Scenery painted by Thomas G. Moses in 1929.Various layers to the forest scene. Scenery painted by Thomas G. Moses in 1929.Painted detail. Scene by Thomas G. Moses (1856-1934) in 1929.Painted detail. Scene by Thomas G. Moses (1856-1934) in 1929.Painted detail. Scene by Thomas G. Moses (1856-1934) in 1929.Painted detail. Scene by Thomas G. Moses (1856-1934) in 1929.
In 1929, Moses represented William Lemle, Inc., when he painted the scenery installation for the Scottish Rite Theatre in McAlester, Oklahoma, 1929. The drops measure 40′-0″ high by 56′-0″ wide. I restored most of the scenery collection between 2009 and 2010, including this wood scene.
The Hoyland-Lemle was established in 1922, named after Charles L. Hoyland and William H. Lemle. The firm was first mentioned by Thomas G. Moses when they rented the Sosman & Landis main studio their first year. The Hoyland-Lemle Co. ended in 1926, with two new firms emerging as competitors. By 1927, there was William Lemle Inc. and Charles L. Hoyland Co. Over the next three years, Hoyland, Lemle and Moses were still associated with the old studio, working at 417 S. Clinton St.Lemle became associated with the National Theatre Supply Co., as did Moses by the late 1920s.
In 1927, Moses wrote, “Another rumor that the National Theatre Supply Co. will take over our old Studio. Lemle is interested and wants me to come with him.” It would take a year of cajoling, but Lemle eventually got Moses on board. By June 1928, Moses wrote, “I have agreed to join Lemle at our old Studio, which will pay me from $8,000 to $10,000 a year.” This did not mean that Moses was solely working for Lemle or the National Theatre Supply Co., this was just a side gig. Moses continued to represent Sosman & Landis until 1931. In short, work was scarce and the firm was struggling, like many others were at this time. Their work was varied, ranging from small motion picture screens ($95.00 each for the Raub and Roosevelt buildings in Allentown, PA) to a massive stock scenery collections ($36,000 for the Oakland Scottish Rite). After 1931, Moses was associated with both William H. Lemle and Walter Armstrong. It was Lemle, however, who bought the remaining Sosman & Landis stock.
In 1931, Moses wrote, “Have sold my Sosman and Landis Company stock to Lemle, which will be paid to me monthly. I am at last free from that trouble. Landis has also sold his to Lemle.” It was a sad end to his 51-yrs. relationship with the old firm. His $6,000 in Sosman & Landis stock was sold for only $1,000. This meant that the last remnants of Sosman & Landis were absorbed by the William Lemle Inc. However, the firm was still operating in 1940, six years after Moses’ passing. 1940 is the last mention of Sosman & Landis installations that I have located in newspapers to date.The scenic studio shuffle in the 1920s becomes more interesting when you consider the three men working at 417 S. Clinton St.– Moses, Lemle and Hoyland.
Thomas G. Moses was drawn to the theatre industry as an artist. William H. Lemle entered the profession as an actor. There is something to be said for those who experience the performance side before working on the production end or running a studio. Although neither Lemle nor Moses came from theatre families, the profession offered an enjoyable opportunity to escape ad profit. Charles L. Hoyland did not start and an artist or performer. He went from box office to management without every performing or working backstage. He represents a third group of those from non-theatrical families who were drawn to theater. Hoyland saw theater as an opportunity for profit, a businessman and not an artist; it was a numbers game. This is not meant to say that any one desire is less than the other when individuals entered the theatre industry. However, it does shape that individual’s perspective and approach to a theatre production or project.
A studio owner without any experience on stage or behind the scenes may not fully understand the intricacies of design, production and installation. The underlying motive may be solely profit and not a professional product. I think that this is one of the reasons that Hoyland and Lemle went their separate ways by 1927, and Moses stuck with Lemle.
To be continued…
Letter from Thomas G. Moses to the McAlester Scottish Rite, 1929.
Design and scenery by Thomas G. Moses (1856-1934). In 1929, Moses was representing William Lemle, Inc., when he painted the scenery installation for the Scottish Rite Theatre in McAlester, Oklahoma, 1929. The scenes measured 40′-0″ high by 56′-0″ wide.
Design by Thomas G. MosesPainted scene by Thomas G. Moses, 1929Painted detail by Thomas G. Moses
For more posts about the McAlester Scottish Rite and other Masonic scenery collections use the keyword search function.
This is the second of two posts about Charles L. Hoyland.
Hoyland-Lemle Co. was operated by Charles L. Hoyland and William H. Lemle.
