Thomas G. Moses – Page 26

Tales from a Scenic Artist and Scholar. Part 840 – Moss and Brill’s New Theatre, 1913

In 1913, Thomas G. Moses recorded that Sosman & Landis delivered scenery for Moss and Brills’ new theatre in New York. Moss & Brill had two theaters in New York, the Eighty-sixth Street and the DeKalb. The theatrical management firm also opened two theaters during January 1913. Both were combination houses, bringing the total number of theaters owned by Moss & Brill up to five, according to newspapers.

From the “New York Times,” 23 Jan 1913 page 22.

The Hamilton Theatre opened on January 23 and the Jefferson theatre opened on January 25. On January 24, 1913, the “Brooklyn Citizen” included an article about Moss & Brill’s new Hamilton Theatre:

“THE HAMILTON OPENS.

Moss and Brill’s new Hamilton Theatre, which is located at 146^th street and Broadway, Manhattan, had its opening last night. A fine program consisting of eight vaudeville numbers was presented. At the conclusion there were calls for the management, but the demands for a speech were not answered. The new institution is a handsome building, seating about two thousand persons, and will be devoted to vaudeville at popular prices. Friends of those interested in the new enterprise expressed their feelings by sending numerous large bouquets. A handsome souvenir programme was distributed.”

The second venue opened by Moss & Brill that January was the Jefferson Theatre. The Jefferson Theatre was slightly larger than the Hamilton Theatre, with a 3,000 seating capacity. It was located on the edge of what is now known as the East Village, at 214 E. 14^th Street. The narrow entrance was between two tenement buildings was the entrance, leading to the main auditorium in the back of the building, situated near E. 13^th Street. Over the years The Jefferson Theatre became known as the RKO Jefferson Theatre. It did not survive, however, and was demolished in 2000.

“The New York Times” announced the opening of the venue on 26 Jan. 1913: “The Jefferson Theatre, the second of the new houses to be opened by Moss & Brill vaudeville producers, was opened to the public last night. It is at Fourteenth Street and Third Avenue. George Kiester, architect of the Cohan, Belasco, Astor and Hamilton Theatres, designed the Jefferson. A feature in its construction is the span of 90 feet of balcony and orchestra entirely unobstructed by posts or pillars. The Hamilton Theatre at 146^th Street and Broadway were opened by the same firm on Thursday night. It is a marble building with a frontage of 100 feet on Broadway. It has only one balcony, but is equipped with twenty-four boxes, and will seat approximately 2,500. The color scheme is gold and brown. Both houses will resent continuous performances from 1 to 11 of vaudeville and moving pictures” (page 44):

Both the Hamilton and Jefferson theaters were completed at a cost of $1,000,000 and listed as “popular price” venues. The “Evening World” reported, “With the other Moss & Brill house, the Eighty-sixth Street Theatre, and the Cunningham & Fluegelman theatres, the McKinley Square, in the Bronx, and the DeKalb, in Brooklyn, seating capacity for more than 12,000 persons will be provided and an outlay in buildings and ground of more than $3,000,000 represented” (The Evening World, New York, 18 Jan. 1913, page 6).

The history of Moss & Brill is integral in the establishment of a new theatre circuit that appeared in 1912. That year newspapers announced the establishment of the Consolidated Booking Offices of America. The new company consolidated the interests of Moss & Brill and Fluegelmen & Cunningham, both of New York, with the Sheehan and Olympia circuits of New England, taking the title Sheedy and Affiliated Vaudeville Circuit. The company controlled about thirty weeks of vaudeville bookings from New York to Portland, Maine. Two weeks later, the newly formed Sheedy and Affiliated Vaudeville Circuit united their interests with the Theatre Booking Corporation, of Chicago; the Charles H. Miles Circuit of Detroit and Cincinnati, and the Klein & Crawford Circuit that extended from St. Louis to Omaha, to form the Consolidated Booking Offices of America. On August 16, 1912, the “Brooklyn Daily Eagle” reported, “Combination of Independent ‘Small-Time’ Vaudeville Gains Ground.” This consolidation of smaller circuits resulted in vaudeville artists being able to secure contracts for fifty-six weeks of solid bookings instead of only thirty, meaning “headliners” from previously bigger circuits, were able to appear for the first time at popular prices.

The Consolidated Booking Offices of America incorporation papers were filed in Albany, New York in 1912 and the new company had a suite of twelve offices in the George M. Cohan Theatre Building in New York City, on Broadway, near Forty-third street. They featured popular-priced vaudeville, thus necessitating the use of venues with large-seating capacities of 2,000 or more to generate significant profits.

