On September 1, 1915, Thomas G. Moses wrote, “I went to
Pittsburg to set up ‘Fall of Antwerp.’
We were behind with our work and I had to allow them for two
performances. I settled for $1,300.00.”
Advertisement for “The Fall of Antwerp” stage spectacle in the “Bridgeport Times” (Bridgeport, CT) 31 March 1915, page 9.
I have never understood the public’s fascination with horrific events. It is even difficult for me to read about natural or man-made disasters, because I feel as if my entire being absorbs the sorrow, and I feel utterly helpless. This post was especially difficult write, as we know the duration of WWI, and how long it took for the United States to help. America stood on the sidelines, watching in fascination. We even created a scenic spectacle about the Antwerp’s destruction. Only a few years prior to Antwerp’s fall, my grandfather left to city to sail to America, hoping to start a new life. The city streets that he walked would soon fall victim to heavy shellfire. He had left Europe trying to escape what many saw coming.
Antwerp after the attack.Antwerp after the attack.
By Oct. 11, 1914, American newspapers reported, “Press
Bureau issued the following at 12:10 p.m. yesterday: – The War Office announces
that Antwerp was evacuated by the Belgian forces yesterday.” The London
“Observer” stated, “Antwerp has fallen. The Belgian Army has succeeded in
slipping out, and the town is now practically undefended. Great damage has been
done to the city by shellfire and incendiary bombs. Many public buildings are
badly injured, among them, is said, is the Cathedral. There is much rejoicing
in Germany. German official news, received by wireless, states that many German
vessels, including a number of large liners and some Rhine streamers, were
blown up before the Belgians evacuated Antwerp. This followed the Dutch
Governments refusal to allow the refugees to escape in them by Scheldt waters.
We publish several stories told by refugees from Antwerp, including one by a
lady doctor who had charge of a hospital there. On the battle line in France
the Allies are holding their own, and north of the Oise they have gained
considerable advantages” ” (11 October, 1914, page 7).
This historic event soon became a stage spectacle that
toured American theatres. Unlike the WWII newsreels, this was more like the
Johnstown Flood attraction at amusement parks across the country. Baltimore’s
Garden Theatre advertisements announced “The Fall of Antwerp” as a new
vaudeville spectacle. The production promised, “An unusually good vaudeville
bill with a scenic production depicting ‘The Fall of Antwerp’ as the top liner
and many other excellent numbers” (23 March 1915, page 4). Within six months of
Antwerp’s devastation, Americans were watching a “realistic electrical reproduction
of ‘The Fall of Antwerp’ (The Times-Tribune, Scranton, Pennsylvania, 20 April
1915, page 15). The vaudeville spectacle was advertised as “the greatest
electrical scenic war spectacle of modern history” (Tribune, Scranton,
Pennsylvania, 19 April 1915, page 14). The “Times-Tribune” described, “Raymond
O’Malley and George M. Cohan, scored unusually big at the opening day
performances. The act is staged in splendid style and is one of the season’s
best. ‘The Fall of Antwerp’ is a marvelously well presented novelty. The scene
represents the Belgian city by day. When night comes, the attack of the Germans
is shown. Houses are fired and the town is soon reduced to smoldering piles of
debris.”
Painting depicting the attack on Antwerp in 1914.
“The Bridgeport Times and Evening farmer” reported, “Realism
in stagecraft attains its perfection in the mammoth production of the Fall of
Antwerp which is featured in the big bill at Poli’s the first half of this
week. Not a motion picture, but a most realistic spectacle requiring a carload
of scenic and electrical effects, the Fall of Antwerp, is an absolute novelty
in stagedom. The beautiful city is pictured in trueness of detail as it stood
before the siege. Beautiful electrical effects show twilight fade into dusk as
the moon and stars appear. There comes a roar of a distant cannon. A whirr of
Zeppelins forewarns the aerial attack. The sky becomes afire and airships drop
bombs and the aerial batteries answer the attack from above. A bomb hits the
oil tanks and they blow up with a thunderous report, scattering fires to all
parts of the neighborhood. The climax is reached as fire sweeps the city,
razing the buildings left intact throughout the fusillade of shells. An
interesting lecture by Miss Margaret May Lester, who recently returned from the
stricken city, accompanies the spectacle and adds much to its interest. In
addition, there is a big bill of vaudeville and photoplay features.”
From the “Wilkes-Barre Times Leader,” 28 April 1915, page 9.
While reading about this particular spectacle, I could not
help thinking about other spectacles that depicted tragic events, such as the
Flood of Jamestown and the Eruption of Mount Vesuvius. Both of these disasters
had been popular attractions at Coney Island, as well as featuring the scenic
art and illusion. For the Eruption of Mount Vesuvius, the audience was
transported across the sea to the shores of the doomed town, as they waited at
dawn for the destruction that would soon rain down on the sleepy town and into
the sea. The Fall of Antwerp combined both water and fire effects for the war
spectacle, using tried and true illusions. The scenic art and stage machinery
was a fine-tuned product manufactured at the Sosman & Landis studio by this
time.
Al Ringling text panel at the Circus Museum in Baraboo, Wisconsin.The Al Ringling Theatre in Baraboo, Wisconsin.
In 1915, Moses wrote, “The new
theatre we did at Baraboo for Al Ringling was a good contract at
$2,600.00. I went up to open and found a
beautiful theatre, very unique in design, fifty years ahead of the town.” Al
Ringling hired the architectural firm of Rapp and Rapp to design a theater
based on the Orpheum Theatre built in Champaign, Illinois in 1914. The “Janesville
Daily Gazette” announced, “Theatrical men, scenic painters, canvas makers and
many prominent citizens from Chicago and other towns, all of whom were bound
for Baraboo to do honor to a man who had the courage to build in that city one
of the finest, if not the finest, playhouse in America, Mr. Al Ringling. (20
Nov. 1915, page 20). There were 844 seats, with seventeen boxes, each
containing six seats. The stage was 33’-6” deep, 60’ wide and 46’ high. The
massive fire curtain of asbestos measured 24’ high by 40’ wide, weighing 750
pounds.
The Al Ringling Theatre in Baraboo, Wisconsin.
The Ringling Theatre opened its
doors in November 17, 1915.
D. W. Watt wrote a lovely
article about the theater’s opening. Published in the “Janesville Daily Gazette”
on Nov. 20, 1915, Watts described meeting with Ringing and attending the event (page
6). It is a long, but touching, article that describes the man and his project
from the perspective of a friend. Here is the article in its entirety:
“Side Lights on the Circus
Business.