In 1927 the Hoyland-Lemle Company split into two new firms – the Charles L. Hoyland Co. and William Lemle, Inc. That year, Thomas G. Moses wrote, “Another rumor that the National Theatre Supply Co. will take over our old Studio. Lemle is interested and wants me to come with him.” Although they were both struggling for work, each knew the risks of working for others and not personally securing each contract.
The firm of William Lemle Inc. was featured by the National Theatre Supply Co. in 1927, after having leased the old Sosman & Landis studio at 417 S. Clinton St. By 1931, the Chas. L. Hoyland Co. also listed 417 Clinton Street as their address too (“Chicago Tribune,” 3 June 1931, page 1). In 1930, Lester Landis (Perry’s son) was the manager of the scenery and drapery department at the National Theatre Supply Co. By the end of the decade, Moses was not only painting for Lemle, but also making models for the National Theatre Supply Co. Moses represented both the William Lemle and National Theatre Supply Co. in 1930.
A lot happened between 1927 and 1931 for many studios; it was a turning point in the theatre industry and many businesses closed their doors. The golden days of scenic art and more work than you can handle ended for many artists. Hoyland’s luck never really returned and he floundered around for the remainder his life. He seems to have encountered one obstacle after another after 1927. Even before the Great Depression, the 1920s were difficult, with many scenic firms struggling to land contracts and get paid for their work. The newspapers are filled with legal announcements, studios were constantly going to court for non-payment.
…and then there were those tragic things events just seemed to happen…
On Jan. 20, 1928, a notice appeared in the “Kenosha News” stating:
ENVELOPE LOST – Contains three checks made out to the Chas. L. Hoyland Co. and $32 cash. Finder, please return to Berry’s Store. 6828 Sheridan Rd., or phone 4139; reward” (page 30). This is just sad, as the firm was struggling already. I was reminded of the scene when Uncle Billy erroneously gives the $5,000 to Mr. Potter in a folded-up newspaper at the bank. Losing any amount of money is always unfortunate, especially when one considered the upcoming economic uncertainty. It was a difficult time to lose money, or collect money owed. Sadly, life would not improve for the Hoylands, and the next decade would prove even more difficult. The Charles L. Hoyland Co. would continue plugging along, but never be free of their financial problems.
In 1930, Hoyland brought suit against C. J. Dalby, near Millgrove, in Blackford Circuit Court, asking $260 on contract (The Star Press, 4 April 1930, page 11). This likely a misprint, as the suit resulted in a $28,000 payment: today’s equivalent of approximately $430,000. It was not until 1932, the Charles L. Hoyland Co. won the case against J. C. Dalby for a total of $28015 (Muncie Evening Press, 26 March 1932, page 2). It remains unknown if Hoyland ever received the money.
1931 was a particularly challenging year for Hoylands. That summer, the Hoylands were robbed after attending a theatre performance. On June 3, 1931, the experience was described in a “Chicago Tribune” article. The headline read, “Couple Trailed from Theater; Robbed of Gems.” The article described, “Four bandits, three of them armed, last night held up and robbed Mr. and Mrs. Charles L. Hoyland of cash and jewelry valued at $2,500 as the couple drove to their home at 1133 Farwell avenue. Mr. Hoyland is head of an advertising company bearing his name at 417 Clinton Street.” At the end of 1931, Hoyland’s mother also passed away. She had lived with him since 1910, after his parents divorced in 1910. So much can happen in a year.
By 1934, Hoyland was again drawn into a scandal; this time involving a friend and theatre manager from his hometown, Jack P. Moore. Moore was the manager of the Springfield Fox theaters. he disappeared from Springfield with his wife, son, and daughter after cashing a $2,500 check on the Fox company. He soon sought out Hoyland’s help. On Aug. 25, 1934, the “Emporia Gazette” reported, “The letter stated in part, that Moore had explained to Hoyland the complications into which he had gotten himself, but that nonetheless, he (Hoyland) was giving Moore employment selling advertising service to theaters. Hoyland, who is a longtime friend of the Moore family, assured Mr. Diemer that he had the utmost faith in Moore’s integrity and that he would do all in his power to help him straighten his present difficulties. Diemer recently went to Kansas City, armed with a large sheaf of letters from outstanding Springfield businessmen, to call on a representative of the bonding company. It is his hope that arrangement can be made whereby Moore may be allowed to pay back losses incurred by the bonding company” (page 2).
Little is published about the Charles L. Hoyland Co. during the 1930s, other than it was still operating. Most studios were desperate for any kind of work and took every project that came their way, no atter how risky. On a personal front, the Hoylands split their time between Illinois, California and Arizona. Most newspaper articles note their social activities, but not any professional endeavors. The year before his passing, Hoyland was living in Westwood Hills, Los Angeles, California. Like most of his friends and colleagues, he hoped to tap into work related to the film industry.
