Copyright © 2021 by Wendy Waszut-Barrett
Billie Martin was a scenic artist at Sosman & Landis Scene Painting Studio in 1890. He was mentioned by Thomas G. Moses as one of the on-site crew that painted the stock scenery for the Broadway Theatre in Denver, Colorado. After completing some extensive research, I tracked down the life and career of William H. Martin (1853-1906). Identifying Billie’s birthname was quite a challenge, then everything fell into place.
William Henry Martin was born in Chicago, Illinois, in 1853. He was one of two sons born to Richard Martin (b. 1803) and Mary Sophia Keeling (b. 1829). His older brother was John Albert Martin (1850-1895).
The 1860 US Federal Census listed the Martin household as including Richard Martin, Mary S. Martin, John A. Martin and William H. Martin. Richard worked as a carpenter in Chicago at this time. Near the end of 1860 or at the beginning of 1861, Richard Martin passed away, leaving his much younger wife to fend for herself and two young sons. I have yet to locate any death record or obituary listing Richard. However, in the 1861 “Chicago Directory,” Mary Martin was listed as the widow of Richard Martin, living at “W. Madison nr Lincoln.” She was again listed as Richard Martin’s widow in the 1862 Directory, still living at West Madison, between Lincoln and Wood.
To support her family, Mary began working as a seamstress, an occupation that she would continue for the remainder of the decade. Interestingly by 1867, Mrs. Mary Martin was employed as a costumer, now associated with the theatre. Within the next five years, both of her son’s would also join the theatre. In addition to occupational changes, there were significant familial changes. By 1870 William Martin was living with his mother and brother in the home of his new step-father, John White. White was working as a day laborer, John A. Martin as a watchman, and William H. Martin as a house painter. Over the years, William would continue to work as a painter, eventually joining the theatre industry, as his mother and brother.
In 1872, his older brother, John Martin, was listed in the “Chicago Directory” as an actor, boarding at 727 W. Madison. William was still employed as a painter, also living with his brother at 727 W. Madison. Interestingly, by 1874, the two were associated with the Myers’ Opera House. John was working as a property man and William as a scenic artist, both boarding at the Davis House. The Myers’ Opera House was located on Monroe Street, between Dearborn and State Streets. The theater opened on Sept. 23, 1872, and primarily featured Minstrel acts. By September 1874, Myers’ Opera House briefly became known as the American Museum, but soon returned to the name Myers’ under the management of E. L. Dickey. In 1874, Myers’ Opera House was advertised as “the only variety theatre in Chicago” (“Chicago Tribune” 17 Oct 1874, page 11).
The Martin brothers’ work at Myers’ was confirmed in newspaper article from 1874. On April 22, 1874, “The Inter Ocean” published an article entitled “Clothing Smugglers” (page 8). It is a fascinating story in its own right, so I am including the article in its entirety:
“Clothing Smugglers.
For some time, past, John P. Campbell, Special Agent of the United States Treasury Department, has had reason to believe that certain parties in this city were extensively engaged in smuggling clothing from Canada, but he was unable to obtain evidence sufficient to warrant their arrest until a day or two ago, when he struck a lead that panned out pretty well. Yesterday, therefore, he caused the arrest of William Martin, scene-shifter at Myers’ Opera House, and Luther Marshall, the tailor who mends and alters clothing for the establishment. They were taken before Commissioner Hoyne for examination, at which some facts were elicited which may be of interest to certain dealers in [spirituous and malty liquors and certain “burnt cork” artists of this city. Among other matters it was stated that the new pantaloons which Frank Hildreth, the steward at Chapin & Gore’s establishment, wears cost him only $8, not counting the little balance still due to Uncle Sam; Richard R. Halley, a scene-painter at Myers’, it is alleged, wears a $27 suit procured under similar circumstances, Ben Cotton’s pants cost, it appears, just $8, while those of C. Kleist, one of the musicians, cost $11; John Martin, the property man sports a $5 vest; Ed Quinn, one of the violinists, has a $36 suit; Surridge, the sweet-voiced tenor, paid $24 for that overcoat and $10 for those paints; Thomas Rawley of Chapin & Gore’s place, wears a $26 coat and vest; William Keating the bartender, took a pair of pants at $11; and Mr. Lomar, or the Clifton House bar, has a $50 suit. One or two other parties are suspected of wearing smuggled apparel, and all will be called to account in due time. For the present the two men who were examined yesterday afternoon are held in $500 and $300 bail, respectively.”
