of the production. On March 6, 1916, The Liberal News reported that “The Heart of the Rockies will be performed and “The company will be composed chiefly of local talent, with the exception of Mr. Lenn Harris, who will play two of the important roles on the bill…Mr. Harris played the same bill, The Heart of the Rockies in the larger cities this winter. Previous to that with many first class road shows such as The Rosary [part of The Rosary Company], Polly of the Circus, and many others.”

On April 27, 1916, The Liberal News announced that Harris was forming his own company, reporting, “Lenn Harris, who has been directing the home talent productions here with such success, recently returned from a business trip east where he secured the popular players, Randolph Cray and Miss Jackson of the Pikes Peak Feature Film Company of Chicago, and Roy Max of Chicago, with well-known comedian Ray Kennedy, and Mrs. Ruth Harris, will make up the company who will play a royalty bill entitled The Scandal as the opening production. The company will open soon, playing at the opera house for four Saturday nights and at the Photoplay every Wednesday night for an indefinite period. ‘The Scandal’ is a great drama, strong in plot, and especially costumed. It is a bill for theatre-goers who like an up-to-date drama, clean throughout, no slapstick comedy, but a play that not only entertains but one that is for the mind. It was a New York Broadway success all last season and Mr. Harris paying royalty to use it. Watch for further notices. Mr. Harris is known here as a man who knows how to put on a play and with him as director a great success is guaranteed.”

Advertisement in the “Kiowa County Signal” of Greensburg, KS, 27 April 1916 p. 1.

The Lenn Harris Circuit Players then went on the road, performing The Scandal and Heart Adrift, throughout Kansas and Oklahoma. They soon added A Girl with a Million, The Devil, Saint Elmo and At Bay to their repertoire, advertising as the Lenn Harris Stock Company and Lenn Harris Players.

Advertisement in the “Kiowa County Signal” 18 May 1916.

When Harris registered for the WWI draft, he was living in Lansing, Michigan. In he was managing the Majestic Theatre at 723 West Kalamazoo, an employee of theatre proprietors Larsen & Whipple. His draft registration describes him as tall and slender with dark brown eyes and thinning black hair. He was also missing a portion of this second finger on his left hand (at first joint).

By the Fall of 1917, Harris and his wife began preparing for the arrival of their first child. On April 5, 1918, the young couple mourned the birth of a stillborn daughter in Pittsburgh, Pennsylvania. That same month, Mrs. L. C. Harris, was listed as part of the cast for the silent film, A Mother’s Secret. Released by Universal. Directed by Douglas Gerrard, Mrs. L. C. Harris also is credited with the role of Mammy Cleo in the 1919 film The Thunderbolt. It remains uncertain if this is the same woman was married to Lenn C. Harris. However, between 1917 and 1920, the Harrises separate, but fail to file for divorce.

At the beginning of 1921, 31 yrs. old Harris is living in Norfolk, Virginia. He proposes to 22 yrs. old Marie Bowers (1898 of Madison, Wisconsin. Marie is the daughter of Frank Bowers and Florence Rockwood. On Feb. 1, 1921, the couple weds in Southampton County, Virginia. At the time, Harris lists his occupation as scenic artist.

In 1922, Harris was living in Cincinnati at flat 6, 100 Malvern, with Harris employed as a scenic artist. Newspaper article report that Harris had recently moved to Cincinnati from New York to paint Sampson and Delilah and The Zoo for the Grand Opera. Of his contribution, on July 23, 1922, The Cincinnati Enquirer reported, “Special scenery has been built for the production by Lenn Harris, scenic painter, who came to Cincinnati from New York for this purpose.”

He continued to work as a scenic artist and decorator, eventually settling with Marie in Evansville, Indiana. On Jan. 10, 1925, Lenn Harris was credited with the interior work for the Agoga Tabernacle that had been erected that winter. The article reported, “Interior work on the tabernacle is being completed this week and the scenery for the platform to be used in making it practical for a stage for various kinds of entertainments is being made by Lenn Harris. First of the entertainments planned is the moving picture, ‘Joseph and His Brethren’ which will be shown at the tabernacle January 22-24.” Four days later, Marie would discover that Harris had been previously married and never divorced his first wife.

The marriage is annulled four years later, with Bowers citing bigamy. The scandal makes newspaper headlines throughout the region. On June 18, 1925, The Evansville Journal of Evansville, Indiana, reported, “Mrs. Marie Harris did not like the idea of being Wife No. 2. Upon her alleged discovery that her husband, Lenn Harris, was married to another woman, said to have been Miss Fredia Geisel, she went to a lawyer and Thursday asked annulment of her marriage in an action filed in the circuit court. The wife No. 2 and Harris were married Feb 2, 1921, according to the complaint, and on Jan. 15, this year, the plaintiff claims she discovered that her husband was also the husband of another woman.” On August 20, 1925, the Evansville Press announced that their marriage was annulled.

Freda had also married again before divorcing Haris. On January 21, 1922, she married Fred H. Schaefer in Kenosha, Wisconsin. She was mentioned in Platteville, Wisconsin, newspapers in 1926. On Aug. 4, 1926, The Platteville Journal and Grant County News reported, “Mrs. Schaefer of Milwaukee has been here the past week visiting her sister, Mrs. W. Huehne. She is head lady in the Avenue Fashion Shop of that city. It is many years since she has been in Platteville. Her father, Rev. Giesel, moved from here in 1909. Mrs. Schaefer was formerly Miss Freda Giesel.”

Lenn Harris continued working as an itinerant scenic artist throughout the Midwest, eventually settling in California by 1926. He likely moved after his marriage to Marie Bowers was annulled in 1925. In 1927, Thomas G. Moses hired Harris for the Oakland Scottish Rite. Harris works for Moses from Oct. 12, 1927, and March 6, 1928. He marries Dorothy E. Schick (1901-1980) the next month.

Despite Harris’ experience, the scope of the Oakland Scottish Rite scenery necessitated a second artist when Moses left for Salt Lake City in early November 1927. This is when Moses hired scenic artist Earl Suddeth to help Harris during his trip to Salt Lake. Of the addition, Moses wrote, “I had to get Earl Sudderth to help Harris while I was back in Salt Lake on the 10^th of November to get ready for the Dedication where I found plenty to do in order to get ready.” Harris’ contribution to the Oakland Scottish Rite was featured in the Oakland Tribune on Dec. 12, 1927. The article announced, “Stage Setting and Scenery are Artistic. Appliances Are in Harmony with Other Splendors of New Building.” In the section entitled, “Rich Stage Settings,” the article reported, “All painting was done at the new Temple where the designs could be discussed with the Oakland Scottish Rite officials. The excellent result of the cooperation is apparent in the finished work. Earl Sudderth and Lenn Harris, local artists, aided Moses in the actual painting of the huge settings.”

After completing the Oakland Scottish Rite project, Harris applies for a marriage license. On April 17, 1928, the San Francisco Call Bulletin lists Lenn C. Harris and Dorothy E. Schick.

Announcement listing Lenn Harris’ third marriage in 1928.

Dorothy was divorced with a young daughter named Beverly. Little is known of Dorothy’s past, but their marriage lasted for only two years. During this time, Harris continued to work as a scenic artist in California, settling near Los Angeles.

Harris’ name again made Long Beach news on Feb. 10, 1929. The Press-Telegram credited Harris with two painted scenes depicting street and bazaar scenes in “the picturesque North Africa City of Tunis” for the showrooms of Long Beach. Oldsmobile dealer at 427 American Avenue. The article reported, “They were done by Lenn Harris, well known motion picture studio artist and director of the pictorial division of the Douglas Fairbanks studios.”

The 1930 US Federal Census listed Lenn and Dorothy Harris living with eight-yrs. old Beverly in Beverly Hills. Still listed as a commercial artist, most of their neighbors were employed in the motion picture industry.

Harris died on June 26, 1930.

I have yet to locate any other information about Harris’ life or career at this time.

To be continued…

Travels of a Scenic Artist and Scholar: Thomas G. Moses and His Scenic Designs for the Oakland Scottish Rite

Design by Thomas G. Moses for the Oakland Scottish Rite Theatre, 1927.

Cave setting designed and painted by Thomas G. Moses for the Oakland Scottish Rite.

Design by Thomas G. Moses for the Oakland Scottish Rite, 1927

Painted detail on backdrop designed by Thomas G. Moses for the Oakland Scottish Rite, 1927.

Looking stage right at the Oakland Scottish Rite with backdrop designed and painted by Thomas G. Moses, 1927.

Cut drop painted by Thomas G. Moses for the Oakland Scottish Rite. Legs drop and cyclorama accompany the piece.

Tens of thousands of historic opera houses were constructed between 1850 and 1950. Of that number, a significant percentage was lost to fire and other natural, or manmade, disasters. Many of the remaining structures fell prey to building renovations, repurposing, and demolition. Thousands were gutted, transformed into department stores, apartment complexes, and office spaces. Others were demolished to make room for parking facilities. Landmarks that stood the test of time, surviving economic downturns and world wars, have recently been sold across the country, with their contents dispersed or destroyed. Most painted illusion for these stages was ephemeral. Stage scenery was seldom expected to last beyond a season, let alone a decade. Remarkably, Sosman & Landis guaranteed their work for twelve years, yet some of their painted scenes have lasted well over a century and are still in use.

Looking stage left at the Oakland Scottish Rite. Cut drop and fly floor. Scene and stage machinery designed by Sosman & Landis, Chicago, under the supervision of Thomas G. Moses.

It is remarkable that the Oakland Scottish Rite theater not only has it original stage machinery and scenery that was delivered in 1927, but also has remained in the hands of the organization that conceived and built it . Its proposed sale places not only the historically significant structure, as well as the culturally significant theatre contents in jeopardy. Extant examples of American scenic art and a unique stage system are in danger of being lost. It is very rare to encounter any first-generation stage scenery in an historic venue, let alone the original scenic designs and other supplemental primary source material. The original artists’ memoirs, scrapbook, scenic art brushes, and designs remain.