On Wednesday of this week, I
took the 11:35 train over the Northern road for Baraboo, Wis., where I had been
invited to be the guest of Mr. and Mrs. Al Ringling at the opening of their
beautiful new theatre. On entering the train at Janesville, I was soon greeted
by many old friends, among them Mr. and Mrs. Chas. Ringling and their son,
Robert, who make their home at Evanston, Illinois; Alf T. Ringling and son,
Richard, of New York City, and many other prominent circus people, who for many
years have been with the Ringling and Barnum shows. Theatrical men, scenic
painters, canvas makers and many prominent citizens from Chicago and other
towns, all of whom were bound for Baraboo to do honor to a man who had the
courage to build in that city one of the finest, if not the finest playhouse in
America, Mr. Al Ringling.
“At Madison, many prominent
people joined the party, among who were the son-in-law and daughter of Mr. and
Mrs. Charles Ringling, and by the time the train reached Baraboo, it was
crowded like an excursion train bound for the big Ringling circus. On our
arrival in Baraboo, Henry Ringling was there with a big touring car to meet his
brother, Charles, and family, and the crowd soon left the depot in differing
directions, everybody in a hurry, and seeming to know just where they wanted to
go.
“Many of the old employees
visited the winter quarters, and others the homes of old friends. As soon as I
had brushed off a little of the dust I was on my way to the home of Mr. and
Mrs. Al Ringling. As it was information that I was looking after, I made up my
mind there was only one place to go, and that was headquarters. In a few
minutes I was at the palatial home, which is only a short distance around the
corner from the theatre.
“The massive home with its many
entrances, it was difficult for me, as they would say in the circus, “to pick
out the main entrance,” but I finally pushed the button and a male servant
appeared at the door, and asked me for my card, but I politely told him that I
only had one deck in my pocket and I did not care to break that, but I was an
old friend of Mr. Ringling and was there to make an informal call.
He ushered me into a large room
which Mr. Ringling has used much of the time through his sickness, as kind of a
business office, and I found him busy dictating telegrams and letters to his
secretary, and I was soon seated in a big easy leather chair, and Al said to
his secretary, “Young man, there will be nothing more doing for a time, for I
have many questions to ask Mr. Watt, and we will make a visit here while you
run up town and attend to some other business.
I so told Mr. Ringling the
business part of my visit was to find out as much of the particulars as
possible about the beautiful new playhouse and how he came to build so fine and
beautiful a theater in a city the size of Baraboo.
The ground on which the theater
is built and which has been owned by Mr. Ringling for some time is eighty-eight
feet frontage on the corner, almost directly opposite the old stone court
house, and 132 feet deep, but after Mr. Ringling had his plans for the building
all completed, and just the size that he wanted it, he found that he was short
four feet of ground in the rear of the building, which he would have to have in
order to get just the size auditorium and stage that he had figured on. This
land fortunately belonged to the city, and he was not long in getting a deed of
the extra four feet. In a few days the work was commenced, which was early in
the spring.
It was about four o’clock in the
afternoon on Wednesday, when everything was completed and up in shape, ready to
be occupied in the evening. The building is as near fireproof as it is possible
to build one, the entire front being two shades of granite and white marble,
and the entire building re-enforced steel and cement. There are two lobbies at
the main entrance of the theatre, a beautiful marble trimmed office being the
first lobby and the second entrance there are six swinging doors and on
entering the second lobby, there is a beautiful fountain, and opposite on the
right was what they called an Italian rest bench. From this you enter the main floor,
which contains 844 seats raised from the stage so that every seat gives a good
view of the stage, as does the front row. There are seventeen boxes, which
contain six seats each.
“Beautiful dark red velvet
carpets cover the cement floors on the inside, as they also do down the main
aisles. The curtains and draperies in the boxes are in keeping with the carpets
and of the same color. The huge marble columns on the inside, with their brass
trimming, presented a most beautiful sight. As the tickets were all sold in
advance, the lights were kept well turned down until the entire audience was
seated, and it was almost time for the curtain to go up when the lighting plant
in the second was turned on, and the cheers that went up from the people at
their first sight of the playhouse was deafening and lasted for some minutes.
“In the private boxes were many
prominent people from different parts of the state, Gov. Phillip and a party of
friends being in one box; Mr. and Mrs. Charles Ringling and family in another,
and Mr. and Mrs. Henry Ringling and friends, and Al Ringling and his wife with
some friends in another. As a large party of the audience came in full dress,
it was certainly a wonderful sight to behold.
The Al Ringling Theatre with front curtain painted by Sosman & Landis.
“After Mr. Ringling had given me
as many particulars as possible about the building, I asked him what I should
say about the cost, or the approximate cost of the entire investment, and he
simply smiled and shook his head and said: ‘Nothing doing. That Dave,’ said he,
‘has never entered into the game. My object from the start to finish was to
give the people as fine a playhouse for the size of it as there was anywhere,
and the architects and finishers and many theatrical men have said that I
accomplished my undertaking. And is so, then I am satisfied, for I have had so
much pleasure in all the years that I have been in business, and although at
times it seemed hard, it was a pleasure for me to make the money, and now is I
have done something with a part of it that will bring pleasure to my friends
and neighbors, I have accomplished something.’
“And if the warm welcome that Al
Ringling and his esteemed wife received in their private box at the close of
the show goes for anything, their friends are legion.
“Mr. and Mrs. Harry North and
friends occupied a box next to Mr. and Mrs. Al Ringling. Mrs. North is the only
sister of the Ringling brothers.
“Sosman & Landis company of
Chicago did the scenic painting in the new theatre; Gustave Brand of New York
and Chicago were the decorators; The Ornamental Plaster & Carving Company
did the plaster work; the Wiley Bros. of Chicago were the general contractors;
Charles Kleckner, of Baraboo, the general painting; the Mandel Bros. of Chicago
furnished the draperies, carets and seat coverings; Victor S. Pearlman Company
installed the lighting fixtures of which there are 2,500.
The stage is 33 ½ x 60 feet wide
and 46 feet high, and the beautiful marquetry awning reaches out to the edge of
the sidewalk, and all is metal and glass and underneath is a mass of electric
lights. A massive fire curtain of asbestos, which is 24 x 40 feet and weights
750 pounds, serves as a protection between the stage and the main floor.
The fire curtain by Sosman & Landis.
“An organ, which cost $5,000 was
furnished by a local music house of Baraboo, and is said to be one of the
finest of its kind in the country.
“The dressing rooms, of which there are many, are furnished with the latest of everything; in fact, nothing has been overlooked to make it the most complete theater of its size in all appointments, that there is in the country.
“The ushers were all in uniform and all seemed to work as though they had been at it for years.
“Long before the arrival of Mr. and Mrs. Al Ringling, their box was simply a bower of roses and beautiful flowers of all descriptions, among which was apiece over four feet high given them by the Commercial Club of Baraboo.