This article is especially interesting when considering that Mary Martin worked as a seamstress and costumer. Some historical records also list “Canada” as not only her birthplace, but the birthplace of William Martin too. 1874 was also the year that Mary Martin White and John White celebrated the birth of their daughter, Lizzie White.
Although the Martin brother’s work at the Myers’ Opera House ceased in the spring of 1874, they continued living together. The 1875 Chicago Directory listed John Martin as an actor. He was still living with his brother, now each boarding at 186 State Street. I have not yet to located anything further information pertaining to the Martin brothers theatrical activities between 1875 and 1877. Interestingly, both were married in 1877. On August 12, 1877, John married Annette H. Conley in Manhattan, New York, and two months later, William married Margaret “Maggie” Mulvey on October 25. So sometime between 1875 and 1877, John moved west. Leaving his brother to remain as a painter in Chicago. When William and Maggie were married in 1877, they respective ages were listed 24 and 22 yrs. old respectively. Like William, Maggie’s parents emigrated from Ireland, her father passed away at a young age, her mother remarried, and then her mother started a second family with her new husband. There appeared to be more similarities than differences between the two as they began a new life together.
In 1880, both William and his older brother John were still working in the theatre, just 800 miles apart. John Martin was employed as a properties man in Manhattan, and William as a scenic artist in Chicago. In New York, John and his wife, Anne H., were living at 257 West Houston Street. Meanwhile William and Maggie were living at 449 West Madison Street in Chicago. The 1880 US Federal Census listed William and Maggie living with one boarder, May Swenson, a seamstress.
William did not remain in Chicago for long, and by 1883, was working in Cincinnati. He was listed in the 1883 Cincinnati Directory as a scenic artist, living at 320 Main. He returned to Chicago by 1886, as his son Edward Joseph Martin was born there on March 20 that year. The Martin’s remained in Chicago for the remainder of their lives, only changing addresses a few times. During the mid-1880s, William was listed in the “Chicago Directory” as a scenic artist, living at 364 Blue Island av.
Both of those years. Interestingly, there was another William Martin, listed as a physician, living just down the street at 322 Blue Island Ave. In 1867, William Martin, Physician, had been living at 361 Blue Island.
It remains unclear as to exactly when Martin began working at the Sosman & Landis Scene Painting Studio. However, by 1890, he was one of four scenic artists chosen by Thomas G. Moses to accompany him on site at the Broadway Theatre in Denver, Colorado. That year, Thomas G. Moses and William “Billie” Martin painted with Edward Loitz, William Minor and Charles Minor. In 1890. Moses recorded,” I had besides Loitz, William and Charlie Minor and Billie Martin.” Ff the project. Moses wrote, “The job was an ideal one. I made new models and we put in a cyclorama drop, 36 feet high and 250 feet long. It ran on a track and we could make three distinct skies; a plain, a cloudy and a moonlight. No borders. We trimmed the front stuff down to low enough to mask. All rows were profiled; very effective. There was some time lost in getting started….The Broadway opened August 18th, with Look’s Opera Company in the ‘Bohemian Girl.’”
For the next decade, Martin continued to work as a Chicago scenic artist. He passed away at the relatively young age of 53 yrs. old, only outliving his wife by two years.
Margaret Martin died on Aug. 19, 1904, and was buried at Calvary Cemetery in Chicago. At the time of her passing, the Martin family was living at 76 Oregon Ave.
Her obituary was published in the “Chicago Tribune”:
“Martin – Margaret [nee Mulvey] beloved wife of William H., and mother of Edward J. Martin, sister of John and Edward Mulvey, Mrs. E. Walsh. Mrs. B. C. Crowley; John and Nellie Foley. Funeral Monday , Aug. 22, from late residence, 67 Oregon-av., at 9 a.m., to St. Patrick’s church where high mass will be celebrated by carriages to Calvary. Member of Married Ladies’ Sodality and Holy Family Court No. 1. W. C. O. F.”
William H. Martin passed away on March 3, 1906, Chicago. He was buried at Calvary Catholic Cemetery next to his wife, Section N, Block 3, Lot 33.
To be continued…