Scenic designs and original order in model box, created by Thomas G. Moses for the Oakland Scottish Rite in 1927.

This post focusses on the scenic design for the Oakland Scottish Rite within the context of other projects completed by the artist between 1925 and 1929. However, I am going to provide a little context for Moses’ design based on his previous work at dozens of Scottish Rite Theaters.

Line order for the original stage design at the Oakland Scottish Rite Theatre, 1927.

Masonic projects were not only massive, but also very complicated to design. Each Scottish Rite Valley had their own theatrical interpretation for degree work. Although many drops were similar in composition and placement, unique requests were constantly requested of theatrical suppliers. Few Scottish Rite Masons were familiar with the intricacies of theatrical design and production beyond seeing degree work at other Scottish Rite Valleys or attending a local production. Masonic stage settings were designed to facilitate quick scene changes by amateur stagehands. The Masonic versions of olio drops were positioned downstage to facilitate upstage scene changes. These were just short scenes that provided the much need time to reset a stage. One of the best examples is a Sosman & Landis design described as “Tower of Cyrus.”

Tower of Cyrus drop, designed and painted by Thomas G. Moses for the Oakland Scottish Rite Theatre, c. 1927.

It depicts an exterior scene near the palace of King Cyrus and was often placed with the first set of stock scenes, lines 4-7. Here are several examples of this scene in a downstage position.

Tower of Cyrus Design by THomas G. Moses, c. 1931. Harry Ransom Center UT Austin.

Tower of Cyrus Backdrop by Thomas G. Moses for the Scottish Rite Theatre in McAlester, Oklahoma, 1929.

Tower of Cyrus, delivered to the Grand Forks Scottish Rote stage in 1915 by Sosman & Landis.

Tower of Cyrus back drop delivered by Sosman & Landis in 1904. Now at the Scottish Rite Theatre in Pasadena, California.

An antechamber in King Darius’ Palace functioned in the same was and was often hung from the first set of lines.

Design for King Darius’ antechamber by Thomas G. Moses. Sosman & Landis Collection, Harry Ransom Center UT Austin.

Back drop for King Darius’ antechamber by Thomas G. Moses for the Oakland Scottish Rite, c. 1927. (30’h x 50’w)

Back drop for King Darius’ antechamber by Thomas G. Moses for the McAlester Scottish Rite, c. 1929. (40’h x 56’w)

Another standard scene used for a downstage position was an architect’s room, an astronomer’s room, or generic classical interior. This setting was often based on information presented in the second degree and referred to as a “Middle Chamber” set.

Design by Thomas G. Moses. Sosman & Landis Collection at the Harry Ransom Center, UT Austin.

Back drop painted by Thomas G. Moses for the Oakland Scottish Rite, c. 1927.

Unfortunately, over time, these short scenes were cut. When the corresponding drops were no longer used, they were removed, often transferred to an upstage line. Over the years degree directors and/or degree teams changed the original drop order and removed crucial downstage drops that helped conceal scene changes. This ended up prolonging scene changes and necessitated larger stage crews. When membership declined, stage crews became much smaller. Small stage crews meant that large scene changes were too challenging, so entire degree productions were cut, citing the lack of backstage support. Yet, the original designs never required large Masonic stage crews. The design and placement of each drop was to support the seamless flow of degree work with minimal stagehands.

From the beginning of the design process, Moses worked with John McEwing to plan efficient scene changes for Scottish Rite degree work. In January 1927, John McEwing (1865-1932), a representative for the Oakland Scottish Rite, met Moses in Fort Scott, Kansas.

John McEwing. Clipping pasted in Thomas Moses’ Scrapbook.

Their meeting was to examine a recent example of Moses’ scenic art work under stage lights and look at scenery placement. McEwing was Director of Work of the Oakland Scottish Rite Bodies. He was also a Past Master of Park Boulevard Lodge No. 568, advisor to the Oakland Chapter of De Molay, and a member of the Aahmes temple (Shrine). In addition to Masonic activities, McEwing also held memberships in both the Bohemian Club of San Francisco and Orpheus Club of Oakland. McEwing, an Honorary Inspector General, 33^rd, was scheduled to be the Grand Master of Ceremonies at the dedication of the new Scottish Rite Temple in Oakland.

Scottish Rite Theatre in Fort Scott, Kansas. The building was sold and the stage gutted in 2015.

Scenery painted by Thomas G. Moses for the Fort Scott Scottish Rite. The scenery and stage machinery were removed in 2015.

Wraparound cyclorama for the Fort Scott Scottish Rite. Installed in 1925, removed in 2015.

Bottoms of battens and the cyclorama at the Scottish Rite in Fort Scott. Everything from the theatre was removed in 2015.

During McEwing’s visit to the Fort Scott Scottish Rite, he examined a wraparound cyclorama for use with cut drops. This facilitated quick scene changes during degree productions. The number of leg drops was reduced as the cyclorama masked the side stages. This sped up the time that it took to change some scenes. Moses designed dozens of cut drops to accompany a wraparound cyclorama for the Fort Scott Scottish Rite stage in Kansas. This practice was incorporated as a key element to the Oakland Scottish Rite scenery design.

Crucifixion scene with cut drop and cyclorama at the Fort Scott Scottish Rite, c. 1925. Design and painting by Thomas G. Moses. Scene was removed in 2015.

Crucifixion scene with cut drop, side flats, and cyclorama at the Oakland Scottish Rite, c. 1927. Design and painting by Thomas G. Moses.

Cut drops, profile flats and cyclorama at the Oakland Scottish Rite.

Detail of cut drops and cyclorama at the Oakland Scottish Rite.

Not every Scottish Rite stage could afford this luxury of a cyclorama and series of cut drops. Both were expensive and labor intensive, costing both time and money for the studio to produce. They also provided a unique look on stage, accentuating the painted illusion. The use of cut drops and cycloramas transformed relatively shallow spaces into expansive vistas. The Temple Ruins setting for the Fifteenth Degree was especially effective and easy to set. Two men lowering cut drops in front of a cyclorama instantly transformed the space.

Of his 1927 trip to meet with John McEwing in Kansas, Moses wrote:

January 4^th. I left for Fort Scott Kansas to meet John McEwing of Oakland, California who insists on seeing some of our finished work instead of models. We arrived on time and soon got busy showing all the sets well lighted. All the members helped and McEwing was well pleased, and I made it pretty plain that I wanted to spend the winter in California, especially Oakland. New design to be submitted for each degree.

Some of the designs inspected by Ewing inspired a similar version for Oakland Scottish Rite theater. In many cases they were slightly altered, or elements combined for the new installation. For example, the basic design for the Mausoleum remains the same; only the color palette shifts from green marble to rose marble columns.

Mausoleum scene, designed and painted by Thomas G. Moses, for the Oakland Scottish Rite.

Mausoleum scene, designed and painted by Thomas G. Moses, for the Fort Scott Scottish Rite two years earlier.

Demolay Tomb profile flat for the Fort Scott Scottish Rite.

Demolay Tomb profile flat for the Oakland Scottish Rite.

The same can be seen with the DeMolay tomb flat designed for each. The basic design concept remains constant, but more elements are added as the size of the Oakland Scottish Rite stage was much grander than that in Fort Scott, Kansas; almost four times the seating capacity. The festival palace for King Darius in the sixteenth degree used a series of cut drop, both leg and back to suggest an expansive visit beyond the upstage colonnade.

King Darius’ Festival Palace scene (2 leg drops, two cut drops, and a back drop) designed and painted by Thomas G. Moses for the Oakland Scottish Rite.

The scenic design utilizes the exact same placement of scenic elements for the foreground, middle ground, and background. The use of a colonnade cut drop was unique to Moses’ design for Fort Scott and Oakland. Previously, only an intricate cut drop was paired with standard leg drops and a solid back drop.

Some of Moses original designs from 1927 are at the Oakland Scottish Rite. They show the subtitle shift from design to final painting, especially when the interpretation is solely controlled by the creator. His designs also reflected current degree practices, as he attended Scottish Rite degrees while working in Oakland. Of his attendance at Scottish Rite meetings, he wrote that it provided “an idea of what they have been doing” without a proper stage.

Colonnade cut drop for the King Darius Festival Palace scene (16th degree). Designed and painted by Thomas G. Moses.

In Moses’ memoirs, he explains how one scene influenced the next throughout the painting process in Oakland, writing, “The work has gone along very nicely. I am giving it all the time necessary to produce a pleasing lot of drops. One idea and finished drop suggests the next one and the result is good, even better than when we try to design all in the beginning and not have proper lighting of the scene.” Forty-three drops had been painted and hung for the Scottish Rite Reunion by Dec. 12, 1927. This meant all the lighting equipment was up and running. Moses intimately knew how well the drop reflected light; what worked and what didn’t. There is no question that position of the border lights and their effectiveness on the first 43 drops affected how he painted the next 42 drops. Moses was able to fine tune each design for the desired effect, something very rare. It meant subtitle shifts in color and overall composition.

Border lights delivered to the Fort Scott Scottish Rite in 1925.

Border lights at the Fort Scott Scottish Rite. Notice spacing.

A glimpse of a border light, nestled between drops, at the Oakland Scottish Rite.

The border lights at the Oakland Scottish Rite were referenced in a letter regarding the placement of the proposed boarder lights at the Scottish Rite theater in McAlester, OK. Moses was now representing the William Lemle Company at the old Sosman & Landis Studio, 417-419 South Clinton Street, Chicago. 1930 letterheads, listed Moses at “Art Director” for both William Lemle, Inc. and the National Theatre Supply Co. Moses listed his home office at 1525 Oak Street in Oakland, CA. On August 19, 1930, Moses wrote: “Regarding the Blue Borders, they are to hang on the cable that supports the border lights, they are very light, and the additional weight means nothing. That is the way I have completed them at Oakland, and they are very satisfactory, because the Blue Board is used to mask any reflected light from the bottom, hanging fully 18 inches below the border light.”