“And after the fall of the curtain on the first act, Governor Phillip was called upon for a speech, in which he said in part that he was there with other friends and neighbors to do honor to a man who had honored Baraboo and its people for so many years. He paid the Ringling brothers a glowing tribute for the way in which they had always conducted their business and said without any question, they had done more to build up the models of the circus people than any who had ever been in business. He congratulated the people of Baraboo and the surrounding country on their being so fortunate as to have a man in their community who would build such a beautiful playhouse, where they could go for years to come, and always be proud to point it out to their friends as the theatre beautiful, which will always be known as the Al Ringling Theatre.
“And for myself with the many
old friends surrounding me, I almost fancied that I backed up thirty years of
more and was again in the business, for I thought that I could smell the
sawdust and menagerie, but the dream pipe soon went out, and I had to bid my
old friends adieu and take the train back home. But Wednesday, November 17th
put another bright day in my life, all through the kindness of an old friend
whom I met in the circus business more than thirty years ago – Al Ringling.”
To be continued…
The Al Ringling Theatre at night in Baraboo, Wisconsin.
Al Ringling’s portrait at the Circus World Museum in Baraboo, Wisconsin.
In 1915, Thomas G. Moses wrote, “The new theatre we did at
Baraboo for Al Ringling was a good contract at $2,600.00. I went up to open and found a beautiful
theatre, very unique in design, fifty years ahead of the town. Poor Al Ringling died soon after this.”
Moses designed and supervised
the painting of six grand circus spectacles for Al Ringling. These were events for the big top and
attached to the opening parade of the circus, spectacles solely accompanied by
movement and music. Al Ringling both liked and trusted Moses, so it was Sosman
& Landis who would deliver the scenery to Al’s new theatre in 1915.
Before his theatre opened in
1915, Ringling was involved in a car accident. On October 18, 1915, the
“Muscatine Journal” reported, “Well Known Circus Figure Meets With Mishap.
Lafayette, Ind., Oct. 18 – Al Ringling, one of the owners of Ringling Brothers’
circus, was confined to his bed at a hotel here today, suffering from injuries
resulting from an automobile accident.
“Ringling and a party of friends
were en route to Baraboo, Wis., to attend the Purdue-Wisconsin football game
when the crankshaft of the machine broke a few miles north of this city. The
car plunged into a ditch. Throwing Ringling out of the machine. He was injured
about the head” (page 7).
He never really recovered from
his injuries and also suffered from Bright’s disease. In modern medical terms,
this kidney disease would be described as acute, or chronic nephritis,
characterized by swelling and the presence of albumin in the urine, and often
accompanied by high blood pressure and heart disease. Regardless of his
physical suffering, Ringling continued to direct the completion of his new
theatre during the fall of 1915 until it’s opening. After the opening of his
theatre, Ringling’s health began to fail in earnest. On Jan. 1, 1916, Ringling
passed away. The following day, newspapers announced, “Al Ringling is
Dead.” The “New York Times” reported:
“Famous Show Man, Oldest of
Circus Family, Succumbs at Home. Baraboo, Wis. Jan. 1. – Al Ringling, sixty-six
years old, died here to-day of Bright’s disease. He had been ill about a year.
Mr. Ringling was the oldest of the Ringling brothers, circus owners, who have
their winter head quarters here. Mr. Ringling is survived by his widow.
“It was Al Ringling’s success in
the show business that influenced his four brothers to join hi in the circus
venture. Although he had given up the active management of the shows some time
before he died, his was always the guiding spirit. More than any of his
brothers he was beloved of his associates and friends the world over.
“Mr. Ringling entered the show
business in 1874 with Yankee Robinson, whom he soon afterward left, to start
out on his own hook. By 1884, he was conducting a show wagon around the
country. That was the beginning of the Ringling Brothers’ shows, for the five
brothers were soon aligned. The shows
increased so rapidly that the Ringling brothers gradually absorbed the Jack
Robinson circus, the Forepaugh-Sells show and finally the Barnum & Bailey
outfit in 1907.
“Mr. Ringling did much in his
lifetime for Baraboo, where he lived and which he never forgot. It is estimated
that he made more than a million dollars in the circus business. He is survived
by a widow, his brothers and a sister” (2 Jan. 1916, page 13).
On January 4, 1916, “the Portage
Daily” reported, “Funeral of Famous Showman Tuesday. Services for Al Ringling
Held at Lutheran Church. The Rev. Mueller Officiated. All Baraboo Does Honor to
their Respected Citizen.
“The funeral of Al Ringling was
held at Baraboo Tuesday afternoon. The remains laid in state at the palatial
home of Mr. Ringling, which marks the site of the first residence of his
parents in the early 70s, after his death.
“The funeral services were
conducted by Rev. H. Mueller at St. John’s Evangelical Lutheran Church of which
the Ringling Bros. contributed $5,000 toward the erection of the edifice.
Pastor Mueller was assisted in the service by Rev. H. Gold of Madison.
“Al Ringling was the leading
citizen of Baraboo and its greatest benefactor. He had recently established the
Al Ringling theater, which cost $125,000. Its dedication on Nov. 17 was a
notable event in the history of Baraboo. Mr. Ringling had provided for the
permanence of this theater, contemplating that an opera house so pretentious
might not be self-sustaining in a city of this size.
“Death prevented the fulfillment
of a plan which Mr. Ringling had, to build a fine hotel here.
“The Ringling Circus enterprise
will be continued by the remaining four of the original seven brothers. First
to die was August G. Ringling. He was not connected with the circus. In 1911
Otto, operating boss, called “the king” of the circus, died. Remaining are Chas.
R., Evanston, Ill. Henry, who has residences in Baraboo and Florida; John, who
resides in Ringling, Mont., and Alf who passes his time chiefly in new York and
Chicago. A sister, Mrs. Ida Ringling North, resides in Baraboo.
“Al Ringling some months ago
began the construction of a great mausoleum in the cemetery at Baraboo, which
still is in course of construction. Until this is finished, the body will be
placed in a vault.
Albert Ringling was the son of
Mr. and Mrs. August Ringling, Chicago, of Hugenot ancestry, pious folks that
were opposed to the desire of their boys to go into the circus business, but,
like wise parents, entered no serious objections, the father advising the boys
when they were tired tramping around to come back and sew tugs in his harness
shop. [Thomas G. Moses’ father left a life on the sea to establish a tannery
and harness shop in Sterling, Wisconsin].
“The Ringling family moved to
Baraboo in the early 70’s. In 1882 Ringling Brothers’ Circus made its first
real start when the first performance was held in the jail yard in Baraboo. The
seats fell down and almost broke the show. Previously the brothers, and
especially Albert, were always trying tricks and would amuse the children with
juggling and the like circus spirit seemed insistent in Al, whose passing now
removes the veteran of the sawdust ring, his fame being even greater than that
of Barnum or Forpaugh [sic.]”