The new circuit also landed a major deal with Kinemacolor in De Kalb that year (see past posts #822-823 about Kinemacolor movies). On Feb. 1, 1913, “The Chat” announced “By the purchase of rights in Greater New York to exhibit the kinemacolor photo plays and motion pictures, Messrs. Cunningham and Fluegelman, proprietors of the DeKalb [Theatre], with their partners in the Consolidated Booking Offices, Messrs. Moss and Brill, now own the rights in this city outside of a small strip on Broadway from 34^th street to Columbus Circle” (Brooklyn, New York, page 42). Instead of the current prices for Kinemacolor that ranged from $0.50 to $1.50, the prices at the DeKalb Theatre were $0.25.

Change was in the air for popular entertainment as the moving picture industry continued to gain ground, offering theatre managers with an opportunity.

“The Evening World” answered the question “Why new theatres of this type are needed on January 18, 1913 (page 6): “It is the general opinion that the metropolis is already overstocked with theatre, and just now Broadway and its adjacent territory has more than can be filled. And yet more are being built, while the dramatic field is overstocked. The same may be said of the popular-price houses. There are hundreds of these, including the ‘motion picture’ houses, and one would naturally infer that the field is over worked. But Mr. Moss and Mr. Brill were the first to see the possibilities of building modern fireproof theatres to supply the ever-increasing demand for popular amusement at popular prices.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 839 – John P. Harris and the Harris Theatre, Pittsburgh, 1913

In 1913, Thomas G. Moses write, “We did Harris Theatre, Pittsburgh, for New York studio…”

The Harris Theatre in Pittsburgh was a vaudeville house managed by John P. Harris. “The Pittsburgh Press” described Harris as “a pioneer in amusements within reach of the masses, active in the industrial world and a leader in clean sports. He opened and successfully operated Pittsburgh’s first ‘nickelodeon.’ When that form of motion picture entertainment was laying the foundation of the present motion picture business, and later expanded his operations to cater to all classes of cinema entertainment. Mr. Harris was among the first to enter the field in low-priced vaudeville. He provided Pittsburgh and western Pennsylvania cities with a chain of theaters. He provided Pittsburgh and western Pennsylvania cities with a chain of theaters, featured with low admission prices. Later he entered the higher priced amusement field and became associated with the most important figures in the vaudeville, photoplay and legitimate stage circles. Mr. Harris was vice president of Harry Davis Enterprises Co. and president of the various Harris Amusement companies, operating a chain of theatres throughout western Pennsylvania, West Virginia and Ohio. These companies included the Harris Amusement Co. of Pittsburgh, the Harris Amusement Co. of Pennsylvania, the Harris Amusement Co. of Michigan and various other associated interests in Cincinnati, Dayton, Columbus, and Louisville. He also was vice president and director of the Washington Trust Co. and a director of the Pittsburgh’s baseball club” (27 Jan 1926, page 1). Harris later became a state senator in 1922

The Harris Theatre in Pittsburgh was mentioned in an advertisement published in the “Cincinnati Enquirer” on May 30, 1918. It cited the Harris Theatre as “Pittsburgh’s Leading Playhouse Theatre” (page 16). It described fire safety materials employed during the construction: “It will be noted in the following that the use of THE EDWARDS MANUFACTURING CO.’S CELLULAR STEEL and KEYRIDGE in the construction of this handsome new playhouse will make it one of the most safe and fireproof temples of amusement in the country. Every newspaper remembers with horror the terrible catastrophe, which a few years ago blotted out the Iroquois Theatre in Chicago, sacrificing many lives and injuring hundreds. This has caused theatrical managers all over the country to provide again a recurrence of this horror, with the result that CELLULAR STEEL AND KEYRIDGE have been specified in great numbers of edifices where the builder looks to the safety, comfort and absolutely fireproof qualities in his building. The main floor and roof of this new Harris Theatre is a CELLUAR METAL construction, the balcony, galleries and all partitions and suspended ceiling of KEYRIDGE. This material can be used in the building of modern homes, office or flat buildings and for garages.”

Harris Theatre, Pittsburgh. Advertisement from the “Cincinnati Enquirer,” May 30, 1912, page 16.

To be continued…

Tales from a Scenic Artist and Scholar. Part 838 – The Garden Pier Theatre, Atlantic City, 1913

Garden Pier, Atlantic City, New Jersey, 1920.

In 1913, Thomas G. Moses wrote, “We did a New York Studio job for Atlantic City – a theatre on the pier.” New York Studios was the eastern affiliate of Sosman & Landis, the firm managed by David H. Hunt. Sosman & Landis manufactured the scenery which was then sold by New York Studios to the new theatre on the pier.