Borders for Thomas G. Moses electrified model. Harry Ransom Center, UT Austin.

The current stage lighting at the Scottish Rite Temple deviates from the original design in terms of placement and coloration. LED lighting fixtures have been placed on empty lines that are no longer masked by the blue borders (see image above).

Scenic elements were designed to partner with a specific stage lighting system with a limited color range. All the distemper drops were produced to be illuminated with red, blue, and white incandescent lighting. The selection and mixture of colors supported a metamorphosis on stage, allowing each scene to transition from a daytime to nighttime scene without compromising any portion of the painting. The was a standard theatrical practice in manufacturing and lighting scenic illusion on stage at the time.

Miniature border lights for Scottish Rite model created by Thomas G. Moses. Harry Ransom Center, UT Austin.

Lighting box for Scottish Rite model created by Thomas G. Moses. Harry Ransom Center, UT Austin.

Trunk with Scottish Rite designs for Thomas G. Moses’ electrified model. Harry Ransom Center, UT Austin.

Electrified model for Scottish Rite scenery designs, created by Thomas G. Moses. Harry Ransom Center, UT Austin.

A significant portion of Moses’ designs for the Oakland Scottish Rite are also part of the Sosman & Landis Collection in the Harry Ransom Center, University of Texas, Austin. They include designs for drops, flats, profile pieces, and other scenic elements.

Model pieces designed by Thomas G. Moses for the Oakland Scottish Rite. Harry Ransom Center, UT Austin.

Model pieces by Thomas G. Moses for the Oakland Scottish Rite scenery design in 1927.

For example, the entire Crucifixion design created by Thomas Moses for the Oakland Scottish Rite depicts the complexity of a scene constructed of two large flats, a cut drop and cyclorama.

Design for tri-fold flat to accompany crucifixion scene atthe Oakland Scottish Rite, Harry Ransom Center, UT Austin.

Tri-fold flat to accompany the crucifixion scene at the Oakland Scottish Rite. Design and painting by Thomas G. Moses, c. 1927.

The use of tri-fold flats as side masking was unique to the Oakland Scottish Rite. In many cases, it was impractical to fill the side stages with framed scenic pieces as they were too bulky to store. Most Scottish Rites stored single, or hinged, flat in a lofted area, often situated above the stage-left wings. Oakland had an excessive amount of space for flat storage, including an entire box interior set, complete with ceiling panel. Twelve flats could be quickly lashed together to construct an interior setting. The Oakland Scottish Rite box set is a rarity, if not the only example in the United States. Theatres often purchased box sets, by Masonic stages did not.

Interior box set designed and painted by Thomas G. Moses for the Oakland Scottish Rite, c. 1927. Each flat is 20′-0″ tall.

Moses did not have a contract in hand until four months after his meeting with McEwing in Fort Scott. Dated, May 4, 1927, the $36,000 scenery contract was handled by Moses’ business partner, Fred R. Megan. Signed on May 4, 1927. At the time, Moses wrote, “I am to go there to do the work which will come in the late fall, after I finish the Salt Lake Consistory. Moses also received partial payments for his work as the project progressed. He wrote, “The first of February, the Directors granted me $5,000.00 to take care of local accounts, which put me on easy street once more. Megan’s request that part payment only should be paid, was ignored by all concerned.”

Megan formerly worked as a salesman and technical designer for the Kansas City Scenic Co. and Service Studios of Chicago, in 1923 Megan partnered with Moses as the first iteration of Sosman & Landis was liquidated. Moses & Megan purchased the name and “goodwill” of the firm the next year, although negotiations for this purchase had been ongoing since early in 1923. Several entities were interested in acquiring the main studio space, supplies, designs, and name of the firm. For decades, Sosman & Landis had advertised their main studio as the largest in North America, if not the world.

1926 advertisement placed in “Wilmette Life” on Dec. 24.

The Oakland designs and scenery project was just one of many in 1927. Other Sosman & Landis projects contracted and/or completed by Moses that year included stock scenery collections at theaters in Gary, IN, Loredo, TX, Dayton, OH, Edinburg, TX, Little Rock, AR, Salt Lake City, UT, Chicago, IL, Milwaukee, WI and Battle Creek, MI. Of his painting that summer in Salt Lake City, Moses wrote, “During the month of August I averaged more than 10 drops per week, besides making a number of designs and painting special sets…” Again, Moses was 71 years old at the time. Painting large backdrops took long hours and was physically tasking, but he had worked at this pace for years. On Thursday, Oct. 6, 1927, Moses dismantled his art gallery in Salt Lake City and packed up his supplies for Oakland. He was to start painting the Oakland Scottish Rite scenery that coming Monday. On Oct 6 in Oakland the paint bridge and frames were put up at the Oakland Scottish Rite where they would remain in place for the next five months, dismantled on March 6, 1928.

Moses would complete only more Scottish Rite collection that was comparable Oakland before his passing in 1934; it was in McAlester, Oklahoma. He would remember Oakland as his most artistic and McAlester as his biggest. The Oakland scenery measured 30’h x 50’w. The McAlester scenery measured 40’h x 56’w.

Auditorium at the McAlester Scottish Rite Theatre.

View of the stage left fly floor and cyclorama at the McAlester Scottish Rite.

Wood setting designed and painted by Thomas G. Moses for the McAlester Scottish Rite in Oklahoma, 1929. 40’h x 56’w.

To be continued…

Travels of a Scenic Artist and Scholar: Chicago, Sept. 12-23, 2024

My return from the UK on August 12 was relatively uneventful – at first. Sadly, four days after my return I became quite sick – a sore throat quickly became a severe respiratory infection. Although I never tested positive for COVID, this particular illness confined to me to bed for over two weeks.

That is the reason why there was a flurry of posts about my UK trip mid-August. Researching a handful of English scenic artists and historic venues prevented me from worrying about all of the projects that needed to be completed by Sept. 12.

The initial delay had started well before my departure to the UK. In June, our basement flooded (water heater burst – destroying the flooring in our master bedroom, laundry room, and my research office). Thankfully, nothing of consequence was damaged. However, this unfortunate event caused a series of delays, each one falling like a Domino.

Despite the ongoing delays and my continued illness, I still had a show to finish in August, an annual family trip (Labor Day weekend), and a 31^st wedding anniversary (Sept. 11).

Thank God I paint fast.

I only had one backdrop left for Tamerlano (Haymarket Opera Company, Chicago), but it was a complicated composition with lots of ornamental detail. As my illness dragged on, it became a guessing game of “Can I paint this drop in — days?” In the end, it took me three partial days, and I felt horrible with each brush stroke. The only thing that would have made this worse is if I had been painting in the Continental method. Fortunately, I was using a motorized paint frame. That meant I could minimize my overall movement.

Here is a picture of the finished Tamerlano backdrop (front and back). It was painted with distemper paint (pigment paste and diluted hide glue), and designed to function as a translucency, so it could subtly “glow” upstage.

*Front (right) and back (left) of* Tamerlano *backdrop for Haymarket Opera Company, Chicago.*

On Sept. 12, 2024, I drove to Chicago with a carload of scenery for Haymarket Opera Company’s fall production Tamerlano (George Frederic Handel, 1724). The production was scheduled to coincide with the 300^th anniversary of the premiere.

*A carload of* Tamerlano *scenery on September 12, 2024.*

As noted on their website, Haymarket Opera Company takes its name from both Chicago’s Haymarket Affair of 1886 which gave focus to the world-wide labor movement, and from the King’s Theatre in the Haymarket District of London where Handel produced his Italian operas. Their website states, “Haymarket Opera Company contributes to the diverse and culturally vibrant artistic community of Chicago and the Midwest through the historically informed presentation of opera and oratorio from the 17th and 18th centuries, including many Chicago and U.S. premieres. Since its founding in 2010, Haymarket has offered more than 30 productions using period instruments and historically informed staging conventions, shining a spotlight on many lesser known but quality pieces by a wide diversity of composers, sung and played by a combination of international stars and top regional talent.”

My earliest conversations with Haymarket Opera Company in 2021 discussed the creation of a stock scenery collection. Our intent was to slowly build scenic stock, one show at a time. The scenic design for L’Amant anonyme (June 2022), established our stylistic approach and paint medium.

*Painted detail from* L’Amant anonyme’s *grand border. Haymarket Opera Co., 2022.*

*Painted detail from* L’Amant anonyme’s *landscape drop. Haymarket Opera Co., 2022.*

We agreed that all the shows would be painted with distemper paint (picgment paste and diluted hide glue), as it truly supports the metamorphic nature of painted illusion for the stage.

*Tubs of dry pigment paste that were used during the painting of* L’Amant anonyme. May *2022.*

I have continued to enlarge Haymarket’s stock scenery collection over the past few years with classical settings for Poppea (September 2022) and Egyptian décor for Marc’antonio e cleopatra (June 2023). Tamerlano (September 2024) combines elements from each production, while adding Eastern tapestries and an Eastern courtyard setting to the stock.

*Painted drapery panels* used for Haymarket Opera Company’s production of *Poppea,* September 2022.

*Adding decorative ornament to* Poppea drapery panels. They functioned as side masking for Tamerlano.

For example, painted ornament was added to six Poppea wings, functioning as a unifying element between the newly-painted Tamerlano draperies with previously-painted L’Amant anonyme tapestries. New elements for this production include a backdrop, top border, two side wings, two tormentor covers, and four rolling profile pieces.

*Painted draperies for* Tamerlano *to match scenic elements from* Poppea and L’Amant anonyme.

Haymarket Opera Company uses the Sasha and Eugene Jarvis Opera Hall at DePaul University. This building was formerly known as the School of Music Concert Hall, located at the south end of the Holtschneider Performance Center. It was recently renovated, reopening during the pandemic in 2020. Bad timing, as stag-house issues really were not identified until well after the install, when pandemic-related restrictions were lifted.

*Champagne toast on opening night,* Tamerlano, September 19, 2024. Photograph by Elliot Mandel.

