April 2023 – Drypigment.net

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 112: Peter J. Donigan

Peter Joseph Donigan (1871-1949) was not only the brother of Lawrence Edward “Ed” Donigan (1865-1944), but also the uncle of George Pat Wood (1891-1980). All three worked as scenic artists at Sosman & Landis.

1927 advertisement for Peter J. Donigan (1871-1949).

Unlike his older brother, Peter retained the surname of Donigan. His older brother changed his surname to Donohue by 1890 yet continued to work as a scenic artist under the name of L. E. Donigan. This was noted in Lawrence E. Donohue’s 1944 obituary.

On March 2, 1944, the Oak Park Leave reported,

“L. E. Donohue Dies; Scenic Artist.

Lawrence E. Donohue of 821 South Cuyler died on Wednesday, February 23, at his home after suffering from an ailment of two years standing. His wife, the late Mary Muir Donahue passed away on February 12 of this year. Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia. He was a business agent for the Scenic Artists’ union 350 for a number of years and was active until a few weeks before his death, despite poor health.

Born in Alton, Illinois, in 1864, Mr. Donohue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mrs., Mildred M. Coty of Chicago, and of James PO., and Mrs. Mary Krebec who live at home, and brother Peter J. Donigan and Mrs. Mary Berry of Chicago. Services on Saturday were conducted at Ascension church with burial at All Saints” (page 50).

For more information about their family history, see past post: https://drypigment.net/2023/04/29/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-99-ed-donnigan-revised-biography-for-lawrence-e-donohue/

Peter “Pete” J. Donigan was born on Jan 28, 1871, and purportedly spent his early years in Alton, Ill. For geographical context, Alton is located on the Mississippi Rover, upstream of St. Louis, Missouri. By 1880, Peter and his three siblings were living with their mother in Chicago at 1027 Wentworth Ave, using the surname of Donegan. Their household included his mother Mary (32 yrs.), older brother Lawrence (15 yrs.), and twin sisters Maggie and Della (14 yrs.). Peter was the youngest. His older brother was already working, his occupation listed as “works in painting house,” likely a scenic studio that mass-produced painted scenes.

By the time Peter turned 15 yrs. old, his brother was working at Sosman & Landis scenic studio. That year, his sister Maggie also married. On Jan. 7, 1885, Maggie married William Smith O’Brien (1852-1929) in Cook County, Illinois. William was a painter, a trade that he would continue until his passing in 1929. Much would change over the next few years for Donigan.

By 1890, two of his siblings had moved to St. Louis. In addition to moving south, both Della and Lawrence changed their surnames to Donohue. In the 1890 and 1891 Lawrence was listed in the St. Louis Directories as: “Donohue, Lawrence E., artist, 2204 Eugenia.” A few years later, Peter Donigan was also listed in the St. Louis Directory. In 1893, Peter Donigan was listed as a painter, living at 2204 Eugenia. He soon returned to Chicago but continued to visit his siblings in St. Louis. In 1895, the St. Louis Globe-Democrat reported that “P. J. Donigan, Chicago artist” was a visitor at the St. Louis Sketch Club who “also presented a sketch” (page 9).

It remains unclear as to whether Donigan met his first business partner, Fred Gibson, in Chicago or St. Louis. In 1897, Frederick J. Gibson was listed as a scenic artist In Chicago, living at 193 S. Robey. In 1899, Gibson was associated with the Columbia Theatre Comedy Company in St. Louis, Missouri. On Feb. 17, 1899, The Jewish Voice reported, “Mr. Richard Baker, will present each week a 30-minute comedy, with special scenic and stage environment provided by the noted scenic artist Mr. Frederick Gibson, whose work is so well known here” (page 7). On Feb 19, 1899, the St. Louis Post-Dispatch reported, “All the pieces will be staged under the personal supervision of Mr. Richard Baker and will be provided with special scenery by Mr. Frederick Gibson, the well-known scenic artist” (page 29). By 1900, Gibson had partnered with Donigan to form Donigan & Gibson. Both Donigan and Gibson were living at the home of Mary Gibson, Frederick’s mother.

The 1900 US Federal Census listed the following individuals living at Mary Gibson’s home, 10 Jackson Blvd., Chicago:

Mary Gibson (b. June 1843)

Frederick Gibson (b. April 1871)

Peter Donigan (b. Jan 1871)

Mary Gibson (b. Oct.1876)

Both Peter and Frederick were listed as scenic artists. Interestingly, Peter did not list a birthplace for either his mother or father, leaving that section blank. Please see my past post from April 29, 2023, about Lawrence “Ed” Donnigan for a possible reason.

1900 signaled his big break for Donigan, both professionally and personally. That year he partnered not only partnered with Gibson, but also met his future wife, Louise C. Lucas. In 1900, Donigan and Gibson briefly established the scenic studio of Donnigan & Gibson. An early project was delivering scenery for the Shaw Theatre in Hutchinson, Kansas. The Shaw Theater was located on the west side of Main street on the south side of Avenue B, opposite the new county courthouse. The stage was designed by Gus Wood of Chicago. The proscenium measured 26’h x 36’w, with the gridiron 60’ above the stage floor. The stage floor was measured 60×40 feet in size. The drop scenery was operated by 60 line sets, with a 30’h x 45w paint frame and paint bridge, spanning from the SR gallery to SAL gallery, along the back wall.

Their work was described on Oct. 26, 1900, in The Hutchinson News (page 5). An article about the new Shaw Theater announced, “Work of Scenic Artists.” The article reported, “The scenery was painted by the firm of Donigan and Gibson, of Chicago. The work here was done by Mr. P. J. Donigan and Mr. Charles Squire. Up to the time of opening the artists have completed twelve stage settings. There are six elegant interior settings of thirteen pieces each, including a dark mahogany interior, a light interior in lavender and gold, a kitchen, a plain interior, a prison, and a palace, in yellow and red, with cut drop arches and wings to match. Among the other scenery may be found a horizon, wood wings, beautiful landscapes, set cottage, house, set rocks for mountain pass scene and everything to meet almost any requirement, although there is still more scenery to be added. Still the most beautiful of the work done by the artists are the two drop curtains which must be seen to be appreciated. The front curtain has a beautiful English landscape center surrounded by light yellow and pink shades with green draperies. The second curtain has dark red draperies with business cards in rococo style, and an American landscape in the center. The beautiful grand drapery border is done in red and tallow shades, and the working border to control the stage height is light green satin. The proscenium wings and marble columns harmonize with the grand drapery border.”