On January 23, 1916, the “Sioux
City Journal” reported, “Latest to hear the final summons of the ‘equestrian
director’ – the ‘call boy’ of the circus – was Al. Ringling, oldest brother of
the famous family which put Baraboo, Wisconsin, on the map. His death occurred
the first day of the new year. Otto and Gus Ringling died some time ago. Four
brothers survive and they are the so-called ‘circus kings’ of today – Alfred T.
John, Charlie and Henry, the latter coming into the firm at the death of Otto”
(Page 27).
There are those moments that the
term “passing of an era” is very visible.
The loss of Ringling was such a great one. What would life had been like if he had lived
another ten or twenty years? The same can be said of Joseph S. Sosman and Perry
Landis. Creative men, living before their time, whose vision change and entire
industry.
Of the Al Ringling Theatre, it
also wept for Al’s passing, as the the theatre soon flooded. On Feb. 8, 1916,
the “Wisconsin State Journal” reported, “Some one unfortunately left a window
open in the Al Ringling theater which caused a pipe to freeze and burst thereby
flooding the balcony to some extent. The carpets and mattings were soaked. They
were removed and there was no interference with the pay announced for the
evening” (Madison, page 4).
In 1915, Thomas G. Moses wrote, “June 1st, Mama
and I started for our first California trip that had no business attached to
it, but I found a little when I reached Pasadena, a little misfit at Root’s
Strand Theatre. Fixed it up and settled
in full. This trip I have written up in
detail elsewhere.
When we reached Salt Lake on our return trip, I received a
wire from Sosman requesting me to return at once, as he was going away for a
trip in his car. He returned July 24th
in bad shape and died August 7th.
On the 10th, a stockholders meeting was called and I was
elected president of the Sosman and Landis Company. Arthur Sosman was elected vice-president and
P. Lester Landis, secretary and treasurer. It is very strange to me that I had
never given this change of the business a thought. I had never thought of Sosman dying.”
Joseph S. Sosman
On August 8, 1915, the “Chicago Tribune” reported “JOSEPH S.
SOSMAN dies yesterday at his residence in Lake Bluff. Mr. Sosman was 70 years
old and had been a resident of Chicago forty-five years. He was president of
Sosman & Landis, scenic studios. He is survived by his widow and two sons,
Arthur and Fred. He was a member of the Illinois Athletic club and a high Mason.”(page
13).
On August 28, 1915 “Oak Leaves” announced, “President of
‘Scenery’ Company Thomas G. Moses has become president of the firm of Sosman
& Landis of Chicago, for many years one of the leading houses in the
country engaged in the making and painting of scenery and the making of
‘properties’ for theatrical productions. Mr. Landis died several years ago and Mr.
Sosman died early this month. Mr. Moses has been identified with the firm for
thirty-five years, and is recognized as one of the leading artists in this line
in the country. The business has grown from the employment of a single artist,
when Mr. Moses first took up the work, until it now requires thirty-five
artists and fifteen stage mechanics. Mr. Moses first became a stockholder and
vice president of the company ten years ago and; now succeeds to the active
control. Mr. Moses is a well known citizen of Oak Park and his made his home at
233 South Euclid for twenty-two years” (page 25).
1915 announcement that lists Thomas G. Moses as the new company president.
Later that year, Moses wrote, “I hope our first year with
the business will pan out pretty good, and I feel it will take at least three
years to pull it out and make it stand up by itself. Having no capital is an awful handicap and I
don’t see how the business was run on for so many years without more surplus,
for we always had plenty of work and have a good reputation for good work.”
Well, I think that the lack of capitol had to do with their Scottish Rite
scenery contracts. For years,
the Sosman & Landis Studio financed various Scottish Rite Valleys for terms
of six years or more after collections were delivered in full. Only a third of
the entire bill was due upon completion, the rest of the payments were spread
out over months, if not years. Unfortunately when the last third was due, many
Valleys were always late on the final payments, making both artists and studios
beg for what was contractually theirs. In some cases, the Valleys decided just
not to pay their bills to the men who labored for their building and theater.
It really goes against everything that the Fraternity teaches, and I have yet
to find that this was an anomaly.
At the end of 1915, Moses added, “This year ended with a lot
of unfinished work on the books and I am very much afraid that my picture
painting is going to receive a good bump, now that I have more responsibilities
to assume. I hope within a year that Lester
will get into the office work so I will not have much of that to do.” Perry
Landis’ son Perry “Lester” Landis and Moses would continue to work on projects
together until Moses’ passing in 1934, but he would never have the same knack
for the job. The younger Landis did not exhibit the same skills or theatrical connections
as his father. In addition, times were changing and to meet new demands, scenic
studios had to follow trends. Moses
firmly stuck to the painting end of the business, desperately hoping to ride
the same wave that the firm had been on since 1880.
Sosman & Landis company brochure picturing the two founders.Sosman & Landis company brochure picturing the two founders.
For the past few years, I have been writing a book about
Sosman & Landis, the firm’s influence on American theater and visual
spectacle is substantial. This includes research and writing that I do in
addition to my daily posts, although some has been shared at www.drypigment.net.
Of all the scenic studios that appeared in the fifty-year
period between the 1870 and 1920, Sosman & Landis shaped the landscape of
American theatre, yet they do not appear in any theatre history books. They
created the foundation and trained several generations of scenic artists who
opened later opened studios across the country or dominated the world of fine
art.
Sosman & Landis’ work dominates early issues of Julius
Cahn’s Official Theatrical Guide. So many theatres list the firm as delivering
their stock scenery collections. Between 1880 and 1894, the Firm delivered
scenery to 4000 theaters. That number is significant when considering that Sosman
& Landis scenery was the first theatrical scenery ever encountered by many
Midwestern and western citizens in small rural communities. Larger audiences in metropolitan areas also
were familiar with the scenic studio, as their name appeared in print across
the country with both touring shows, new theaters, opera houses, musical
academies, social halls, amusement parks and grand circus spectacles.
In 1915, Thomas G. Moses wrote, “We received the Strand of
Indianapolis at $2,700.00, and we got a very good set, fine for lighting.”
Earlier that year, Moses had worked at the Strand Theatre in Pasadena, writing,
“June 1st, Mama and I started for our
first California trip that had no business attached to it, but I found a little
when I reached Pasadena, a little misfit at Root’s Strand Theatre. Fixed it up and settled in full.”
