Thomas G. Moses – Page 52

Tales from a Scenic Artist and Scholar. Part 248 – Men Who Found Fame in the Wing and Drop Curtains, the Scenic Artists

The same year that the Sosman & Landis Annex studio opened, an article appeared in the Chicago Sunday Tribune, “Paint Mimic Scenes, Men Who Have Found Fame in the Wing and Drop Curtains” (Dec, 18, 1892, page 41). Here is the continuation of that article started in installment #245.

“Chicago has every reason to feel proud of her scenic coterie. Out of its hundred or more members but a few can be briefly noticed. There are memories of poor Minard Lewis, an artist essentially English in feeling, some of whose “drops” are still preserved in the Grand Opera House; Lewis [Louis] Malmsha, whose finished work graced the old McVicker stage; John Mazzanovitch, whose witchery in waters with reflected foliage and charm of middle distance in exteriors was also associated with this house. All of these are dead. Richard Halley, at present winning laurels as a painter in Europe, was the scenic artist for Kelly and Leon in the halcyon days of minstrelsy and painted marbles in distemper almost as well as Kilpatrick does them at present in oil. David Strong, “Old Trusty,” still at work in this city, is the only survivor of the good old Dusseldorf school. Everything that comes from his facile brush – and he could walk over miles of canvas of his own painting – has the quality of opaqueness peculiar to his school and seldom found nowadays.

Ernest Albert is undoubtedly the best student in architectural work in this country. Everything that his deft hand touches is full of authority and rich in color. That he is also an idealist has been demonstrated by his spectacular creations, the first at the Chicago Opera-House and Auditorium. In interior decoration, tapestries, etc., he has few equals, and follows the same medium in distemper as the aquarelists. One of the great giants of the scenic world was William Voegtlin, the greatest deceiver of transformation effects that ever walked the paint bridge. He had a style peculiarly his own and seemed to incorporate the stunning effects of all schools, but was not without artistic weakness and peculiarities. In some respects his drawing had the weakness of Morgan, but his color was wonderfully vivid, and he was a grand master with foil. In this latter respect he was only rivaled by Thomas Noxon of St. Louis, a remarkable artist in spectacle. Voegtlin often ate and slept on the paint frame for weeks at a time during the rush of a great production. Then followed a period of dissipation, when his painting was very “red.”

Walter Burridge is the best foliage painter in this country, and is in all respects as an artist of out door nature the equal of Richard Beverly, who holds the palm for the line of work in England. The leaves of his foliage appear to be agitated, and his atmospheric feeling is remarkable.

Thomas G. Moses is an artist of solid merit who does an immense amount of work, but who has small opportunity to exercise his creative faculty.”

This list of scenic artists presented in the article continues tomorrow, but I want to pause here about the entry concerning Thomas G. Moses. He would soon leave the Sosman & Landis studio again – this time for New York. I have to wonder if the article was a turning point for him. The description of Moses as a scenic artist “who has small opportunity to exercise his creative faculty” must have been quite a blown. There is nothing like reading a statement that basically says, “unable to achieve his full potential.” Moses’ creative wings were clipped by studio work. I think that this one sentence spoke to a much larger issue at hand and I doubt that Moses was ever really happy at the studio, even after he became the company’s president. He saw the money that could be made and how little profit he received in the end, especially after all of his hard work, “hustling,” and extended absences from his family.

Then there is the aspect of personal artistry and public acknowledgement of your work by colleagues. The article negates his overall contribution to scenic design and art for the stage in 1892. When you look at some the exciting theatrical effects being produced for the stage by close friends and past co-workers, it must have been frustrating. He was now reduced to standing on the sidelines. Were Sosman & Landis primarily seeking profit through numbers? The article mentioned 1300 jobs in a decade. In 1892, Moses’ life and work at the Sosman & Landis studio appears to have been reduced to primarily painting stock scenery and drop curtains. He had a steady salary, but knew that there were much more exciting projects out there.

To be continued…

For past installments on the scenic artists mentioned above, see: Ernest Albert (installment # 131, 133-139, 145, 154, and 179); Walter Burridge (installments 127, 128, 131-140, 155, 171, 179, 185, 217, 218, 225, 231, 244, and 248); David Strong (installment # 65, 123-131, 153-155, 167, 199, 215 and 248); William Voegtlin (installment # 248); Thomas Noxon (installment # 89, 92, and 136) and Louis Malmsha (installment # 123-4, 127, 131, 133, 165-66, 178 and 198).