B. F. Keith’s Garden Pier Theatre of was located on the 700-foot Garden Pier at the end of New Jersey Avenue, opening in 1913. The pier had formal gardens at the entrance and featured an open-air theatre, hosting theatrical production, exposition and even conventions over the years. The Garden Pier Theatre officially opened on July 19, 1913.

Entrance to Garden Pier, Atlantic City, new Jersey.

Before the theater’s grand opening, the “Philadelphia Inquirer” published,” Atlantic City, N.J., June 21 – Activity in the theatrical world here is quite pronounced. Playhouses are multiplying at such a rate that it begins to look as though the thing would be overdone. Two new playhouses skirting the Boardwalk are among the most imposing structures in evidence today. These are the New Nixon, at St. Charles place and the theatre on the new pier at New Jersey avenue. (22 June 1913, page 29). The article continued, “The theatre on the new pier is fast shaping up, the side walls and roof now being in place. But it will be several weeks before it will be anything like condition to invite public attention. It is to be a large house, but just what kind of attractions will it play or who will be the local manager seems to be sill a matter of conjecture.”

The theater on the Garden Pier, Atlantic City, New Jersey.

1926 event in front of the Garden Pier Theatre, Atlantic City.

The “Philadelphia Inquirer” later reported, “It has been whispered about during the week that the theatre on the new pier – named the Garden – at New Jersey Avenue, is to be devoted to the Keith style of low-priced vaudeville, and that Ben Harris may be the manager…The theater is not nearly finished yet, and probably will not be for some weeks to come. The front of the pier, however, is in pretty good shape, and it is said that already rentals amounting to nearly sixty thousand dollars have been made. The shops on either side of the big entrance will be mostly of glass and will make a decidedly attractive appearance, giving the keepers unusual advantages in the way of displaying their wares effectively. There is a beautiful lawn and flower garden in the centre, which will invite promenaders along the Boardwalk. It is said that there will be no admission charged fro the pier proper, but that a scale of low prices will be made for the theatre. The style of entertainment will be much like that at the Liberty and Keystone in Philadelphia. Mr. J. Fred Zimmerman has signed with the United Booking Offices (Keith) whereby the latter will furnish a majority of the attractions for his varied enterprises in the future. This will give him better facilities than he has hitherto enjoyed” (20 July 1913, page 22).

Garden Theatre program listed for sale online.

To be continued…

Tales from a Scenic Artist and Scholar. Part 836 – The Arabian Nights Ball at the Armory, 1913

Program from the Arabian Nights Ball. Image from online auction of the item.

In 1913, Thomas G. Moses wrote, “We all went to Mamie’s for New Year’s dinner, and we started the ball rolling in good shape. One of our first big jobs was the “Arabian Nights Ball” at the Armory. It was very good.” Moses was referring to the annual dance for charity held in Chicago each January. The beneficiaries of the 1913 event were the Passavant hospital and the Chicago Lying-In hospital. 5,000 people attended the “Arabian Nights Ball,” raising $16,000 on January 10 that year.

Sosman & Landis scenery helped transform the armory into a Turkish courtyard. Hundreds of electrical lights were hung from the vaulted ceiling to suggest an exotic eastern sky. The “Inter Ocean” reported, “A Reinhardt effect, with all the mysticism and magic of ‘Sumurun’ and with just a touch of Oriental color and beauty which made ‘Kismet’ such a joy to the eye, is what is promised the onlookers at the Arabian Nights ball” (5 Jan 1913, page 5). The article described the sumptuous décor, elaborating, “Your first feeling is that you have entered a mosque. All around the edge of the big hall boxes have been built. Shoulder high in front of them runs a wall of pink and black horizontal stripes, deep black and bright, clear Oriental pink. Each box is framed in a dome shaped pink and black top and behind it the wall colored deep orange. Seated in the boxes will be men and women in costumes that suggest only the romantic and beautiful. It will be well nigh impossible to believe that they are really citizens of America.” Turquoise steps led up to the pink and black boxes. The lining of each box was white with lemon yellow draperies ornately framing each alcove. The “Inter Ocean” reported that the floors were strewn with magnificent cushions and oriental rugs, suggesting the palace of an Eastern potentate (11 Jan 1913, page 4). Opposite of the entrance were red lacquer pillars, framing famous socialites made up as Egyptian princesses.

Article about the Arabian Nights Ball in the “Chicago Tribune,” 9 Jan 1913, page 5.

Attendee at the Arabian Nights Ball, from he “Chicago Tribune,” 9 Jan 1913, page 5.