There were many Strand Theaters in 1916, all across the
country: Appleton, Wisconsin; Altoona, New Castle and Harrisburg, Pennsylvania;
Pasadena, San Diego, Long Beach, and Stockton, California; Seattle, Washington;
Portland, Oregon; Sioux City, South Dakota; Des Moines, Cedar Rapids, Davenport
and Iowa City, Iowa; Chicago, Dixon, Decatur, De Kalb and Rock Island, Illinois;
Arkansas City and Salina Kansas; Laredo, Texas; Tampa and Miami, Florida; Montgomery
and Dothan, Alabama; Durham, North Carolina; Orangeburg, South Carolina; New
York City, and many, many more.
Of the Indianapolis Strand, Sosman & Moses placed an opening
night advertisement on Jan. 15, 1916, in the “Indianapolis Star.” Their advertisement
announced, “Sosman & Landis designed, built and painted the elaborate
picture setting for the new STRAND THEATRE” (Indianapolis Star, Jan 15, 1916,
page 9).
An advertisement published along with the Indianapolis Strand Theatre opening announcement, from the “Indianapolis Star,” Jan 15, 1916, page 9.From the “Indianapolis Star”, Jan 15, 1916, page 9.
On December 9, 1915, the “Indianapolis Star” listed the
company under its “Incorporations” section – Strand Theater Company,
Indianapolis. Capital, $25,000. To conduct theaters and motion picture shows.
Directors, R. D. McCord, G. G. Russell, E.E. Brinkmeyer” (page 16). By Jan. 17,
1916, the “Indianapolis Star” listed the theater again in the “Articles of
Incorporation” section – “The Strand Theatre Company, Indianapolis, has
increased its capital stock by an issue of $50,000 preferred stock and an
increase of $125,000 common stock, making the total capital $300,000.
Strand Theatre Co. advertisements promised the following:
“Endorsed by Discriminating Audiences. The theater is judged by the CLASS of patrons it ATTRACTS and HOLDS. Drop in at the Strand ANY time. Note the KIND of people who attend. Intelligent men of affairs – refined, appreciative women. Their verdict COUNTS. They know that the Strand way means high-grade, exclusive photo-plays- artistic presentation – unvarying delightful programs, including stellar vocal and instrumental artists and the Strands famous 20-Orchestra-20. Continued Success of Advance Exclusive Presentation in Indianapolis.”
In January 1916, Moses wrote, “On the 8th, went to Indianapolis to light the Strand picture set.” That was a week before opening. When the theatre opened on January 15 at 8:15 PM, and “Indianapolis Star” announcement promised:
“The most luxurious, the most beautiful and the most
comfortable theater of all. These are roomy seats for 1,800 people – all with
unobstructed view of the stage. The same high-class films – the same big
musical program – the same all-star vocal soloists – the same beautiful
surroundings, stage setting and lighting effects – the same twenty-piece
Symphony Orchestra that draws immense crowds to the New York and Chicago Strand
Theaters – are offered to Indianapolis playgoers and music lovers”
(Indianapolis Star, Jan. 15, 1916, page 9).
The opening night program included: Overture by The Strand
Symphony Orchestra of twenty pieces; Travelogue – “Seeing Panama;” Solo by the
Golden Voiced Soprano Viva Ethelia;
Strand Topics of the Day – World-Wide Events; Instrumental Solo by Albert E. Short; and a “Paramount” Feature Photoplay starring Marguerite Clark in “Mice and Men.” The feature was five reels in length.
Interestingly, there was more than one Strand Theatre in
Indianapolis during 1916. The one that Sosman & Landis delivered a picture
setting to was located at Washington Street and Capitol Avenue. This was the
new Strand Theatre Co. Early in 1916 Strand Theatre Co. ads note, “We are not
interested or connected with any other Strand Theatre in Indianapolis”
(Indianapolis Star, 21 Feb 1916, page 10).
Note the section that states they are not connected to other Strand Theaters in Indianapolis. From the “Indianapolis Star,” 5 Feb 1916, page 16.From the “Indianapolis Star,” 5 March 1916, page 6.From the “Indianapolis Star,” 10 Feb 1916, page 6.From the “Indianapolis Star,” 21 Feb 1916, page 10.
Previously known as the Park Theatre, the Strand Theatre
Company took over ownership of the venue in 1915, contracting with Sosman &
Landis to deliver their picture setting for films. The Park Theatre was
previously known for vaudeville shows and included a dime museum. Under the
supervision of the E. C. Deveine, the theatre was remodeled and the stage
outfitted with new equipment, reopening as the Strand Theatre Company. The Strand Theatre advertised continuous
shows daily, with matinee prices costing ten, fifteen and twenty-five cents.
Evening shows were ten, fifteen, twenty-five and thirty-five cents
(Indianapolis Star, 6 Feb 1916, page 13). Unfortunately the Strand Theatre Co. name
change only lasted ten months, when it was reverted again to the Park Theatre.
Two theaters with the same name must have been a mess. Think of someone saying, “We’ll meet you
after dinner at the Strand Theatre!” and showing up at the wrong one. The Park
Theatre name was again changed to the Capitol Theatre in 1923. The Capitol
theatre only lasted a little over a decade and closed in 1935.
The Park Theatre building in Indianapolis, pictured in 1902. In 1916, it opened as the Strand Theatre Co.The Park Theatre building in Indianapolis, pictured in 1902. In 1916, it opened as the Strand Theatre Co.The Capitol Theatre building was previously known as the Park Strand Theatre and the Strand Theatre Co.
The original Strand Theatre interior in Pasadena, California. This is how it looked when Thomas G. Moses worked there on his California vacation in 1915.
In 1915, Thomas G. Moses wrote, “June 1st, Mama and I
started for our first California trip that had no business attached to it, but
I found a little when I reached Pasadena, a little misfit at Root’s Strand
Theatre. Fixed it up and settled in
full. This trip I have written up in
detail elsewhere.” Moses recorded all of these trips in his travelogues, their
whereabouts remain unknown.
The “little misfit” was at J. M. Root’s Strand Theatre,
located at 340 E. Colorado Boulevard in Pasadena, Strand’s was across the
street from the newly built Maryland Hotel. Root managed a circuit of large
vaudeville theaters in Iowa and was a member of the Western Vaudeville Managers’
association in Chicago. He was also a major stockholder in two film agencies. Root’s
900-seat movie house was built by Frank Dale for $100,000 and opened on
November 25, 1914. Sosman & Landis delivered the scenery for the theater. After
the grand opening, the “Los Angeles Times” reported, “Most auspicious was the
opening Wednesday night of the beautiful Strand Theater on East Colorado
street, near Euclid avenue. The management gave to the public, which was there
in a multitude, ‘The Nightingale,’ by Ethel Barrymore, one of the greatest of
modern actresses. A feature of the programme was the music by the Strand
Symphony Orchestra. The theater itself is a thing of beauty, finished in the
handsomest of marble and onyx. A fireproof structure, it is built of brick,
concrete and steel. It has a seating capacity of 900” (page 17). The
cinema’s picture booth was also noted as the largest in California, equipped
with four separate machines, including a Martin rotary converter that changed
alternating current into direct current without the use of mercury tubes. The Strand
Theater’s boasted a large woman’s retiring room near the inside entrance. It’s lobby,
ornamented with Mexican onyx and solid mahogany. Other décor included large
Corinthian columns inside lobby and friezes of musical cupids on wall panels.