Tales from a Scenic Artist and Scholar. Part 244 – Thomas G. Moses and the Old Waverly Theatre

In 1892, the Sosman and Landis Company opened another studio space on the West Side of Chicago. They rented the “old Waverly theatre” and referred to this second space as “the Annex.” According to Thomas G. Moses, the studio measured 93 feet wide by 210 feet long and 40 feet high. It had four paint frames with plenty of floor space for all kinds of work. This space was specifically secured for Moses and his crew. By August 1892, Moses found the new Studio all finished and they moved in immediately. His arrangement with Sosman & Landis was to receive all of their sub-contracted work. This statement has always intrigued me as the majority of Masonic installations were subcontracted to Sosman & Landis by M.C. Lilley. When did the subcontracting begin, and if not Masonic, who else was subcontracting work to scenic studios – architectural firms?

Furthermore, he wrote that Sosman & Landis would supply all of the paint supplies for the Annex Studio at no charge. Moses records that his studio crew included A. J. Rupert, Frank Peyrand and Harry Vincent besides a number of assistants and paint boys. He wrote, “It was awfully hard to keep the building warm. It was so big we had to use stoves.” Even with his own studio, however, Moses was still constantly sent on the road to complete on site work for the company. During these extended absences, Ed Loitz took charge of the Annex studio.

A program from the Waverly Theatre before it became the Annex Studio for Sosman & Landis in 1892.

Very little is known of the first Waverly Theatre space in Chicago. It was advertised as “Chicago’s Parlor Theatre” in Chicago Tribune during 1888. “Jno. B. Jeffery’s Guide and Directory to the Opera Houses, Theatres, Public Halls, Bill Posters, Etc.” (1889) noted that the Waverly was “formerly Grenier’s Garden & Theatre” on West Madison, Throop and Ada Streets. The 1892 “World Almanac and Bureau of Information” published that the physical address of the old Waverly theater was 454 W. Madison St. This is not to be confused with a later Waverly Theatre constructed in 1913. The stage old Waverly’s stage measured 40’ x 60’ with a seating capacity of 1400. This would have made a sizable studio and been a particular challenge to heat in the winter, especially when trying to keep the size water for painting in a liquid state.

Chicago theaters listed in the 1892 “World Almanac and Bureau of Information.” The Waverly became a second scenic studio for Sosman & Landis by August 1892.

In 1888, the Waverly’s manager was Burr Robbins with Andy Mackay as the assistant manager. By 1889, W. H. Powell was listed as the new manager. On June 30, 1889, the Chicago Tribune announced, “The Waverly Theatre has lately changed hands and is now being run as a first-class family theatre. The audiences for the last two weeks have been largely made up of the leading people of the West side and the performances were worthy of patronage. The Gaiety Opera Company under the management of A. Mackay has been playing to large houses in “Fra Diavolo.” Next week there will be a revival of “H.M.S. Pinafore,” with Messrs. Alonzo Hatch and Mack Charles and Miss Golde in the leading roles. The theatre is admirably adapted and well located for a family theatre and under the new management ought to prosper” (page 15).”

Four years later in 1892, the theatre was transformed into the second studio for Sosman & Landis. Obviouosly the management fof the Waverly theatre had not been successful. I was intrigued with the reason for the reconfiguration of the space and started digging through newspapers. I wanted to see if there was any mention about the Waverly’s close or transformation into a scenic studio space. Just about the time I had exhausted all possibilities, I came across a phenomenal article that included the line, “Chicago is universally acknowledged as the World’s Greatest scenic center.” This caught my attention. As I read the article, another paragraph stood out:

“Chicago is today the largest scenic supply center in the country. Of the eighteen theatres in this city the major portion have their own scenic artists. Three mammoth studios here send their art product as far east as Maine and all over the west to the shores of the Pacific. The oldest firm here in this line of work claims to have supplied nearly 1,300 opera houses, theatres, and halls with scenery during the last ten years, and of late business has increased enormously.”

Image of “a Chicago Scenic Studio” published in the Chicago Sunday Tribune during 1892.

“Three mammoth studios” with one being noted as “the oldest firm.” The names of the studios were not provided, so I started thinking about who was in operation at this point in Chicago. By 1891, Walter Burridge had partnered with Ernest Albert and Oliver Grover to create Albert, Grover & Burridge. That had to be one of the three studios. The oldest firm also had to be Sosman & Landis. Who owned the third “mammoth studio” in Chicago that I had never stumbled across? What it an individual’s company that used an actual theater space?

The article was fascinating and read as a “Who’s Who” in scenic art by 1892. It is certainly worth posting in it’s entirety for historical record. Therefore, I have turned it into a word document. It will be the topic of my next few posts due to its length.

Another treasure! This article is a proverbial “holy grail” for the scenic art world.

To be continued…

Tales from a Scenic Artist and Scholar. Part 243 – Thomas G. Moses and Gilmore’s Court Square Theater

After completing the scenery for the Fisher Opera House in San Diego, California, Thomas G. Moses and Ed Loitz returned to Chicago at the beginning of 1892. Moses wrote, “On January 2nd. we returned home. I worked in the studio until February 22nd. Then Loitz and I went to Springfield, Mass. to Gilmore’s Court Square Theatre. This was a very fine building.”

