Month: July 2021

Copyright © 2021 by Wendy Rae Waszut-Barrett

I spent yesterday afternoon in Aspen, Colorado, at the Wheeler Opera House. This was a trip instigated by Ziska Childs; a project that took advantage my visit to the Tabor Opera House in Leadville this month. I was fortunate to share my on-site discoveries with Jenny Knott, Michael Powers, Greg Marsters, and Tammy Taber. After an in-depth examination of the Wheeler drop curtain, we suspended it from a downstage line and admired the scenic art from the house.  Shortly after the unveiling, my preliminary findings were presented to the Board of Directors. I am currently in the process of developing an historical analysis, condition report and replacement appraisal for the piece.

The current drop curtain for the Wheeler Opera House was delivered by Tiffin Scenic Studios, Inc. in 1983. It is the same subject matter as the drop curtain first delivered to the Wheeler Opera House when it opened in 1889. The original drop curtain for the Wheeler Opera House was painted by Henry E. Burcky, a scenic artist for the Tabor Opera House in Leadville and Tabor Grand Opera House in Denver. Prior to relocating west, Burcky was also a scenic artist at Hooley’s Theatre in Chicago and also painted for the Cincinnati Opera Festival in 1881. I have written about him quite a bit in the past. On March 26, 1889, the Aspen Times interviewed Manager Weill of the Wheeler Opera House who described the new drop curtain as “a representation of the Brooklyn Bridge painted by Burke [of the Chicago Opera House] from sketches obtained in this city and is one of the best pieces of work of the kind I have ever seen.”

That same year that Burcky worked for the Wheeler Opera House, he also painted a drop curtain for DeRemer’s Opera House in Pueblo, Colorado.

Burcky first came onto my radar while researching a set of painted cut wings at Tabor Opera House in Leadville, Colorado, c. 1890. From 1884-1890 Burcky painted scenes for Tabor’s opera houses in both Leadville and Denver. During this time, Burcky and master mechanic J. C. Alexander renovated numerous Colorado stages for the Silver Circuit, their projects included those in Aspen, Leadville, and Pueblo. 

The extant drop curtain at the Wheeler Opera House by Tiffin Studios is either a painted replica of the original drop curtain, or one inspired by Burcky’s work.  I am currently on a quest to track down the history for this particular piece.

To be continued…

Copyright © 2021 by Wendy Rae Waszut-Barrett, PhD

There is still an astounding amount of historic scenery tucked away at the Tabor Opera House in Leadville, Colorado. When the building was renovated in 1902, the stage was enlarged, and all of the original wings and shutters (c. 1879-1900) were placed above the auditorium. This space is now considered the 3 ½ floor, seventy-steps above street level. Last September, I led a crew of volunteers to remove the scenery from the attic space to the stage floor. Here is a link to a previous post: https://drypigment.net2020/09/23/travels-of-a-scenic-artist-and-scholar-day-2-at-the-tabor-opera-house-september-22-2020/

The 3 ½ floor, now referred to as the attic, once consisted of several hotel rooms. Over the decades, the walls dividing each room were removed and the enlarged space became home to abandoned artifacts. Stage artifacts included wings, shutters, and painted profiles.  

I returned to the attic yesterday, fully prepared with my N95 mask and work gloves.  My focus was on the scenery above the rafters. There are several shutters and wings trapped in a web of ceiling joists and electrical wires. I needed to ascertain what was left to plan their removal and cataloguing.

Here are a few pictures of what I discovered yesterday; the many hidden treasures, with much concealed under a layer of soot.

To be continued…

Copyright © 2021 by Wendy Rae Waszut-Barrett, PhD

The Fox West Theatre came onto my radar in February 2020. While cataloguing the scenery at the Tabor Opera House in Leadville, Colorado, I was contacted by Gregory Friesen, owner of CSNA Architects. He is involved with the Fox West Renovation in Trinidad, Colorado.  Friesen drove up to Leadville and took me out to dinner at one night after work. He shared the scope of this massive renovation project.

The Fox West Theatre opened in 1908 with a full stock of scenery delivered by the Kansas City Scenic Co. This certainly piqued my interest. Although much of the historic scenery at the Fox West remains rolled up and tucked away on a paint bridge, there is a beautifully olio drop still hanging. It is a lovely example of early twentieth century scenic art.

