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Tales from a Scenic Artist and Scholar. Part 1039 – A New Addition to the Oak Park Home, 1920

In 1920, Thomas G. Moses wrote, “Our new addition at home is nearly completed. It has certainly hung along with the cold weather.”

The new addition was to the back of the house, extending the kitchen. On Jul 19, 2019, I sat in that addition, enjoying a cup of tea with the current homeowners. My unanticipated stop was on a return trip from Philadelphia that month. I had a little extra time on my drive that day and decided to visit the Oak Park neighborhood.

Although I have written about Moses’ Oak Park home before, here is a brief recap.

Thomas and Ella Moses began house hunting in Chicago at the beginning of 1893, soon selecting a home in the western suburb of Oak Park. Located on S. Euclid Ave, the structure was only a year old and spacious enough to accommodate four children, ranging in age from four to fourteen. Of their new home, Moses commented, “very fine wood-work, a large stable, driveway, and a 60 x 178 feet lot.” They purchased the house for $8,575.00, today’s equivalent of approximately $230,000. Although the amount was much more than the couple wanted to pay, Moses wrote that it appealed to them as no other one had. He had a perfect spot for a home studio with plenty of light. His studio was located in the attic with a high ceiling and ample room to hang pictures. Years later, his grandchildren would recall being told not to bother their grandpa when he was painting, yet they still managed to escape to the third floor. Opening the attic door and venturing up steep steps, they were never reprimanded, just given a small project to keep them busy.

The Moses family moved into their new home on May 1, 1893 – the same day that the Columbian Exposition opened in Chicago. He recalled that their new home provided plenty of room to entertain World Fair visitors.

I wanted to visit Moses’ Oak Park home since I first read about it as an undergraduate student. The Oak Park and Forest Park area, suburbs located immediately west of Chicago, were home to many Chicago artists who commuted to the city. Never dreaming that it was still standing, I was surprised when the address popped up in google maps and I zoomed in from the satellite view. From 1893-1934 Oak Park was home for the Moses family. Only from 1900-1904 did the couple rent the house out when they temporarily moved to New York, where Moses established the short-lived scenic studio Moses & Hamilton. Although they also spent a few winters in Oakland, California, Oak Park remained their primary residence.

On the morning of July 19, 2019, I pondered whether to drive to Moses’ Oak Park home or venture north to Fox Lake where the Palette & Chisel Club built a summer camp. I decided on Oak Park, as I could also stop by a nearby cemetery to document some scenic artist graves. It was ridiculously hot that day and darting out of my car to look at gravestones seemed preferable. Moses’ one-time business partner, Walter Burridge, was buried in Forest Home Cemetery. On my drive I contemplated if I should venture up to the front door and make contact with the current owners. As I was traveling alone and the home was in an unknown area, I remained undecided until I pulled up in front of the house. In the end, I summoned up enough courage to knock on the door.

As I walked up the front steps, it was hard not to think of the many artists who ascended these same steps throughout the duration of Moses’ life, his close friends who stopped by to chat or discuss an upcoming project. I recalled one particular instance when a few Palette & Chisel Club friends came over to examine the 300+ paintings in his attic studio, convincing him to do a one-man show.

When I reached the front door, I noticed the sign “All are Welcome” and heaved a sigh of relief. My knock triggered a chorus of dogs, and I began to wonder if someone was actually home. As I began to ponder my decision, the door slowly opened. I was greeted by a smiling woman about my age. I was there for almost two hours. My grand tour ended with a cup of tea in the 1920-addition off the kitchen and a gift – a music CD; one of the daughters has a band.

The front door and entryway of Thomas G. Moses’ home from 1893-1934.

The front parlor of Thomas G. Moses’ home from 1893-1934. These were the windows with the street view.

The back half of the front parlor. The door to the fir right led to the kitchen in the back of the house.

Dining room with door on left leading to the kitchen and backstairs.

The attic space that Thomas G. Moses used for a studio.

After visiting Moses’ home, I stopped by Forest Lake cemetery and the drove southwest toward Moses’ hometown of Sterling, Illinois. The part of my visit that continued to play in the back of my mind was my ascent to the attic space that was once Moses’ studio. Standing in the same space where he painted hundreds of artworks, some of which I own, was absolutely magical. Sometimes, you experience a brief moment that verifies you’re traveling on the right path. It’s like getting a thumb’s up from the universe. Stopping by Moses’ Oak Park home and studio brought closure to one road on my journey, a respite from what often seems to be an insurmountable mountain of research.

