An image from my article, A Forum for Progress, made the cover of DIE VIERTE WAND #012!
This is my sixth article for the magazine. It examines an 1897 Sosman & Landis stock scenery collection delivered to Forum Hall. Now known as The Forum, the venue is located in the Bronzeville neighborhood of Chicago, an area that later became known as the Black Metropolis.
DIE VIERT WAND is bi-lingual (German and English) publication with articles about theatre submitted by authors worldwide.
I have Chris Van Goethem to thank for my introduction to Stephan Gräbener, editor of the publication. In 2017, Van Goethem shared an email Gräbener, calling for articles:
The Initiative TheaterMuseum Berlin e.V. is planning its next issue of DIE VIERTE WAND.
As usual we’re going to offer articles about all aspects from the world of the theater.
Historical or contemporary, research, science, theory or practical reports.
Whatever you might think of.
The term „theater“ is synonymous for all kinds of performing arts.
My first article, Staging the Scottish Rite: Degree Productions of Freemasonry, was published in DIE VIERTE WAND #007.
I continued to submit articles for the publication over the years:
#008 – Raising Hell on a Masonic Stage
#009 – Brown’s Special System for Scottish Rite Theaters in North America
#010 – American Scenic Art: The Immigrant Contribution
#011 – Sosman & Landis, Shaping the Landscape of American Theatre
In 2019, I was delighted to meet Gräbener in person at Stage|Set|Scene in Berlin, Germany.
Stefan Gräbener at Stage|Set|Scene. Berlin, 2019.
All back issues of DIE VIERTE WAND #001-#011 are still available via the website and the Internet Archive.
It has taken me four years to explore the life and times of Thomas G. Moses from 1856 to 1924. There is one whole decade to go until his passing in 1934. Moses started his art career in 1873, so I have covered fifty-one-years’ worth of scenic art projects, significant events, and interesting personalities.
My initial plan was to have my daily posts result in three books: The Life and Times of Thomas G. Moses; the History of the Sosman & Landis Scenic Studios, and Scenic Art in America, 1880-1920. The first book was to tell the complete story of Thomas G. Moses’ career from 1873 to 1934. By the time I reached 1900, however, I realized that the story would have to be told as a trilogy, broken down into three separate time spans: 1873-1904, 1904-1923, and 1924-1934.
I then recognized that my story about Moses really had to start with the establishment of Sosman & Landis. I started writing about the firm and got quite far in my manuscript, with only last section to go. The final part of my book included brief biographies of Sosman & Landis scenic artists, stage mechanics, and other employees. I have identified over fifty individuals who passed through the Sosman & Landis doors between 1879 and 1924. As with every personal project, however, the time I set aside to work on my book evaporated as my business workload increased.
Illustration in the 1894 Sosman & Landis catalogue. From the author’s collection.
Starting tomorrow, I take a two month break from my current storyline and return to the history of Sosman and Landis. I will post a brief biography for each of the studio staff that I have identified to date.
What makes the establishment and success of Sosman & Landis so unique is its founders. Neither Sosman, nor Landis, came from a theatre lineage. They did not grow up working at an opera house or touring with a production company. They did not spend their youths as apprentices to scenic artists or decorative painters. Each man grew up in a small midwestern town, starting out in another profession before selecting a theatre career.
Sosman and Landis met in 1875 and the two immediately became friends and traveling companions. Their working partnership began as “Sosman and Landis, scenic artists.” It was not until 1879 that they settled in Chicago and officially established “Sosman & Landis Scene Painting Studio.” Thomas G. Moses was the first scenic artist who joined their firm in 1880, shortly following the addition of one salesman. From June 1881 to July 1882, Sosman & Landis delivered scenery to seventy-four theaters, opera houses and music halls in nineteen states and three territories.
An 1889 Sosman & Landis catalogue advertised that the firm had installed scenery in more than 2000 opera houses and halls nationwide. This number increased to 4,000 by 1894 and 6,000 by 1901. In 1902, Sosman & Landis not only supplied scenery to stages in the United States, Mexico and Canada, but also to other countries. At their peak, they employed a staff of sixty-five at the main studio and a staff of twelve in the annex studio. So far, I have a list of fifty-one individuals who worked on their staff. Starting tomorrow, I am going to slowly work my way through that list.