The Kansas City Scenic Co. was the same firm that delivered scenery to the Tabor Opera House in 1902, subcontracting a portion of their work to Sosman & Landis. Over the past year, I have traced the history of the Kansas City Scenic Co. and assembled a database with various installations delivered by the firm between 1887 and 1912.

While planning my trip to Leadville this month, I decided to stop in Trinidad instead of Denver. Spending a night at 6,000+ feet really helps adjusting to the much higher altitude in Leadville. In Trinidad, I was accompanied by my rigging consultant Michael Powers and Greg Marsters of https://www.customplaster.net/ . We toured the Fox West Theater yesterday, exploring all of the nooks and crannies in this stunning building. It is an absolute delight to participate in ongoing discussions about the stage, scenery and decor. This is such a special place, and the team guiding the renovation has certainly done their research. The history page is extremely well written and the team’s passion for the venue is extremely contagious.

Here are a few photographs from our adventure yesterday.  For more information about the history of the venue and the upcoming 2021 telethon on September 26, visit https://www.foxwesttheatre.com/

Copyright © 2021 by Wendy Waszut-Barrett

Leroy R. Close worked at Sosman & Landis from 1895 to 1901. Prior to working for the firm, Close ran L. R. Close & Co. in Kansas City, Missouri (c. 1883-1889). He worked as a scenic artist in Kansas from approximately 1883 until 1894. In 1894 the Kansas City Directory listed that Close relocated to Chicago. In Chicago, Close worked for the Sosman & Landis Scene Painting Studio as a scenic artist and traveling salesman. Here are a few articles that I have located to date, linking Close with Sosman & Landis.

On Feb. 8, 1895, the “Muscatine News-Tribune” reported,

“L. R. Close, agent for Sosman & Landis, the noted scenic artists of Chicago, was in the city yesterday and spent the time in taking measurements of the stage of the New Grand, which his firm has contracted to furnish with a complete stage equipment. He took orders for over forty pieces of new scenery, which include parlor arches, parlor settings, chamber, rustic and plain kitchen, horizon, woodland garden, bridge and prison scenes, set pieces and houses of all descriptions, new draperies, etc.  New borders and electric lighting for the stage are also to be put in, making the cost of the stage equipment alone worth not less than $1,600. The work of tearing out the old stage will be commenced next week and the erection of the new stage will be under the direct supervision of Architect Zeidler, and the new scenery is expected to be here within three weeks. Mr. Munroe, who is to be the manager of the New Grand, says the Muscatine theatre-goers will be more delighted with the superb scenery when they see it, as well as with the whole new stage and the general transformation which the house is soon to undergo. All that is promised, and more, too, will be realized, so that the new theatre will be one in which our people will take unfeigned pride” (page 1). This same article was published again on Feb 13, 1895 (page 15).

The next mention of Close’s work for the firm was on Nov. 8, 1896, in the “Chicago Chronicle.”  In the article entitled, “WORKS A NEAT TRICK But is Caught at it,” an interestingly story is told of thievery:

“George R. Clark will appear before Justice Underwood next Thursday to answer a charge of larceny. Two weeks ago, a canvas containing a telescope valued at $1,000 was stolen from L. R. Close, traveling salesman in the employ of Sosman & Landis, scenic artists. The day the telescope was stolen a young man walked into the Revere house with the telescope under his arm and registered under the name George R. Clark. He remained there for several days and then jumped his board bill and left the telescope in his room. Sosman & Landis immediately after the telescope was stolen advertised for it, offering a reward for information which would lead to its recovery. The same day that Clark left for Revere house a telephone message was received by Sosman & Landis saying that the telescope could be found there. Mr. Landis recovered the stolen article and later Clark received the reward. Thursday Clark was arrested and Mr. Landis identified him” (page 9). For context, Chicago’s Revere House was located on N. Clark Street, a short distance from the previous Sosman & Landis studio location (c. 1879-1886).