That year, he delivered scenery at the Shaw Theatre in Hutchinson, Kansas. On Sept. 12, 1900, The Hutchinson News announced, “New Men Arrive. Scenic Artists and Electrician from Chicago Join the New Theater Force” (page 5). The article continued, There was an unusual stir at the Shaw Theatre this morning and from all appearances the workman will be successful in completing it before the time of the opening, October 15. The scenic artists have arrived and will begin work tomorrow. Mr. P. J. Donigan will have charge of the work and will be assisted by Mr. Charles Squires. Mrs. Frank Gannon, the expert electrician who will oversee the lighting of the house, arrived. He has been connected with Chicago Theatres for the past seventeen years, and is not only an electrician but is a specialist in the line of lighting theaters. It will perhaps take a little over two weeks’ time to complete his work here. Both Mr. Gannon and Mr. Donigan expressed surprise at the stage of the Shaw Theatre. They say that it is superior to many of their Chicago houses, and that there is no company on the road that cannot find every necessary convenience for putting on their show. The carpenters are now busy putting down the floors and a good force of plasterers will be run this week. The roof is almost completed as is also the stage. Two arc lights are being put in preparatory to running night force. The decorators will come from Chicago in about a week.”

Main Street in Hutchinson, c. 1906.

In Hutchinson, Donigan met his future wife, Louise Coe Lucas, the local doctor’s daughter. On Octo. 30, 1900, The Hutchinson News announced, “A box party will attend the Shaw Theatre this evening composed of the following: Mr. and Mrs. F. Prigg, Mrs. and Mrs. Cone, Dr. S. M. Colladay, Mrs. and Mrs. Edward Colladay, Mr. and Mrs. B. Nusbaum, Mr. and Mrs. Bascom, Mr. and Mrs. Sam Hirst, Mrs. J. U. Brown and Mr. C. H. Rogers. Another box party will be Mr. P. J. Donigan, Mr. Charles Squires, Misses Joe Bennett and Louise Lucas. Mrs. Gilpin, Mr. and Mrs. I. R. Shaw, W. J. Shaw and Mr. Gold Wheeler” (page 5).

In 1901, Peter married Louise C. Lucas, the daughter of William Lucas and Sarah Coe. Born in Cincinnati, Ohio, Louise was quite a bit younger than Donigan when they met. Lucas was from Hutchinson, Kansas.

On Dec. 28, 1901, The Hutchinson News announced, “To be Married Tuesday. Miss Louise Lucas of Manchester and Mr. P. J. Donigan of Chicago” (page 1). The article reported, “Miss Louise Lucas, formerly of Hutchinson, now of Manchester, will be married on next Tuesday at 3 o’clock to Mr. P. J. Donigan of Chicago. The wedding will occur at the home of Miss Lucas’ parents, Dr. and Mrs. Lucas. Miss Jo Bennett of this city and Mrs. Charles Squires o. Mr. Donigan and Mr. Squires will be remembered here as the scenic artists who painted the scenery for the Shaw Theatre. They arrived here from Chicago last night and Mr. Donigan went to Manchester this morning.”

Their wedding was later featured in The Hutchinson News on Jan. 4, 1902 (page 2):

“Mr. P. J. Donigan of Chicago and Miss Louise Lucas were married Tuesday, Dec. 31, at high noon at the home of the bride’s parents, Mr. and Mrs. Wm. Lucas, of Manchester, Oklahoma Territory. The home was decorated with pink and white carnations, white roses and smilax. The bride’s gown was white organdy, and she carried a shower bouquet of tea roses. Immediately following the ceremony, luncheon was served. Many elegant presents were received, all the gifts form admiring friends. Mrs. Donigan lived in Hutchinson until quite recently and numbers here friends here by the score. Mr. Donigan is also well known here and is a highly esteemed young man. THE NEWS extends congratulations to the young couple, wishing them much success in their new home in Chicago” (page 2).

By 1902, Donigan and Gibson had ended, with each periodically working at the Chicago Opera House. That year Gibson worked alongside Walter Burridge, delivering scenery for the premiere performance of “The Wizard of Oz.” Gibson did not remain in Chicago for many more years. He soon began traveling as a scenic artist for touring stock companies, briefly settling in Boston from 1906 to 1908. By 1915, Gibson had settled in Minneapolis, Minnesota, working as a scenic at the Twin City Scenic Co. until 1918. In 1919 he was listed as the scenic artist at the Lyric Theatre, then at the Schubert Theatre from 1920 to 1921. Sadly, he passed away in 1923, leaving a young widow named Elizabeth Gibson.

As far as Donigan’s career, he worked throughout the region during the early years of his marriage. In 1903, the Peter and Louise celebrated the birth of their first child, Robert L. Donigan. That spring, Donigan became associated with Buffalo’s Academy of Music. On May 9, 1903, The Buffalo Enquirer reported “Peter J. Donigan of Chicago has been engaged as scenic artist” (page 3). Donigan was painting scenery for the Academy’s Stock Theatre Season. On May 10, 1903, The Buffalo Times also included an article on the Academy Stock Co. reporting, “Joseph L. Brandt, the actor-playwright, will act as stage director, and Mr. Peter Donnigan, one of the most competent scenic artists of the West, who has painted several of the big productions of the season, has been engaged” (page 33).

During her husband’s frequent absences for work, Louise also began to travel. On Feb. 19, 1904, The Daily Independent of Hutchinson, Kansas, announced, “Mrs. P. J. Donigan, formerly Miss Louise Lucas, of this city, spent Thursday with her friends in this city, en route to Manchester, Okla. To visit her parents, Dr. and Mrs. Lucas” (page 8). On April 2, 1904, The Independent reported, “Mrs. P. J. Donegan and baby are here in the city visiting friends. Mrs. Donegan has been visiting her parents, Dr. and Mrs. Lucas of Manchester, and is on her way to her home in Chicago” (page 5).

In 1905, Louise gave birth to another son, William R. Donigan. She took is in stride and continued to visit both family and friends in Kansas and Oklahoma. On Sept. 14, 1906, the Grant County Journal of Medford, Oklahoma, announced, “Mrs. P. J. Donigan of Chicago, with her two little boys, Robert and William, is visiting her parents, Dr. and Mrs. W. M. Lucas” (page 8). Over the course of the next few years, visits became more frequent, as Louise’s mother became ill and passed away.

On May 2. 1907, The Hutchinson News of Kansas announced, Dr. W. M. Lucas of Manchester, Okla., and Mrs. P. J. Donigan of Chicago who have been the guests of Mr. and Mrs. Hall left this morning for Manchester” (page 6). They were in town to bury Louise’s mother, Sarah Lucas. Her obituary reported,

“Sarah J. Lucas, nee Sarah J. Coe, was born in Monroe County, Ohio, on October 10, 1846. She removed to Peoria county, Illinois, with her parents in 1855. About the same time the parents of Dr. W. M. Lucas removed from Pennsylvania to the same county. On Oct. 10, 1865, these two were married in Elmwood, Illinois, and resided from 1870 to 1879 at Peoria, Ill. After a residence extending from 1879 to 188 at Felicity, Ohio, Hutchinson was chosen as there home. It was in Hutchinson that Mrs. Lucas made so many friends and labored in song and service for the good of the Presbyterian church. It was just as the congregation was removing to the present stone church and under the beginning of Rev. A. Forbes Irwin, that Mrs. Lucas sang in the church choir as contralto and Miss Norris, as sopranos. She loved the labor of song for the churches uplift. After her daughter’s graduation, in 1901, Mrs. Lucas removed to Manchester, Okla. To join the doctor, who located there at that point for business. The tie of friends and school privileges and good environment for her child having been loosened by reason of her child’s graduation; Mrs. Lucas began her home making in the new land of Oklahoma where she lived til death summoned her on April 29^th. Of her household, her daughter, Mrs. P. J. Donogan, of Chicago, Ill., but known to all Hutchinson people as Louise Lucas survive her. Another of the many good and amiable person who have worked and loved for the welfare of the old stone church on the corner, has been called away. With the passing of Mrs. Lucas, comes revered which bring the forms of old pastors and friends with whom she mingled, now long since called home and who welcomed her” (page 6).