DIE VIERTE WAND #010 is now available. Many thanks to the editor Stefan Gräbener at Theatre Initiative Berlin (https://www.facebook.com/InitiativeTheaterMuseum) for all of his hard work to make this publication possible!
In addition to writing my daily blog, I have a published a few article this spring. One is “Brown’s Special System for Scottish Rite Theaters in North America” for Die Vierte Wand #009. Past articles for this journal also appear in issues #007 and #008. Die Vierte Wand is a wonderful publication by Stefan Graebner, Director of the Initiative Theatre Museum in Berlin. with articles in German and English.
I met Jo Whaley in 2014 when she contacted me about the Scottish Rite scenery collection in Santa Fe; the building was being placed on the market for sale. Jo, who understood the significance of the 1912 building and the historic theatre, had decided to document the space before it passed to another owner. The building was sold, but the Santa Fe Scottish Rite managed to get it back. That is a story in itself.
Our initial encountered and discussions morphed in a book by 2015. From 2015 to 2018 Jo and I spent countless hours on the phone, working on the design, text, images, and basic correspondence. We were fortunate to have two other contributors, State Historian Rick Hendricks and the International Folk Art Museum Director Khristaan Villela. Most importantly the Santa Fe Scottish Rite gave us full control over the books contents. We are very grateful to Wes Thorton, Deputy of the Supreme Council, and Dan Ilrich, President of the Scottish Rite Building Foundation, for trusting us to tell their story.
Wendy Waszut-Barrett and Wes Thorton at the 2019 Awards banquet
Wendy Waszut-Barrett and Dan Ilrich at the 2019 Awards ceremony.
Although it was an incredible amount of work, Jo and I became close friends, as we creatively fueled one another throughout the entire process.
The book, however, is just the beginning. It has led to other opportunities that will allow Jo and I to work together again. I am delighted about this aspect as I look forward. Part of it is that we see and approach things in a similar way. Jo worked as a scenic artist before turning to photography, so we have the same appreciation for historic scenery, as well as picturesque landscapes, and our shared history.
2019 New Mexico History Conference in Albuquerque, New Mexico.
Last night we had the pleasure of accepting the 2109 Ralph Emerson Twitchell Award from the New Mexico Historical Society. This award is given annually by the Historical Society of New Mexico for an outstanding publication or significant contribution to the creative arts, as related to New Mexico history. An email confirming our award described our book as “absolutely amazing,” and explained, “your book does a wonderful job of presenting the accumulated knowledge of New Mexico’s pioneering Masons, as well as the story behind the building’s unique architecture and its rich theatrical legacy.” The award was presented at the Awards Banquet in Albuquerque as part of the 2019 New Mexico History Conference. Jo and I were invited to attend this event that included a book signing.
The 2019 Ralph Emerson Twitchell Award (front)
The 2019 Ralph Emerson Twitchell Award (back)
The entire project has been about the journey. Working with Jo and the other participants has been such a wonderful experience, but it hasn’t end with the publication of the our book. I can’t wait to see where the road leads us now.
One of the best surprises after returning from the Santa Fe Scottish Rite Temple book release was receiving my copy of “Die Vierte Wand” from Germany! I am proud to announce that my article “Raising Hell on a Masonic Stage” is included in the #008 issue . Stefan Gräbener does a fantastic job with this publication every year! It is a wonderful compilation of articles about theatre from around the world. Here is the link to access their website and past issues: http://www.initiative-theatermuseum.de/i…/publikationen.html
“The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018)
The four contributors to “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). Left to right: Jo Whaley, Wendy Waszut-Barrett, Khristaan Vilella, and Rick Hendricks.
Wendy Waszut-Barrett at “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre”book release event
The entire reason for my journey to Santa Fe, New Mexico, has been to participate in a special event: the book release for “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” (Museum of New Mexico Press, 2018). We started the day with a technical rehearsal for that afternoon’s program. From the beginning, we wanted much more than four contributors signing books around a table. One of the things that I lobbied for was showing as many theatrical scenes as possible to those attending the event. We finalized the “scenic spectacle” portion of the program on the morning of the event with a series of six scenes that would be presented over the course of ten to fifteen minutes. Each scene included costumed participants, props, and organ music. We wanted to provide a unique experience for local residents who had never entered the Scottish Rite or witnessed the magic of historical scenery. Many of the people who showed up for the event had never been in the building before.