On Feb. 25, 1900, Sosman & Landis placed a want ad in the “Chicago Tribune” –

“Wanted – one good second-hand boiler, 60×16; one engine, 12×18 or 20; a 100 b.-p. good condition. All must be in good condition. Call or address L. R. Close, 236-238 Clinton-st., Chicago.” 236-238 S. Clinton Street was the main studio address for the firm (page 24).

. FYI- The Chicago street numbering later changed from 236-238 Clinton Street to 417-419 S. Clinton Street.”

One of the last mentions of Close’s work for the firm was just a few months before his passing when he was working in Wilmington, North Carolina. On Feb. 10, 1901, the “Wilmington Morning Star” reported, “Mr. L. R. Close, of the scene painting studio of Messrs. Sosman & Landis, 236 and 238 South Clinton Street, Chicago, arrived in this city yesterday to paint the scenery and other stage accessories for Mr. Pembroke Jones’ extensive pavilion which is being built by contractor Shepard at ‘Airlee,’ Mr. Jones’ handsome county seat on Wrightsville. Mr. Close is an artist of reputation and his contribution to the series of private theatricals which Mr. Jones will have at his place will be valuable” (page 1).

Close passed away only three months later on May 8, 1901.  On May 10, the “Chicago Tribune” published his obituary:

“CLOSE- May 8, 1901. Le Roy Close. Aged 55 years. Funeral Sunday at 11:30 a.m. under the auspices of Dearborn Lodge No 310 AF&AM, from his late residence 879 Jackson-blvd. Interment at Westfield, Pa. At 11:30 a.m., under the auspices of Dearborn Lodge No. 310 A.F.&A.M., from his late residence 879 Jackson-blvd. Interment at Westfield, Pa.” (page 5). Close was buried at Mount Pleasant Cemetery in Westfield, Pennsylvania (Tioga County).

At the time of his passing, Close’s occupation was listed as “traveling salesman.”

Close’s life moving to Chicago is complicated, messy and bit difficult to decipher. Tracking down the records of his birth, early life, marriage/s and a various theatrical occupations posed quite a challenge.  Keep in mind that over the years his first name also varies from Le Roy, Leroy R., Lee R. and L. R.  His last name was Close, but his parents and a few siblings have historical records with the alternative spelling of Cloos and Clore.

However, here is what I have managed to piece together about Leroy Close’s life…

Leroy R. Close was the son of David Jacob Close (1809-1863) and Maria Sweet Close (1816-1891), born in Westfield, Pennsylvania, on February 10, 1846. The 1850 census listed Leroy as one seven children living on the Close farm near Westfield. The seven children were Ambrose (15 yrs., 1835-1916), Noah P. (13 yrs., 1838-1881), Marietta/Marie “May” E. (11 yrs., 1839-1910) Amelia (9 yrs., 1841-1892) Albert “Byron” (7 yrs., 1843- 1891), Leroy (5 yrs., 1846-1901) and Mathilda (2 yrs., 1848-1929). Not listed at in the 1850 Census were Albert (the eldest child who died in infancy, 1833-1834), the twins Bernard and Burnette E. (b. 1851), Maria (b. 1855) and Cora (b. 1857). There were two Alberts; the one who was born in 1833 (died in infancy), and Albert “Byron” (b. 1843) who was three years older than Leroy. Early on, Albert Byron is listed as Byron, and later as A. B. Close; same guy though.

In 1860, the Close family was still farming in Westfield, with the children in the household listed as Marietta (20 yrs., a teacher), Amelia (18 yrs.), Albert “Byron” (16 yrs., farms), Leroy (14 yrs.), Matilda (12 yrs.), Bernard (9 yrs.), Burnett (9 yrs.), Maria (5 yrs.), Cora (2 yrs.).

Albert Byron and Leroy left home by the 1860s when they came of age, unlike their sisters. Albert Byron enlisted in the Union Army and mustered out on August 22, 1862. He was part of the 136^th Division, Pennsylvania Infantry. Achieving the rank of First Lieutenant, he later served in the 207^th Division.  I have yet to verify whether Leroy served in the military during the Civil War. In the post-war years, however, both Albert Byron and Leroy moved west. I tracked the two living in Oswego Kansas during the early 1870s. This is when Albert Byron became listed as A. B. Close.