Two years after her mother’s passing, the Donigan’s celebrated the birth of another child – Margaret L. Donigan. On Dec. 23, 1910, Louise returned to her hometown of Hutchinson, Kansas, with infant daughter. Of their visit, The Hutchinson News reported, “Mrs. Louise Lucas Donegan and daughter, Margaret, leave today for their home in Chicago after several weeks visit with Mr. and Mrs. Charles Hall on Avenue A. East” (page 5).

The 1910 US Federal Census listing Peter and Louise living with their three children at 1004 3^rd Ave. By now, Peter was 38 yrs. old, and Louise was 27 yrs. old. Their children ranged in age from 1 yrs. old to 7 yrs. old. Peter’s occupation was still listed as “scenic artist,” but now in the “studio” industry.

It is around this time that Donigan’s nephew, George Pat Woods, also enters the scene painting profession. Woods and Lawrence E. Donigan deliver scenery for Des Moines’ Empress Theatre in 1913. On July 8, 1913, the Des Moines Tribune reported: “Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan, George Wood, and Arthur Overholt rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”

In other words, Uncle Lawrence E. Donigan (b. 1865), was assisted by 22-yrs.-old nephew George Pat Wood and 30-yrs.-old Arthur Oberbeck. Oberbeck was part of the Sosman & Landis staff from approximately 1902-1920.

Peter Donigan found his place at Chicago’s Grand Opera House with the Chicago Opera Association. On Nov. 21, 1915, the Chicago Tribune, “Pete’s Leaves Fell Him” (Page 10). “Autumnal Foliage at Grand Opera So Realistic They Follow Natural Laws. Pete Donegan, scenic artist of the Chicago Grand Opera company, painted some foliage for the production of Monna Vanna. The foliage adorned the top of a tall column in Guido Colonna’s garden. In November leaves fall from the trees. The painted leaves were true to nature, for they fell yesterday afternoon, just before the curtain rose on the matinee performance of Monna Vanna. Instead of drifting gently to the ground they struck heavily their creator on the head, cutting a deep gash. Donegan was carried from the stage unconscious. His injury is not serious.”

On Sept. 2, 1917, the “Des Moines Register” announced the coming season of the Chicago Opera association, Oct. 17 and18th at the Coliseum under the direction of the new artistic director Emile Merles-Forest. The article reported, “M. Merles-Forest is one of the foremost French masters of stagecraft whose greatest achievement have been made in his six seasons at the Theatre Monnaie in Brussels and four seasons at the Grand Opera in Paris. The only interruption in his career was his ten-month military service as a telegraph operator at Lyon. He will come to America shortly to assume charge of the making of new productions at the Chicago Auditorium for the coming seasons in Chicago, New York and Boston…M. Merles-Forest will have the same capable technical staff which was maintained at the auditorium last season, including Joseph Engel, stage manager, and Peter J. Donigan, scenic artist” (page 19).

On Oct 14, 1916, Musical America published an article entitled “Pictorial Side of Grand Opera in the Making” (page 6). Peter J. Donigan and his assistant were pictured painting a setting for ‘Andrea Chenier’ on the auditorium stage.

Peter Donigan painting in 1916 (left picture). Scenery stored at the Chicago Opera Company’s warehouse on the West Side in 1916 (right).

Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.

Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.

The article reported:

“Grand Opera to most persons means simply the singing and acting of high-salaried performers to the accompaniment of an orchestra, pretty gowns and beautiful women, evening clothes and notices in the newspapers where the critic tears to pieces the singing the night before.

The public knows nothing of the tremendous amount of work which goes on month in and month out, summer and winter, when song bords are on their vacation and the opera house is dark, but this work is as necessary to successful opera as the orchestra. The accompanying pictures show something of the technical producing end of the Chicago Opera Company. While Cleofonte Campanini has been in Europe engaging singers and orchestral conductors, and army of men and women has been at work in Chicago under the direction of Joseph C. Engel, stage director, to make a triumph of the coming season possible. Since the first of March the three large warehouses and construction plants of the Chicago Opera Company, on Jefferson, Green and Harrison Streets, have been working full time on scenery, costumes, properties, and electrical effects. Complete scenery had to be made for seven new productions and eight revivals, and scenery for the standard operas had to be freshened and much of it replaced with new material. Two large auto trucks, owned by the Chicago Opera Company, have been going back and forth between warehouses and the auditorium all summer. Scenic rehearsals have been held almost daily under Mr. Engel’s direction, and every scene in every opera given this season has been set upon the stage, perfected, and taken back to the warehouse again, so that there will be no hitch when the operas are produced. – Farnsworth Wright.”

There was an interesting article published in The Musical Leader in 1917 (Vol, 34, page 425) entitled, “Transporting the Chicago Opera Company” (page 425. The article reported, “The backcloths or full-sized scene used in the auditorium are 68 feet wide and 40 feet high – this means, 2,720 square feet of painted and fire-proofed surface. This company carries forty-seven hanging pieces for scenic service in two operas, ‘Faust’ and ‘Lucia di Lammermoor,’ the full equipment as used in the home house of the Chicago Opera. In order to swing the scenes, the company carried its own rope, as no houses where they visit have lines enough to swing the productions. This detail necessitates twenty thousand feet of rope, all told twenty coils. I require the service of seventy-five men back of the scenes to handle these productions.

In order to produce all these sceneries and effects, it requires a big plant in Chicago, that is kept busy the year round in refurbishing old material and making new outfit for the coming season. The scene dock of the Auditorium would be considered large enough to house the equipment of most theatres, it being 150 feet long, 30 feet wide and 60 feet high, covering the space of the alley outside the stage, but this is only sufficient to store for the needs of a few performances. On the West Side of the city at its large warehouse filled with scenery and properties, valued a ta. Million and a half dollars, there are larger carpenter shops, scene rooms with painting stages and a costume department, where twenty-five seamstresses are employed. Twenty-five carpenters are always on the payroll and the stage carpenter, H. W. Beatty. Ten men are continually employed in building property under the skilled direction of Jack O’Malley, and there are twelve men in the scenic department under the direction of Peter J. Donigan, who work all year round.

On Dec. 12, 1917, The Billboard reported, “Emile Merle-Forest, who was stage director for the Chicago Opera Co, last year, is in the same position this year. His mise-en-scenes are famous for their excellency. Associated with him are Harry W. Beatty, as technical director and Peter J. Donigan as scenic artist” (page 23). Donigan remained with the Opera Association for quite some time. His name was even featured in various advertisements, listed alongside Norman Bel-Geddes and Robert Edmund Jones.