Postcard depicting Gilmore’s Court Square Theatre and Opera House in Springfield, Mass.

The original Gilmore Opera House was opened in 1857. The second was the 1892 Gilmore Court Square Theatre, designed by Frederick S. Newman. Moses commented about this new edifice and the owner, writing, “Mr. Gilmore was a bachelor and an odd one – very close and drove a hard bargain. He owned the ‘old trap’ of a theatre and this new one was a monument to himself.”

Moses recorded “We stopped at his hotel and found everything to our liking and he arranged for us to be satisfied with the working facilities at the theatre.”

Gilmore’s Court Square Theatre where Thomas G. Moses and Ed Loitz painted scenery in 1892.

The dedication of the building was held on September 5, 1892. Opening night performances included “If I Were You,” a comedy by William Young, and “Diana,” a burlesque by Sydney Rosenfeld and performed by the Manola-Mason Company.

In 1900, there was the addition of the Court Square Hotel to the theater on the south side of the building (State Street). The five-story theater building was topped with a sixth-floor and connected to the newly constructed Court Square Hotel, which effectively gave the structure a footprint spanning a city block, stretching between Elm and State streets. The construction the Court Square Theatre and Office Block cost approximately $250,000 to complete.

Interestingly, one of the most popular online images from the Gilmore Court Square Theatre is a program designed by William Henry Bradley (10 July 1868 – 25 January 1962). Bradley was an illustrator and artist, nicknamed the “Dean of American Designers” by the Saturday Evening Post. At one time, he was the highest paid American artist of the early 20th century.

Gilmore’s Court Square Theatre design by William H. Bradley, 1894.

Bradley moved from Chicago to Springfield, Massachusetts, in late 1894 and briefly illustrated programs for the Gilmore. Born in Boston, at the age of 12 he obtained a job as an apprentice for a weekly newspaper — the Iron Agitator, later known as the Iron Ore. At 17 years old, he left for Chicago where he held a few brief jobs as a wood engraver and typographer, soon turning to illustration. He moved back to Massachusetts and set up the Wayside Press, where he served as an illustrator, editor, typographer, designer, and press manager.

On of Bradley’s publications for Wayside Press in Springfield.

He had achieved financial success, but his health deteriorated and he collapsed at the age of 28. Although he recovered, Bradley was forced to sell the Wayside Press.

He later worked as a consultant for a variety of publications, including American Type Founders and Collier’s Weekly. He also worked for William Randolph Hearst’s film division as a supervising art director and assistant director on the Wharton Brothers’ serial films ”Beatrice Fairfax” (1916) and “Patria” (1917). He then founded his own production company, Dramafilms, and went on to write, produce and direct his own films, including “Bitter Fruit” “Moongold” and “The Tame Cat” (1920-1921).

Dramafilm’s production of “Moongold,” 1921

In 1954, a memoir was published of Bradley’s life called Will Bradley: His Chap Book. Bradley continued to design up until his death at age 94. He was considered one of the foremost illustrators and poster designers of the Art Nouveau movement.

To be continued…

Tales from a Scenic Artist and Scholar. Part 242 – Thomas G. Moses and the Fisher Opera House

In November of 1891, Thomas G. Moses and Ed Loitz left for San Diego, California to paint scenery for the John C. Fisher Opera House. Moses wrote, ”Here was another fine job. The climate was great.” His heart would remain in California for the remainder of his career and he would seek out employment along the west coast many times.

The Fisher Opera House in San Diego where Thomas G. Moses painted the scenery in 1891. The venue opened in January of 1892.

Moses recorded that the supervising architect for the theater was Mr. Haupt, “a clever fellow” whom he became very “chummy” with throughout the duration of the project.

The opening show was performed by the William T. Calton Opera Company to a packed house in January 1892. Moses refers to this project as “the first real theatre build in San Diego.” He wrote “When I painted the curtain it was left wholly up to me to select the subject. I took a street scene in Verona, Italy. There was a life size figure on the very bottom of the curtain as there was no border or frame. The figure looked as if it was standing on the stage. One evening I was standing in the rear – the curtain was down. Two young men came up to it and one said, ‘Hurry up, the curtain is up.’ He had only glanced at the curtain and seeing the lower half thought my figure was a real one. Quite a compliment.”