The 1918 Pasadena City Directory listed the Strand Theatre
as “Where You See It First and See it Best,” For All the Family, Best Pictures,
Best Music, 340 E. Colorado near Euclid av Phone Fair Oaks 833” (page 423).
Of Moses’ trip, the Oakpark, Illinois, newsletter mentioned
his trip. On Saturday, July 24, 1915, the “Oak Leaves” reported, “T. G. Moses
Sketching in West Mr. and Mrs. Thomas G. Moses of 233 South Euclid, who are on
a seven weeks’ tour of the west, are enjoying the rare scenery of mountains and
valleys. Meanwhile Mr. Moses is making sketches of the Grand canyon, Yosemite
valley, Mt. Hood, Ranier, Pike’s Peak and scenes in New Mexico, for painting
which he contemplates placing on exhibition at Grable’s Art and Gift shop, 112
North Oak Park avenue, upon his return in the early fall” (page 28).
At the end of 1915, Moses commented, “This year’s trip will
always be remembered by Mama and I as one of our finest vacations. I didn’t do quite as much in the way of
painting as I should have, but I made a number of pencil sketches and color
notes, and I can rely on my very vivid imagination for general scheme of
color.”
I am always wanting more time to paint when away, capturing
the moment with my brush instead of a camera. There is always the plan to paint
the scenes once I home, but life and work point me in a different direction,
redirecting my focus.
In 1915, Thomas G. Moses wrote, “May 15th, I went
to Pittsburg with my big models for the Shrine and closed for $8,575.00. A good one.”
Moses’ designs were for Syria Shrine Mosque, a 3,700-seat
auditorium. 1913, the Syria Improvement Association mailed a prospectus
outlining plans for a new building. A
parcel of land known as the old Schenley Farm land was identified as the site
for a new building that year. Two years later, ground was broken for the new
temple on April 20, 1915. It was around this time that Moses secured the
contract for $8,575.00 worth of scenery; today’s equivalent of $218,173.47.
On June 19, 1916, the laying of the corner stone for the Syria
Shrine building was preceded by “a parade of 3,000 nobles, headed by a half
dozen bands” (Indianapolis Star, 20 June 1915, page 6). Newspapers reported
that the parading nobles were clothed in full dress suits, wearing their
traditional red fez as headgear. The Shrine patrol was dressed in their oriental
costumes for the parade. The largest flag in the United States at the time was
also carried in the parade.
April 20, 1915, groundbreaking ceremony, Syria Shrine Pittsburgh.
In 1916, Moses wrote, “The Syria Temple of Pittsburg is still jogging along. If they don’t get it under roof pretty soon, we will have the scenery finished long before they are ready for it.” Later that year he added, “Stopped at Pittsburg on my way home and inspected the Syria Temple work. It looks very good to me and everyone seems to be well please with it.”
On October 27, 1916, the “Record-Argus” reported, “Syria Mosque Dedicated by Shriners. New Million Dollar Temple at Pittsburgh a Shrine of Oriental Magnificence” (Greenville, Pennsylvania, page 1). The article described, “Syria Temple, the new $1,000,000 mosque of the Ancient Arabic Order of Nobles of the Mystic Shrine of Pittsburgh, was formally dedicated Thursday afternoon. Solemn ceremonies, including the ritual of the Shriners, attended the dedication, which was completed before a large crowd. Prominent men of the order from every section of this country, Canada and one from Hawaii took part in the festivities, which were held behind closed doors…Following the dedicatory exercises a banquet, attended by 5,000 Shriners was served in the dining hall of the temple. The dinner was informal and speeches were tabooed. Nearly 700 prospective Shriners were also dined and occupied positions as guests with out-of town visitors.
The Syria Shrine Mosque in Pittsburgh.
Thursday night the largest class of candidates was initiated.
The number ran close to 700 and is probably the largest to be accepted at one
time in the history of the Shrine. Instructions were given candidates in
Memorial Hall in the afternoon and at 7 o’clock they were formally accepted.
Initiation took place in the auditorium, the officers in the
charge wearing new costumes. During both ceremonies the elaborate lighting
system was demonstrated. Rays from two search light machines, made soft, played
in the stage throughout.”
The dedication ceremonies occurred over the course of a week in October,
with an estimated 40,000 guests attending various activities.
The Syria Shriner’s website notes, “A movement began in the
late 1980’s to replace the aging structure with a new facility that offered
greater amenities to suit the needs of its members and its special events
business. The Syria Mosque went up for sale in June of 1989. The building was
demolished August 27, 1991. In October 1994, the Syria Shrine Center opened its
new, 40,000 square foot, $10 million facility set on 37 acres in Harmar
Township, Cheswick, PA. Great effort was spent to retain some of the classic
features of the former Mosque, such as the twin sphinxes which guarded the entrance
and the immense chandeliers which hung in the auditorium.” Here is the link to
the Syrian Shrine history for more details: https://www.syriashriners.org/history/
There is a little more to the story. On March 1, 1992, “The
Morning Call,” noted, “The Syrian Mosque was a Pittsburgh landmark. Alas, it
recently came under the wrecker’s ball. Prior to its demolition, it was home to
a prestigious Pittsburgh antiques show, the Pittsburgh Symphony, and a theater
group. It was one of seven temples in Pennsylvania” (Allentown, Pennsylvania,
page 102). Now fast-forward twenty years.