On Sept. 3, 1919, Chicago Opera Association advertisements in the Chicago Tribune announced, “The productions will be designed and staged by exceptional Russian, Dutch and American artists, including Boris Anisfeld, Herman Rosse, Peter J. Donigan, Norma-Bel Geddes, and Robert Edmund Jones” (page 6).

Peter Donigan listed alongside Anisfeld, Rosse, Bel-Geddes and Jones in 1919.

Here are a few more articles mentioning Donigan that season:

On Aug. 23, 1919, the “Chicago Tribune” reported, “Our Mary Garden, it is announced, proposed to sing Aphrodite as her first opera this season, with Mr. Campanini’s artists. The opera, which is listed as of the “tragic grand” type is by the late Camille Erlanger, and is founded on a romance of the same name by Pierre Louys. The scene is in Alexandria in the reign of Berenice, about fifty years before Christ. Peter J. Donnigan is painting the scenes for it.” (page 13).

The 1920 US Federal census listed the Donigan family living at 1004 S. 3^rd in Proviso, Cook, IL. The household included:

Peter (48 yrs.)

Louise (36 yrs.)

Robert L. Donigan (17 yrs.)

Wm. R. Donigan (15 yrs.)

Margaret (11 yrs.)

In 1920 Donigan was associated with the world premiere of Reginald De Koven’s ‘Rip Van Winkle” at Chicago. On Jan. 8, 1920, an article published in Musical Courier reported, “The scenery designed and executed by Peter J. Donigan, scenic artis of the Chicago Opera Association, was beautiful and tasteful…” (page 40). His scenery was included alongside the article.

Scenery designed and executed by Peter J. Donigan, chief scenic artist of the Chicago Opera Association. Here is the link to the images and Musical Courier article: https://www.google.com/books/edition/Musical_Courier_and_Review_of_Recorded_M/y-w6AQAAMAAJ?hl=en&gbpv=1&dq=%22Peter+J.+Donigan%22&pg=RA2-PA40&printsec=frontcover

By the mid 1920s, Donigan drifted away from the Chicago Grand Opera Association and began to look for other work in the region.

On Dec. 12, 1924, he placed the following advertisement in The Billboard:

“Peter J. Donigan

Scenic Artist

At Liberty

Seven years Chief of Scenic Dept. Chicago Grand Opera Assoc., also Chief artist as Ravinia Park Opera Co. Thoroughly experienced in Stock and Presentation. Office – Room 1101 Otis Building., 10 South La Salle St., Chicago, Illinois.

Peter J. Donigan’s 1927 advertisement in THE BILLBOARD.

In 1927, Donigan was mentioned by his nephew, scenic artist, George Pat Woods, and credited with giving the young man a start in scene painting. Woods was the son of his sister, Della Donahue Woods. Like her older brother, Della’s maiden name shifted from Donigan to Donohue. Her son, George Pat, was born in Chicago on April 10, 1891, one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (Della B. Donigan). In 1927 interview Woods credited his uncle Pete Donigan with helping him secure a foothold in the scenic art world. However, Wood also worked with his uncle Lawrence, likely when they were both working for Sosman & Landis.

Peter J. Donigan’s nephew. George Pat Wood.

Here is the article about Wood that mentions Donigan:

On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush” (page 33). The article reported:

“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.

From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.

Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.

And so, this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.

Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’

In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season.

Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”

By 1928, Donigan became associated with Detroit’s Civic Opera Co. His work for the Detroit Opera Co. was repeatedly mentioned in Detroit Free Press articles from 1929-1934. Initially, he was credited as “Peter J. Donigan, of Ravinia Park, Chicago, one of the nationally known scenic artists has started work on the scenery (Detroit Free Press 27 Oct 1929, p 62).

In 1929, Donigan was assisted by O. S. Davis in Detroit, They were painting at the studios of the Detroit Opera Co., located at 2154 Grand River Ave. Despite his work in Detroit, Donigan continued to work at Ravinia Park until 1932.

On Oct. 29, 1930, the “Detroit Free Press” reported. “At the studios of the Detroit Opera society in the old Fox-Washington theater, Peter J. Donigan, chief scenic artist of the Ravinia Park Opera, was introduced and his work for the last two months exhibited” (page 7). In article entitled “Opera Backers See 1931 Equipment.”

In 1931, Donigan made the news in Detroit several times. The Detroit Civic Opera Season was scheduled to opened April 21 that year. On Jan 25, 1931, the Detroit Free Press reported, “Even today, three months in advance of the season, the operas are practically ready for production. The scenery, painted by Peter J. Donigan and his corps of assistants from Ravinia Park was finished in November” (page 47). On April 29, 1931, the Detroit Free Press reviewed their production of “Tosca,” reporting, “The scenery painted for this opera by Peter J. Donigan had much to commend it artistically, especially in the church scene. In which lovely effects were secured in the stained-glass windows and there was a feeling of spaciousness, remarkable when the size of the stage in Orchestra Hall is considered” (page 6).

On May 1, 1931, the Detroit Free Press reviewed the production of “Madame Butterfly,” reporting “The opera has been mounted by Peter J. Donigan with a gorgeous wealth of color” (page 6).

On April 13, 1932, the Detroit Free Press applauded Detroit’s Civic Opera Company’s production “La Traviata” (page 5), reporting, “The startling effect of the scenes, painted by Peter J. Donigan, and the color of the costumes all helped to make the opera delightful.”

On April 20, 1932, the Detroit Free Press mentioned Donigans’ work on the Gounod’s Romeoand Juliet (page 10). The article reported, “Again Peter J. Donigan accomplished wonders with the scenery. Juliet’s garden and the public square were real, so well done, in fact the audience could not resist showing its appreciation. Mr. Donigan’s work in the interest of the Civic Opera has been of outstanding value since the beginning four years back. He is to be thanked a great deal.” His work for “Aida” that season was also very well received. On April 25, 1932, the Detroit Free Press announced, “Peter J. Doniogan’s scenery drew applause with each new curtain. The Temple scene, the banks of the Nile and the opening act – the King’s palace at Memphis – were striking” (page 9)

In 1933, Peter J. Donigan was credited with scenic painting for “It Pays to Sin” at the Morosco Theatre, 217 W 45^th St, NYC. The show opened Nov. 3, 1933. A play in four scenes, the settings were conceived by Clive A. Rickabaugh and included the Office of Dr. David Janossy in Vienna; Greta’s Sitting Room; Moulin Rouge; Bedroom in Zoltan Keleti’s Apartment. This is Donogan’s only listing in the Internet Broadway Database.

Donigan was mentioned in an article entitled “Birmingham Music Lovers Attend Detroit Civic Opera,” published in Birmingham Eccentric of Birmingham, Michigan, on Thursday April 23, 1931. The article announced, “The scenery for all the operas was painted by Peter J. Donigan, of the Ravinia Opera.” The Detroit Civic Opera Company performed in Orchestra Hall, with productions including “Carmen, “La Bohème,” “Hansel and Gretel,” “Tosca,” and “Madam Butterfly.”