A packed house for both programs at the “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” book release party on June 24, 2018.
The event started with bagpipes at 4:00PM, organ music in the theater at 4:15PM, and the hour-long author presentation and scenic spectacle program from 4:30-5:30PM.
From 5:30-6:00PM was the first round of book-signing and hors d’oeuvres. The theater program began with Bert Dalton making a general housekeeping announcement and the Deputy of the Supreme Council for New Mexico, Wes Thorton, welcoming the audience.
Wes Thorton and Wendy Waszut-Barrett
Jo Whaley discussed the project and how the book came to be, this wonderful collaborative effort that came to be over the course of four years.
Wendy Waszut-Barrett and Jo Whaley
Then all of the contributors spoke about their chapters: Rick Hendricks about the arrival of Freemasonry to New Mexico; Khristaan Vilella about the Moorish-Revival style architecture; and me about the historic theatre, scenery lighting and costumes.
Khristaan Vilella speaking about the Moorish Revival Architecture of the Santa Fe Scottish Rite building
It was a family affair as both my husband and son worked backstage for the event. My husband also donned two costumes for the treasury scene and King Solomon’s apartments.
My husband, Andrew Barrett, and the Personal Representative for the Valley of Santa Fe, John Adams, appearing in the last scene of the book release program.
After the scenic spectacle, the program concluded with a piper emerging from the Solomon’s Temple Ruins scene and leading a procession into the ballroom where the book signing took place. F you didn’t know, bagpipes are a big thing at Masonic events.
My son, Aaron Barrett, waiting to cue the bagpipes backstage
The second program ran from 6:00-7:00PM with a book signing and hors d’oeuvres at 7:30PM. Over two hundred books were sold over the course of four hours. More than 100 had been sold before the actual event. Amazon stopped selling the book as their stock had run out a few days prior to the event. This first print run is only 2000.
The event could not have been more successful from a variety of standpoints. First and foremost, the Santa Fe Scottish Rite is once again very visible within the local community. Hopefully, this will lead to increased rentals and the subsequent income for the necessary maintenance of the building. Secondly, the Fraternity is collaborating with the local community. For any historic venue to survive, it must have the support of a local community; it has to be not only appreciated , but also recognized as a culturally significant landmark. To survive into the future, a Scottish Rite must become recognized as a community treasure, this will help the venue survive membership decline. With the book release, the Valley of Santa Fe may have just secured a safety net for their future. Granted, there is a lot of hard work yet to do, but they now have a book that showcases the internationally significant cultural aspects of their building.
This entire experience has been absolutely wonderful. I was fortunate to be selected as a contributor and as volume editor. Although the book is something that I am extremely proud of, the journey was worth far more than the final product. Working with Rick Hendricks, Khristaan Vilella, Jo Whaley, Dan Irick, George Watson, John Adams, and the rest of the crew will remain a highlight in my career as a scenic artist and scholar.
We woke up early on the morning of June 23, left the Santa Fe Scottish Rite Temple, and joined my folks for breakfast. Heat, a higher altitude, and the need to relax prompted us to take a leisurely journey south along the Turquoise Trail, driving to Sandia Peak’s cool climate. We were hoping to enjoy the cooler temperatures from the observation deck atop the Mountain. On the winding drive, we enjoyed the rock formations and a variety of picturesque scenes, passing some of my favorite towns that included Cerrillos (http://www.cerrillosnewmexico.com/) and Madrid (http://www.visitmadridnm.com/). Madrid is situated in a narrow canyon of the Ortiz Mountains. It supports a thriving artistic community. Once an historic mining town, it is now is the home for about forty shops, several art galleries, and a mining museum. The contrast of burnt orange rocks against bright blue skies is always stunning and rejuvenating for the spirit. It is emotional soul food.
Unfortunately, due to the extremely high risk for forest fires, many of the New Mexico state and national parks have closed; their picnic sites, trails, and facilities roped off. Sadly, Sandia Peak was no exception. Fortunately, the tram that runs from Albuquerque to the observation deck atop Sandia Peak was still running, so we ventured to the other side of the mountain. By 10AM we had hopped aboard the tram and ascended to a cooler climate.