On Jan. 1, 1939, the “Los Angeles Times” reported that Mr. and Mrs. Charles L. Hoyland. attended and New Year’s Eve Fete at the Lawrence K. French’s home in Brentwood (page 52). They attended the party with and Mr. and Mrs. Arthur W. Jonas, also of Chicago. This was the last record that I have located about Hoyland in the newspapers to date.
Hoyland passed away on August 4, 1939. At the time, he was only 54 years old.
In 1923 Thomas G. Moses wrote, “Joe Bren’s work came in early this year, and we will try and give him a good job. It is not apt to be paid for very soon as usual.”
The Joe Bren Company was a Chicago-based theatrical production company that partnered with fraternities and civic groups to stage fundraising shows. Bren became a Sosman & Landis client in 1916 and continued to order scenery on an annual basis until the early 1920s. By 1922, however, the amount of scenery purchased by Bren from Sosman & Landis began to dwindle.
Bren Company representatives traveled from town to town, working with local talent to organize minstrel reviews, vaudeville frolics and “Jollies.” They were especially popular with the Kiwanis Club, Lions, American Legionnaires, United Commercial Travelers, Elks, and Shriners. The Bren Company provided sketches, jokes, and songs, even supplementing some of the local talent with professional acts. The Joe Bren Company not only provided instruction, but also all of the technical trappings, including scenery, lighting equipment and costumes.
By 1922, however, the Bren company began purchasing much of their scenery from another source – Service Studios, also known as the Scenic Service Studio of Chicago. On Dec. 10, 1922, the “Leader-Telegram” included a announcement about a Bren production reporting, “Scenery for the Bren company constructed and painted by the Scenic Service Studio of Chicago” (page 8). The Service Studios was completely composed of previous Sosman & Landis artists, so they new what Bren needed for his production. In 1920, a group left Sosman & Landis to form Scenic Studio. Service Studios rapidly made inroads in the theatre industry, winning projects from many competitors, including Sosman & Landis. Here is a past post about Service Studios: https://drypigment.net2020/05/05/tales-from-a-scenic-artist-and-scholar-part-981-john-hanny-and-the-chicago-service-studios-1918/
The primary Bren production for 1922 to 1923 was a musical revue in two acts and six scenes, under the direction of Ralph Hamilton and Alex Robb of the Joe Bren Production Co., Chicago. The production staff for the event included: Delos Owen (orchestrations and musical direction), Joe Bren (Dialogue and Lyrics), Geo. L. Ownes (staged musical numbers), Scenic Service Studios, Chicago (scenic design and execution), and New York Costume Co., Chicago (costumes).
In 1925, Scenic Services Studios was still producing scenery for Joe Bren, now the “Jollies of 1925” (Hamilton Evening Journal, 10 March 1925). This all changed in 1926 when Service Studios sold out to Art Oberbeck of ACME Studios. Interestingly, Oberbeck had also started out at Sosman & Landis scenic artist in 1904.
By the early 1920s, Bren hired Sosman & Landis for production elements, no longer the main design for the primary stage show. With Sosman & Landis struggling, clients may have hesitated, fearing the fir would closed before their scenery was delivered. In 1923, Sosman & Landis provided booths and lighting fixtures for a Bren-produced Shriner charity event; it did not end well.
On March 30, 1923, the “Chattanooga Daily Times” reported, “Booths and fixtures at the Shriner’s fun festival, now in progress at the Billy Sunday tabernacle, were attached yesterday through a chancery court action started by Sosman, Landis & Co., of Chicago, Ill., for the collection of $2,000 due by reason of an alleged breach of contract. The bill asserts that Joe Bren, named as defendant with the local Shriner’s organization and others, acting as purchasing agent for the fun festival management, contracted to buy certain supplies from the plaintiff. This contract, according to the bill, was breached to complaintant’s damage. The attachment was run merely to prevent the sale or removal of the fixtures attached and will not interfere with the operation of the show (page 4). Bren was branching out beyond his musical reviews and directing all kinds of events, including trade shows and circuses.
Jollies from 1923.
By the late 1920s, Bren Production company events began to dwindle, and by 1930 Bren became department head for the Music Corporation of America.
In 1923 Thomas G. Moses wrote, “Did a model for the Dallas Shrine, which was accepted, and we built it and found we were way too low, as the carpenters managed to put in a lot of time.” The project was for ceremonials activities conducted by Hella Temple, A.A.O.N.M.S. Desert of Texas, Oasis of Dallas.