In 2012, the “Pittsburgh Post-Gazette” published, “Two
decades later, razing of Syria Shrine Mosque still a sore topic” (Sept. 23,
2012.) The article detailed, “Despite one of the fiercest preservation battles
in the city’s history that culminated with Mr. Ferlo, then a Pittsburgh city
councilman, and three fellow supporters being arrested the morning bulldozers
rode in on Aug. 27, 1991, the Mosque and its acoustically perfect hall couldn’t
be saved. Now in its place is a surface parking lot for UPMC and
University of Pittsburgh employees. The building’s owner, the Shriners,
had it demolished so that it could sell the 2 acres of land under it to UPMC,
then known as Presbyterian University Health System, for $10 million. ‘At
the time it was probably one of the highest prices ever paid for real estate in
the city at $5 million an acre for land,’ said Greg Hand, who was vice
president in charge of development and construction in 1991 for National
Development Corp. and was the main architect behind the deal that brought UPMC
together with the Shriners. Though the hospital system tried to
conceal its role as buyer for months in 1991 — until it was forcibly revealed
during a court hearing — its purchase of the site, and what it has done with
it since, is for many observers a prime example of how UPMC pays inflated
prices for taxable land and takes it off the tax rolls… The site was
converted into a ‘temporary’ parking lot, and UPMC converted it from taxable to
tax-exempt. In 1991, the last year the building was in use, the Shriners paid $66,535
in property taxes to the city, county and school district.” Here is the link for the full: https://www.post-gazette.com/local/city/2012/09/23/Two-decades-later-razing-of-Syria-Mosque-still-a-sore-topic/stories/201209230185
In 2016 the former Syria
Mosque property made headlines again when the “Pittsburgh Post-Gazette”
announced, “A committee of University of Pittsburgh trustees today
approved acquisition of the former Syria Mosque property in the heart of the
school’s Oakland campus from UPMC for $10 million. The vote by the Property and
Facilities Committee involves 2.1 acres of undeveloped land just north of Fifth
Avenue between Bigelow Boulevard and Lytton Avenue. Decades ago, the property
was ground zero for one of the roughest land preservation fights in city
history. The site already is zoned Educational/Medical/Institutional (EMI),
which facilitates university usage of the property, Pitt said in a statement
released minutes after the mid-afternoon vote. ‘The University continually
monitors the local real-estate market for strategic opportunities to acquire
buildings or land that are in close proximity to any of its University campuses
and suitable to support and advance the University’s mission,’ said Art
Ramicone, senior vice chancellor, chief financial officer, and interim senior
executive vice chancellor for business and operations. ‘Opportunities such as
this, to acquire property of this nature in Oakland, are extremely scarce.’ A
committee of University of Pittsburgh trustees today approved acquisition of
the former Syria Mosque property in the heart of the school’s Oakland campus
from UPMC for $10 million.”
How unfortunate. I wonder what ever happened to the scenery.
In 1915, Thomas G. Moses wrote, “A small ‘Pinafore’ set told
us that we were not through with this old popular opera.”
One of many “Pinafore” productions that played in 1915.
There were numerous Pinafore revivals that year, ranging
from small town college productions to a large revival at New York’s 48th
Street Theatre. In Texas, there was even a production at Lake Austin where the
“Austin American Statesman” reported, “The ship ‘Pinafore’ will be anchored out
in Lake Austin and will be near enough to the shore and in such position that
the dialogues and songs can be easily heard by everyone along the bank” (5
Sept. 1915, page 8). Well, water does carry sound.
Looking at the numerous possibilities for a production with
Sosman & Landis scenery, one announced in the “Lancaster New Era” intrigued
me (Lancaster, Pennsylvania, 30 March 1915, page 7). The Crane-Burckly Co.
staged a revival of “Pinafore” during the early spring of 1915. Of the show,
the newspaper reported, “Young and old music lovers of Lancaster paid their
respects to Gilbert and Sullivan on Monday night at the Fulton Opera House,
when the Crane-Burckly Comedy Company offered their splendid revival of “H. M.
S. Pinafore” as their bill for this week. The music of this charming play is
the kind that seems to live forever. One can sit and remember seeing and
hearing the famous play some years ago, but the charm and beauty of the score
seems to be fresh and newly charming each time one hears t sung. The piece was
produced by the Crane-Burckly Company in its entirety. Not a line nor bar was
excluded, and all who would known Gilbert ad Sullivan can well imagine what a
perfect production of this famous play Messrs. Crane and Burckly have offered
patrons. Like true artists these people are, they gave a thoroughly perfect
rendition of both the dialogue and the music. Raymond Crane, who sang the role
of Captain Corcoran, showed himself in a new light. Mr. Crane disclosed himself
as an actor of ability, and his performance of the commander of the H. M. S.
Pinafore was by far the most artistic, the most finished piece of acting that
has been seen for some time. Arthur Burckly shared the honors with his partner
for first merits of the play. Mr. Burckly’s performances was the artistic
triumph of his career in Lancaster.” Meanwhile, another “H. M. S. Pinafore” production
played at the York’s 48th Street Theatre in New York, running from
April 19, 1915 to June 19, 1915.
There is simply no way of knowing which revival Moses was
referring to without locating the firm’s name in a program. However, during my
search, I did come across something else that was just fun.
On March 18, 1915, an entertaining tale from the “London
Opinion” was published in newspapers across the United States that mentioned
the show:
“Knows Something of the Sea.
Naval recruiting Office (to actor who has applied to join
the naval reserves – And what experience have you had?
Actor- Quite considerable, I was two years a midshipman in
H. M S. Pinafore, a lieutenant in half a dozen plays and an admiral in the
Chinese Honeymoon” (page 7).
In 1915, Thomas G. Moses wrote, “Some of our early work for the season was a black and white window decoration, rather effective. A small church job for Sterling, my hometown. Another job for Youngtown, Ohio, followed by one for Akron, Ohio. A short trip to Detroit to see Fred Ingersoll. Closed a picture set for $1,500.00. He had a fine theatre.” In Detroit, Ingersoll managed the Knickerbocker Theatre.
Advertisement for Detroit’s Knickerbocker Theatre. From the “Detroit Free Press,” 5 Sept 1915, page 49.
A picture setting incorporated elaborate painted settings for a projection screen, complete with a painted surround, tormentors, wings and borders.
An example of a picture setting, such as the one mentioned by Thomas G. Moses in 1915. That year Sosman & Landis delivered a picture set to Fred Ingersoll.An example of a picture setting, such as the one mentioned by Thomas G. Moses in 1915. That year Sosman & Landis delivered a picture set to Fred Ingersoll.An example of a picture setting, such as the one mentioned by Thomas G. Moses in 1915. That year Sosman & Landis delivered a picture set to Fred Ingersoll.An example of a picture setting, such as the one mentioned by Thomas G. Moses in 1915. That year Sosman & Landis delivered a picture set to Fred Ingersoll.
Frederick Ingersoll (1876 –
1927) is the focus of today’s post. Ingersoll is remembered as an American
inventor, designer, builder and entrepreneur. He created the world’s first
chain of amusement parks. These are the same Luna Parks that featured many
painted attractions by Sosman & Landis artists. The chain of Luna parks is
not to be confused with Frederick C. Thompson’s Luna Park on Coney Island. Moses
mentioned Fred Ingersoll, of Ingersoll Construction Company, as the studio
delivered painted scenery for attractions at the Luna Parks in Pittsburgh (see
past post #554) and Cleveland (see past post #493); these were the first two parks
in his chain. During Ingersoll’s lifetime, he owned and operated 44 amusement
parks.