Of the decorations, the “Chicago Tribune” later noted “Its daring Moorish decorations, designed by Mrs. John Carpenter and carried out by her, with Hugh [G. M.] Gordon’s aid, were written up in London and Paris papers, and the famous Chelsea Art Club sent for pictures of the hall and the costumes when they planned an oriental fête. Mrs. John [Alden] Carpenter is to have charge of the ‘mis en scene’ of the artists’ ball, so original and wonderful things may well be expected” (23 Nov 1913, page 30). Carpenter (1876-1951) was a well-known American composer, educated at Harvard and studied under John Knowles Paine.

The next day, Chicago Tribune published “With the sounding of trumpets, the brilliancy of golden lights, the shimmer of satins and the dazzling splendor of priceless jewels, the Arabian Nights ball began in a blaze of glory at the First Regiment armory last evening. Society matrons and maids and the brave knights of today adorned in alluring and mysterious costumes of the Far East, danced till their feet were as heavy as their hearts were light” (Jan. 11, 1913page 4).

Rosina Gaill of the Chicago Opera Company reigned as queen of the event with Eleanora de Claneros serenading the crowds, singing selections from “Sampson and Delilah.” At the entrance to the courtyard, fifty musicians under the direction of Johnny hand played melodies for the guests.

Attendees at the Arabian Nights Ball from the “Chicago Tribune,” 9 Jan 1913, page 5.

The event began with a grand march, described as “a triumphal procession the beauty and wealth of which has never been seen in the festivities of the world. Following the trumpeters from ‘Aida’ came scores of torch bearers whose blazing torches threw a weird and flickering light over the gay throng.” (Inter Ocean, 11 Jan 1913, page 4).

Themed public events provided great opportunities for Sosman & Landis, affording the firm not only a stead income, but also public exposure.

To be continued…

Tales from a Scenic Artist and Scholar. Part 832 – “The Seven Aviator Girls,” 1912

From “The Evening Review,” 2 Dec. 1912, page 6

There were many projects completed by Sosman & Landis during 1912 that were not mentioned by Thomas G. Moses in his memoirs. Sosman & Landis provided the scenery and stage effects for a touring production called “The Seven Aviator Girls.” The “Quad-City Times” reported that Sosman & Landis provided scenery for “The Aviator Girls,” a musical act composed of “seven winsome women” (17 March 1912, page 12).

Scenic embellishments accompanied each song, to “make them all the more delightful.” The production was produced by Virgil Bennett and headed by Miss Carlie Lowe, who was accompanied by the seven aviator girls in what was billed as “a spectacular scenic and singing novelty.” The four scenes for the show included “Owl Land, “ “On the Beach,” “In the Surf,” and a Japanese Palm Garden.” Musical interludes (olios) between scenes included “The Boogie Boo Owls,” “Serenade Me Sadie,” “Spooning in My Aeroplane,” and other catchy numbers” (Los Angeles Times, 4 Aug. 1912, page 26).

“The Daily Gate” reported that the show was “a spectacular musical and scenic singing act that has been the sensation in all the big houses in the country where they have played. A carload of special scenery is carried with the act and is said to be one of the most beautiful stage settings found in vaudeville. A special property man and electrician are carried with the company, which numbers seven principles and two mechanics” (Keokuk, Iowa, 17 Oct, 1912, page 5). The “Davenport Times” described, “They have five different song numbers and each means a change of costumes and ‘back drops.’ As a result their tuneful efforts are accompanies by a spectacular display that induces the natives to applaud vigorously. The big number, ‘Spooning in My Aeroplane,’ presents Miss Carlie Lowe soaring up to the roof in a miniature machine, while her feminine mechanicians cut fancy ‘diddoes’ with their feet and join the chorus in song. It is a prettily staged and engaging act all the way” (Davenport, Iowa, 19 March 1912, page 8).

From “The Province,” 25 July 1912, page 16

To be continued…

Tales from a Scenic Artist and Scholar. Part 831 – New York Studios, 1912-1913

In 1912, Thomas G. Moses wrote, “New York studios set in a new theatre in Philadelphia, the Globe.” He meant that Sosman & Landis painted scenery for a New York Studios’ project, one that was delivered to the Globe Theatre in Philadelphia. New York Studios was the eastern affiliate of Sosman & Landis, founded and run by a one-time employee David H. Hunt. Hunt was a theatrical manager, as well as scenic studio founder. In the 1890s he convinced Sosman and Landis to establish the theatrical management firm of Sosman, Landis & Hunt. Later in 1910, Hunt convinced Sosman to invest in New York Studios, run by Hunt and his second wife, Adelaide.

New York Studios stamp noting home and Chicago office.