Fez for Hella Temple Shriner
On May 5, 1923, the “Courier-Gazette” reported, “The Dallas Shriners are making preparations for the entertainment of five thousand Nobles who are to assemble from various sections of the state for the magnificent spectacle and initiation” (McKinney, TX, page 2). A week later, the “Corsicana Daily Sun” reported, “The members of Hella Temple under the leadership of its Potentate Al. H. Reed, will gather in Dallas on Friday, May 11th, for the spring Ceremonial Session at which time it is expected that over four hundred candidates from the jurisdiction will be initiated. A large amount of the fees received by the Dallas Shrine from initiation of candidates is being used in payment of the hospital appropriation. The Dallas Shriners are making preparation of the entertainment of five thousand Nobles who are to assemble from various sections of the state for the magnificent spectacle and initiation” (May 12, 1923, page 8). At the ceremonial held in May the Dallas Shriners took up a collection for their new children’s hospital, raising an additional fund of $9,000” (The Marshall Messenger, 16 June 1923, page 4).
Hella Temple program cover
By 1923, Dallas had a membership of over seven thousand Nobles, the greater part of whom resided in the north, east and central Texas (Courier -Gazette, McKinney, TX, 5 May 1923, page 2). At this time, the Masonic Fraternity in the State of Texas numbered over one hundred twenty thousand. Big funds were pouring into the Fraternity, being applied to both charitable works and extravagant membership events.
Although Moses was not yet a Freemason, it was Moses’ past history with the Fraternity in Dallas that helped land the 1923 Shrine project. Moses first painted Masonic scenery for Dallas in 1909, the same years that Sosman & Landis landed six Scottish Rite contracts. Sosman & Landis delivered scenery and stage machinery to the Dallas Scottish Rite. I am including a brief recap of this project, as it provided inroads to other Masonic work in the region, especially the Dallas Shrine.
Hella Temple program coverHella Temple program cover
Although Dallas Scottish Rite was not completed until 1913, degree productions took place on the stage by 1909. The scenery contract for the stage was negotiated by Bestor G. Brown of M. C. Lilley & Co. and subcontracted to Sosman & Landis Scene Painting Studio. In a July 7, 1912 letter from Brown to William G. Bell of the Austin Scottish Rite, he included information about the Dallas Scottish Rite stage: “the Dallas stage has in the neighborhood of 25,000 lineal feet of wire and rope in its installation.”
On April 26, 1913, the “Dallas Morning News” described the Masonic Cathedral and Architect Herbert M. Green’s contributions. Keep in mind that the theater of the building was referred to as “the great degree room.” The article reported, “The largest stage in Texas is in this degree room – and the largest pipe organ…a 24 feet deep and 60 feet in width. One hundred and nineteen scenic drops are so delicately counterweighted that the stage picture can be changed in two seconds, and if necessary, in the dark.” Here is a link to my post about the 1909 Dallas Scottish Rite scenery project: https://drypigment.net2019/01/26/tales-from-a-scenic-artist-and-scholar-part-627-the-dallas-scottish-rite-1909/
The next time Moses mentioned Masonic projects in Dallas was 1921. While in town working on the Majestic Theatre, he wrote, “During the stay, I furnished a big set for the Shrine which was done in Chicago.” This was in the midst of a massive membership explosion. From 1920 to 1926, Masonic membership in Dalla more than doubled, going from 4,098 to 9,935. This was during a time when lodges all over the country churned out members for the sake of record membership numbers. It is really a perfect example of quantity over quality, and quantity secured unprecedented funding.
Moses was still completing projects for the Dallas Shrine in 1926. That year Moses wrote, “Several drops for the Dallas Shrine gave us another little boost in color, also several drops for Detroit.” The size of Masonic projects kept the studio afloat.
Example of one Shrine ceremonial setting. Butte, Montana, 1921.Hella Temple Shriners remain active despite a drop in membership
In 1923, Thomas G. Moses painted the scenery for the Scottish Rite Theatre in Binghamton, NY. He was assisted by Edward Loitz, earning $2,500 to paint forty drops for the stage. Moses and Loitz were subcontracted by New York Studios for the work.
Home to the Ancient Accepted Scottish Rite in Binghamton, New York.
On October 17, 1923, the “Binghamton Press and Leader” reported, “Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets.” On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “The scenery for the auditorium was painted by the Sosman & Landis Co. of Chicago at a cost of $12,000. Much of this scenery was painted in the temple by Thomas G. Moses, scenic artist of this concern” (page 17). So why did the newspaper change from crediting associating Moses with New York Studios to Sosman & Landis over the course of a month?
Well, between Oct. 17 and Nov. 21, Moses realized that Hunt of New York studios had royally screwed him over. My guess is that Moses walked to the newspapers office and said, “When you mention my name again, make sure to add that I am representing Sosman & Landis.”