On Nov. 18, 1934, the “Detroit Free Press” advertised a production of Tristan and Isolde produced jointly by the Detroit Symphony Society and the Detroit Civic Opera (page 44). The article reported, “The new stage settings for the three acts of the opera [Tristan and Isolde], completed by Peter J. Donigan, Chicago scenic artist, have been moved to the Masonic Auditorium for the final rehearsals, which will begin Monday, Nov. 26, with the arrival of the principal stars” page 44). The production produced jointly by the Detroit Symphony Society and the Detroit Civic Opera. On Nov. 25, 1934, the Detroit Free Press reported, “Mr. Wronski also is production director and had staged the opera with new and exceptionally beautiful sets painted by Peter J. Donigan of Chicago” (page 44).

That same year, Donigan and his son were mentioned in the Chicago Tribune. On Oct. 28, 1934, the newspaper reported, “By coincidence the name of Peter J. Donigan, 548 Michigan avenue, Evanston, father of the prosecutor, Assistant State’s Attorney Robert J. Donigan, was drawn for the jury last week. He was excused without examination when Prosecutor Donigan told the court of the relationship” (page 11).

The 1940 US Fed Census listed that Peter was divorced and living at 1217 Albion Ave Chicago; he was living at the Albion Shore Hotel. His occupation was listed as “artist” in the “stage scenery” industry. They may have separated but were not officially divorced. When Louis L. Donigan passed away in 1946, her obituary noted that she was the “beloved wife of Peter J. Donigan.”

In 1941, Donigan visited his son in El Paso. On March 10, 1941, the El Paso Herald-Post reported, “WEDNESDAY- Capt. And Mrs. R. L. Donigan find much of interest in El Paso. So does the captain’s father, Peter J. Donigan, artist who is visiting here” (page 6).

Louise’s obituary was published in the Chicago Tribune on March 30, 1946, (page 12). It announced:

“DONIGAN- Louis L. Donigan, 860 Hinman avenue, Evanston, beloved wife of Peter J., mother of Robert L. and William R. At chapel, 1460 Sherman avenue, Evanston, after Saturday evening. Services Monday 1 p.m. Interment private. Please omit flowers.” A second notice announced:

“Mrs. Louise L. Donigan.

Services for Mrs. Louise L. Donigan, 63, mother of Assistant State’s Attorney, Robert L. Donogan, and prominent in Evanston club and Civic groups for many years, will be held at 1 p.m. Monday in the chapel at 1460 Sherman av., Evanston. Mrs. Donigan, who resided at 860 Hinsman av., died yesterday in Herotin hospital. Also surviving are husband Peter J. Donigan and another son, Maj. William R. Donigan.”

On June 30, 1943, Peter applied for social security, listing his name as Peter Joseph Donigan and his birthday as 28 Jan 1871 in Alton, Ill.He was 72 years old at the time of his application. This was less than six years before his passing.

On May 17, 1949, the “Chicago Tribune” published Donigan’s obituary:

Peter Donigan

The funeral of Peter J. Donigan, 79, retired dean of scenic stage designers and artist, who died Sunday in a Wilmette nursing home, will be held at 10 a.m. Wednesday in St. Francis Xavier church in Wilmette. Burial will be in All Saints cemetery. Mr. Donigan, a native of Alton, Madison county, created the original stage background for the “Wizard of Oz” in 1903. He also designed stage scenery for the Chicago Opera and Ravinia park. At one time he was business agent of local 350, United Scenic artist union. He leaves two sons, William R. and Robert L. Donigan, the latter a former assistant state’s attorney and now counsel for the Northwestern university traffic institute” (page 38).

Newspapers across the country carried news of Donigan’s death. On May 17, 1949, “The Idaho Statesman” reported, “Stage Artist Dies, Chicago (INS) – Peter J. Donigan, dean of American stage scenic artists, died Monday in suburban Wilmette at the age of 79” (page 1).

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 99: Ed Donnigan (Revised biography for Lawrence E. Donohue)

This biography is long and very complicated, but I could not let this particular story go. I will explain the method of my madness, then go from grandparents to the life and scenic career of L. E. Donigan.

Map of Chicago, 1885

Ed Donnigan was listed a scenic artist at Sosman & Landis in 1885. That year his name was included in a list of the firm’s staff members who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune reported that Donnigan donated 25 cents.

Ed Donnigan was actually Lawrence E. Donigan, the older brother of Chicago scenic artist, Peter J. Donigan, and the uncle of scenic artist George Patrick Woods. All three were associated with Sosman & Landis at one time of another, with Donigan still associated with the firm in 1913.

As a young man, Donigan changed his surname to Donohue. Interestingly, one of his two younger sisters, Della, did the same thing about the same time. Their younger brother, Peter J. Donigan, and Della’s twin sister, Maggie, did not change their last name.

All four children – Lawrence, Maggie, Della and Peter, were listed in the 1880 US Federal census, living in Chicago with their mother Mary at 1027 Wentworth; all the ages and dates all coincide and they were all listed by the last name of Donegan.

Despite Laurence E. Donohue’s name change in the early 1890s, his professional name remained Lawrence E. Donigan, or L. E. Donigan. I have come across many scenic artists who adopted professional names, names that were radically different from those of their biological parents.

When I first wrote about L. E. Donohue, I based his entire history on information from his death certificate, but never understood how the surname “Donigan” became part of the mix. Donigan is not a spelling variation of Donohue; they are two completely different surnames. My previous post was based on the premise that Donohue was his birthname, and his biological parents were Peter James Donohue (1842-1872) and Margaret Kelly Donohue (1844-1909), Irish immigrants that married after their arrival to the United States and soon settled in Alton, Illinois.

Now I know that many death records are full of incorrect information and inconsistencies that contradict other historical records, even actual gravestones. I always try to remember that it is the informant who provides crucial information, “facts” that are entirely dependent on their understanding of the deceased’s past. If you factor in that the deceased may have been an orphan, illegitimate child, result of incest or rape, prostitute, illegal alien, or passing for another race, all bets are off. Informants on a death certificate may also “cover” to avoid legal repercussions, or they are truly ignorant of the deceased’s early life. In other words, death certificates are not fool proof.

I could never confirm that his parents were Peter and Margaret Donohue. Despite Lawrence and Peter’s obituaries that listed Alton as their hometown, I was unable to find any official proof in historic records, directories, or newspaper articles; nothing confirmed that two boys were a part of any household with a variation on the surnames Donigan or Donohue.

Concerning their purported parents, Peter and Margaret Donohue, little is known of them or their time spent in Alton. At one point they were members of the St. Peter and Paul Catholic Church, Diocese of Springfield, Illinois, because there is one baptismal record for a child born to Peter Donohue and Margaret Kelly. Their son was names Jacob Patrick Donohue; born on March 19, 1872, baptized on March 29, and died on Jan. 2, 1873, at 9 months old. Peter Donohue passed away the same year as his birth. Madison County probate records date from August 29, 1872, and at the time of his passing he left his widow, children and an estate of $13,000 with four lots. For a relatively wealthy family, there is really nothing published about them in Alton newspapers from the time. Very odd, as this is a period of time that lists the comings and goings of many individuals. I have yet to locate the names of any children beyond Jacob. As far as how many children were born to the couple, in July 1878, widow Margaret Donohue wrote a letter to Judge Dale and mentioned six children. The letter concerned financial matters regarding the estate of her deceased husband. Margaret wrote “I had six children when he died. The oldest child was 7 years.”