Julius Cahn’s Official Theatrical Guide listed the Globe as a vaudeville theatre. With a seating capacity of 720, the venue was managed by Chas. Rappaport. To place the Globe within the context of the 1912 Philadelphia theatre scene, the city boasted 289 theaters at the time with a drawing population of 2,000,000. Located at 5901 Market Street, the Globe Theatre opened in 1910.

I was intrigued that Moses mentioned creating scenery for New York Studios that was ultimately delivered to the Globe Theatre in Philadelphia. This was certainly not the first or last time that Sosman & Landis provided scenery for a New York Studios project. Sosman & Landis worked in conjunction with New York Studios on many projects, but seldom were mentioned in a newspaper article at the same time.

Interestingly, both studios were mentioned in the same article in the “Star-Gazette” on March 4, 1913 (Elmira, New York). The newspaper article was about the W. P. Murphy’ new theater in Bath, New York:

“THURSDAY NIGHT

First production will be local talent minstrels, a testimonial to Bath man who promoted playhouse.

Bath, March 4 – (Special)- The Liberty Minstrels, a premiere aggregation of Bath talent, will hold the boards at the Murphy theater, Thursday evening; the production is under the direction of J. W. Lewis and is given as a testimonial benefit to the builder and owner of the theater, W. P. Murphy.

The benefit is designed as a means of expression on the part of the local public of its appreciation of Mr. Murphy’s efforts to supply the village a long needed modern playhouse as well as in a measure to reimburse him for the heavy expense he has incurred in building and equipping the house. Already every seat has been sold and the demand may be that the minstrels be repeated a second night.

The house is one of the finest to be found in any village of this size anywhere in the Southern Tier. It stands at the rear of the former site of the Nichols House, the once famous hostelry, facing Pulteney Square in the central part of the village. Entrance is gained from Steuben street through a long arcade or foyer, off from which are a box office, telephone booths and cloak room. At the rear of the house near the entrance is a smoking room. The auditorium is 50 feet in length by 40 feet width. The floor slopes, dropping about five feet from the rear to the orchestra circle. Surrounding three sides of the auditorium is a horseshoe gallery; the house is carpeted with rubber linoleum and supplied with opera chairs on both orchestra floor and galleries, the seating capacity being about 825 persons.

The stage has an opening of 45 feet width, 17 feet height and 30 feet depth. It has an ample scene loft and is supplied with elaborate scenery, which is supplied by Sosman & Landis of Chicago. Beneath the stage is a musician’s waiting room, a property room, four dressing rooms, supplied with baths; above the stage are four other reserve dressing rooms for use when attractions with large casts play the house. The building is equipped with gas and electricity; has seven exits, is a fireproof building and heated by steam. The drop curtain, depicting a scene from Venice is from the New York Studio Company.

Charles H. Thomas will be manager and booking agent for the house and already many leading attractions are promised. As Bath has been without a theatre otherwise than the motion pictures for some time, undoubtedly the new theater will prove very popular” (Star-Gazette, Elmira, New York, 4 March 1913, page 9).

To be continued…

Tales from a Scenic Artist and Scholar. Part 829 – The Paintings by Thomas G. Moses

In 1913 the art works of Thomas G. Moses were featured in a Palette & Chisel Club exhibition.

The Palette & Chisel Club invitation, 1913.

An invitation to Club members noted,

“There is not one of our members of whom we are more proud. There is probably not another painter in Chicago who has sought out and painted so many of the beauty spots of our country. From a thousand sketches and paintings sixty have been selected and are hung in our Club to give our members an opportunity of seeing a representative collection of the works of Thomas G. Moses. The exhibition will be open on weekdays from 10 to 7, and on Monday, Wednesday & Saturday evenings until 9.”

This is quite a statement. Moses had been a member of the Club since 1906. In addition to joining the Palette & Chisel Club, Moses was a member of the Laguna Beach Art Association and the Salmagundi Club in New York City. He sketched alongside those associated with other art movements, such prominent individuals who established art colonies in Taos and the Pacific Northwest.

Thomas G. Moses painting in Oakland, California.

Painting by Thomas G. Moses, still owned by his descendants.

In addition to being recognized in fine art circles, his skill as a scenic artist was also recognized by some of the greatest American stage personalities in the 19^th and 20^th centuries, including Joe Jefferson, Al Ringling, Buffalo Bill Cody, Frederick Thompson, Edwin Booth, Sarah Bernhardt, Julia Marlowe, Katherine Clemmons, Helena Modjeska, William Haworth, and the list goes on. Many of Moses’ theater drops still remain, scattered across the United States in various theaters. However, there are precious few scenery collections that were ever primarily painted by Moses; a studio setting prohibited this characteristic. Many of Moses’ premiere collections were created after the initial liquidation of Sosman & Moses. From the mid to late 1920s, Moses again found himself producing entire collections with one assistant, often on site. One example was for the Scottish Rite Theater in Fort Scott, Kansas, a scenery collection eventually purchased by the Minnesota Masonic Heritage Center during 2015.