To briefly recap…Moses and Megan were in the process of purchasing the Sosman & Landis name, but could not until the company was liquidated (which would be in December). By the summer of 1923, Chicago Studios began using the Sosman & Landis address before just after negotiations with Moses stipulated that he could not use the company name until after the firm was completely. Moses’ negotiations were with Hunt of New York Studios, who was also running Sosman & Landis at the time. Chicago Studios started using the address, they sent out letters to Sosman & Landis clients announcing that they the successors to Sosman & Landis, just under a new name. Furthermore,
Moses & Megan immediately disputed the information circulated by Chicago Studios once they became aware of the deceit, sending out letters of their own and explaining that firm had not closed, just moved to a new location. On November 13, 1923, Moses and Megan sent a letter to the Scottish Rite in Salina, Kansas, writing “Dear Sir: It has recently some to our attention that a certain studio is advertising our old customers that they have bought the Sosman & Landis Company and are now operating same, combining it with their original company. We wish to assure you this is not a fact and that our original organization is intact, but our studio has been moved to better quarters.”
So, in the midst of the massive Binghamton Scottish Rite project, where Moses was painting on site for Hunt, Moses realized that Hunt had betrayed him. This is likely the reason that the second article about the scenery stated Sosman & Landis as the firm, and not New York Studios. Moses knew what Hunt was trying to do; Hunt was trying to discredit the new iteration of Sosman & Landis, the one that Moses and Megan would run. In the end, the scenery was credited to New York Studios. Moses never listed the Binghamton Scottish Rite in his resumé.
The Binghamton Scottish Rite was a massive undertaking and significant job, a credit to any studio. The Temple boasted 1,000,000 cubic feet, built at an expense of $400,000 The architects of the endeavor were Walter H. Whitlock and Charles H. Conrad of Binghamton, with the general work being done by the Mitchell Construction Co. On Nov. 21, 1923, the “Binghamton Press and Leader,” described, “Upon entering the main portal on Main street, one finds a large hall, or foyer. From this foyer one may enter the auditorium, the secretary’s rooms, a stairway and the elevator which reaches all floors. The auditorium, which is in the form of an amphitheater, occupies the greater part of the ground floor, first floor and first floor mezzanine. It has 4,700 square feet of floor space, in 28 feet in height and will seat 800 persons. It is connected with the stage by an opening 32 feet wide by 22 feet high. The stage, 1,720 square feet in area, is 30 feet deep, 57 feet wide and 58 feet high. There are 50 complete sets of scenery. At the sides of the stage, on three levels, are robing rooms representing 2,400 square feet of space” (page 17).
The fifty-seventh annual reunion of Otseningo Bodies, Ancient Accepted Scottish Rite, in the Valley of Binghamton, Northern Masonic Jurisdiction, United States of America, was held from Nov. 20-22. It was held in the new Masonic temple at Main and Murray streets. The Reunion was held in conjunction with the dedication of the new Temple.
The Scottish Rite class for the reunion was composed of 350 candidates from the six counties in the jurisdiction. Present membership at the time was approximately 1,800 members.
On Nov. 21, 1923, the “Binghamton Press and Leader” reported, “This is the largest class of the Scottish Rite in the history of Masonry in Binghamton.” The class was named the Longley-Wear class in honor of the Rt. Rev. Harry S. Longley of Des Moines, Iowa, suffragan bishop of Iowa, a former rector of Christ church in Binghamton, and D. Walker Wear, one of the most prominent Masonic in Binghamton who had a large part in the erection of the new temple.
The ceremony of consecrating the new consistory was followed by several speeches, including Bishop Langley. On Nov. 23, 1923, the “Binghamton Press and Leader” reported, “Bishop Longley told the members that those who have in the present week taken the degrees that teach the ideals of Scottish Rite Masonry must have come to realize what a tremendous force and power masonry can wield in a world crying out for leadership. These masonic ideals must sway any movement for the reconstruction of the destruction that was started nine years ago in Europe, He declared that it is becoming more and more realized that any solution of world unrest must have as a foundation the spiritual truths taught in masonry. Civilization is at stake and he urged all to do their part by standing up for their ideals and maintaining and abiding faith in the omnipotence and goodness of God.”
The structure opened to great fanfare, with numerous articles about the endeavor, announcing “Masonic Temple is in First Rank of State Fraternal Buildings” (Binghamton Press and Leader, 17 Nov 1923 page 17). Unfortunately, this was Moses’ last painting for the Northern Masonic Jurisdiction. The rest of his fraternal work would shift to solely the Scottish Rite’s Southern Jurisdiction.