Fisher opened his opera hose on January 11, 1892. The theater’s seating capacity for the space was 1400 (approximately 420 seats in the parquet and dress circle, 420 seats in the first balcony, and 70 seats in the twelve gallery boxes). The venue was promoted to be “one of the finest ever constructed in San Diego – probably the best theater on the West Coast in its time.” The building was situated on the entire block between Fourth and Fifth Streets for 200 feet. The entrance to the theater was Romanesque surmounted by a turret that rose 120 feet above the sidewalk. The first two stories were constructed of granite with the top three of pressed brick. The entrance was located on Fourth Street with the stage door on Fifth.

The Fisher Theater was also one of the first theaters in the country to use a complete electrical system. It is interesting to note, however, that space was also left for the use of gaslight on the stage. The inclusion this second system, although not practical at all, was intended as a precautionary measure. The electrical system consisted of 1,000 “sixteen-candle power” Edison incandescent lamps. This gave both the auditorium and the stage an illumination never encountered in a West Coast performance venue before this one.

John C. Fisher was described as “a rotund Kentuckian who came to town in 1887 as manager of a furniture store.” He was soon president of the Chamber of Commerce, an active in the cable-car company, and an owner of the Florence Hotel. Moses wrote that, “The Hotel Florence was on a high point overlooking the whole bay and the country was also fine. There were many ‘one lungers’ at the hotel, as the majority of guests were idlers. They had a lot of time to be very inquisitive as to my very active business and any of them called on me at the theatre. I more than enjoyed every moment that I was there. I met Miss Joy of Portland, Oregon, one evening in the hotel. I didn’t recognize her. Mr. Fisher called me to the veranda and she overheard it and spoke to me. She and her Mother were spending the winter in California. I didn’t have my overalls on and she had to remark at the difference it made in me.”

Moses continued, “I was strolling down town one December morning in my shirt sleeves – too warm for a coat. A battleship was coming into harbor, firing a salute. It was a fine sight. I afterwards went aboard the same ship. The last day of the year I finished the job and was forced to file a mechanics lien on the building to protect ourselves. I took a dip in the surf in December and enjoyed it. There was a good swimming pool at Coronado Beach Hotel, which was patronized quite often.” How very interesting. The mechanics lien was just tossed in there between leisure activities. I wonder what that was all about?

The Fisher Opera House changed hands in 1902 when it became the Isis Theatre. Later it was resold and renamed the Colonial Theatre as depicted in this photograph.

To be continued…

[Emphasis

Much of the history was from San Diego History online. Here is the http://www.sandiegohistory.org/collection/photographs/fisher/

Tales from a Scenic Artist and Scholar. Part 241 – Thomas G. Moses in Joliet, Illinois

After painting the Alvin Theatre in Pittsburg, Thomas G. Moses briefly returned to the studio. Almost immediately he was sent back on the road again. This time, he traveled to Joliet, Illinois, for another painting project. Although the project is unidentified in his typed manuscript, I believe that Moses was in Joliet to create scenery for the newly constructed opera house.

Image of the new Joliet Opera House. Some of the opera house’s history can be found in “Joliet” by David A. Belden.

In March 1891, the first Joliet Opera House was destroyed by fire. As in many towns, the owners wasted no time before rebuilding. The new opera house opened the following year in 1892 at the same location, on the corner of Chicago and Clinton Streets. Patrons entered the theater through the arched entrance on Clinton Street, just below the exterior stairs. A decade later, the Joliet Public Library was constructed on the west side of the opera house.

The original Joliet Opera House had opened in 1873 at a cost of $60,000. The venue hosted a variety of hosted a entertainments besides theater and opera. Other events ranged from burlesque shows to religious revivals. During the financial panic of 1873, the popular “Parlor Music Club” gave benefit performances to raise money for the city’s poor.

In the summer of 1890, an expansion project was unveiled to provide more seating and an improved stage area. The loss of the building to fire was blamed on the local fire and water departments. They were criticized as the fire department was slow to arrive on the scene and indecisive about handling their equipment. Furthermore, insufficient water pressure at the hydrants compounded the problem, making it almost impossible to fight the fire effectively. The local newspapers also reported that fire chief arrived long after his men, and then directed what little water was available to the wrong areas of the building.

A few city councilmen also criticized the fire department, saying that the men looked fine on parade or playing checkers, but some new toot little about extinguishing fires. Later an investigation committee reported that the fire department was blameless and the responsibility was placed on a pump at the waterworks that had lost vacuum and failed to provide sufficient water during the blaze.

The space for the new auditorium was designed by architect G. Julian Barnes, and built from local Joliet limestone.

Moses’ diaries record that one evening in Joliet he met an actor in their hotel. They took up scenic art as a topic. The actor was well versed and made a bitter attack on Sosman and Landis, saying that they only did small houses – nothing big. Moses replied, “I think you are mistaken, I know they did a number of theatres on the Pacific Coast and they are now doing the Alvin in Pittsburg.”