Sandia Peak Tram
A view from the tram ascending Sandia Peak
I returned to the Scottish Rite to meet with the book-release program team for the event tomorrow. We finalized the authors’ presentation, power point projections, and stage settings that would be part of the program. It was fun working with Jo Whaley again in the Scottish Rite theatre as we set scenery and lights for the program. This was all preliminary work for the technical rehearsal tomorrow morning.
Setting lighting for one of the scenes at the Santa Fe Scottish Rite book release event on June 24, 2018
Checking the power point presentation and projection screen at the Santa Fe Scottish Rite Theatre
There is something about stepping on a historic stage that touches my soul. It could be the simple connection to the past, or the sheer beauty of the scenery and stage machinery. My mother was a history teacher and my father could build anything. In Santa Fe, the intensity of my enthusiasm for Masonic stages doubled, even more so than at the Minneapolis Scottish Rite. At one time, the Minneapolis Scottish Rite provided a safe foundation for my soul – much had to do the close friendship and support of the backstage director, Larry Wigfield.
Wendy Waszut-Barrett with Larry Wigfield at the Minneapolis Scottish Rite during 2000-2001
For me, it always feels like I am coming home when I step upon a Masonic stage; I find immediate happiness and peace, regardless of the scenery collection’s condition. I have to wonder why, as I did not grow up on stage, or in a home full of Freemasons.
Looking up on a Scottish Rite stage
There was a close family friend, an adopted Uncle Don, who was a director at Hennepin Community College, but it was never stressed that I contemplate participating in any theatrical production or considering theatre as a career. It was only in college that I encountered scenic art and stage design. I had the perfect instructor, mentor, guidance counselor, and friend – Lance Brockman. But he did not create my immediate connection to theatre, he provided access to historic techniques and an appreciation of past theatrical productions.
Instead, it was the diary of Thomas Gibbs Moses that has continued to guide my journey. I felt an immediate inclination to protect and document everything that he had accomplished; there is no reasonable explanation. I have always fought for the underdog, made friends with those who had none, and took care of old people and antiquated things. With historical scenic art and scenery collections it was different, however, as I felt “nudged” to understand the theatrical career, scenic art, life and times of Thomas G. Moses.
Today, June 24, 2018, is the culmination of many things for me. I am coming full circle with the journey that I began at the Scottish Rite in Santa Fe sixteen years ago. There is the immediate affirmation that I am still in love with the Santa Fe area and the community. For all of the trials and tribulations that I encountered in Minnesota, I have overcome what appeared to be an insurmountable obstacle two years ago. The CEO of the Minnesota Masonic Heritage Center did not stop me on June 24, 2016. The experience just made me stronger, giving me determination and focus for my future. Many women have overcome similar obstacles in similar circumstances; we are too strong to be slowed down or stopped. We shall overcome.
Promoting “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” June 22
On the morning of June 22, our family was able to enjoy some of the local scenery. We drove up the mountain and then visited the Cathedral Basilica of St. Francis of Assisi and the Santa Fe Plaza.
My father and son in Santa Fe National Forest near the Scottish Rite Temple
My mother and son enjoying the sites of Santa Fe
I needed to be back at the Scottish Rite Temple that afternoon, as I had a radio interview about the book with another contributor, Khristaan Villela. “The Santa Fe Scottish Rite Temple: Freemasonry, Architecture and Theatre” was featured on the Richard Eades radio show at Hutton Broadcasting. This was the same day that the book also made the front page of Pasatiempo (an insert for the Santa Fe Journal) and the Albuquerque Journal.
Pasatiempo, an insert for the Santa Fe Journal
The book conveys a message that goes beyond the historical significance of the building and its cultural artifacts – it is the gathering of community. Since the building was constructed, the Santa Fe Scottish Rite united people; those from different countries, religions and political affiliations. For many, the Fraternity created a sense of belonging and not exclusion. Were the early Freemasons in the area perfect? No. There were bad people who joined and horrific personalities that rose to power, but the Scottish Rite Valley managed to survive. The building has been threatened many times, but there is always a core group of amazingly good men who have saved both the building and the organization.