Plans for the Binghamton Scottish Rite theaterPlans for the Binghamton Scottish Rite theaterPlans for the Binghamton Scottish Rite theater
In 1923, Thomas G. Moses wrote, “I put in fully a week in Binghamton at the Arlington Hotel on designs for Masonic work and I believe we will get the contract.”
Arlington Hotel in Binghamton, New York
Sosman & Landis didn’t get the contract but Moses still painted the scenery. Somehow, David Hunt of New York Studios landed the profitable contract. Keep in mind that New York Studios was the eastern affiliate of Sosman & Landis, and Sosman & Landis was preparing to close.
From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.
By summer, Moses wrote, “I have arranged to go to Binghamton, N.Y. for Hunt, $2,500.00 for the job. Sent Loitz on ahead, September 5th.”
Moses was referring to Ed Loitz. Loitz, who had worked with Moses since the 1883. He was a loyal painting assistant and friend who had followed Moses across the country, working alongside him wherever he went. Whether Moses had established a partnership, or was working at Sosman & Landis, Loitz was there. Loitz traveled one step ahead, preparing the next jobsite for Moses’ arrival and then workied on site. Loitz was almost a decade younger than Moses, being born in 1865. In 1923, they had been working together for forty years together. At the time, Moses was sixty-seven years old and Loitz was fifty-eight years old. Loitz was both a scenic artist and carpenter, taking care of everything needed before Moses arrived on site to paint.
Scenery painted by Thomas G. Moses, assisted by Ed Loitz. From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.Scenery painted by Thomas G. Moses, assisted by Ed Loitz. From the “Press and Sun Bulletin,” 21 Nov 1923, page 17.
Moses was still splitting his time between painting for Hunt (New York Studios) and Sosman & Landis. Sosman & Landis were in the process of liquidating all assets and closing their doors. Moses and Fred Megan were waiting to purchase the name.
The New York Studios project was the stock scenery collection for the Scottish Rite Theatre in Binghamton, New York. This project was completed was just before Moses realized that Chicago Studios was sending out letters to Sosman & Landis clients, explaining that they were the successor to Sosman & Landis, already having secured the same address. David S. Hunt was behind the establishment of Chicago Studios, as well as running both New York Studios and Sosman & Landis. Even though he knew Moses was going to purchase the Sosman & Landis name after the company liquidated their assets, Hunt was using his position at Sosman & Landis to his advantage to discredit any new iteration of Sosman & Landis. This would all happen in November 1923 while he was on site in Binghamton.
On October 17, 1923, Binghamton’s “Press and Sun-Bulletin” featured Moses and his work. The article was entitled “Vies with Nature in Realms of Beauty,” and stated, “Thomas G. Moses Wields a Well-nigh Magic Brush in Painting Scenery, Curtains and Drops for New Masonic Temple.” Here is the article in its entirety:
“Thomas G. Moses of Chicago. Representing New York Studios, who is painting scenery, curtains and drops for the stage in the auditorium of the Masonic Temple under construction at Main and Murray streets, need no assistance of Brownies or other mystical helpers in making things beautiful in the opinion of those who have seen examples of his work.
Fairyland in all its mystical wonderfulness could not surpass the beauty that is represented on the canvas with the paint from the brushes carefully wielded by Moses. Mechanical curtains on which a moon may be seen rising, Persian temple interiors and water, wooded and open scenes are all in the new temple to bring admiration from all the Masons who are privileged to see them all.
Forty drops are being painted by Mr. Moses.”
[Moses was being paid $2,500 dollars for the project, so we can estimate that his average painting fee per drop was no more than $62.50/each, assuming he wasn’t paying for travel, lodging or meals out of that amount. The money equivalent of $62.50 in 1923 is $952.02 in 2021.The contract was for $12,000]
“Each set is used for some one of the 32 degrees prescribed in the ranks of the fraternity. Each degree is exemplified in a different setting. Some are on the plains, others in a temple painted from Biblical descriptions of King Solomon’s temple, extensive Egyptian quarries and water scenes.
The full equipment will be used for the first time on Nov. 18, 19 and 20, when the annual reunion of Otseningo Consistory, Ancient Accepted Scottish Rite, will be held. Exemplification of degree work at that time will be the first that it has been done in full form in four years. Equipment of the Masonic body was destroyed four years ago in a fire in the temple on Chenango street.
All paintings of the scenery are done by Mr. Moses from scale drawings which he completed several months ago. The small scale drawings were drawn from outlines by officers of lodges here. Mr. Moses on a platform suspended from the top of the loft sketches in charcoal on the canvass the scene which he wishes to paint.