After I supervised the removal and transportation of the entire Fort Scott Scottish Rite scenery collection to a storage facility in Minnesota, the CEO of Minnesota Masonic Charities selected a team of individuals who were unfamiliar with the appropriate handling of historic backdrops. They were hired to restore the entire scenery collection in a compressed timeline, just about the same time I was my position as Curatorial Director for the Minnesota Masonic Heritage Center was eliminated. Sadly, hot melt glue was used to attach new netting to the historic cut drops, irreparably damaging each piece. Original battens were removed, and leg drops cut apart. The quality of the restoration speaks for itself and I have written much in the past about the appropriate handling and repair of historic scenery.

The point of today’s post is to consider the extant works of Thomas G. Moses, both his fine art and scenic art. Internationally renowned artists held Moses in high regard. He was not merely a tradesman, producing picturesque backgrounds for the theater, but an artist who exhibited at some of the most respected art schools across the United States. His scenic work cannot be dismissed and devalued based on its exhibition space in an entertainment venue.

Painting by Thomas G. Moses gifted to the Scottish Rite in Pasadena, California.

Fortunately, Lance Brockman, Larry Hill and Rhett Bryson documented many of these collections during the 1980s and 1990s, so we at least know what was lost. The Scottish Rite scenery in McAlester, Oklahoma, seems to be the sole survivor that is still owned by the Fraternity.

Painting by Thomas G. Moses, part of the Waszut-Barrett Theatre Collection.

To be continued…

Tales from a Scenic Artist and Scholar. Part 828 – Thomas G. Moses, Vice-President of Sosman & Landis

In 1912, Thomas G. Moses wrote, “Ella and I started on our vacation November 9^th to Cincinnati and Asheville, N. Car., which is all written up in detail elsewhere. Arrived home from our vacation December 8^th. Four good weeks. Had a fine trip. Christmas day was a good one. We had Frank with us, which made a big family reunion. At the close of this year’s business, I have no kick to make. I only regret not being able to do more sketching, as I found it too cold in North Carolina. I am sorry that we did not go away down south to the Gulf. I think we would have found it at least warm, if nothing else.”

View of Chattanooga, photograph by Alan Cressler.

One stop on his trip was in Chattanooga, Tennessee. Of his visit to the city, the “Chattanooga News” reported, “Chattanooga Catches the Eye of the Artist. Vice-President Moses, of Sosman & Landis Scenic Studios, delighted.”(15 Nov. 1912, page 2).

The article headline included “LIKES THE LOCAL SCENERY. Chooses Chattanooga Vicinity as a ‘Promised Land’ for Artists to Revel In.” The article continued:

“Thomas G. Moses, vice-president of the Sosman & Landis scenic studios of Chicago, and one of America’s most distinguished artists, has spent several days in Chattanooga and the vicinity, with a view to establishing a post for the Palette and Chisel Art Club of Chicago. He has been sent out by the club in search of new fields, Sketch grounds all over Europe and America are discovered in this way. One or two men are sent out in advance, and they find ‘the promised land’ they herald the good tidings to the eager artists in waiting.

Mr. Moses is enthusiastic over the natural scenery of Chattanooga and its surroundings, and has made preliminary arrangements for the post.

In time of peace and plenty the greatest steps in art and science have been made. Midsummer Chattanooga, in all its glory, will be painted by American celebrities. The pictures will be done by the greatest artists, will be exhibited in the famous galleries, and will bring great prices.

So Palette and Chisel Club of Chicago will flock to Chattanooga and form a little colony. Artists are like gold-seekers; let one find a small pocket, and there will be a stampede.

The well-known Palette and Chisel club has furnished the art world many bright lights. They have secured the “Prix de Rom” plum, which carries with it three years in Rome and $3,000. The east winner was Mr. Savage, with E. Martin Hennings a close second.

Mr. Moses agrees that this is a ‘garden spot of America.’ He says:

‘We have painted much in the Rockies, but they are too large and the air is too clear. What we want is mist and a little smoke. They will be great factors in producing the poetical sketches we find here. The delicate opalescent coloring of the distant mountains is greatly enhanced by the drifting mists that float about your valleys.’