Some family trees list the following children born to Peter James Donohue and Margaret Kelly

Bridget “Della” (1866-1934)

Mary Ann (1867-1959)

Peter Joseph (1870-1949)

James Patrick (1872-1872)

Here are the Donigan/Donohue children that I am trying to locate:

Lawrence (b. 1865)

Della M. (b. 1866)

Maggie (b. 1866)

Peter (b. 1871)

To date, I have only encountered only one article in Alton newspapers that even mentions P. J. Donohue. Donohue’s mention is from an event that occurred in Feb. 1872:

“Fire – On Saturday evening a frame dwelling house, north of the railroad, owned and occupied by Mr. P. J. Donohue, caught fire and was entirely consumed. The flames spread so rapidly that but little of the furniture could be removed” (page 3).” The article went on to explain that distance and lack of water in the vicinity contributed to the total loss of $1500, of which $1470 was covered by insurance.”

I also combed through various census records, not necessarily relying on software to do my searching. The only connection that I have made between the Donohue and Donigan families in Alton is in an 1850 census report: household No. 90 included 18-yrs.-old “Margaret Donohue” and household No. 95 included 25-yrs.-old “L. Donegan.” Again, fifteen years before Lawrence was born.

L. Donegan was actually Lawrence Donegan/Dunnagan/Dunnigan/Dunigan; spellings change for the same person from one record to the next.

On May 12, 1851, Lawrence Dunnagan married Margaret Hoy/Hoey. By 1865, Lawrence and Mary Dunnigan were living with two other individuals, a male child under the age of 10 and another male between the ages of 10 and 20. Both Lawrence and Margaret were listed as in their 40s. Just so you are aware, the State Census for Alton, Illinois only recorded white people. The 1870 Census listed L. Dunigan married to a Margaret Dunigan, with other members of the household including James Dunigan (18 yrs.) and Mary Hoey (12 yrs.). L. Donigan was a quarry man and made the paper only once; April 18, 1878, when an accident occurred at the quarry (Alton Weekly Telegraph, 18 April 1878. P. 3). Lawrence and Margaret remained in Madison County for the remained of their lives, and are buried in Saint Patrick Cemetery. Their tombstone is engraved Lawrence Dunnegan (1822-1902) and Margaret Hoey Dunnegan (1822-1897).

I am going to stop here. The whole reason that I went into a deep dive of Alton history was to either prove or disprove that the Peter and Margaret Donohue were the parents. To date, I have no concrete evidence that scenic artists Lawrence E. Donigan and Peter J. Donigan were raised in Alton by the Donohue’s.

I began to look at the life and career of Lawrence E. Donigan, with the belief that his parents were named Donigan, or a variation of this surname. Many more doors began to open. I was even able to identify possible grandparents. As with many surnames, Donnigan, Donigan, Donagun, Donagan, Dunagan, Dinagun, Donnegan, and Donegan, are just a few variations. Keep in mind that I have spent countless hours tracking down these individual and the legacy of their descendants. I dug deep into Donegan family history over the course of a century and was surprised at what I uncovered…

The Grandparents: Wiley Donegan and Sidney Gray

The Donigan brothers’ story really starts with their grandparents Nelson G. W. “Wiley” Donegan (b. 1823) and Sidney Katherine Gray (b. 1824). And for the record, even if these two individuals aren’t related to the Donigans, their story needs to be told, because against all odds, they managed to succeed during a very difficult period of American History.

In some historical records, Sidney Gray lists that she was born in Orange County, Virginia, sometime during 1824. Throughout her life, Sidney would cite the same birth year – 1824. For geographical context, this is in the Central Piedmont Region, about 81 miles southwest of Washington D.C. Her obituary states that the age of 12 yrs. old, Gray moved from Virginia to Christian County, Kentucky. No context was provided for this relocation. In fact, this was a really big move; a 650-miles journey from Virginia to Kentucky to live in the exact same county where Jefferson Davis, president of the Confederate States of America, was born in 1808.

1887 City Directory listing Sidney Donegan as “Indian.”

Later in life Sidney was listed in directories as “Indian.” In fact, she was Cherokee. This places Sidney’s birth in Cherokee lands, before the mass relocation of these indigenous people; an event know known as the Cherokee Trail of Tears (1837-1839). The Trail of tears was the forced westward migration of Native Americans to Oklahoma Territory (also referred to as “Indian Territory”). This policy was implemented during the Andrew Jackson administration. Jackson’s administration was from 1828 to 1837. It is estimated that approximately 16,000 Cherokee were forcibly removed from their homelands between 1836 and 1839, with at least 4,000 perishing while in transit. Later in life, Sidney’s daughter (Mary Donegan) listed that both her mother and father were born in Tennessee; Mary Donegan would also identify as part Cherokee.

Now from a historical standpoint, when the English arrived in America, the Cherokee lived in the upper Tennessee River tributaries; an area that later became Virginia. The Tennessee River was once popularly known as the Cherokee River. Here is a link for more information about Cherokees in Virginia: http://www.virginiaplaces.org/nativeamerican/cherokee.html

It was after moving to Kentucky, that Sidney met her future husband, Wiley Donegan. Their wedding took place on Feb. 20, 1841. Unlike other entries in the Christian County marriage record, there was no other information added to their record beyond two names and a fate, not even the clergyman who performed the ceremony. Wiley Donegan did not secure emancipation until 1847. Prior to the Civil War, the marriage of enslaved people was considered illegal. That is not to say that it didn’t occur; consider Dred Scott’s marriage to another slave in the mid-1830s. The legality of Wiley and Sidney’ marriage in Kentucky could explain the lack of information in their 1841 marriage record.

Entry for marriage of Nelson G. W. Donegan and Sidney Gray in 1841.

It is also important to note that one route for the Trail of Tears passed through Christian County in the 1830s. Hopkinsville, Kentucky, (the county seat) was the location of a winter camp and ration stop along the Northern Route of the Trail of Tears. In fact, two prominant Cherokee leader perished in Hopkinsville, Chief Whitepath and Fly Smith. There is even a Trail of Tears commemorative park in Hopkinsville. This is the event that possibly placed Sidney in Christian County, Kentucky, where she met and married Donegan. Although Sidney was part of the indigenous community, she may have also become enslaved en route.

Six years after marrying Sidney, Wiley Donegan secured the necessary emancipation documents in St. Clair County, Michigan. There are a few scenarios of how Donegan ended up in St. Clair, one being that he escaped and secured fake emancipation documents. For geographical context, St. Clair is due south of Port Huron, Michigan. In fact, the Donihoo Family of St. Clair were active in helping slaves escape in the county by the early 1840s, helping them cross the mile-wide St. Clair River. If Donegon was the surname of the family who enslaved Wiley, Donnihoo may have been the family that helped secure his freedom.