In 1870, A. B. was working in Oswego, Kansas as Notary Public, dealer in Real Estate and Insurance agent. He was now listed in a variety of advertisements and newspaper articles, well-known as the brother of Leroy Close. With an office on Merchant Street in Oswego, advertisements in the “Kansas Democrat” listed A. B. Close as representing the Home Insurance Company of New York, the Kansas Insurance Company of Leavenworth, and Equitable Life. Initially, his main office was in Oswego, Kansas (8 Sept 1870, page 1).  

A. B. and Leroy also tried their hand at other business ventures, including the sale of school supplies throughout the region.  On May 2, 1873, the “Kansas Democrat” announced, “Mr. L. R. Close brings cheering reports of his late business trip to Howard and Cowley counties!” (page 5). Later that fall, the “Kansas Democrat” announced, “Mr. Leroy Close, at A. B. Close’s old stand in agent for all the most popular school books, also the celebrated programme clock. He has all the necessary apparatuses for furnishing schools complete. Teachers will do well to pay Mr. Close a visit” (Sept 19, 1873, page 4). On April 3, 1874, the “Kansas Democrat” announced, “Leroy Close, Esq. is in the city for a few days” (page 5). This may have been the changing point when Leroy shifts professions, becoming a painter/scenic artist. This timing also coincides with his brother’s move to Topeka, Kansas.

In 1874, A. B. moved from Oswego to Topeka, and then Independence, Kansas, becoming a land agent for the Atchison, Topeka & Santa Fe Railroad. His return visits to Oswego, however, still made news in local papers. A. B. Close even briefly returned to live in Oswego, but soon relocated to Elmira, New York. This was a big move, and he continued to work with the emigration of individuals westward. By 1876, A. B. Close was consistently listed in the Elmira City Directory as an agent for the next few years. By the 1880s, A. B.’s work permanently relocated him to San Antonio, Texas, where he would remain for the rest of his lived. In 1887, he was listed as an emigrant and locating agent, now for the Southern Pacific Railway System, his office at 327 Austin. A. B. Close passed away in 1891 and is buried in the San Antonio National Cemetery.

Leroy Close also left Oswego during the 1870s, first moving west to Peru, Kansas, and then heading north to Kansas City, Missouri. Newspaper articles indicate that Close’s career as a theatre professional commenced in 1880. By 1883, Leroy Close was listed as a painter in the Kansas City Directory, working at 525-527 Main Street and boarding at 952 Wyandotte. He was listed as only one of two scenic artists listed in the Kansas City Business Directory at that time. The other scenic artist was W. O. Thomas & Co., also working at the same studio address on Main. Work was plentiful, and on August, 24, 1883, Close published a want ad in the “Kansas City Star”:

“WANTED – Boy to work in Studio and learn to paint scenery, apply at 527 Main St., third floor. L. R. Close & Co.” (page 3). In 1884, Close and Thomas were again listed in the Kansas City Directory, still working at 527 Main.

On 21 March 1884, “The Chatauqua Journal” of Sedan, Kansas reported, “Leroy R. Close, Esq., ‘scenic artist’ of Kansas City was in Howard again on Tuesday. He has probably got the contract to furnish the ‘drop curtain’ and stage scenery for McKay & Eby’s opera house. We hope he will get the contract as we believe he will do good work and give satisfaction. Leroy is an old Kansas boy, having been one of the pioneers in Oswego and later Peru, Howard county.- Courant” (page 3).

He secured the contract for the opera house on May 16, 1884, the newspaper reported, “L. R. Close & Co., scenic artists of No. 527 Main Street, Kansas City, Mr. Close has been in Howard for a week superintending the work of putting up scenery and we are informed by Mr. Eby that everything is being done as well, if not really better than is called for by the contract. Mr. Close is engaged extensively in this line of business and he takes great pride in doing his work well and giving satisfaction to his customers.”

By 1885, Close enlarged his studio staff again. That year, the Kansas City Directory listed Ben Dunn as working for L. R. Close & Co. Shortly after starting with Close, Dunn partnered with fellow artists Oldham and Tschudi, to open their own scenic studio.