My first journey to Santa Fe was in 2002 when I came down to evaluate the scenery. At that time, the Scottish Rite knew that their scenery needed some help and they wanted to plan for the future. I drove down with my four-year-old daughter during the spring. We stayed with my folks in an RV in a campground east of Albuquerque as they were wintering in the area. Over the course of a week, I evaluated everything, driving the “Turquoise Trail” everyday to fully evaluate and document the scenery, props and costumes. At the end, I processed twelve rolls of film and came up with a multi-phase restoration proposal. By that summer, we were restoring eight backdrops at a time in the theatre and grand ballroom. I had a crew that ranged from 4 to 18 who were a combination of Masonic volunteers, their families, and local artists.
During the restoration, we lived in the Scottish Rite dormitories. This is a feature common to many Scottish Rites that would house much of the membership during a Scottish Rite Reunion. It was always a challenge and an adventure. The dorms were old, the building haunted, and the schedule unbearable, but it was absolute MAGIC. Wandering in the dark down to the theatre to fetch something at night; dinners in the courtyard; and walking to the city center was part of a surreal fairytale. Daily highs in the 90s with nighttime lows in the 50s – sleep was blissful without the distraction of any mosquitos or other bugs. The open windows did not require any screens.
Our first visit to Sandia Peak in 2002. We would go hiking when I had a day of during the Santa Fe Scottish Rite restoration
Hiking with our daughter in 2002 at Tsunkawi Ruins near Santa Fe
The courtyard of the Santa Fe Scottish Rite
I kept a diary every day of my adventures, every discovery and every obstacle. At the time, I was comparing this 1912 scenery collection by Sosman & Landis with a 1911 scenery collection in St. Paul, Minnesota, also by Sosman & Landis. I would leave a restoration phase in Santa Fe to work in St. Paul. It was hard on me and even harder on my family. I was fortunate to have such talented volunteers and a hired staff who helped in each state, including my husband and father. Simultaneously restoring these two collections gave me great insight into the studio practices and materials of the Sosman & Landis Studio.
Attaching netting to a cut drop during a restoration phase in 2005 at the Santa Fe Scottish Rite
I was in graduate school working on my doctorate, freelancing as a scenic artist and running a restoration company. Life was busy and complicated, yet never stopped being exciting.
The mission of Historic Stage Services LLC is to help clients make informed decisions about their historic backstage area, especially when considering the repair and restoration of damaged scenery collections. Selecting an individual, or company, to restore water-damaged areas to their original brilliance necessitates decades of experience and an in-depth knowledge of historical scenic art techniques. It is crucial that the individual hired to restore water-damaged areas really understands the original dry pigment paint media and historical paint application techniques.
This article is intended as a resource to help you understand how historical scenery was manufactured, the precautionary measures to take when handling these large-scale artworks, and the various levels of restoration offered by Historic Stage Services LLC. Why? It may be one of the most important decisions that you will make in regards to your stage, as it will directly affect the health of your performers and audience members, in addition to the overall longevity of your scenery collection.
Water damage to roll drop at the Scottish Rite in Danville, Virginia.
Water damage is often perceived as a death sentence to any historical backdrop. Colors can dust or mold can form in damaged areas. Some may suggest that dry rot has set in and the scene is beyond repair. The damaged scenes are thrown out, or left unused high above the stage floor. Restoring a water-damaged drop is never simple, but it is always an option. Almost everything is reparable, no matter how unsightly and fragile it may appear. We have the techniques to restore severely water-damaged scenes.
The process to remove or conceal the water-damaged area is time consuming and complicated. This article is not intended as a do-it-yourself guide, or any instructional manual. It will give you a working knowledge of the process. If a proposed budget and timeline seem too good to be true, it may indicate that the individual or organization is inexperienced and will take short cuts. Restoring a water-damaged area to its original appearance takes time, talent, historical materials and years of training. We will provide you with options.
Distemper Painting
Most historical scenery collections were painted with a combination of dry pigment (powdered color) and size water (diluted animal hide glue). This process is also referred to as distemper painting. The powdered color was transformed into a paste and then mixed with size on the scenic artists’ palette before applying the mixture to a backdrop. It is a complicated process that demanded years of training.
The type of paint used by scenic artists to create stage settings included only three ingredients: color, water and binder. When a roof leaks or a pipe bursts above the stage, any backdrop below is in immediate peril – especially if it was created with distemper paint. If smoke doors accidentally open up above a stage during a rainstorm, historical backdrops can be destroyed in an instant. When water touches a painting produced with dry pigment and size, the colors are immediately reconstituted into a soft state. The painted surface can return to its liquid form rather quickly. We specialize in the use of dry pigment and size water. All of our repairs and restoration techniques use historical materials and paint mediums, don’t settle for anything less.