There was still an abundance of artwork in Moses’ old home. Sharing stories and laughter with the current residents brought a moment of peace.

To be continued…

Travels of a Scenic Artist and Scholar. Thomas G. Moses and Oak Park, Illinois, July 19, 2019

The home of Thomas G. Moses from 1893 – 1934.

Thomas and Ella Moses began house hunting in Chicago at the beginning of 1893. A few months later, they selected a home in the western suburb of Oak Park, Illinois. The S. Euclid Ave structure was only a year old and spacious enough to accommodate four young children. At thirty-seven years old, “Tom” and Ella had four children William “Pitt,” Mary Titcomb, Thomas “Rupert,” and Lillian Ella were ages fourteen, twelve, seven, and four. Moses was thirty-seven years old and at the top of his profession; life was really looking up.

Moses wrote that their new home had “very fine wood-work, a large stable, driveway, and a 60 x 178 foot lot.” They bought the house for $8,575.00, today’s equivalent of $222,238.22, a substantial sum. Although the amount was much more than the couple wanted to pay, Moses wrote that it appealed to them as no other one had. He had a perfect spot for a home studio with plenty of light. His studio was located in the attic with a high ceiling and ample room to hang pictures.

Years later, his grandchildren would recall being told not to bother their grandpa when he was painting, yet they still managed to escape to the third floor. Opening the attic door and venturing up steep steps, they were never reprimanded, just given a small project to keep them busy.

The Moses family moved into their new home on May 1, 1893 – the same day that the Columbian Exposition opened in Chicago. Moses recorded that their new home provided plenty of room to entertain World Fair visitors. There are extant photographs that depict the interior of their Oak Park home. In one, Moses sits in front of an easel in his third-floor studio. Paintings, statues, masks, and art supplies surround him, capturing a moment in the life and times of Thomas G. Moses. There was painted ornament in almost every nook and cranny of the home.

I have wanted to visit Moses’ Oak Park home since I first read about it. The Oak Park and Forest Park area, suburbs located immediately west of Chicago, were home to many Chicago artists who commuted to the city. When my trip home from Philadelphia, I had the opportunity to pass through Oak Park and see the neighborhood.

Until Moses’ passing in 1934, Oak Park remained his home. The only time that he and Ella did not live in there was when they temporarily moved to New York from 1900 until 1904. Although they spent time on the West Coast too, Oak Park was the primary home to Ella and the children, hosting seasonal gatherings for family and friends. While living in New York for the four short years, Moses found renters for the Oak Park house. In 1900, he wrote, “I didn’t regret going east; but we did miss our Oak Park home.”

On the morning of July 19, 2019, I planned my drive to Moses’ home and a nearby cemetery. Moses’ one-time business partner, Walter Burridge, was buried in Forest Home Cemetery in the nearby suburb of Forest Park. As I pulled off at the Oak Park exit, I closely examined the houses as the navigational system directed my to S. Euclid Avenue. I had already looked at the Moses’ home in Google maps, so knew the color and exterior of the home.

Picture from Google maps of the old Moses home

All morning I contemplated actually going up to the house, knocking on the door and introducing myself to the current owners. Risky move, as I was unsure of the area or the people that I may meet. Times are different and doors do not always open to reveal a smiling face. I realized that I would have to quickly explain that I was not selling a product or peddling any particular religion, before explaining my interest in their house. At least my visit wasn’t occurring during an election season.

As I walked up the front steps, it was hard not to think of the many artists who ascended these same steps throughout the duration of Moses’ life, his close friends who stopped by to chat or discuss an upcoming project. I recalled one particular instance when his close Palette & Chisel Club friends came over to examine the 300+ paintings in his attic studio, convincing him to do a one-man show.

When I reached the front door, I noticed to signs – “We still stand with Standing Rock” and “All are Welcome.” I heaved a huge sigh of relief as all trepidation evaporated. I looked at the decommissioned doorbell and decided to knock, but not too loud. A chorus of dogs responded to my knocking, and then the door slowly opened. I smiled at a woman about my own age and explained, “I’m not some nut off the street…”

Almost two hours later, I left the home. As expected, I got teary eyed when I entered Moses’ old studio on the third floor. There is still so much history and such a wonderful energy about the space. I can see why this would be the perfect paint studio for Moses or any artist. There is so much more to the story of my visit, but I can’t bring myself to share. For now, I just want to keep it close and reflect on both the details and newfound friends.