On Oct. 21, 1886, the “Garden City Daily Herald,” reported, “L. R. Close, a scenic artist from Kansas City, Mo., the gentleman who put the scenery in the Stevens opera house in this city and the originator of the Western Sport, a theatrical paper at Kansas City, called on the HERALD to-day. He is well please with Garden City and says that we are now in shape to secure the best attractions on the road.”

In 1886 Close moved his studio location to another multi-story building, now on Broadway in Kansas City. The 1886 Kansas City Directory, included listings for Leroy Close and L. R. Close & Co., but now his business was located at 516 Broadway. Interestingly, a former Sosman & Landis employee, Lemuel L. Graham, listed his studio at 527 Main; it was like the scenic studio shuffle. It remains unclear whether Close’s move to 516 Broadway was a step up or step down. Keep in mind that by 1884, Sosman & Landis established a branch office when former employee, scenic artist Lemuel L. Graham, also founding Graham & Davis scenic studio in Kansas City, represented the Chicago firm. Close continued to land one job after another, but the competition continued to increase, especially with the new firm established his former employee Dunn – the Kansas City Scenic Co. (the second iteration of the studio name).

Throughout 1886 and 1887, L. R. Close’s studio remained at 514-516 Broadway, with Lemuel L. Graham’s studio at 525-527 Main.  Competition increased in the city and soon Edward Lowndes was also listed in the scenic artist section of the Kansas City Directory; his offices were at “306 ½ e 12^th.”

Close continued to plug along with work, and on May 30, 1887, a “Kansas City Star” include a want ad placed by Close: “WANTED – A good stout boy wanted to work in a studio. Call at 516 Broadway, L. R. Close & Co.”

Something happened at this time, as Close set his sights on other business ventures in St. Joseph, Missouri. He starts leasing and managing performance venues in the region.

On Nov. 24 Nov. 1887, the “St. Joseph Gazette,” reported:

“The New Theatre. The statement was made in an evening paper yesterday that a deal had been closed by which L. R. Close and A. J. Axtle of Kansas City, had secured the lease on the Natatorium building for five years, and that it would be opened for a theatre soon. The publication was premature, to say the least. The Gazette has been aware for several days that negotiations looking to the end above indicated were pending. They are still pending, no definite understanding yet having been arrived at by the parties interested, and it is possible that nothing will come of them” (page 5). And yet, Close just plugged along and found a partner to invest in his idea.

On Sept. 27, 1888, the “St. Joseph Gazette,” published:

“The New Theatre” – converting Natatorium into an opera house…Mr. L. R. Close, the well-known scenic artist of Kansas City, and one of the lessees of Streckebein’s garden, has leased the building for a term of five years, and proposes to supply the city of St. Joseph with one of the finest and best arranged popular-price places of amusements in the West. The new theatre will be called the Grand Opera House, and will be managed by Mr. Close in person, and he will be assisted by Mr. Wm. T. Duncan, press agent of the Eden Musee” (page 4).

At the beginning of 1889, Close’s investments in the St. Joseph opera house was included with building investments and improvements being made throughout 1888. On Jan. 1, 1889, the “St. Joseph Herald” reported, “A Fine Showing. Over $1,600,000 expended in buildings during the Year…L. R. Close. Remodeling building for an opera house, southwest corner Fifth and Jule streets…$8,000” (page 27).

The same issue included another article about Close’s business activities:

 “The Grand Theatre. Mr. L. R. Close, the lessee and manager of the new house, was one of the proprietors of the St. Joseph Summer Garden, and the support which was given the attractions presented assured him that a new popular priced theater would be well supported. The old Natatorium building at the southwest corner of Fifth and Jule streets, was accordingly leased with the privilege of buying and the work of remodeling it commenced. At first it was only intended to expend $3,000 or $4,000 in fitting up the new building, but as work progressed, new improvements suggested themselves, and as a result $15,000 will be spent before the theatre is formally opened. When completed the theatre will be one of the handsomest in the West. It will have a seating capacity of 1,800, will be lighted be electricity and have fifteen dressing rooms. The first floor will seat 800 people, the balcony 400 and the loges and boxes 200. Two bathrooms for the performers is an innovation which Manager Close thinks is the “greatest thing out.” The stage is 40×60 feet and the curtain opening is 26×30.”