The auditorium, however, is perfect. The 160-seat house creates an incredibly intimate space for Baroque opera.

*Haymarket Opera Co.* Tamerlano, Act I. September 19, 2024. Photograph by Elliot Mandel.

*Haymarket Opera Company’s* Tamerlano, Act I. Sept. 19, 2024. Photograph by Elliot Mandel.

The stagehouse is a very challenging space, and I constantly curse the theatre consultants. Scenery cannot travel out of site, the wings are less than 6’-0” wide, and every line-set is motorized. There are only a few open lines. For substantial set changes, soft goods are rolled and tied to battens, then slowly lowered during intermissions

*Assistant Stage Manager, Mary Rose Dixon (left), and Stage Supervisor, Zoe Snead (right), unrolling painted panels for Act II*, Tamerlano. *Sept. 19, 2024. Photograph by Elliot Mandel.*

*Haymarket Opera Company’s* Tamerlano, *Act III. September 19, 2024. Photograph by Elliot Mandel.*

All difficulties aside, the Jarvis Opera Hall is a stunning venue to visit and watch a production. Tamerlano opened on Thursday, Sept. 19 and closed on Sunday, Sept. 22. A short run, but each performance was sold-out, and the show was recorded.

*The cast and creative team taking a final bow. September 19, 2024. Photograph by Elliot Mandel.*

As each Haymarket opera loads in easily, and without substantial notes, I have ample time to explore Chicago during the day. My adventures always include a dear friend – Chicago Lyric Opera charge artist, Brian Traynor. In the past we have visited cemeteries, history centers, and historic buildings. Last year, Traynor introduced me to Bernard Loyd and we visited The Forum in Bronzeville (a neighborhood on the south-side of Chicago). On July 18, 2023, Brian Traynor sent me a photograph with the text, “Guess what I’m looking at.” It was a Sosman & Landis signature on the corner of a, 1897 drop curtain.

*Sosman & Landis signature on 1897 Forum Hall drop curtain.*

I examined the drop curtain in person on Sept. 28. 2023. CLICK HERE for my full post about out visit. Our visit last year was documented by Block Club Chicago journalist, Jamie Nesbitt Golden, and photographer Colin Boyle. CLICK HERE to read her Block Club Chicago article.

This scenery collection was also the topic for my article published in Die Vierte Wand #012, entitled, “A Forum for Progress.” CLICK HERE for the full issue.

Traynor and I returned to The Forum this year on Sept. 19, 2024. I was supervising the proper rolling and storage of the Forum’s scenery collection . This meant removing the hardware and battens, then rolling and encapsulating each scene.

*Rolling the landscape drop for temporary storage until preservation. The Forum on Sept. 19, 2024. Photograph by Bernard Loyd.*

For the first time, this process was documented by someone other than myself. Asia Taylor brought in her film crew in to document the project. Taylor previously produced and directed a short film that gives insight into the history of Forum Hall. CLICK HERE to watch her short film.

She is also one of the storytellers for Build Bronzeville. Build Bronzeville is comprised of five closely-linked initiatives that merge social, economic, civic, and creative approaches to achieve comprehensive community development. It is using the historic neighborhood’s unique assets to restore commercial activity and revitalize area through entrepreneurship, cuisine, exciting events, and beautification.

*Asia Taylor, Wendy Waszut-Barrett, and Brian Traynor examining a group of Black visitors to the Roman Forum. Sept. 19, 2024.* *Photograph by Bernard Loyd.*

*Moving the rolled street scene for encapsulation. Left to right: Erica Ruggiero, London Hainsworth, Wendy Waszut-Barrett, and Dorian Sylvain. Sept. 19, 2024. Photograph by Bernard Loyd.*

Prior to Traynor’s departure, he passed along a gift from his mentor, Jim Maronek – scenic fitches once used by Thomas G. Moses (1856-1934) and a package labeled “Open at your own risk.”

*Wendy Waazut-Barrett holding Thomas G. Moses’ scenic fitches – a gift from Jim Maronek.*

*Scenic fitches once used by Thomas G. Moses*– a gift from Jim Maronek.

*Dye and Paint sample books – a gift from Jim Maronek.*

My research and career has circled around Jim Maronek for over three decades. It was his stewardship of many Thomas Moses artifacts made so much of my research possible.

Maronek who retrieved several of Moses’ artifacts when the family home in Oak Park sold – including an electric theatre model that is now part of the Sosman & Landis Collection at the Harry Ransom Center, University of Texas – Austin.

*Theatre model (left) and scenic designs (right) in two trunks, once owned by Thomas G. Moses. Donated to the University of Texas – Austin, by Jim Maronek.*

*Label on the Thomas G. Moses trunk, now at the Harry Ransom Center, University of Texas – Austin.*

I have visited the Oak Park home of Thomas and Ella Moses several times. I also make an annual trip to Graceland Cemetery where Sosman & Landis are buried. These moments really help energize my ongoing research.

*Sosman & Landis gravestones in Graceland Cemetery, Chicago.*

In 2023, Traynor and I stopped by Moses’ Oak Park home to meet to the new owners; they had contacted me when the property changed hands. I first visited the home on July 19, 2019, on a return trip from the East Coast. CLICK HERE for the post about that visit. The new owners are now collecting Moses’ work. Here are two of Moses’ paintings again hanging in the Oak Park Home

*Painting by Thomas G. Moses, 1885, that has returned to his Oak Park home.*

*Painting by Thomas G. Moses, 1916, that has returned to his Oak Park home.*

There were two other items on my agenda for the Chicago trip – visits to the Newberry Library and the Palette & Chisel Club. It was not until the fall of 2023 that I realized that both were located less than three blocks south of my hotel. While walking to the Newberry to pick up my reader’s card, I passed by the Palette & Chisel Club building. Amazingly the gates were open! A new exhibit with works of was on display.

*The Palette & Chisel Club, 1012 N. Dearborn Street, Chicago.*

I have written quite a bit about the Palette & Chisel Club over the years. Founded in 1895, the Palette & Chisel Club was an association of artists and craftsmen for the purpose of work and study. The organization’s members were reported to be “all wage-workers, busy during the week with pencil, brush or chisel, doing work to please other people” (Inland Printer, 1896). But on Sunday mornings, they assembled for five hours to paint for themselves.

Many Sosman & Landis scenic artists belonged to the club, including Thomas G. Moses who joined in 1906. That year, Moses wrote, “I joined the Palette and Chisel Club at the Chicago Society of Artists. I don’t know why, as I had so little time to give to pictures, but I live in hopes of doing something someday, that is what I have lived on for years, Hope, and how little we realize from our dreams of hope. As the years roll by, I think one’s whole life is one continuous dream, unless we are wonderfully gifted, and fame drops on us while we sleep.” In 1906 the Palette and Chisel Club, the group consisted of sixty local painters, illustrators, and sculptors. On Jan. 6, 1906, the Chicago Tribune reported, the Palette & Chisel was “primarily a working club, being the oldest organization in the west” (p. 2).

The year before Moses joined the Palette & Chisel, the members purchased a summer retreat near fox lake. Initially, artists and their families camped in tents. In 1907, Moses wrote, “June 1^st, I made my first trip to the Palette and Chisel Club camp at Fox Lake, Ill. Helped to put up the tent. A new experience for me, but I enjoyed it. I slept well on a cot. Made a few sketches. A very interesting place. I don’t like the cooking in the tent and there should be a floor in the tent. I saw a great many improvements that could be made in the outfit and I started something very soon.”

The next year, Moses gifted a house to the group. In 1908 he wrote, “I bought the portable house that we built years ago and at that time we received $300.00 for it. I finally got it for $50.00, some bargain. It cost $25.00 to remove it and we will put it up at Fox Lake in the Spring. It has been used in Forest Park all summer to show The Day in the Alps.”

In 1909, Moses painted a view of the new building. It was gifted to my by his great-grandson, Stu Nicholls, in 2017.

*Painting by Thomas G. Moses of the summer retreat house, Fox Lake, 1909.*

In 1906, the club maintained a permanent exhibition in the clubrooms on the seventh floor of the Athenæum building. The group moved to 1012 N. Dearborn Street in the 1921. In the 1920s Moses submitted several articles to the Palette & Chisel Club newsletter. His series “Stage Scenery” started in September 1927.

*Article by Thomas G. Moses, entitled “Stage Scenery How it is Painted” – Palette & Chisel Newsletter.*

After entering the building, I wandered about the main floor, recognizing artworks by several familiar names.

*Palette & Chisel Club Front room. Sept. 18, 2024.*

*The other front room at the Palette & Chisel Club. Sept. 18, 2024.*

Then I followed the signs to the office in the basement. It was time to contact someone and share the information that I have gathered over the years. The basement office had a lovely mural that documents the history of the Club.

*Mural in basement office at the Palette & Chisel Club, c. 1930s-1940s.*

By the end of the weekend, I met with the current president, Stuart Fullerton, and applied for membership. The Palette & Chisel Academy of Fine Arts is an amazing resource for both emerging and established artists. The membership benefits, even for those out-of-state like myself, are quite impressive. They are part of Open House Chicago on October 19, 2024 . If you are in the area, I strongly encourage you to stop by.

Upon my return to Minneapolis, I hit the ground running. Yesterday, I finished painting the scenery for my next Gilbert & Sullivan Very Light Opera Co. design – The McAdo (a Scottish Take on The Mikado). It opens on Nov. 1. 2024, and runs for four weekends. CLICK HERE to order tickets.

Here is a sneak peak of the scenery.

*Painted detail from* The McAdo, Gilbert and Sullivan Very Light Opera Co., Minneapolis, MN.

I am returning to work on my upcoming book series – Sosman & Landis: Shaping the Landscape of American Theatre.

Have a great fall!

Sosman & Landis, Shaping the Landscape of American Theatre: Enter, Thomas G. Moses in 1880

Some information about Sosman & Landis in 1880 comes from the personal memoirs of Thomas G. Moses (1856-1934). He was the first scenic artist hired by Joseph S. Sosman during the spring of that year.