My grand tour ended with a cup of tea and a copy of her daughters’ music CD. In exchange for the hospitality and gift, I left my copy of “The Santa Fe Scottish Rite: Freemasonry, Architecture and Theater.” One chapter includes a lot of information about Moses’ life and his work at Sosman & Landis. It was the least I could do, especially after my host invited me to stay at their home anytime I came to Chicago. The family is perfect fit for the Moses home.

The CD gifted to me by current residents of the Thomas G. Moses home.

There is that moment when fate intervenes and you encounter people who make your entire journey better, enriching your life, even if it is just for a moment. I have been fortunate over the course of my studies and career to be repeatedly blessed with meeting so many positive personalities; they always overshadow any negative individual or situation that I encounter. Stopping by the Moses’ old home and meeting the current residents was absolutely magical and made me reflect how lucky I am in my own journey.

To be continued…

Travels of a Scenic Artist and Scholar: Arriving in Louisville, March 19, 2019

I left Genoa, Illinois, at 5:45 AM on Tuesday, March 19. My goal was to arrive at the Louisville Scottish Rite between noon and 1PM. The drive was pretty uneventful, but there were many places that I wished I had stopped along the way; there is just never enough time. The first was the exit that would have brought me to Thomas G. Moses’ hometown of Sterling, Illinois. The second was the Crump Theatre in Columbus, Indiana. I could not take the time to stop, as I knew that my time was really limited at the Louisville Scottish Rite. My plan was to evaluate the entire collection on Wednesday. Today was simply scoping out the collection, rigging and facility with Rick. Also, this was the only day Rick could visit since the “New World Rigging Symposium” would prevent him from visiting Wednesday.

I contacted my Scottish Rite host Randolph. The intent was to visit for two hours while they were still open. Randolph had scheduled one of the Masonic stagehands to be there – Jim. Jim had worked the stage for many years and was an absolute wealth of information at 75 years old. Fortunately for me, Jim gave me their stage book that provided a little guidance in terms of inventory and line order. This is an unusual gesture, as I often have to prove how much I know before that stage book is passed along.

The Louisville Scottish Rite counterweight system

My visit on Tuesday was primarily about the rigging and Rick’s findings. Rick had a wonderful opportunity to fully explain the significance of this double purchase system to the stewards of this stage. He described that the 1930 system, original to the building, predated the Clancy patent several years later. As interested as I was in the unique aspects of the system I was more anxious to see a few scenes while he was in the flies. They brought in the first line and I began to catalogue information about this 4^th degree interior setting.

My notes were placed within the historical context of the Louisville Scottish Rite that I have explored during the previous week. It was apparent that the majority of the scenery dated from 1910. Toomey & Volland business records noted two scenery deliveries – 1910 and 1951. The drops depicted standard designs and painting techniques characteristic of the studio.

Unfortunately, much of the scenery was restored at one point, with methods that may not be advantageous for the collection’s future. I understand the choices of those who repaired the scene, but wonder how these will age. Most scenes were backed with a type of gauze that appeared plastic, although it may have been the adhesive. The edges of cut scenes were backed with flexible foam core; this I had encountered in Cheyenne. For a new scene, ephemeral in nature, it is a brilliant idea. For historic scenery, I have to wonder how the foam will interact with the fragile fabric in the long run. The painted surface had also been sealed, resulting in a slight sheen. I have no idea what was used for this, as it had a plastic feel; almost reminding me of a product that I used on interactive exhibits for museum projects – Aquaplastic.

Finally, the netting was replaced with a plastic ½” square version; hot melt glued to the back. As Alessia Carpoca and I looked at this alteration near the end of the day, she asked the same question that has gone through my mind multiple times when seeing hot melt glued netting: “How could anyone be so stupid?” It is the idea that the drops of hot glue will never come of the back without damaging the fabric. The hot glue embeds itself in the weave and is permanently fixed. Even steam and heat only partially removed this product, as I have tried in the past. The process completely destroys the painted surface during its removal.

Meanwhile, Rick was occupied doing another good deed (as usual); helping balance some line sets to make them easier to move. He also took the time to thoroughly explain how the system worked and all of the various components. As previously mentioned, the Scottish Rite Reunion was scheduled to start in four days and some of the lines were difficult to pull.

For the most part, we try to leave any stage better than we found it, even if this means simply explaining a system and scenery for future clarity. In Scottish Rite theaters, the Masonic stagehands are often unfamiliar with the history of both. It is not unusual to find something amiss in these systems that require a simple tweak. After all, the systems have often not been maintained since their installation.