A magnificent view of Chattanooga 14×28, done by Moses, can be seen at the manufactures’ association headquarters on Market Street. It was taken from North tower on Missionary ridge, and has been presented to the association by Mr. Riffe.

Mr. Moses left Chattanooga Thursday morning on an early train for Asheville, where he may establish a second post. By his side is his charming and companionable wife, who is interested in all movements of art. In his baggage were many sketches of this location; in his mind were dreams of burnt sienna clay and opalescent coloring.

The sketches will be reproduced on large canvas and will be exhibited next spring to the Salmagundi Club, of New York City, of which Thomas Moses is a member. They consist largely of rustic scenes, rugged mountains, dense forests, falling waters and babbling brooks. These are the delightful avenues through which Mr. Moses walked to renown.

The exhibition of these scenes will be made with a view of inducing the members of the Salmagundi club to this ‘garden spot of America’ that is unlimited for the artist in scope and variety.

The Salmagundi Club is one of the most conservative in all Europe and America. No man enters uninvited; no man is invited under the age of fifty years. Some of the well-known artists are Charles Warren Eaton, R. M. Shurtleff, J. Francis Murphy, H. A. Vincent, George Innis, Jr., and Walter C. Hartson.

If this club, too, accepts the challenge next summer, Chattanooga, in all its glory, will indeed be painted.”

A lovely photo by Jake Wheeler of the scenery near Chattanooga.

To be continued…

Tales from a Scenic Artist and Scholar. Part 827 – Little Wayoff, 1913

A year after Thomas G. Moses was invited to a stage party hosted by the Palette & Chisel Club, his son Rupert was invited to an informal stag. In 1913, Rupert Moses received an invitation to an informal stag party, sponsored by the Pallet & Chisel Club. The letter was sent to Moses at the Sosman & Landis main studio address on 417 Clinton Street in Chicago. I encountered the invitation in the John H. Rothgeb papers at the Harry Ransom Center, University of Texas, Austin. It was part of the contents in an unlabeled file in an unprocessed collection.

Informal stag invitation addressed to Rupert Moses, 1913

The informal stag invitation announced, “Your presence is requested at the debut of Little Wayoff Saturday Eve, December Six Nineteen Thirteen” from “Gita Wayoff and husband.” The invitation included a ticket to admit “R. Moses” to “Little Wayoff” Palette & Chisel Club, 59 East Van Buren Street, Saturday, Dec. 6, 8:15 P.M.

“Little Wayoff” was billed as “an Eugenic Prodigy with Futuristic Tendencies,” sponsored by Gordon St. Clair. The production was “dressed by Gustave Baumann & William Watkins” with “orchestra muffled by Carl Krafft, Properties and plumbing by R. McClure and reception by Theodore Gladhand Lely.”

The cast for the production included:

Hesa Wayoff – an husband – Glen Scheffer

Gita Wayoff – his wife interested in the vote – Alex Kleboa

Little Wayoff – their only child aged six – A. J. Anderson

An Ice Bandidt – Mr. Wayoff’s half brother – R. V. Brown

The Art Wife – R. J. Davieson

Promise Wood Shavings – R. McClure

Prof. Glow-Worm – Art Instructor – R. V. Brown

Young Lady Sketcherines – Violet (John E. Phillips), Fay (De Alton Valentine), Gladys (R. J. Davison), Pearl (J. Jeffrey Grant), and Maude (D. Gut Biggs).

Hanging Committee – Hi Kroma (John E. Phillips), Siam Blooey (J. J. Grant), Harrison Wredo (D. Guy Biggs), Strontian Pale (Glen Scheffer), Paris Green (D. Valentine) and Hugh Newtral (R. J. Davison).

Lem – a janitor – W. C. Yoemans and Genevieve.

The “s’nopsis” for the first picture was Mrs. Wayoff’s husband’s kitchen not far from the Palette Chisel Club shortly after the great suffrage parade in the spring of 1913. The second picture was the sketch pasture of Prof. Glow-Worm’s class near the club’s summer camp at Fox Lake. The third picture was the hanging committee at play.