Thomas G. Moses portrait in the Inter Ocean, 28 Feb. 1886.

When Moses met Sosman, he was 24 years old and had been working as a scenic and decorative painter for seven years. He had worked throughout the region after training at P. M. Almini’s and McVicker’s Theatre as Louis Malmsha’s assistant (1873-1874). Of his mentor, Moses remembered, “He was a very clever man. In all the years that have passed since then, I have never found a man that could do so little and get so much out of his work. Very simple in drawing and color, but very effective.” In many ways, working for Malmsha “set the stage” for Moses’ career. He learned both an economy of brushwork and speed. This skill set was an incredible asset to any employer, especially since studio profits increase as paint labor decreases.

Although Moses had started his painting career in Chicago, love brought him back to his hometown of Sterling, Illinois, in 1878. He married his childhood sweetheart and soon celebrated the birth of their first child. Between 1878 and 1879, Moses primarily worked in his hometown as a scenic artist, fresco artist, and decorative painter. In the beginning, work was plentiful. His name made frequent headlines. Their first home is is still standing! I had the pleasure of photographing the building on July 20, 2019, when I passed through town.

Thomas G. Moses’ home in Sterling, Illinois. Photograph by Wendy Waszut-Barrett, July 20, 2019.

Original photographs are part of the Illinois Digital archives.

n.a., Homes, Sterling, Illinois, Thomas G. Moses Residence, 508 East 7th Street, Sterling and Rock Falls Local History Collection (Illinois Digital Archives), 2023-12-05, http://www.idaillinois.org/digital/collection/stpl/id/1999.

n.a., Homes, Sterling, Illinois, Thomas G. Moses & Susan Ella Robbins Moses Residence, 508 East 7th Street, Sterling and Rock Falls Local History Collection (Illinois Digital Archives), 2023-12-05, http://www.idaillinois.org/digital/collection/stpl/id/1783.

On Nov. 30, 1878 the Sterling Gazette reported, “Ten full sets of scenery including parlor, chamber and kitchen scenes; a river, sea, street, woods, prison, landscape and garden scenes comprise list of scenery. Those were painted by our townsman, T. G. Moses, and we need not tell those familiar with his work that they are finely done. The work alone will give him a reputation as a scenic artist, everywhere that it is known” (page 8). His decorative painting for Sterling’s Commercial College was also praised in the Sterling Gazette that same day. The second article reported, “The first floor is divided into three parts, making three of the most elegant store-rooms in the city – two of them are fifty feet front, the third forty-three. They are beautifully paneled and frescoed by T G Moses.” The stream of initial projects soon slowed to a trickle. Moses began to look for work in neighboring towns. The distance that Moses had to travel for work continued to increase as the months passed.

Although he tried to remain in his hometown, there was not enough work to pay the bills. In his memoirs, Moses remembered, “The winter was coming on and the outlook was anything but bright. I was earning on an average about $75.00 per month.” He knew that he needed a stead paycheck from an employer, even if it was less than he could make on his own.

Moses did not relocate to Chicago until that spring. His last project in Sterling was completed in early February. On Feb. 7, 1880, the Sterling Gazette reported, “We called at the office of Pollock Bros. one day this week and was shown their rooms. They have added another operating room on the same floor, which has been recently painted and frescoed. Much credit is due to Thos. Moses, for the excellent taste displayed. The oil paintings on the ceiling are elegant showing skill rarely met with” (page 8).

His final project in the area was a Presbyterian Church in Dixon, about 12 miles away from Sterling. The job did not go well. Moses wrote, “The last job from Sterling I did was the Presbyterian Church in Dixon, and I did them a good job, but the chairman of the decorating committee was not a man of honest dealings, and I quit the whole Western part of the state in a ‘huff’ and went to Chicago, alone, to see if I could find anything.”

Moses started at the doorstep of a former employer, the decorating firm of P. M. AImini. Of the interaction, Moses wrote, “I had been away so long that my case didn’t interest them.” He then headed to the new scenic firm of Sosman & Landis. The decorative firm of P. M. Almini was located at 231 Wabash av., near Jackson. This means that the studio Sosman & Landis was only six blocks away. Moses wrote, “I had heard of Sosman and Landis and they knew of me. I called on them, met Mr. Sosman, and settled to go to work for them for $18.00 per week, rather small pay, but I could only get about $24.00 at Almini, and that was not steady. I had no alternative, so I settled to go to work at once.”

I need to provide some context for the weekly salary of $18 offered by Sosman in 1880. Six years earlier, Moses had earned $21 a week at Almini’s. He was 18 yrs. old at the time. His salary increase had been rapid at the decorating firm going from $4 a week had increased to $21 a week over the course of a year. This likely validated Moses’ belief that hard work and determination would be rewarded by an employer.

In the beginning, Moses boarded with his friend Will T. Fuller at 428 W. Van Buren. At the time, Fuller was working as a salesman at 103 State. Both lived above the jewelry store of Oresta W. Young and his family at 428 Van Buren. Oresta Woodworth Young (1847-1923) was a jeweler and watchmaker, living with his family. The 1880 Census report listed that the Young household included: O. W. (32), Jennie (wife, 27), Frank (son, 4), June (daughter, 1 mth.), Ida Berkley (sister-in-law, music teacher, 17), Mary Mastisen (servant, 19) and William Fuller (boarder, 21). Young was also listed at a second residence at 744 W. Vanburen.

Ella and baby Pitt remained in Sterling until the end of May when Moses relocated his family to Chicago, settling his family down the street from his previous boarding house. Their new home was 744 Van Buren, on the corner of Robey. The house next door was also occupied by Oresta Young. Interestingly, I located the rental listing for Moses’ hous. On April 18, 1880, the Chicago Tribune listed the following in the section “TO RENT – HOUSES. West Side-Continued”-

744 Van Buren-2-story brick, $30. Edward A. Trask, 181 West Madison-st” (page 14).

Advertisement that was published in the Chicago Tribune just before Thomas G. Moses rented the home.

I was surprised to discover the reason why the house was changing tenants. The previous owner, Frank Van Osdel, had been severely injured in a freak accident during Dec. 1879. Osdel and Frank Piercy, employees at Crane Bros., were boxing in an elevator shaft when the scaffolding failed, with each falling to the bottom. Piercy was killed instantaneously and Van Osdel was severely injured (Chicago Tribune 20 Dec. 1879, p.1). It was Van Osdel who resided at 744 West Van Buren.

Moses’ father (Lucius M. Moses), stepmother, sister, and two young step-brothers also moved to Chicago that year. They were listed at 331 Randolph Street in both the 1880 Lakeside Directory and the Census report. Lucius sold his tannery business in Sterling, but continued to work as a harness maker.

After starting with Sosman & Landis, Moses was immediately sent on the road to Kenosha, Wisconsin, to paint stock scenery for Kimball’s Opera House. He recorded that this project began on April 19, 1880.

Kenosha was a sizable town of 7,000 citizens, located approximately 35 miles from Milwaukee and 10 miles from Racine. On April 29, 1880, The Telegraph-Courtier of Kenosha, Wisconsin, reported, “Mr. Kimball is having six scene and a new drop curtain for his hall painted by two of the best scenic artists in Chicago, Messrs. Sosman & Landis.” It is understandable that Moses was mistaken for Landis, as he was working with Sosman on site. Over the years, this case of mistaken identity would repeat itself, fueling the myth that Landis was also an accomplished scenic artist.

Moses started the project alone, writing, “Sosman joined me in Kenosha after I had gotten started and painted the plain interior and kitchen and some set pieces. We were soon through and back in Chicago.” However, it wasn’t long until Moses was on the road again.

Projects that summer included an advertising curtain in Steven’s Point, Wisconsin. On June 12, 1880, Stevens Point Daily Journal reported, “H. D. McCulloch has decided to change his drop curtain in the hall to one of the elegant affairs gotten up by Messrs. Sosman & Landis, Chicgao, being a beautiful landscape with advertisement of the prominent business houses of the city” (p. 5).

Image of the opera house on H. D. McCulloch Block, later known as the Silvermint Arcade. Here is the link to the image: https://www.wisconsinhistory.org/Records/Property/HI72865

Advertising curtains were typically paid for by businesses and gifted to theaters. The spaces were either purchased outright or rented. This was a way to collect cash for a product before it was installed. These type of projects were a quick way to access cash, as a group was financing the project.

In Winona, Minnesota, the firm was credited with painting a new advertisement curtain for the Philharmonic Hall stage in July 1880. On August 2, 1880, the Winona Daily Republican reported,

“The new drop curtain which was mentioned some time since in THE REPUBLICAN has been completed and placed in Philharmonic Hall. It is the work of Messrs. Sosman & Landis, scenic artists of Chicago, and is a finely executed piece of work. The scene is a view of a city, the foreground consisting of a river with a large, fine bridge spanning it, upon which teams and carriages are crossing. Several boats are plying in various directions, as team tug towing a couple of barges being the central objects. Back from the rive fine blocks of buildings rise in a succession, the spires of churches and domes of public building adding a fine variety to the scene. In the distance a low range of hills are visible, while in various portions of the city fountains and columns are tastefully interspersed. As to the merit of the work the perspective is excellent, the colors good, and the production is certainly not the achievement of a novice. At the border of the curtain is a row of advertisements which are well arranged and indicate that the idea was well received by our prominent merchants. The curtain is not intended to take the place of the old one, but is simply another curtain if the same size hung back of the first one to be used between scenes and acts only” (p. 3).

That fall, the firm was also credited with stock scenery for the new Turner Hall in Menasha, Wisconsin. The theater opened on Oct. 14, with the New Orleans Minstrels as the first entertainment (The Saturday Evening Post, 14 Oct, 1880, p. 2). The firm’s new scenery was a grand success. On Oct. 28, 1880, The Saturday Evening Press reported, “The scenery, all that was exhibited was very fine, and in this connection, the Society wish to return thanks to the firm of Sosman & Landis, of a Chicago Scenic Studio, who painted the scenery, for the excellence of the work, and fairness of the prices, and the Society is ready at any time to recommend them as a first class firm in every respect” (p. 3).