Donegan’s emancipation document is dated April 27, 1847, from St. Clair County, Michigan, so he married as a slave six years earlier.

Emancipation record for Wiley Donegan at ancestry.com

Their first two children were born in Kentucky before Donegan’s emancipation: Cyrus Donegon (b. 1842) and Leana Donegan (b. 1844). Purportedly, their third child, Mary (b. Dec. 1847), was born in Illinois. However, in later years she would claim Kentucky as her birthplace. This was likely due to the Fugitive Slave Clause (also known as the Fugitive From Labor Clause, Article 4, Section 2, Clause 3 of the U.S. Constitution) that clearly stated “a person held to service or labor in one state” (an enslaved person) who fled to another state did not acquire freedom from slavery. Instead, the fugitive must be returned to the state from which they had fled. This means that the Donegan children born between 1842 and Wiley’s emancipation in 1847, of born in Kentucky would have been considered slaves. Also, It is important to remember that the census reports in 1850 and 1860 only included white people and “free blacks”, not slaves. Slaves were solely listed on slave schedules, solely identified by gender, age, and financial value.

In 1850, the US Federal Census listed all members of the Donegan family living in Springfield, Illinois, and their color as “M” [mulatto]. Keep in mind that Illinois was a Free, unlike nearby Missouri and Kentucky. Wiley Donegan’s occupation was listed as “laborer.” The 1850 census reported listed that Donegan owned $200 worth of real estate. The Donegan household in 1850 included: Wiley (30 yrs.), Sydney (29 yrs.), Cyrus (8 yrs.), Leana (6 yrs.) Mary (4 yrs.) and George (1 yr.). Interestingly, not all the children were born in Illinois. For example. 4 yrs. old Mary was born in Kentucky in Dec. 1847. Keep in mind that Mary was the mother of Ed Donnigan, the 1885 Sosman & Landis employee.

In the midst of all this there are a series of court cases that debate the political implications of slavery in US Territories. In the 1857 Dred Scott v. Sanford case, the United States Supreme Court ruled that blacks were not citizens of the United States and denied Congress the ability to prohibit slavery in any federal territory.

In 1860, the US Federal Census listed the same household family members, but under the surname of Dunagan and their color as “black.” At 18 yrs. old, their eldest child, Cyrus, had already moved out. The remaining household members in 1860 included Wiley (39), Sidney (39), Leanna (16 yrs.), Mary (14 yrs.), George (11 yrs.) Narcissa (8 yrs.), Susan (6 yrs.), Purty (4 yrs.) and David (2 yrs.). In this census, Wiley was listed as a farmer with $600 of real estate and $800 of personal possessions.

In the early 1860s, the Donegan family moved north, settling in Michigan. Their move likely coincided with the onset of the Civil War. In 1865, Nelson Green Wiley Donegan passed away in Van Buren, Arlington County, Michigan. His will, dated June 26, 1865, left his estate to his wife, Sidney Katherine Donegan, and his eight living children. The children were not named in his will.

The Donegans in Springfield, Illinois

The 1870 US Federal Census listed that the Donegans were again living in Springfield, Illinois. As in 1850, the color for the entire household was listed as “M” and included Sidney (46), Narcissa (19), Susan (16), Presley (4), David (12) and George Gloss (30, laborer, b. Louisiana). Sidney and most of her children remained in Springfield for the remainder of their lives. Despite residing in the same area and at the same addresses, the spelling of the surname continued to vary over the years, shifting between Donigan, Donnigan, Donegan, and Donnegan; all the same family. Interestingly, in 1875, Mary’s brother George Donnegan was listed as a painter, living at 640 north 3d, in the Springfield Directory.

In 1887, the Springfield Directory listed the following members of the family:

Donnegan, Sidney Mrs. (Indian), wid Wiley, bds 1038 s 3d

Donnegan Susan (col) domestic, rear 423 s 6th

Donnegan George W. (col), lab, h 1038 s 3d

Donnegan, Presley (col), barber, h 627 n 2d

The mention of Sidney’s connection to the indigenous community brought me to her listing the “Dawes Applications (overturned), 1896” database (available at ancestry.com). This database contains applications for enrollment into the “Five Civilized Tribes – Cherokee, Chickasaw, Choctaw, Creek and Seminole, from the Muskogee, Oklahoma area office.” The description notes, “Application files may include documents such as affidavits, depositions, letters, memorials, objections, lists of evidence, receipts for service of papers, notices of appeal, and references to case numbers. Some files contain further documents and background information that may provide more detail on the applicant’s life.”

Sidney Donegan’s tribe was listed as Cherokee, and her case number listed as 749. Mary Byrd, her daughter (Lawrence and Peter’s mother) also shared the same case number. In numerous records, I had encountered the name Mary Bird while researching the Donegan family history. It was her marriage license from 1903 that helped me connect the dots. Bird was the surname that Mary used when marrying Frank Hatchel in Oklahoma.

Their Mother: Mary Donegan/Mary Bird/Mary Hatchel

I have yet to locate a marriage record that connects Mary to any gentleman named Bird, although there were plenty black businessmen in Springfield Illinois with that surname. What I do know is that Mary Donegan moved from Springfield to Chicago by 1880. In the Windy City, she raised for children alone, listing herself as a widow.

Mary and her children all went by the mast name Donegan in 1880: Lawrence E. “Ed” Donegan (b. 1865), Maggie Donegan (b. 1866), Della Donegan (b. 1866), and Peter J. “Pete” Donegan (b.1870). The small family was living at 1027 Wentworth Ave. in Chicago. Lawrence’s occupation at the time was listed “works in painting house.” “Painting House” possibly meant scenic studio. At fifteen years old, he was the right age to start an apprenticeship, working as a paint boy. All five of the Donagans listed their birthplace as Illinois, and all five listed their parents as Irish. This is suspect; Mary’s children (Lawrence, Maggie, Della, and Peter) should have listed Illinois for their mother’s (Mary) birthplace (Illinois), and not Ireland.

In 1885, the two of Mary’s children were using variations of Donegan for their surname. That year, Lawrence was listed as a Sosman & Landis employee – Ed Donnnigan – and his sister Maggie listed her name as “Margaret E. Donnegan” when she married William Smith O’Brien (1852-1929) on Jan. 7, 1885, in Cook County, Illinois. By the way, William was also a painter; one would continue to work as an artist until his passing in 1929. In 1885, Lawrence was 20 yrs. old, Maggie and Della were 19 yrs. old, and Peter was 15 yrs. old. Lawrence, Maggie’s husband and Peter were all painters at this time.