The actor didn’t know Moses and replied, “Oh! Well, they could only do a few as they only had one artist that could do them, and that was Tom Moses.” The actor only knew Moses by reputation. Moses played along and said that he didn’t think “Moses was capable of holding down one of those big jobs,” explaining that they were all done in the studio. The actor continued to stick up for Moses. He enjoyed it for a while, then handed him his card. In the end, the actor laughed and they both had a smoke on the joke.

To be continued…

For more information about the history of Joliet, see “Joliet” by David A. Belden.

Tales from a Scenic Artist and Scholar. Part 240 – Thomas G. Moses and Charles L. Davis in Pittsburgh

After a summer of painting scenery in Pennsylvania, Moses and his family returned to Chicago during early September. Moses only worked a week in the studio before he and Ed Loitz started for Pittsburg, They were to furnish all of the scenery for the Alvin Theatre.

The Alvin Theater in Pittsburg. Thomas G. Moses and Ed Loitz painted scenery for this venue when it opened in 1891.

Photograph depicting the interior of the Alvin Theater.

Another view of the Alvin Theater where Thomas G. Moses painted in 1891.

The Alvin Theatre was owned by the actor named Charles Davis. Davis had made his fortune playing “Alvin Joslyn,” a rural farmer character.

Charles L. Davis created the stage character, Alvin Joslyn in the 1860s.

Advertisement for the Alvin Joslin (sometimes spelled Joslyn) Comedy Company.

Advertisement for Charles L.. Davis’ celebrated Alvin Joslin Comedy Company.

The Alvin Theatre had a very large conservatory and substantial Art gallery. Moses recalled that the decoration of the space was also quite fine. The Alvin Theater’s stage was “ample and complete in every detail.” Moses and Loitz worked throughout September, finishing the job on November 10.

Listing of performance of Alvin Joslyn in the “People’s Dramatic News.”

History records that Davis was not a good actor, but was an extremely good manager and press agent. Thomas G. Moses worked directly for Davis while in Pittsburg. Moses wrote many passages of him, describing,, “He carried a band furnished with the best and most expensive instruments. He wore some fine diamonds. His vest buttons had diamonds in them. A $7000.00 watch was a novelty. He had a body-guard who was close to seven feet tall, while he was only five feet there. On day in Cincinnati while dining, his body guard approached him, begged his pardon for being late, and counted out to Davis thirty $1000.00 bills, and apologized for not being able to get the balance. The table was filled with traveling men and as they opened their eyes at $30,000.00, Davis cooly put it in his vest pocket. As soon as the meal was over, he slipped the money back to his bodyguard who got it back to the bank where he had borrowed it for an hour. Of course, on good security. Just a little advertising. Everyone talked about it. He had many little stunts like that.”

Charles Lindsay Davis (1848-1900) was born in Baltimore, Maryland. Here is his obituary:

DEATH OF C. L. DAVIS

KNOWN THROUGHOUT THE COUNTRY AS ALVIN JOSLYN.

Character Actor Who Played in Great Hit Years Ago and Owner of a Theater at Pittsburg Dies March l.

Charles L. Davis (Alvin Joslyn), well-known character actor and owner of the Alvin Theater, of this city, died to-night, aged fifty-two years. He had been sick for several weeks with peritonitis and paralysis of the throat, and died after much suffering. Mr. Davis came of theatrical parents, and was born while his parents were on the road. He went on the stage at the age of five years, and was in the show business continuously from that time until 1889, when he retired and built the Alvin Theater at a cost of $225,000. At the time of its building the Alvin was considered the finest theatrical house in America, but it was too much of a burden, and in its second season the Fort Pitt Bank, which held much of Mr. Davis’s paper, took charge of the house, with the understanding that when the $170,000 indebtedness was cleared its owner should resume charge. The claims had all been met, with the exception of about $20,000, at the beginning of the present season, and Mr. Davis expected to be sole owner next season. Mr. Davis was known throughout the entire country as Alvin Joslyn, the New England farmer character, which he originated in the early sixties, and which was the medium through which he made a fortune. He was not known to have a living relative.

To be continued…

Tales from a Scenic Artist and Scholar. Part 239 – Thomas G. Moses in York, Pennsylvania

Thomas G. Moses returned to the Sosman & Landis Studio during June 1891. This was after working on the Lyceum Theater scenery in Duluth, Minnesota, during March, April, and May. He enjoyed some work at the studio for only a few days before going on the road again. As usual, Ed Loitz was sent ahead to set up the on site shop and prepare the space for painting. Sosman & Landis had a painting project in York, Penn, but Moses’ typed manuscript fails to mention the venue.

Postcard view of railroad depot in York, Pennsylvania. Thomas G. Moses traveled to York by rail to paint the opera house scenery.