Frederick Ingersoll (1876-1927)
One of five brothers, Ingersoll
was born in New Jersey. Starting out as
a designer, Ingersoll Construction Company initially focused on the “figure
eight” coaster, scenic railways and Shoot-the-Chutes.
On October 24, 1927, the “Des
Moines Register” credited Frederick Ingersoll as “the father of the American
roller coaster, responsible for more ups and downs in American merrymaking than
any other man” (page 1). The exciting journey of Ingersoll’s exciting life came
to a tragic end in 1927. Newspapers
across the country reported that Ingersoll was found dead in a concession stand
at Krug Park, Omaha. Articles reported
that the doors and windows were tightly closed and an open gas jet filled the
room with its fumes. The county coroner convinced that death was self
inflicted, held no inquest and Ingersoll’s suicidal act was attributed to ill
health.
In Des Moines, an article
announcing his passing noted, “Ingersoll is well remembered here as the
amusement park magnate who installed the roller coaster and other amusement
devices at Ingersoll park, the vanished center of gayety once operated at
Forty-eighth street and Ingersoll avenue. At that time he was regarded as the
foremost amusement park magnate in the country, with important financial
interests in parks in Pittsburgh, Cleveland and Philadelphia, as well as Des
Moines. At one time he operated five Luna parks in five eastern cities. Besides
his interest in the Omaha amusement park, Ingersoll was associated with similar
enterprises in Lincoln, Neb. and Detroit. At the time of his death, he has
lived for the last eight years in Omaha. Among amusement men, Omer Kenyon of
the Garrick Theater said last night; Ingersoll was regarded as the foremost
amusement park promoter in the country. To Ingersoll is given credit for the
discovery, long before the airplane became a more practical imitation of a
bird’s flight, that American’s like the thrill of bird-like soars and dips and
glidings. His inspiration led to the rapid blossoming of gaunt white roller
coaster structures on the outskirts of most American cities of any size. Later
he extended his idea to other thrillers, such as whirling chairs,
crack-the-whip rides, and swift revolving swings, on which zestful men and
women spent three or four exhilarated minutes for 10 to 15 cents.”
There are many articles about
this early-twentieth-century amusement king. For more information, here are two
links that present the life of this interesting Sosman & Landis client:
In 1915, Thomas G. Moses wrote,
“April 17th a crowd of us went to Fox Lake and took down the old
house and moved it to our new site south of the track on a very high hill,
overlooking Pistakee Bay. Got the
carpenter and lumberyard men together and we arranged for credit and ordered
the material for a new house 22 x 50, was soon ready for members. We certainly got great sport in assisting the
carpenter. Pretty hard work for an
artist, but they all did very well.”
The Palette & Chisel Club camp on Fox Lake, pictured in the “Chicago Tribune,” 5 June 1921, page 79.
Fox Lake was the summer home for Palette & Chisel Club
members, drawing a variety of artists during the hot months. An artistic community was formed along the
shores of Fox Lake, providing a haven far away from the hustle and bustle of
work in Chicago. There were many Sosman & Landis employees who also became
members of the Palette & Chisel Club, escaping to Fox Lake whenever they
could.
An illustration of the same Palette and Chisel Club house on Fox Lake. This clipping was pasted in the scrapbook of Thomas G. Moses.
In 1906 Moses joined the Palette and Chisel Club at the
Chicago Society of Artists. Of his
membership, he wrote, “I don’t know why, as I had so little time to give to
pictures, but I live in hopes of doing something some day, that is what I have
lived on for years, Hope, and how little we realize from our dreams of
hope. As the years roll by, I think
one’s whole life is one continuous dream, unless we are wonderfully gifted and
fame drops on us while we sleep.” The year that Moses joined the group, the
Palette and Chisel Club consisted of sixty local painters, illustrators, and
sculptors. The Chicago Tribune commented that the group was “primarily a
working club, being the oldest organization in the west” (Chicago Tribune, 6
Jan. 1906, page 2).
Founded in 1895, the Palette & Chisel Club was an
association of artists and craftsmen for the purpose of both work and study. Members
were reported to be “all wage-workers” who were “busy during the week with
pencil, brush or chisel” (“Inland Printer,” 1896). On Sunday mornings they
gathered, spending five hours to paint just for themselves.
By 1905 the members of the Palette and Chisel Club
established a seasonal camp at Fox Lake, Illinois. At first it was quite rustic
with a communal tent. Of the camping experience at Fox Lake Moses wrote, “June
1st, I made my first trip to the Palette and Chisel Club camp at Fox
Lake, Ill. Helped to put up the
tent. A new experience for me, but I
enjoyed it. I slept well on a cot. Made a few sketches. A very interesting place. I don’t like the cooking in the tent and
there should be a floor in the tent. I
saw a great many improvements that could be made in the outfit and I started
something very soon.”
In 1908, Moses wrote, “I bought the portable house that we
built years ago and at that time we received $300.00 for it. I finally got it for $50.00, some
bargain. It cost $25.00 to remove it and
we will put it up at Fox Lake in the Spring.
It has been used in Forest Park all summer to show ‘The Day in the
Alps.’ Moses was 52 years old that year. The next summer Moses added, “As we
had put up the portable house in Fox Lake, I was better contented to go
up. I gave the camp a portable kitchen
and it was some class. I felt sure I
would manage to get a camp outfit worth while and the boys all fell in line
with me.”
Painting of Fox Lake by Thomas G. Moses, 1909.Back of painting by Thomas G. Moses.
It was this portable house that Moses mentioned moving
during the summer of 1915.
In his scrapbook, Moses pasted a small clipping about the
Palette & Chisel Clubhouse – “Coals To Newcastle.” Here it is:
“One of our neophytes recently called at the S & L
scenic studios on business which had to be taken up with a gentleman of such
genial and artistic manner as to make him obviously desirable for a club
member. So the neophyte, fired with the traditional ardor of the new broom,
strongly urged the S & L man to put in an application for membership.
‘I, a member of the Palette and Chisel Club!’ was the
rejoinder of the astonished prospect, ‘why I own the club.’
His name turned out to be Tom Moses.”
The article is likely published in the Palette & Chisel
newsletter and the use of “S & L man” says a lot. Over the years, there were many Sosman &
Landis men who joined the Palette and Chisel Club. I even discovered a map to
Fox Lake on the back of a 1909 drop delivered to Winona, Minnesota. S & L
men were friends both in an out of the shop, always sharing their love of art
and nature.
A map depicting Fox Lake drawn on the back of a scene delivered to Winona, Minnesota, in 1909.