In 1908, newspapers reported that Ibsen’s Little Eyolf was sometimes referred to as “Little Way-off” (Star Tribune 26 Jan. 1908, page 19). However, “Little Wayoff” was also a parody of Ibsen’s work, included in “The Vassar Miscellany” (Vol. 24, 1894, page 227). Noted as “Life’s admirable paraody, wickedly entitled ‘Little Wayoff’ the book review commented the criticism was unjust. On June 17, 1895, the Baltimore Sun” mentioned “Little Wayoff” in the book review “Criticism – With Sugar” (page 8). The article reported, “ ‘Suppressed Chapter and Other Bookishness.” By Robert Bridges, author of ‘Overheard in Arcady.’ New York: Charles Scribner’s Sons, Cushing & Co. It is not necessary to be dull to be wise, nor is long wind one of the requirements of a critic. A glance is pleasant if the eye sparkles, and a touch and away may leave an impress, while a heavier stroke would induce the wearied reader to exercise that wise discretion which is known as skipping. Those who have read ‘Drock’ in ‘Overheard in Arcady’ will need no introduction to the ‘Suppressed Chapters,’ from the ‘Dolly Dialogues,’ will appreciate the belated ‘Trilby’s criticism of Trilby,” and the absurd parody on Ibsen, of “Little Wayoff,” or the happiness of title and contents of ‘Literary Partition of Scotland.” On March 28, 1896, the “Courier-Journal” mentioned “Little Way-Off, a variation of Little Eyolf, is a clever addition to the work of the Norwegian Dramatist” (Louisville, Kentucky, page 9).

To be continued…

Tales from a Scenic Artist and Scholar. Part 826 – The Palette & Chisel Club’s Stage Party – “The Shredded Vast,” 1912

Stage party invitation to Thomas G. Moses 1912.

Stag party invitation to Thomas G. Moses, 1912.

In 1912, Thomas G. Moses received an invitation to a stag party, sponsored by the Pallet & Chisel Club. I encountered the bright orange envelope in the John H. Rothgeb papers at the Harry Ransom Center, University of Texas, Austin. It was part of the contents in an unlabeled file in an unprocessed collection.

The back of Moses’ invitation noted, “Informal Stage. 8 p.m. This card admitting one only, must be present at the door.” It was a party hosted by the Palette & Chisel Club of Chicago. By 1911, the Palette & Chisel Club had one hundred members; we have no idea how many were invited to the party.

The Palette & Chisel Club was known for its remarkable parties. On June 5, 1921, the “Chicago Tribune” reported, “Some of the original entertainments of the club, given during the past years, are amusing to recall. “Il Janitore,” by George Ade, afterward became known as “The Sultan of Sulu.” At the time when newspapers were bringing influence to bear upon the Illinois Central to get them to electrify the roads into Chicago, the club produced a burlesque, ‘The Hog in Chicago’s Front Yard.” It might well be given again now. The electrification of the road is as much needed today as ever. ‘Carmine,” a take-off of the opera ‘Carmen,” was a marvelous production. ‘The Shredded Vast” was a huge comedy success. “Le Cabaret du Howard Pourii’ was another famous bit of humor and sarcasm” (page 79).

In 1906, the Palette & Chisel Club hosted Bohemian Night for Alphonse Mucha on the seventh floor of the Athenaeum Building Athenaeum Building. Before moving to their later quarters at 1012 N. Dearborn Ave., the club rented studio space in the Anthenaeum building on Van Buren between Michigan and Wabash Ave.

The May 18, 1912 event was at the new location – 59 E. Van Buren St. “The Shredded Vast” was designated “an operatic neoteric.” Musical selections by Offenbach, Bizet, Gounod, Donizetti, Planquette and Flowtow accompanied the book by Gordon St. Clair. The “Palette & Chisel Club Augmented Symphony Orchestra” included Emil Biorn, director, and Martin Baer, F. Tollakson, Max Gundlach, R. F. Ingerle, Max Boldt, Watkins Williams, Willie Marsh, W. J. McBride, and W. C. Kintz.

Scenery for the production was designed by Gus Baumann and executed by Watkins Williams, Gus Baumann and E. R. Burggraf. The costumes were designed by Baumann and “executed by wives & sweethearts.” Production notes included “Shoes by McBride. Beer by the gallon.”

The Synopsis of Scenes described “Scene 1 – sunset in wood in kingdom of Glum-Glum,” “Scene 2 – Twilight in studio of Artneo Teric. Elapse of one month,” and “Scene 3 – Throne-room of King Rum- Dum. Next day.”

The cast of characters included:

Rum-Dum [King of Glum-Glum] – R. F. Ingerle

Princess Palala [his daughter] – Holger W. Jensen

Artneo Teric [a futurist painter] – Ernest P. Thurn

Lord Beno [Vice reformer to the king] – Theo Lely

Chorus [woodsmen, soldiers, ballet, lords and ladies of the Court] – J. E. Phillips, George Ruckstaetter, B. A. Kleboe, Theo Lely, J. J. Grant

A final note stated, “Post-Ursine Vibrations by Fred S. Bersch and Glen C. Sheffer.”

Recognizing many of the artists, when I look at the list of names I am astounded at the room full of talent.

To be continued…