On January 20, the “St. Joseph Herald” featured the Grand’s opening reporting, “Mr. L. R. Close, has been in the theatrical busines for nine years, and has been remarkably successful. He is the head of scenic studio of L. R. Close & Co. of Kansas City, and has fitted up in the United States over 600 theaters.”  Close’s asst. manager was “Mr. W. T. Duncan, well-known in St. Joseph, will be the assistant manager and treasurer. Mr. Duncan has grown up in the theatrical business and is familiar with its every detail. He bore the same relation to Mr. Close with summer garden and was also press agent for Eden Musee. These two gentlemen are thoroughly acquainted with the St. Joseph theatre-going public and will furnish first-class attractions.”

Another article on Jan. 20, 1889, in the “St. Joseph Gazette” reported, “The theatre is a jewel and is bound to prove a success. The stage is probably the main feature and theatrical companies will call the management blessed. It is fifty feet deep by sixty feet wide and there are fifteen dressing rooms. These are sixteen complete changes of scenery, only two of which will be used for the opening attraction. Mr. Close himself conducts a studio in Kansas City and has fitted out some of the principal theaters in the country, among them the Gillis and Ninth street theaters, Kansas City. The drop-curtain is a scene of Monaco, very artistically executed, above which is a picture of William Shakespeare…Mr. L. R. Close the proprietor and manager, has been a prominent scenic artist for many years, with headquarters in Kansas City. He fitted up the Warder Grand, the Gillis, the Coates and the Ninth Street theatre of Kansas City, besides many throughout the western country. He conducted the summer garden here last summer, which was a pronounced success. He opens a cosy little theatre here. The house is to be run as a popular price house, yet Mr. Close promises only first-class attractions.”

He was riding a wave that soon crashed. Something radically changed and then his venue caught fire.

On March 1, 1889, the “St. Joseph Gazette” reported:

“And the Grand Too. 

Mr. L. M. Crawford Secures Managerial Control of Another Opera House.

Mr. Lester M. Crawford, the Napoleon of the theatrical, as the Kansas City Times delights to call him, completed arrangements yesterday by which he will become manager if the Grand March 25, for a term of five years, Mr. L. R. Close, returning to his studio in Kansas City.

When Crawford came to St. Joseph, the knowing ones predicted that inside of a few months, he would secure possession of the Grand. When it comes to securing an opera house, it is always safe to say that Mr. Crawford will get it in time. Mr. D. A. Latshaw who has been the manager the Warder Grand in Kansas City and C P. Crawford will have charge of the two St. Joseph houses. Mr. Crawford will have charge of the new house for a term of five years at which time his ease on Tottle’s will expire. Mr. Crawford has the complete managerial contract of the following houses beside booking the attractions for a number of others: Warder Grand, Kansas City; Grand, Omaha; Funk, Lincoln; Lewis, Fremont; Kerr, Hastings; Price’s, Atchison; Crawford’s, Leavenworth; Crawford’s, Topeka; Crawford Grand, Wichita; Fifth Avenue, Arkansas City; Grand, Winfield; Ragsdale, Newton; Bowerstock, Lawrence; Tootle’s and Grand, St. Joseph.

Sometime between Crawford showing interest in the venue and taking over the lease, the opera house burned down.  Close was still left in charge of the theater.

On June 6, 1889, the “St. Joseph Herald” reported, “L. R. Close says he will soon commence rebuilding the Grand Opera House…L. R. Close, manager of the Grand Opera House up to the time it burned, arrived in the city Tuesday. He was met on the street yesterday by a HERALD reported and in response to the question as to whether he was going to rebuild the Grand or not said: “Yes, sir; I intend to rebuild and remodel the opera house in a manner that will make it a ‘dandy.’ The roof will be raised, the front improved and the interior will be thoroughly and completely changed in every way possible to make it a first class house.”
“Are you booking any attractions for next season””

“Nearly every day, and there is nothing ‘rotten’ with any of them, as I am taking especial pains to book nothing but the latest and the best attractions I can get.

Mr. Close is now having the plans and specifications of the new house made and will give them to the public in the near future. As soon as they are completed work on the house will commence” (page 3).