I discovered that Moses was in York to paint the scenery for opera house on N. Beaver Street. Built, originally in 1881 at a cost of $38,000. By 1891, the York Opera House was an extremely popular attraction ready for an upgrade. In 1891, Moses was in York to paint scenery after a massive renovation. The venue was being reconfigured to include a fly tower! The York Opera House was replacing their current collection of roll drops with fly drops.

A view of the original 1881 York Opera House before renovation in 1891.

The June 10 issue of the York Daily (Vol 65. No 6405, page 1, second column) included an article titled, “The Opera House Improvements.” The article noted, “The curtain will not be raised by rolling as is the usual custom, but will be lifted bodily. This will prevent the cracking off of the paint and also make it impossible for any creases to appear. To make the proposed change, the roof of the house will be cut out and an addition built on the same which will allow the curtain to be lifted in the manner adopted.” Sosman & Landis were promoting a superior product; unlike roll drops, painted scenes on fly drops would not crack or crease. This identifies an problematic issue with roll drops and an opportunity for scenic studios to make the sale of a “new and improved” product.

Another view of the renovated York Opera House.

Playbill from the York Opera House, 1897.

The article continues to describe the scenery contracted by Sosman & Moses:

“In addition to this there are seventeen complete sets of scenery of one hundred and thirty five pieces. These sets will be painted here by the artist who, with his assistant when they leave here, will paint all of the scenery of the new “Alpha” theatre at Pittsburgh, PA. To give an idea of what is to be done here, we enumerate the sets. They are a “kitchen,” a “plain chamber,” an “oak chamber,” a “center door fancy,” a “two door fancy, “ a “prison,” a “palace,” a “modern street,” an “ancient street,” a “garden,” a “dark wood,” a “cut wood,” a “horizon” (ocean view), a “rocky pass,” a “landscape,” “cottages,” and “castles.” Not only will all the above be procured, but as complete a set of new drops, “set” pieces and stage properties to be obtainable will be added. All of the stage carpets will be entirely new. These improvements will cost with the new addition over $2500, and will be finished about the middle of August, n time for the opening of the next season. On account of the large expenditure necessitated by these improvements, and the short time at the disposal of the management, the proposed changes of the seats, and other changes will not be undertaken until early next spring. The season will be closed early for this purpose. The management should be congratulated on the extensive first steps towards the complete remodeling of our beautiful opera house.”

The newspaper noted that Mr. Perry Landis of the firm Sosman & Landis, scenic artists of Chicago, Illinois, was in the city to meet with directors about the “proposed changes in stage appointments.” The article explained that Mr. Landis attended the board of directors meeting. The Sosman & Landis model was received “with most gratifying success.” After the board examined the designs, they unanimously agreed to give Sosman & Landis the contract to furnish an entire new set of scenery and new drop curtain for the York Opera House. The article noted, “The new drop curtain will be painted in their Chicago studio, who execute no other kind of work. It will be in imitation of white satin with plush drapery. The design on it is entitled the “Witch’s Daughter,” after a celebrated painting and is a beautiful conception.”

The following month, Moses’ family left Chicago to join him on location in York. Moses wrote, “Ella got the children ready and we left for York on the 7^th of July. Arrived on the 8^th. After some trouble we found very good accommodations at the Central Hotel – a new addition to the hotel had just been completed and we were given two brand-new outfits.”

Postcard depicting scenes from York, Pennsylvania.

While working in York, Moses also “found plenty of good sketching.” The countryside was beautiful and Moses was always trying to improve his artistic skills with plein air painting and sketching. Moses wrote, “One week we went to Gettysburg and over the famous battlefield. The whole country is very picturesque and we more than enjoyed our stay.”

A livery stable owner next door to the theatre became interested in Moses’ work. Everyday he would drop on by to watch the scenic artists at work. That first Sunday in York, Moses hired a rig from him so that Ella could take the children out during the week. They stayed for about three weeks and the livery bill was only $10.00. The Central hotel was $21.00 per week, three adults and four children. Moses wrote, “Pretty cheap. I don’t see how they could do it.” I do. Moses captivated people with both his personality and talent. This was one more way to display appreciation for a new found friend and his contribution to the community. The job was completed by July 31, 1891 and soon, Moses and his family were on their way to Meridan, Conn. for another painting project.

Of their journey, Moses wrote, “We had to change cars for times – Harrisburg, Philadelphia, New York City and New Haven. I don’t know why, but we did. We were all tired out. We found a good hotel, but it was $36.00 per week. Same as we had in York for $21.00. There was no paint frame or bridge in the theatre, but we found a high platform ready for us. The following day we were at work painting.” While in Meridan, the Moses family enjoyed the many carriage rides out in the country and trips to the seashore. Savin Rock near New Haven was a particularly memorable adventure.