Advertisement for the Philharmonic Hall on July 2, 1880, in the Winona Daily Republican.

This marks the standard operating procedure for the firm; one that would continue even after the passing of both partners. Sosman & Landis did not require payment for the scenery prior to installation. A portion was due upon installation, with the remainder in the form of a few scheduled payments. An announcement published in The Saturday Evening Press on Dec. 2, 1880, stated, “A grand leap year party is to come off at the Turner hall, Dec. 27^th. The proceeds are to be applied to paying for our new scenery” (p. 3).

In the beginning, Moses and Sosman worked as a team, one step behind Landis as he contracted projects. Of this time, Moses wrote, “Sosman and I had to travel a good deal as Mr. Landis was on the road all the time securing orders for advertising curtains, and I didn’t see him until I had been there nearly six months. As the business increased, we put on a paint boy.”

This meant that Moses started out as a combination of scenic artist, assistant, and paint boy. Sosman & Landis were certainly getting their money’s worth in the beginning. However, as their workload increased, other scenic artists took notice.

Moses wrote, “Then the artists began to drop around. They all wanted $35.00 or $45.00 per week and told me I could get that much in the theatres. I began to think I was worth more as I had proven that I was a hustler. My work might not have been as artistic as some I saw in the theatres, but it pleased the people who paid for it.”

The seeds of discontent were sown. Moses knew that he should be making a much larger salary; one that was at least twice his current rate. Reflecting on 1880 in his memoirs, Moses wrote, “My career as a scenic artist starts from here. I was full of ambition and hustle. If I had been endowed with a like amount of ability, I would have set the world on fire. It was all hard work.” I find it interesting that although Moses had painted dozens of sets for the theater by this time in his career, starting with Sosman & Landis signaled something special. He remembers it as his beginning; a beginning that coincided with the first full year of the firm.

By the spring of 1881, Moses’ salary was increased by $2 a week, but it wasn’t enough. Moses began picking up extra work at the Academy of Music, working for Lemuel L. Graham. Sosman & Landis must have recognized that Moses was planning to leave, as he was offered $26.00 a week that fall with the idea that he would not take outside projects. Moses’ raise coincided with the birth of their second child.

The scenic art scene was rapidly changing in Chicago. New drop curtains by well-established artists that year included:

Matt Morgan, Academy of Music (Chicago Tribune, 21 Dec. 1880, p. 3)

Lou Malmsha and J. H. Rogers, McVicker’s Theatre (Chicago Tribune, 1 August 1880, p. 2)

Charles G. Petford, Hooley’s Theatre (Chicago Tribune, 8 Aug. 1880, p. 12)

George Dayton, Hamlin’s Grand Opera-House (Chicago Tribune 15 Aug. 1880, p. 12)

Not all were living in town, or being listed in the city directories. For many, Chicago was simply another stop in the region. They came, made headlines, and headed to the next project. Henry C. Tryon, another future employee at Sosman & Landis, also worked in a variety of cities at this time.

In 1880, however, he was in Chicago long enough to write a letter to the Chicago Tribune Editor. At the time, Tryon was associated with McVicker’s Theatre in Chicago, working as an assistant to both Malmsha and Rogers.

Here is Tryon’s article in its entirety, published on Dec. 19, 1880:

“SCENE PAINTING.

Some hints to the Public Regarding a Special Department of the Painters’ Art Not Well Understood.

To the Editor of The Chicago Tribune-

Chicago, Dec. 18.-

Theatrical scenery is painted in “distemper,” dry color being mixed with a vehicle consisting of glue and water, much the same as is used with whiting for calcimining rooms. Stage scenery and drop-curtains are never painted in oil colors. While the color is less brilliant than when mixed with oils (the artist being compelled to get his brilliancy by skillful arrangement of dull color), the glare of varnish and oil is avoided which would destroy the realism of the scene. Scenery, then, being painted in watercolors, the danger from fire is much less than popularly supposed; in fact, when it does take fire, it burns very slowly for a long time. The canvas is much less combustible than before being painted. Scenes painted on both sides are almost fireproof.

The qualities required of a first-class scenic-artist are of a much higher order than is generally supposed, and the technical difficulties to be overcome to produce any brilliant effect whatever for the stage are so numerous that, with a thorough knowledge of drawing, color, and composition, and the clearest possible idea on the part of the artist of what he desires to do, he will fail utterly, without great practice, to convey to the audience the effect that he may have already, in his brain, arranged in the clearest and most tangible shape. The artist in oil colors can produce any effect which his mind conceives. The scenic-artist must first overcome many very difficult obstacles. One of the chief difficulties arises from the fact that the colors dry out several shades lighter that they are when applied. (Throw a little water on the floor and the difference in color will illustrate this difficulty). The artist is compelled to paint with one color while thinking of another. He must think with every brush mark how the colors will “dry put.” The difficulty in doing this can be imagined when it is considered that all exterior scenes are painted from a pallet making a constant change of thousands of different tints. Then the effect of a night light is a serious drawback. Whoever has observed the changes in the colors of fabrics from the light of day to the artificial light of gas must have noticed how some colors are heightened and others dimmed by being brought under the yellow gaslight.

The scene-painter working in the broad glare of day must consider with every brush mark the effect of this gaslight on his color. A brilliant effect by daylight may, under an artificial light, be entirely destroyed, and also the reverse holds true; but must not be accident with the scenic-artist.

Do the audience in the theatre ever realize the immense difficulty of painting a scene while within three or at most four feet from the canvas, to produce the proper effect at a distance of fifty to 150 feet, the artist being compelled to see his work in his mind’s eye this distance, when his first opportunity to see his entire work is after it has been finished and on stage? The result of constant practice in this direction is, that, as he acquires knowledge, and consequently power and decision, he gradually choses larger brushes, until the skillful artist is enabled with the roughest and apparently most hideous “swashes” of the calcimining brush to produce effect as soft, tender, and full of appropriate meaning as is done by the most labored, painstaking care on smaller surfaces by many landscape painters. In scene-painting, as in all other art, it is only the novice who takes the life out of his work by petty, contemptible smoothing down with small brushes. “Pictures are made to be seen, not smelled,” said Reynolds. In decorative painting mechanical finish is the important requisite, but in scene-painting it is no more an excellence than is mechanical finish in any other art.

The popular impression is that because scenes are thus painted with broad, bold, rough marks it is scarcely more than a grade or so advanced beyond mere decorative painting; but think for a moment of the knowledge of drawing, perspective, composition, and color required to enable the artist to produce on these large surfaces a scene which to the audience must be realism, when he can only see at any time a limited portion (say ten feet square) of his work – on a “drop” say thirty feet by fifty – while working within three feet of his canvas, and to be seen across a large theatre. The fact is, that a scenic artist is able to paint a small picture with much greater ease and readiness that he can with his theatrical work, because he has the knowledge to paint the small subject without very great obstacles attending his work on the large canvas.

Another thing to be considered in this connection: The scenic-artist does not always – in fact, seldom- have the leisure to do work at his best. He has neither the time nor opportunity to correct his work. When a picture is finished in an artist’s studio the artist sees where a change here and there will enhance the value of his work and can perfect it. The scene-painter must call his work “a go” and start on the next scene. “We press your hat while you wait,” is the sentiment. The manager comes to the artist, and says we want a street – Paris, 1600 – to-night. He must have it then, though the heavens fall. “Time, tide, and managers wait for no man.” Many times in the experiences of all scenic-painters are they obliged to work thirty-six hours at a stretch, their meals brought to them, and stopping for nothing else, each of those hours working against time, with no sentiment other than to get through, get out of the theatre and to the rest that exhausted nature loudly demands. Still, he must be criticized on this very work. The audience doesn’t know anything about his having worked all day, and all night, and all day.

The great scenic-artists of the world are great artists, and so recognized in the world of art. Poor dead Minard Lewis was the very Prince of scenic artists, and his genius was the wonder and admiration of every artist of every department of art in New York. Yet the theatre-going public who for thirty or forty years had admired and applauded his beautiful work did not know or care to know his name.

The position of scenic-artist in a first-class theatre is one of great responsibility, which is properly recognized “behind the curtain line,” but the general public has no interest in the personality of the scenic artist, supposing in a vague sort of way that the manager paints the scenes. It is no unusual thing for scenery to be lavishly commended by the press and public, the manager receiving the press and praise for his “enterprise, taste and liberality,” while the artist whose brain and hand has created it all is never mentioned or even thought of. Scene-painters, like all other artists, have their ambitions, and are grateful for proper and honest appreciation. Much injustice has been done to them (perhaps through thoughtlessness) by the public press and this is strongly felt by every scenic-artist. If the newspaper dramatic critics would take the same interest in the scene-painters themselves that they do with other individual members of the theatrical business and that they do with other artists, and would find out under what adverse circumstances they generally labor, their sense of justice would cause them to be more discrimination in their reports. If a theatre during an extended period is uniformly negligent in the matter of scenic accessories, it would be but simple justice for the public critics to inquire whether it is due to the incompetency of the scenic-artist or to the economy of the manager. The truth in this matter can always be easily discovered, and when blame is laid, as it frequently is, it should not be done in loose and indiscriminate manner which injures most the artist who is frequently not to blame. If the dramatic critics would visit and become acquainted with the scenic-artists they would be welcomed, and would perhaps gain in the interest of dramatic art and progress some ideas from that unknown and unthought of portion of the theatre 9the paint gallery) that would be a revelation to them. The sooner the press and public recognize the scene-painters as artists and deal with them individually as with other artists – commending or condemn them on their own merits, – the better it will be for the elevation of scenic art.

-Henry C. Tryon”

This likely caught the eye of Sosman. By 1882, Tryon began working for the firm. This was immediately after he delivered scenery to the Salt Lake Theatre in 1882.