It appears that Close lost the building within the year and was forced to returned to Kansas City in his old role as scenic artist.  Much of his decision may have been a result of a court case.  On May 24, 1890, the “St. Joseph Herald,” reported “J. W. Powers vs. L. R. Close et al., jury waived and case submitted to the court. Testimony heard and judgement rendered for the plaintiff against L. R. Close for $149.36, and lien on property mentioned in the petition” (page 3).

Close returned to Kansas City and was again listed in the 1891 Kansas City Directory.  Listed as “Lee R. Close,” he was again a scenic artist at 525 Main, residing at 630 Locust. Close continued to work as a scenic artist in the city for the next three years. In 1894, when the Kansas City Directory listed “Lee R. Close moved to Chicago.”

In the Windy City, Close was listed as a commercial traveler (salesman) from 1896-1901. In 1896, he was living in the 669 Jackson hotel, but soon settled at 680 W. Jackson Boulevard. The 1900 US Federal Census also listed this address, so little changed until his passing.

By 1900, Leroy was living with his wife, Luella (b. 1857), of twenty-six years. For context, Luella Close was born in Ohio and the couple did not appear to have had any children. In 1900, the couple was living with lodgers Emanuel Mandi (broker) and Allen J. Straight (clerk). By the spring of 1901, Leroy passed away.

Now this is where is gets a little odd. There is no question that this is the same Leroy Close who worked as a scenic artist and theatre manager in Kansas. In Chicago he was a salesman for Sosman & Landis.  On Leroy’s Illinois death certificate there is the same birthdate (Feb 10, 1846), same birth place (Westfield, Pennsylvania), and same parents (David and Maria). All of the details match in corresponding documents too, including siblings.  Chicago newspaper obituaries even report that his remains are brought to Westfield, Pennsylvania. Close was buried at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.

Gravestone of Leroy Close at Mount Pleasant Cemetery in Westfield, Tioga County, Pennsylvania.

Then I came across the probate court records and I started to wonder what was going on…

The estate of Leroy Close went through probate, again same birth and death dates. He left personal property valued at $7,000, all part of a $14,000 estate. However, there was another woman listed as his widow – Maranda W. Close, not Luella.  Maranda was appointed administratrix of the Close estate, along with Ralph Irving Terwilliger and Sarah Elizabeth Terwilliger. On May 29, 1902 (the probate record date), Miranda’s address was listed as 919 Jackson Blvd, Chicago. The Terwilligers address was 232 W. Davidson St. in Chicago.  I cannot find any connection between Leroy, Luella, Maranda and the Terwilligers. Except, I recalled the name Terwilliger, as it is unique.

Ralph Terwilliger was a paint boy to Thomas G. Moses in the 1880s and remained close friends until his passing.  Moses even pasted a newspaper clipping of Terwilliger in his scrap book years later writing the caption “Paint boy for Burridge, Moses and Louderback during the year 1887 and 1888.” In 1910 also Moses wrote, “Mr. Ralph Terwilliger was at Fox Lake – I hardly knew him.  He was President of a city bank.  He was with Burridge, Moses and Louderback as a paint boy for $4.00 per week.  He had prospered.  With his wife and two daughters he enjoys a cottage near our camp.”

To be continued…

Copyright © 2021 by Wendy Waszut-Barrett

William C. Maier worked for Sosman & Landis from approximately 1910 to 1920. Thomas G. Moses mentioned Maier in his 1917 memoirs but did not mention his role at the firm. Maier was mentioned by Thomas G. Moses in his 1917 memoirs. He wrote, “Closed a contract for two scenes with Gatts and Company, $825.00 for ‘Katzenjammer Kids.’  We hustled it out. Maier and I went to Michigan to put it on and nearly froze coming back.  14 degrees below zero.  As there was no train, we had to ride home in the trolley.” This is the only mention of Maier in Moses’ memoirs. Here is my post about their 1917 project: https://drypigment.net/2020/03/27/tales-from-a-scenic-artist-and-scholar-part-944-thomas-g-moses-and-the-katzenjammer-kids-1917/

Five years earlier, in 1912, Maier was listed as a technical director at Sosman & Landis. That fall, Maier was representing the firm in Davenport, at the Lyric theater on Perry Street at E. 2nd Street. Previously known as the Princess Theatre, the building was extensively renovated and began featuring high-class vaudeville. J. Harry Blanchard was the new manager of the New Lyric, with Sosman & Landis delivering new scenery and stage machinery. On Nov. 2, “The Daily Times” reported, “The stage has been enlarged to meet the requirements of all vaudeville acts that will be brought here.”