To be continued…

Tales from a Scenic Artist and Scholar. Part 238 – Thomas G. Moses in Duluth, Minnesota

I return to the life and work of Thomas G. Moses in 1891. This was more than three decades before Moses would design and paint the Scottish Rite scenery for Fort Scott, Kansas.

In 1891, Thomas G. Moses and Perry Landis went to Duluth, Minnesota. They were in town to close an $8.954.00 contract with A. M. Miller, owner of the Lyceum Theater. Moses commented that this northern Minnesota project was “a very good price and a good sized job.” Today’s equivalent of $8,954.00 is $232,060.70, a substantial contract indeed! On March 24, 1891, Moses arrived in Duluth and commenced his work for this ”very fine” building.

The Lyceum Theatre in Duluth, Minnesota. Sosman & Landis Studio received the contract to provide scenery for this venue in 1891.

The theater was located at 423-431 West Superior Street and advertised as “the finest place of amusement in the Northwest.” The architectural firm of Traphagen and Fitzpatrick designed this brick and brownstone building with its massive corner towers.

Advertisement for the architectural firm of Traphagen & Fitzpatrick. They designed the Lyceum theater in Duluth. Sosman & Landis produced the rigging and scenery for the building during 1891.

The main entrance included a triple arch with bronze doors and “Lyceum” carved above the entry.

Main entrance to the Lyceum Theater in Duluth, Minnesota.

Theatre masques, lions, and floral motifs further decorated the exterior of the building. The seating capacity was 1,664 and electric light illuminated both the stage and auditorium.

Julius Cahn’s Theatrical Guide notes that the Lyceum’s proscenium opening was 39 feet high by 39 feet wide. The depth of the stage from footlights to the back wall was 45 feet, while the distance between the front curtain and footlights was 5 feet. The backstage width between the sidewalls 75 feet. The distance from the stage to the rigging loft was 75 feet with two bridges. The theatre had one set of grooves for painted wing possibilities that accommodated a height up to 20 feet. Furthermore, the grooves could be taken up flush with the fly gallery. The depth under the Lyceum stage measured 15 feet and included 6 traps. The stage carpenter for the venue was William Longstreet and the electrician O. Hutchenson.

The owner of the Lyceum was A. M. Miller, a Duluth lumber baron with humble beginnings as a railroad section boss. Moses noted that Miller “saved and invested years ago. He is now worth over $12,000,000.00 which all came from Timber Land. He is also the President of the Duluth Bank.” Moses recalled that Miller was fine man who enjoyed his company. Miller financed the Lyceum that was initially home to operas, plays, and vaudeville. Live theater reined until 1921 when it transitioned into a movie house.

The Spalding Hotel in Duluth, Minnesota, where Thomas G. Moses stayed while painting the scenery for the Lyceum Theater.

When Moses arrived in Duluth, he checked into the Spalding Hotel and soon got started on the list of scenes. Ed Loitz and Joe Hart assisted Moses with the painting. Loitz first joined the Sosman & Landis Studio in 1883 and would continue to paint with Moses until 1900, even after Moses left the studio for a second time to form another partnership in New York City. Moses wrote, “we had every convenience that enabled us to do good work in a short time.”

Superior Street in Duluth with Lyceum Theater depicted in left foreground of composition.

Moses recalled that although the weather was “bitterly cold” in Duluth, they all enjoyed it. He wrote, “We worked nearly every night. We had a big list of scenes and everything had to be done well! Nothing pleased us better than to know that our work would be mentioned years after.” He would continue on to describe that the scenery installation was “One of the most complete outfits of any theatre” to date.

Moses, Loitz and Hart completed their work at the Lyceum on June 1.^. Moses was surprised when he received a check in full upon the immediate completion of the project. He commented that the prompt payment was “something unusual.”

To be continued…

Tales from a Scenic Artist and Scholar. Acquiring The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center, part 21.

While Wendy Waszut-Barrett is recovering from travel and catching up on current projects. She is reposting a few weeks from “Tales from a Scenic Artist and Scholar Acquiring: The Fort Scott Scottish Rite Scenery for the Minnesota Masonic Heritage Center.” Here is her twenty-first post from March 6, 2017.

For additional installments, visit www.drypigment.net

Part 21: Rags to Riches

We slowly made our way across the old studio, pulling a variety of theatrical artifacts from the gap such as lining sticks, a pounce wheel handle, 1924 newspaper, teaspoons, Masonic buttons, miniature wooden battens to support scenic designs, and more. By this time I had my little mound of treasured items near the ledge.

Then a grey knitted rag appeared, so filthy that the dirt just dropped in clumps. Upon closer inspection, I realized that it was an old paint sweater. Little dabs of white paint were all over the sweater. I was trying to determine whether this could possible an article of clothing that belonged to a scenic artist. If the spots were just white it could have belonged to any painter working throughout the building during its construction. Most of the spaces would have received a coat of white primer.