Mr. Moses is assisted by Edward Loitz, who has traveled from coast to coast with Mr. Moses working on many contracts. Installation of the drops is supervised by H. E. Naile. The three men have worked together in many cities, their last contract being in Little Rock, Ark.
The stage in the temple here and the scenery and drops being painted are the largest ever handled in a Masonic Temple by Mr. Moses. He says he is well satisfied with the progress of his work and in a short time it will be finished. He expects to remain here to paint some work for another temple.
Products of the brush of Mr. Moses and his assistant, Mr. Loitz, are not entirely new to Binghamton. Mr. Moses painted the landscapes and architectural exteriors for the State hospital theater and Mr. Loitz did the interiors. Mr. Moses painted the original scenery for the Stone Opera House and upon visiting that place a few days ago he found some of the equipment still in use.
Tom Moses, as he is nationally known, was found today busily engaged in painting a drop 21 feet by 40 feet representing an interior of an old German chapel. The picture is complete with stained glass windows and the chapel is profusely decorated with flags, shields and bits of armor.
Tom Moses’ father was a captain of a sailing vessel and when he left the bounding main he started a leather business. He intended his son should follow his footsteps. The world might have been richer with a reliable captain or an expert on leather, but Tom had ideas for a different vocation, and thus the world has not been deprived of a master painter who transfers the sometimes unreal to the real with an intricate movement of his paint brush.
All this was 45 years ago. During the 45 years he has been painting scenery, Mr. Moses has gained much praise throughout the land. His friends are legion. He is short and stocky and has a radiating personality that brings a friendly reception wherever he goes and he has no enemies.
Born in Liverpool, England, in 1856, more than 67 years ago, of English parentage, Mr. Moses came to America with his father and mother but when a little child and settled in Sterling, Ill. His father was a sea captain and later a tanner. Tom’s mother, who died when he was but a youngster, possessed an exceedingly artistic nature and did much to install into her son the love of artistic.
Tom’s father was strict and was certain that the boy would be “better off” as a tanner with his brawny arms wrestling with a piece of hairy hide and covered with tannin. Use of a hickory switch proved to Tom that this would probably be much after his father declared only starvation faced the starving artists.
One try at the tanning game convinced Tom that he would rather be an artist. At the age of 17 he left home “with a forwarding address.” He hired out as a paint boy in the Chicago studio of P. M. Almini. Louis Malmsha, director of the company, recognized the ability in the recently hired paint boy. In a year he had advanced in wages from $4 a week to $21, but the rapid rise was due to his persevering work.
Robert Hopkin, a scenic artist in Detroit, Mich., was the next person to obtain the services of the rising artist. At the age of 20 he returned to his home and married Miss Ella Robbin. The couple lived there until 1880 when they went to Chicago where Mr. Moses started working for the Sosman & Landis Co. He painted the first work of this concern.
In his long and varied career, Mr. Moses has done work for many famous artists and for many famous productions. It was he who designed and executed the original “Floradora” sets for John C. Fisher. He did them, not only once, but four times. The work of Tom Keene, John McCullough, Booth and Barrett, Col. Cody (Buffalo Bill), Julia Marlowe, Robert Lober, Joseph Murphy, Conried and Herman, Emma Abbott, Emma Juch, Sarah Bernhardt, Mme. Modjeska, and score of other greater and lesser figures of the American stage was enhanced by scenery executed by Thomas G. Moses.
Some of the famous productions, in addition to “Floradora,” which Mr. Moses has made are “Shenandoah,” and “Old Kentucky,” famous melodramas; “Marie Antoinette,” “Mary Stuart” and “Macbeth” for Mme. Modjeska; “Judas” for Mme. Bernhardt. Joseph Jefferson’s last “Rip Van Winkle”; “The Holy City,” “By Right Sword,” “Lost in the Desert,” “Quo Vadis,” “The Witch,” “Robinson Crusoe,” “Ben Hur” and scores of other big productions.
He has also produced some of those famous Luna Park spectacles at Coney Island, such as “Fire and Flames,” “The War of the Worlds,” “Trip to the Moon,” “20,000 Leagues Under the Sea,” “The Streets of Delhi” and others. “The Streets of Delhi” was produced at a cost of $100,000.
In the art world outside of scene painting he has received much recognition. He has the distinction of being a member of the world-famous Salmagundi club, that noted organization of artists in New York. Mr. Moses is also a member of the Chicago Society of Arts, the famous Palette and Chisel Club, the California Art Club of Los Angeles and the Laguna Art association of Laguna Beach, Cal.
Rapid advance of motion pictures has crimped the scenic painting industry, Mr. Moses says. “Because of the fewer number of dramatic shows now there is a less demand for drops. Movies take the place of the dramatic productions that one time held sway.”