The Dye Line
There are only two ways to conceal the heavy concentration of color that is characteristic of a dye line resulting from water damage – removal or sealing. One method is to remove the line of consolidated pigment; this necessitates scraping it off of the fabric as depicted in the photograph below.
Scraping off the dye ring
Sealing the dye ring
Another way to conceal a dye line is to apply a sealant on top of the concentrated pigment. This approach attempts to ensure that the color will not continue to permeate the top surface of any new painting. In other words the dye line will continue to reappear in the top layer of paint, even after dozens of coats, unless it is sealed or removed. Historic Stage Services LLC specializes in both methods after evaluating the condition of the fabric and severity of the dye ring.
Cleaning
Regardless of the water damage, the entire painted composition needs to be cleaned prior to any repair or restoration. If the dye line was scraped off, the surface must be cleaned a second time, as any loose paint particles will contaminate the surrounding areas. First, a low-suction dust extractor is used on both the painted surface and backside to remove most of the contaminants. This process necessitates using a HEPA filter in your dust extractor to prevent any potential toxins from becoming airborne. Particle masks must be worn during this entire process – not only by those working on the drop, but also by everyone in the room.
Removing loose surface contaminants with a low-suction dust extractor
It is imperative to understand that over time, a variety of pollutants have settled on the surface of both front and back of a painted drop. These contaminants range from mortar dust and flash powder to bat guano and pigeon excrement. The typical color of the dirt layer can range from a mid-tone grey to a soot black. This layer of filth darkens the light areas and lightens the dark areas, thus reducing the overall contrast of values in the composition. In addition to removing the loose surface contaminants, there is often a layer of deeply embedded dirt and grime that needs to be extracted prior to any repair. Simple dust extraction with a vacuum will not remove this embedded layer of filth.
It requires the use of additional cleaning methods, such as dry chemical sponges and archival putty. The appropriate product cannot be determined until after close inspection of the damage and evaluation of the painted surface. No color should ever come off of the drop while cleaning it, especially with a sponge. If color does come off, it indicates that the binder has failed and is indicative of a much larger problem.
Removing deeply-embedded contaminants with archival putty
Consolidating the Painted Surface
When the binder of distemper paint fails, the color begins to fall off of the fabric. Backdrops with this problem must have the loose particles consolidated to prevent further deterioration. In other words, the dusting colors need to be stabilized so that they will not flake off of the fabric. To stop the dusting of dry colors, an application of the original binder, or diluted hide glue called “size,” must be sprayed onto the painted surface.
Spraying the painted surface with a diluted hide glue solution to consolidate the loose dry pigment
If left untreated, the backdrop’s color and composition will lose all depth and vibrancy. The composition then takes on the appearance of stained fabric. In this situation, only the color absorbed into the fabric during initial paint application remains visible. All of the color on the surface falls to the stage floor or becomes airborne. Some colors are hazardous when they become airborne.
The inhalation or ingestion of dry pigment may carry toxins, posing a potential health threat to all who inhale it. The overall hazard is dependent on the specific color and its chemical properties. Some colors are primarily inert and pose no imminent health threat, while others may contain harmful ingredients such as lead, arsenic or cadmium. Only a scientific analysis of each color can verify the pigment’s origin and define its toxicity. All dusting pigments should be considered dangerous until proven otherwise.
Examples of Our Work
Below are before and after pictures of a severely damaged backdrop owned by the Church of St. Patrick in Shieldsville, Minnesota. Wendy Waszut-Barrett, president of Historic Stage Services LLC and former founder of Bella Scena LLC, completed the work during February 2018.
Before restoration by Historic Stage Services LLC
After restoration by Historic Stage Services LLC
Here is another example of restoring a scene and concealing water damage for the York Rite of Freemasonry in Duluth, Minnesota.
Damaged scene being prepared for restoration at Historic Stage Services Studio
Restored scene for Duluth York Rite degree production with new painted scrim insert in center of the drop
Restored scene placed in lodge room at Duluth Masonic Center, 2014.