In the dim light, I peered at little splotches of color. This was all dry pigment, and a wide range of colors! I am familiar with the appearance of dry pigment on my paint clothes. It sets on top of the fabric and looks like little dabs of pastels (colored chalk) on the surface, not simply blobs of latex paint. This sweater belonged to a scenic artist. The likely hood that it was Moses’ was also very great based on his diary entries. The nearby artifacts would support also my theory.

Detail of dry pigment splotches on Thomas G. Moses’ paint sweater. This artifact was found on site in Fort Scott, 20 feet above the Scottish Rite stage. Photograph by Wendy Waszut-Barrett, 2015.

After my return to Minneapolis, I staged the sweater for a series of photographs to document as many details about the sweater as possible.

Thomas G. Moses’ paint sweater. This artifact was found on site in Fort Scott, 20 feet above the Scottish Rite stage. Photograph by Wendy Waszut-Barrett, 2015.

During this photo shoot I noticed a loose button on one of the pockets. When I examined the left pocket, the hairs on the back of my neck stood up and that little voice of intuition say, “Check the pockets.” I stuck my fingers in the pocket and felt something. Tears came to my eyes as I pulled out pink and white silk flower petals.

Detail of flower petals in the pocket of Thomas G. Moses’ paint sweater. This artifact was found on site in Fort Scott, 20 feet above the Scottish Rite stage. Photograph by Wendy Waszut-Barrett, 2015.

There is something about finding an article of clothing belonging to an artist that is awe-inspiring, especially when you have studied this particular artist for a few decades. It is something else entirely when you discover such a personal aspect about the artist. The petals in his pocket meant something to him, enough for him to pick them up and tuck them in his pocket.

Moses was a romantic and it is very apparent in the writing of his diaries, typed manuscript and newspaper submissions. He incorporated poetic phrases and sentimental touches to many situations.

And Moses noticed flowers, commenting on them throughout his life.

In 1925, Moses wrote:
“… we were busy watching the annual Flower Parade through the principal streets of the city…However, as it was our first view, we will have to admit that it had some very interesting features in it, as many of the floats were made of the actual live flowers, the others artificial.”

To be continued…

Tales from a Scenic Artist and Scholar. Part 237 – Altoona’s Masonic Temple, 1890

Thomas G. Moses was painting at two theaters in Altoona, Pennsylvania, during 1890. I have been looking at the possible venues where he might have been employed during that year; his typed manuscript does not specify the project.

In the big context, Altoona was home to many fraternal orders, including the Freemasons, Odd Fellows, Elks, Knights of Pythias, Improved Order of Red Men, Independent Order of Foresters, Maccabees, Fraternal Order of Eagles, Patriotic Order Sons of America, Moose, Order of Owls, Loyal Orange Institute, Ancient Order Knights of the Mystic Chain, Knights of Columbus, Improved Order of Heptasophs, Ancient Order of Hiberians, and the list goes on and on. Oh my. Some organizations were new to even me! Each group owned homes, with some were the finest buildings in the city. “In Altoona the lodge takes the place of the social club found in other cities and the spirit of fraternity, nurtured by the various organizations, is strong among the people of the city.” (Jesse C. Sell, “Twentieth Century History of Altoona, Blair County, Pennsylvania, and Representative Citizens,” 1911, page 355). Sell’s statement says a lot.

Masonic Temple in Altoona, Pennsylvania, 1890.

The Altoona Masonic Temple was erected between 1889 and 1890. It is possible that there were two theaters in the building, as was the case in Indianapolis when the “Pork House” was retrofitted to include two theaters for the Scottish Rite. In 1890, the Altoona Masonic Temple was home to many organizations and the building’s dedication included a number of impressive ceremonies throughout the latter part of the 1890.

I then thought back to the Temple Opera House in Duluth and many others built before 1890. The Indianapolis Scottish Rite had two theaters, both strictly for Masonic purposes. The Cincinnati Masonic Building also had two Masonic theaters, one large theatre for the Scottish Rite and one small theatre for the York Rite. But there was also a third theatre in Cincinnati connected to the building. It was a commercial theatre for the general public. Detroit was also later set up with a Scottish Rite stage and a commercial stage.

This was a brilliant business plan to pay the bills. It would be similar to the formula where retail stores occupied and paid rent on a main floor for fraternal spaces on the upper floors. Incorporating an entertainment venue in a Masonic building instead of retail rental was a successful option.

Before I move onto Thomas G. Moses in the year 1891, I will be taking a break as I head to Hawaii to acquire several paintings. My family and I are going to visit Moses’ great grandson. During our two-week stay, I will repost the initial two weeks of this blog as many of you are late comers and may want to see what prompted my writing.

To be continued…