Less than a week later, Maier was featured in another “Daily Times” article on Nov. 7:  

“HE PRAISES THE LYRIC.

William C. Maier Thinks the New Theater is a Charming Place.

Wm. C. Maier, technical director for Sosman & Landis, America’s leading scenic directors, today paid a glowing tribute to the new Lyric theater. Mr. Maier’s duties take him from coast to coast and he has seen the interior of practically every theater in the country, therefore his opinion is of more than ordinary value. In his conversation today Mr. Maier stated that the decorations and color effects in the lyric effects in the Lyric were as charming and harmonious as he has ever seen. The stage of the Lyric, he claims, is as large as that of the Princess in Chicago, and is the best equipped, both as to the comfort of the actors and the handling of scenery, he has ever come in contact with” (Davenport, Iowa, page 7). This same article was also published in the “Quad-City Times” on Nov. 7, 1912 (page 3).

Maier was still working for the firm in 1918. His draft registration card listed his occupation as “stage craft,” with his employer being Sosman & Landis. At the time, his physical appearance was described as tall, medium build, brown hair and brown eyes. He was recently married and listed his residence as 703 Kilbourne in Chicago.

Maier had married Louisa A. Wiehle on June 17, 1917, each 38 years old at the time. In various historical records, Louisa is also listed as Louise, and her maiden name as Weihle, Wieble, and Wickle; all a result of software regognition systems.  Born in Illinois, Louisa was the daughter of German immigrants Ernst W. Wiehle (1842-1922) and Susana Hennen (1853-1924). She was one of four surviving children born to the couple, with her siblings being William C.  (b. 1875); Amelia (b. 1883) and Annie (b. 1887). In 1910 the US Census listed Louise as a dressmaker, still living with her parents and two of three siblings, William and Annie. At this time, her father and brother were working as harness makers.

Maier was also a German immigrant, one of many working at Sosman & Landis. He was born on February 10, 1879, in Stuttgart, Württemberg, Germany. His parents were Wilhelm Conrad Maier (b. 1848) and Eva Dorothea Gläser (also recorded as Dorothy Glaeser/Glaser). The couple was married in 1875 and emigrated to America with their infant son in 1880. Interestingly, Maier’s German birth and baptismal records indicate that he was christened Karl Willhelm Maier. Although his birth date, birthplace and the names of his parents remain consistent, his name was changed to William C. Meier in America; no junior added. This may have occurred upon entry to the United States, possibly starting as a typographical or registration error. Regardless, his new name, William C. Maier, would remain consistent for the remainder of his life, including his death record and obituary.

In 1899, Maier became a naturalized and later registered for the WWI draft, but I have yet to find any indication that he served in the military.

The 1920 US Federal Census also listed similar information for William C. Maier, but his official occupation was now “Stage Manager,” however still working in the Theatre Industry. Little is know of Maier after Sosman & Landis closed or his work in the 1920s.

Maier passed during the spring of 1929.  His obituary was published in the “Chicago Tribune” on May 8 (page 45): MAIER – William C. Maier. Dearly beloved husband of Louise A., nee Wiehle, fond brother of Sophie Brown, Elizabeth Clavelle, and Charles Maier, Member of Union Park Lodge, No. 610, A.F. & A.M., Lincoln Park chapter, No. 177, R.A.M., St. Bernard Commandery, No. 35, K.T., Medinah Temple. Funeral Wednesday, May 8 at 2 P.M., from late residence, 1117 S. Mayfield-av. Interment Waldheim.”

After the passing of her husband, Louise’s brother, William C. Wiele, moved into their home. Lousia was still listed as the head of the household, remaining at her previous residence, 1117 Mayfield Ave. S.

Louise passed away June 30, 1956. She is buried next to her husband at Forest Home Cemetery in Forest Park, Illinois.

To be continued…