To be continued…

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 113: Kirke Moses

Kirke Moses worked for Sosman & Landis in 1885. His name was included in a list of Sosman & Landis employees who gave donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune listed that Kirke Moses donated twenty-five cents.

Kirke W. Moses, picture in a 1929 newspaper article.

Kirk White Moses was a younger half-brother of Thomas G. Moses; they shared the same father, Capt. Lucius Manlius Moses.

Their father was a sea captain, born in Exeter, New Hampshire on April 21, 1822. His first wife, Thomas Moses’ mother, was Mary Wingate Titcomb from Somersworth, Strafford County, New Hampshire. Exeter was located thirty miles due south of Somersworth, with each connected by water to the sea. The announcement of their marriage was published in the “Marriages” section of the Boston Evening Transcript on Aug. 22, 1849:

“At the Atlantic House, Wells Beach, Me, 14^th inst, Capt. Lucius M. Moses, of ship Pactolus, to Miss MW. Titcomb, daughter of Mr. J. H. Titcomb, or Great Falls, N.H.” (page 3). Great Falls referred to the drop in Salmon Falls River. The town later became known as Somersworth. For geographical context. This area is about 76 miles north of Boston.

Location of Great Falls near Somersworth and Rollinsford.

1877 Map of Great Falls, New Hampshire.

Of the first family, Tom Moses wrote, “Father and Mother had a family of seven children. Kate, the eldest, was accidentally killed at sea. Lucius was the first boy and died at sea. Sister Lucia was born in Halifax, Nova Scotia, July 23rd, 1853. I was the third child. Frank was born in 1858.” Frank was born in Massachusetts, but the fifth child, Illinois “Illie” Moses, was born in Sterling, Illinois.

Capt. Lucius Moses gave up the sea, moving inland to Sterling, Illie was born. The 1860 census listed the Moses household as including Lucius (38 yrs.), Mary (36 yrs.), Lucia (6 yrs.), Thomas (4 yrs.), Frank D. (2 yrs.) and Illie (6 months). At the time, Lucius Moses’s occupation was listed as “boot and shoe dealer.” Shortly after the census was taken, Mary became pregnant again, giving birth the following year. She passed away on Aug. 5, only a few days after giving birth to her last child, Kate, on Aug. 2, 1861. Mary was buried in her hometown of Somersworth, New Hampshire, joining her children who had predeceased her. In 1856, Lucius established a family crypt in Forest Glade Cemetery. Sadly, it needs much repair.

The gravesite of Lucius Moses, Mary Titcomb Moses and at least three of their children at Forest Glade Cemetery in Somersowth, New Hampshire.

The gravesite of Lucius Moses, Mary Wingate Titcomb Moses and at least three of their children at Forest Glade Cemetery in Somersowth, New Hampshire.

Shortly after the death of Mary Moses, Capt. Moses remarried Adaline Gowen, also from New Hampshire, Adaline was the youngest daughter of Daniel Gowen (1788-1880) and Abigail “Abba” Libby (1798-1894). Fifteen years Moses’ junior, Adaline immediately became in charge of four children, ranging in age from 2 to 8 yrs. old. Of his stepmother. Thomas Moses wrote, “When the new Mother took charge of affairs, there were many radical changes made. Many of them made my young life a burden and had a strong influence on my whole life, and also kept my nose to the grindstone.”

Kirke White Moses was the first of two sons born to Lucius and Adaline Moses, arriving on Nov. 8, 1871.

At the time of Kirke’s birth, Tom Moses’ life was quite miserable; he greatly disliked working in the tannery, wanting to become an artist in Chicago After a few failed attempts at running away, Tom finally left home for good it in 1873. That year Moses wrote, “My wild career as an Artist started in April. Father would not help me, so I started for Chicago with 10¢ in my pocket and a new pair of boots, red leather tops and copper toes; some heavy clothes and a lot of pluck.” Fortunately, Moses was able to immediately land a position at Almini’s decorative firm.

A year later, Lucius and Adaline celebrated the birth of another son. Walter Farrington Moses was born on April 4, 1874. As Lucius and Adaline began raising another set of children, Tom Moses transitioned from decorative artist to scenic artist and never looked back.

Ironically, both Kirke and Walter began their careers as painters. I like to think that Thomas Moses paved the way for his younger brothers. About the time that Tom began to really make a name for himself in Chicago, his father moved into town. The 1880 US Federal Census listed that Lucius, Adaline, Illie, Kirke and Walter were living at 331 Randolph St. Now 60 yrs. old, L. M. Moses was listed as a harness maker. Interestingly, Illinois “Illie” Moses was working as an actress by this time too. Both Illie and her brother Tom were associated with the Academy of Music by 1881. Moses and Lemuel L. Graham painted scenery for the venue, with Illie as part of the stock company. Of his work for the Academy of Music, Thomas Moses wrote, “I enjoyed the work, even if I had to do it evenings and Sundays. I received good pay for this, which all helped. The plays were mostly of the melodramatic order and required a lot of scenery.” Moses was also working at Sosman & Landis during this time. Between the summers of 1881 and 1882, Sosman & Landis was credited with delivering stock scenery collections to over seventy theaters. In 1880, Thomas Moses’ salary increased from $18.00 to $20.00 per week, a very acceptable income at the time.

With two of his children succeeding in the theatre industry, Lucius Moses was a little more lenient on his youngest sons’ career choices. By 1885, Kirke Moses was also working at Sosman & Landis. At the age of 14 yrs., old, Kirke was likely employed as a paint boy, performing a variety menial tasks to help the scenic artists. That year Tom Moses was listed as an artist, living at 106 Centre Ave; by 1888 he was living at 721 W Harrison.

In 1882, Lucius’ grocery store was listed at 307 W Rudolph; Tom was at 744 W Van Buren.

From 1885 to 1889, Lucius Moses was listed in the Chicago Directory as a manager at 301 W. Rudolph

Kirke was 19 yrs. old when his father passed away. The Sterling Standard published his obituary on Jan. 29, 1891:

“Died.

Capt. Lucius M. Moses, last Saturday evening at his residence, 301 W. Randolph St. Chicago. Funeral services were held at the residence of his son, T. G. Moses, 721 W. Harrison St., Monday p.m., when he remains accompanied by his widow were placed aboard the cars en route for Great Falls, New Hampshire where the deceased had in early life erected a tomb wherein his first wife and three children were lain before him. Capt. Moses came to Sterling some 30 years since and resided here for about 20 years during which time he was principally engaged in the tanning and saddlery trade. He then went to Chicago where he established a family grocery store in which business he was engaged at the time of his death. The deceased will be remembered by all of our older residents as a very entertaining conversationalist and a warm friend” (page 8).

Kirke continued to work as a painter, listing it as his occupation when he married on Feb. 15, 1896. His first wife was Mary Genevieve “Mamie” Christopher (b. 1878), the 21-yrs.-old daughter of Thomas Christopher and Celia King. They were married in Milwaukee, Wisconsin, and celebrated the birth of their first child the following year. Dorothy Jean “Illis” Moses was born on Oct. 25, 1897.

In 1900, the small family was living in Chicago at 325 S. Clark. The 1900 US Federal Census still listed Kirke Moses’ occupation as a painter, living at 235 S. The household included Kirke, his wife Mary, daughter “Illis”, and Mother Adaline.

Sometime by 1903, their marriage ended, with Mary and their daughter moving to Minneapolis, Minnesota, and living with her parents. By 1910, Mary was working as a stenographer, living at 2840 29^th Ave. S. Mary continued to work as a stenographer, but returned to using her married name by 1911. She remained in Minneapolis until 1916 when she relocated to Kansas City, Missouri. Here are her listings in the Minneapolis City Directory:

1911: Christopher, Mary G. (wid Kirk W) stenographer F J Geist 235 Temple Ct.”

1912: Christopher, Mary G. (wid Kirk W) stenogr F J Geist r 2840 29^th Ave S.

1913: Christopher, Mary G. (wid Kirk W) emp agt 240 Temple Ct r 70 N 12^th

1915: Christopher, Mary G. (wid Kirk W) r 2312 E 35^th

1916: Christopher, Mrs. Mary G moved to Kansas City, Mo.

I have yet to discover whatever happened to Kirke’s first wife after 1916, but her parents (Thomas and Cecilia Christopher) moved back to Chicago by 1920.

Kirke married twenty-one-yrs.-old Olga Lindman on July 3, 1903, in South Haven, Michigan. Again, Kirke listed his occupation as “painter” on the marriage certificate. Their marriage was published in The True Northerner on July 10, 1903: “Kirke W. Moses, 32; Alga Lindman, 21, both of Chicago” (page 8). His second marriage also failed, but I have no idea what happened to Olga either.

On Aug. 29, 1908, Kirke married his third wife, Emma L. Schultz (1883-1971). A few days later, on Aug. 30, 1908, the St. Louis Globe-Democrat announced their marriage n “Clayton Marriage Licenses”:

“Kirke W. Moses, De Hodiamont, Missouri, and Emma L. Schultz, St. Louis” (page 7). At the time, Kirke was 35 years old, and Emma was 24 years old.

Less than a year later, Kirke and Emma celebrated the birth of a daughter in St. Louis. Ruth Moses was born on July 17, 1909, at 2849 Nebraska. It appears that Kirke only fathered two children. His obituary would list his two daughters as Mrs. Jean Tisher and Ruth McNulty.

In 1910 US Federal Census listed Kirke, Emma, and Ruth living at 2849 Nebraska Ave. in St. Louis. Kirke was now working as a paper hanger. Painters frequently worked as wallpaper hangers, especially when they began to focus on residential and commercial projects.

Interestingly, Kirke shifted from decorating to building homes. On July 16, 1912, the “St. Louis Globe-Democrat” (page 11) reported, “Buys Minnesota Avenue Lot. The Christian Brinkop Real Estate Company reports the sale of lot 30×127 feet on the west side of Minnesota Avenue, between Miami and Winnebago streets from Fred Bauer to Kirke W. Moses for $810. The purchaser will improve with modern home.”