We all struggle on a daily basis, and yet overcome many obstacles that seem insurmountable at the time. However, there are also those moments when we don’t persevere, the ones that mark our soul. For me, writing this blog provides daily solace during challenging times. I am able to escape into the past and share challenges faced by others. Somehow, telling their stories brings peace to my own.
It is especially comforting for me when voices from the past share fears of the present. Ninety-nine years ago, scenic artist Thomas G. Moses (1856-1934) wrote a passage that is applicable for many today.
In 1923 he wrote, “While I realize what one short year will do for one’s business, I cannot help having a chill from what has happened to us all during that time. When I look forward and wonder what is apt to happen, I try to be optimistic and see nothing but silver lining and feel that the turning point has been passed and the road is cleared, and the travel will be comparatively easy.”
In 1923 Thomas G. Moses wrote, “The New Year found the madam and I in Trenton, N.J. enjoying a visit with Pitt and family, also an annual visit to his plant, which was quite interesting.” The “Madam” was his wife Ella.
Detail of a letter from Thomas G. Moses to his son Pitt.
Thomas William “Pitt” Moses (b. 1879) was the eldest of four children, the others being Mary “Mamie” Titcomb Moses (1881), Lillian Ella Moses (1886) and Thomas “Rupert” Moses (1889).
In 1903, Pitt married Stella Martin (1881-1962) of Trenton and soon changed professions. The couple celebrated the birth of three daughters, Eleanore (b. 1906), Ruth (b. 1908) and Dorothy (b. 1913). By 1910, Pitt was working as a pipe fitter for the railroad and was still working in this capacity a decade later. However, Pitt changed occupations again, and began working as a parcel post clerk in 1930. He was still working for the Postal Service in 1940, and eventually retired from the profession.
It is Thomas G. Moses’ letters to Pitt that provided an incredible amount of information about Moses health and financial losses. Copies of letters written by Moses to both Pitt and his wife Stella were collected by Dr. John Rothgeb at the Universtiy of Texas-Austin during the 1970s. The majority of the letters collected were written between 1931 and 1933, providing great insight into Moses’ continued struggles. These same subjects were glossed over in his typed memoirs, an understandable omission; writing it down somehow makes it more real.
Sometime between 1922 and 1923 Moses developed a bronchial cough; a cough that would continue to plague him until his passing in 1934. Moses repeatedly wrote about his “terrible spasms of the chest.” Moses also mentioned that it was difficult for him to walk any distance, especially if there was the any dampness in the air. Regardless of health concerns, during the last decade of his life, Moses continued to design and paint one scene after another, producing a remarkable number of drops during this time.
Health concerns made Moses plan for the worst in his final years. In one letter to his son, Moses wrote, “I want you to know where we stand regarding finances,” outlining the funds given toward business ventures and family emergencies, especially previous attempts to help his children. At the end of this letter, he wrote, “I want you to know all this, because, should I pass away suddenly I want Mother to feel that you would look out for her interests in disposing of the property. While I hope to enjoy a few more years in painting, the sudden death of Illie [sister], Frank [brother] and Lucia [sister] has forced me to realize that I have only a few more years at the most, and when I do pass out, I want to feel that my life has not been wasted; and my work will live for many years after I am gone.”
In a later letter Moses wrote, “I found that my years will not admit of too much hill climbing with my forty pounds of sketching equipment.”
A 1932 diary entry by Moses mentioned his deteriorating health, writing, “I do not feel as good in health as I would like to be, but I hope that Dr. Klumph will pull me through. I sincerely hope that the New Year will lift a heavy load of my shoulders and give me one good year to make up for this past bad year.” On June 23, 1932, Moses enjoyed a brief respite from his cough, and wrote to Pitt, “My awful bronchial cough has stopped, thanks to a new M.D. The first time in ten years that it has stopped while in Oak Park. It leaves in California, but starts again as soon as I get here.” The cough would return.
Regardless of his health or any small improvements, Moses could not stop working. On November 7, 1933, Moses shared his continued health struggles with Pitt, writing, “I jumped into the church job as soon as I arrived and I find it was too much after a trip of 2700 miles and I am now at home getting myself in shape. I see no work in sight, and the heavy expenses of keeping the house going without any help is bearing down on me. Especially with my condition and age against me. It is so hard for me to go upstairs and walk more than three blocks that I fully realize that I can’t last much longer with the added uncertainty of making a living. It is too much. I have been too fortunate in making a good living for the past fifty years to accept this present state of affairs. I dislike to write you a blue letter, but it is uppermost in my mind this morning being a gloomy one. I know without asking that when I pass on, that you will do all you can to see that your mother will be taken care of in settlement of property. I will say no more.”