After Rick was done with his talk and the weight adjustment, we headed up to the grid. This was one of the easiest ascents ever to access the space above the stage.

Our journey to the grid at the Louisville Scottish Rite

The Louisville Scottish Rite counterweight system above the stage

We went up steps and followed boards above the auditorium space. I kept an eye out for trash, as treasures were often left in these attic spaces. Sure enough, there was a Mazda Edison box! We balanced our way to a small door, with Jim taking quick grip on me to make sure I would not fall. My sense of mortality has exponentially increased over the years, so I don’t wander to close to the edges anymore. However, I wasn’t going to miss an opportunity accompanying Rick and hearing his observations. It is always fun to be on site with Rick, as he so thoroughly explains what I am looking at and the nuances of each system. It is like the rigging class that does not end.

We left the Scottish Rite late afternoon, and I checked into the Hardy House (my Airbnb for the conference). Just about the time I was settling in and deciding to open a can of soup, I received a text from Randolph. He notified me that the Louisville Scottish Rite librarian and archivist would be contacting me soon, offering me the opportunity to visit the Scottish Rite library that evening. Regardless of my fatigue, this was not an opportunity that I would miss. So within the hour, I was waiting outside for my ride to head back to the Louisville Scottish Rite. It was certainly worth it as I spent the next few hours perusing books and chatting with Richard.

Like many, the library was a fraction of what it had once held. Books were missing and the contents somewhat sparse. However, there were certainly some gems left; absolutely priceless publications that would contribute to my ongoing research about visual sources used by scenic studios to produce Scottish Rite scenery. My biggest surprise was a Cerneau book with many recognizable compositions that were later incorporated into the Scottish Rite scenic designs.

To be continued…

Tales from a Scenic Artist and Scholar. Part 563 – Thomas G. Moses’ Oak Park Studio

Part 563: Thomas G. Moses’ Oak Park Studio

At the beginning of 1907, Thomas G. Moses wrote, “I started right by painting all of New Years day on several oil paintings. My new studio on the third floor is certainly the right thing. I have more than made the cost from work done in the studio.”

Thomas G. Moses in his third floor studio. Oak Park, Illinois.

Moses’ third-floor studio was in the same house that he and Ella purchased on May 1, 1893. This coincided with the opening of the Columbian Exposition; projects leading up to the world fair funded the Moses’ ability to look for a home in the Oak Park area. In 1892, Moses’ work turned a $5,000 profit, today’s equivalent of $130,000. The couple eventually selected a one-year-old house in Oak Park, Illinois. Moses recorded that their new home had “very fine wood-work, a large stable, driveway, and a 60 x 178 foot lot.” They bought the house for $8,575.00, today’s equivalent of $222,238.22. Moses also had a perfect spot for a home studio with plenty of light and away tucked away on the third floor.

Moses had always kept a studio in their previous homes, justified by the income he brought in from any extra work. In 1885 he wrote, “I had the front room nicely decorated by Mitchell and Halbach and I more than enjoyed the little studio. With the extra work from the outside, it paid me to keep the room for a studio.” Similarly in 1907 he wrote, “My new studio on he third floor is certainly the right thing. I have more than made the cost from work done in the studio.” By 1913, he commented, “I had over three hundred pictures in the studio.”

The third floor studio in his Oak Park home was his escape. It was located high above the bustle of daily household activities, offering a peaceful space to work hone his artistic skills, remember past sketching trips and plan for the future. The house was always full of people; first there were the children, and then later grandchildren. Their youngest Thomas “Rupert” Moses followed his father into the theatrical trade, with his family lodging with them in both Chicago and California. While Rupert, his wife, and their three daughters lived with Tom and Ella, there was the rule to not disturb grandfather while he was painting in his studio.

Granddaughter Marilyn fondly remembered her grandfather’s studio in a an article “My Grandfather: Artist Thomas G. Moses.” Her reminisces were shared with me by a great-grandson in 2017. Marilyn wrote, “Grandfather had a studio on the third floor of his house. He spent most of his time up there painting…Grandmother tried to ‘protect’ Grandfather from his grandchildren or maybe it was his working time which was important. I didn’t realize the reasons behind the rules. I would go up to the studio to watch. It was quite exciting to see the sets develop. Grandfather taught me how to make furniture out of cardboard and put me to work. I made tables, chairs and lounges.”

To be continued…