By 1913 he was working as a carpenter and contractor. Here are his directory listings in the St. Louis Directory from 1913 to 1919:

1913: Moses, Kirke W. carp contr at 3916 Minnesota av in St. Louis.

1914: Moses, Kirke W. bldg. contr 604 Chestnut r 3916 Minnesota

1915: Contractors (Builders) section – Moses, Kirke W. 604 Chestnut

1916: Moses, Kirke W 4936 Wise av

1919: Contractors (Builders) section – Moses, Kirke W (bldr) 4936 Wise av

Tom visited Kirke’s home on Wise Ave, in St. Louis. In 1919, Moses wrote, “We had a nice time in St. Louis at Kirke Moses’ home” and “Brother Kirke and family paid us a visit in July, driving up from St. Louis.”

In 1920, the US Federal Census listed Kirke as a contractor in St. Louis, living at 4935 Wise Ave., with his wife Emma L. (36 yrs.), daughter Ruth (10 yrs.), and sister-in-law Bertha Schultz (40 yrs. old). His full-brother Walter was caring for their ailing mother in Chicago. On Nov. 13, 1920, Kirke’s 85-yrs.-old mother, Adaline Moses, died in Oak Park, Illinois. She was buried in Mound Grove Cemetery in Kankakee, Illinois, a few days later.

Kirke remained in St. Louis, working as a builder. He became quite successful by the mid-1920s. He was continually listed in the real estate section – selling homes. Kirke continued to meet his brother Tom whenever he passed through town. In 1924, Tom Moses wrote, “On the 30^th, I stopped at St. Louis, where Kirke met me at the station, and we went to Volland’s studio. It is some studio. They were very anxious to have me come down and help them out, as they had more work that they could handle.”

Kirke continued to be listed as an architect and builder in St. Louis newspapers throughout the late 1920s. On Nov. 12, 1927, the St. Louis Star and Times reported, “Eight five-room bungalow single type two-family flats located in the 4100 block Minnesota Ave, each built on a lot 35 by 125 feet and constructed by Kirke W. Moses.”

Kirke W. Moses featured as a designer and builder in 1929.

He was building quite a reputation, and on April 4, 1929, was featured in the St. Louis Star (page 24). The article announced, “Kirke Moses to Build Residences in Ivanhoe Park. Veteran Contractor has erected 600 fine dwellings in St. Louis.” The article continued:

“Kirke W. Moses has been selected to erect the model homes to be built in Ivanhoe Park for the Hauer-Lustkandl Realty Company in the St. Louis Better Built Homes Movement. Associated with the building industry for over twenty years, Moses has built more than 600 fine residences in various parts of the city. The son of a Chicago contractor, he began building and construction work shortly before the World’s Fair. Before coming to St. Louis, he gained distinction in the field of building through his work in construction of the University of Texas buildings at Galveston and the Illinois Central car shops at Memphis. One of his first commissions in St. Louis was the reconstruction of the Philippine Building at the World’s Fair. Since that time, he has confined his activities to the building of fine homes. It was thoroughly in line with the policy of the St. Louis Better Built Homes Movement, that he was selected to build these model homes. The executive committee realized the importance of selecting a reputable builder. It is well known regardless of the fine materials used no home can be well built if poor construction methods are employed. The fact that his record as home builder was beyond reproach led to Moses’ selection.” Many historic newspaper articles are riddled with errors. I have yet to locate any record that suggested Kirke Moses’ father was a contractor. The only occupations that I have located for Lucius Moses are sea captain, boot and show dealer, harness maker, and grocer. That does not mean that Lucius did not build his own home or work as a carpenter, just not professionally as a contactor.

The 1930 US Federal Census listed Kirke Moses’ home address at 3643 Bowen Ave, St. Louis. His occupation was listed as a contractor in the building industry, with his household including Emma Moses (46 yrs.), sister-in-law Bertha Schultz (50 yrs.) and his niece Esther Volkering (32 yrs.). That year Kirke Moses placed several ads in the St. Louis Star and Times.

On June 12, 1930, Kirke Moses placed an advertisement in the St. Louis Star and Times:

“Mechanics.

Structurally a building may be a beautiful job and yet the Owner may be sorry that he built it.

There is so much more to building a building that the mere mechanics of building it!

Kirke W. Moses

General Contractor

3643 Bowen St.

Riverside 5089.”

Ad placed by Kirke W. Moses in 1930.

Ad placed by Kirke W. Moses in 1930.

Tom Moses continued to visit his younger brother in the last few years of his life. In 1931, Tom Moses wrote, “Arrived in St. Louis, Saturday, December 5^th. Kirk was at the station to meet us. We all enjoyed our visit with them in their new home, which is very comfortable.” In 1932 Moses wrote, “May 22^nd, Sunday morning, I was called to Sister Illie’s apartment, where she had passed away during the night. I wired Pitt, Gertrude, Kirke, and Walter. The next morning Kirke arrived with Emma and Rupert – having driven all night. They remained with us all night and left the next morning, the day of the funeral.”

Little changed in Kirke Moses’ life in the 1930s, but the depression took its toll, and he began to work for another contractor, A. J. Meyer. Meyer was listed as Moses’ employer on his 1942 WWII Draft Card, with business offices at the corner of Grand & Gravois in St. Louis. The draft card also listed Moses’ physical description as 5’-7”, blue eyes, gray hair, and ruddy complexion.

Moses continued to work as a builder for A. J. Meyer & Co. in the early 1940s, and then became associated with the J. Ben Miller Realty Co. Newspaper notices about Moses’ projects continued to decline throughout the 1940s.

Kirke Moses passed away on Feb. 24, 1951. His death certificate listed “Hypernephroma, Rt. Kidney” as cause of death, with “Laennec Cirrhosis arteriosclerotic heart disease” as a contributing factor. He was buried at Sunset Memorial Park and Mausoleum in Afton, Missouri.

His obituary was published in the St. Louis Globe-Democrat:

“Moses, Kirke W., 6337 Oleatha, Sat., Feb 24, 1951, dearly beloved husband of Emma Moses (nee Schultz), dear father of Mrs. Jean Tischer and Mrs. Ruth McNulty. Dear brother-in-law, father-in-law, grandfather and uncle. Funeral from KRIEGSHAUSER Mortuary, 4228 S. Kingshighway, Tues., Feb. 27, 3 PM interment Sunset Burial Park, Member of South Side Kiwanis Club” (page 34).

Kirke W. Moses gravestone in Sunset Memorial Park and Mausoleam.

I have written about Kirke Moses in the past, as he was part of the Thomas G. Moses storyline; the one that I took a break from to do these S&L employee biographies. In 2020 I was contacted by one of Kirke Moses’ descendants. His great granddaughter wrote:

“Thank you for this. Thomas Gibbs Moses was my Great Uncle. His brother, Kirke White Moses, was my Great Grandfather, whose daughter was my beloved Grandma, Ruth Moses McNulty! Our family still has a few paintings from Thomas Gibbs Moses and his brother, Walter Farrington Moses! Periodically, I search for information on my ancestors and I was happy to find this. Thanks again.”

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 1198 – The San Jose Scottish Rite, 1924-1925

In 1924, Thomas G. Moses wrote, “Met Fulton at Denver and were soon on our way to San Jose. Arriving in San Francisco, we soon reached the 3^rd Street Station just in time to catch a train for San Jose…It took us eight days to close a $7,000.00 contract.” Moses was working with Fitch Fulton to land Scottish Rite contracts in 1924. In addition to San Jose, California, their projects included Scottish Rite scenery for Fort Scott, Kansas and Pasadena, California.

*Ground breaking for the Scottish Rite building in San Jose, California.*

The groundbreaking ceremony for the San Jose Scottish Rite was announced in the “Salina Daily Index” on Feb. 20, 1924. The article reported, “Work on Scottish Rite Temple Progressing Rapidly.” The construction went quicker than the contract negotiations. Like most Scottish Rites at this time, discussions were drawn out until the last possible moment. This never worked well for either the scenic studio or client. In the end it everything was rushed through, greatly taking its toll on the artists and installers.

In 1925 that Moses recorded, “We finally received out contract back from San Jose after they had it a month, which settled the matter of our going there immediately after we completed Pasadena.” The San Jose Scottish Rite was scheduled to open at the beginning of May.

That spring, Moses wrote, “I started for San Jose on March 27^th and found Naile had everything in good shape. Fulton and I got busy immediately, got a good start and pounded away pretty steadily until April 18^th”. It was at this point that Moses’ health troubles came to a climax and he was rushed to hospital by Dr. Moore and Fitch Fulton. He wrote, “All through my illness, I had to keep work going and had to ask the Madam to see that the salaries were paid and the work at the Consistory did not stop. It was opened on time and we were through on April 27^th, a few days before my second operation.” Moses’ second operation was on May 1, 1925, with him recovering at the hospital all month. He was not released until May 30.

The San Jose Scottish Rite Temple opened on May 8, 1925. On May 10, 1925, the “Oakland Tribune” announced, “Masons Dedicate San Jose Home.” The article reported, “Formal dedication of the new $450,000 San Jose Scottish Rite Temple was made last evening with Sovereign Grand Commander J. H. Cowles, highest ranking Mason in the United States, as guest of honor. The dedication ceremony followed a banquet in honor of Cowles and Sovereign Grand Inspector W. P. Filmer. Scottish Rite Masons and their ladies only were in attendance, and the big new temple at Third and St. James streets was packed to capacity for the rites.”

By 1926, Thomas G. Moses wrote, “During this year, I have had the opportunity to paint several large canvases to be presented to Masonic Temples and school boards. I presented one large canvas to the San Jose Consistory.” He also presented paintings to the Tacoma Scottish Rite, the Board of Education at Johnstown, Pennsylvania, and Saint Francis Academy of Joliet.” His paintings included the inscription “Compliments of Sosman & Landis.” Of his gifts to various clients, Moses wrote, “While these are all in the line of business, it gives me the opportunity of painting them.”

To be continued…

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…