About the time that two of her children moved to St. Louis, each changing their surnames, Mary moved west to settle in Langston, Oklahoma Territory. Between the Civil War and Statehood, approximately 27 all-black towns were established in Oklahoma. Langston, Kansas, was founded by African-American Edward P. McCabe, a former State Auditor in Kansas. McCabe sought to escape create a black-majority state in Oklahoma Territory. Encouraging African-Americans to settle in an All-Black town. Langston was named after John Mercer Langston. Across the country, including in Chicago, lots of land in Langston were advertised in African American newspapers and by traveling salesmen who visited communities. For more information about the establishment of All-Black Towns in Oklahoma visit: https://web.archive.org/web/20121103020841/http://digital.library.okstate.edu/encyclopedia/entries/A/AL009.html

In Oklahoma Territory, Mary married Frank Hatchell. Now known as “Mary Bird,” she still listed her parents as Sidney Gray and Wiley Donagan on the marriage license; so, same woman. On June 13, 1901, Mary Bird married Frank Hatchell in Kay County, Oklahoma Territory.

Marriage application and license for Mary Bird, daughter of Wiley Donegan and Sidney Gray, to Frank Hatchel.

At the time, Mary was 55 yrs. old and her husband was 61 years old. The color for both bride and groom were listed as “black.” The marriage license listed that the current residence of Mary Bird was in Langston, Oklahoma, and that of Frank Hatchell was in Peckham Oklahoma. Peckham was due north of Langston, but quite a ways away – about 80 miles.

The two lived in Newkirk, Kate County, Oklahoma Territory. On June 21, 1901, “The Republican News Journal” announced, “Frank Hatchell, an old colored soldier living west of the city was married Saturday June 15, 1901, to Mrs. Mary Bird of Langston, Oklahoma, by Rev. Adams, the colored Methodist minister of this city” (page 5). Hatchel had fought in the Civil War with the 1^st Michigan Colored Infantry and the 102 Regiment of the USC Infantry.

Sadly, their marriage only lasted a few years, as Hatchel passed away in 1906.

On Feb 23, 1906, The Democrat-Herald of Newkirk, Oklahoma, announced, “Frank Hatchel Dead” (page 4). His obituary reported, “Frank Hatchel, a veteran of the Civil War died on his farm southwest of Peckham, on the 15h inst. The funeral services were held at A.M.E. church, this city, at 2 o’clock Sunday afternoon. Rev. Adams officiated assisted by Rev. Jones of the Baptiste church and Rev. G. W. McKay of the A.M.E. church. The deceased met death bravely, being perfectly resigned to his fate. He leaves a wife and two daughters to mourn his loss.” On Feb. 28, 1906, Mary placed an announcement in the Republican News Journal:

“Card of Thanks.

I take this means of thanking my many friends who so kindly assisted me during the illness and death of my husband.

Mrs. Mary Hatchell” (page 5).

Mary never returned east, but remained in the area with her two step-daughters, Eveline and Genevieve Hatchel. They sold the Hatchel property that winter. On Dec. 14, 1906. The Democrat-Herald listing the following real estate transfer:

“Eveline Hatchel, Mary Hatchel and Genevieve Hatchel to John Werner et al, ne ¼ 28-28-1e” (page 1). Mary continued to live in Newkirk, Oklahoma, until her passing in 1935. She was 88 years old. In both the 1920 and 1930 US Federal Census reports, Mary listed her birthplace as Kentucky and the birthplace of both parents as Tennessee.

Her mother Sidney returned to Springfield and lived with her son George at 1038 S 3^rd Street, until her passing the year after Mary wed Hatchel. Sidney Donavan lived with her son George, who supported his family by working as a janitor at a school house. In 1900, the US Federal Census report listed the “color” for the entire Donegan family as “B” [black]. Interestingly, the Donegan’s were the only black family in the neighborhood. All of their neighbors were white, with the exception of a few household servants.

Sidney Donegan, passed away at the age of 77 years old.

Gravestone of Mary Hatchel (Mary Donegan, mother of Lawrence and Peter Donigan).

Her obituary was published in the Illinois State Journal, of Springfield, Illinois, on Jan. 27, 1902. It provides a little more information about the Donegan family:

“Died Jan. 26, 1902, at the residence of her son, George W. Donagan, of apoplexy, Mrs. Sidney Donagan, aged 77 years and 10 months. She is well known among the colored population of Springfield. Born in Orange county, Va., she came to Kentucky when 12 years old, and finally to Illinois with her husband in 1846. Mr. Donagan farmed in the vicinity of Springfield eleven years. He died in 1865.” She was survived by six children: George W. Donagan, Presley Donagan, Leana Outland, Susan Dinagan, and Mrs. Mary Hatchel. All of her children, with the exception of Mary, remained in the Springfield area. Sadly, non of the grandchildren were mentioned.

Lawrence E. Donigan/Laurence E. Donohue

The surname change from Donigan to Donohue happened sometime between 1885 and 1890.

In 1890, Lawrence E. Donigan was listed as Laurence E. Donohue in the Chicago Directory, residing at 20 Gurley. Four years later he married, also using the surname of Donohue. His name was listed in the Marriage License section of The Inter Ocean on June 26, 1894 (page 8) –

“Laurence Donohue, Mary Dennewille (27-21).” Many African American last names hold the weight of slavery; individuals who used the surname of an enslaver. We will never know what promoted Lawrence to change his surname, or if his mother completely severed contact with her family. In the back of my mind, I hope that Lawrence changed his name from an enslaver to a liberator. Again, the family that helped slaves to their freedom in St. Clair County during the time that Wiley Donegan secured his emancipation papers was the Donihoos.

Regardless of reason, it cannot be discounted that all of Mary’s siblings in Springfield were consistently listed as “col.” [colored] in the Springfield Directory. In Chicago, Mary passed for white, and was not listed by anything else.

Fifty years later, Lawrence’s two surnames were mentioned in his obituary:

On March 2, 1944, the Oak Park Leave announced,”Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia.”

Shortly after marrying in 1894, Lawrence and his wife relocated to St. Louis, Missouri. In St. Louis they celebrated the birth of their first child, Lawrence Edward Donohue Jr. (May 1895). At the time, their address was listed as 1302 Sidney St. Lawrence and his family remained in the St. Louis area for a few years, listed as artist in the St. Louis City Directory in 1895 and 1897. In 1897, their address changed to 1448 S 16^th. Their second son, James P. Donohue, was also born in St. Louis in 1898. In 1899 the Donohues returned to Chicago.

Lawrence and Mary were living in Chicago when their third son, Walter J. Donohue, was born in 1899. The 1900 U. S. Census report listed L. E. Donohue and his family living at 20 Vernon Park, Chicago; a location where they would remain until the 1930s. In Chicago, Donohue resumed painting under the name Donigan, going by Lawrence E. Donigan, or L. E. Donigan.

In 1900, Donigan was listed as “scenic artist for the Grand Opera House” in the Memphis City Directory, rooming at 441 ½ Main. This was a very common occurrence. Despite having a permanent residence and family in another city, scenic artists would list themselves in directories for the cities they were working in at the time. This meant “rooming, “boarding,” or just listing the address of the theater where they were working; this was to ensure that they were able to receive mail during extended absences from their permanent residence.

In 1901, Lawrence and Mary celebrated the birth of Mildred.

By 1902, Lawrence worked at the Academy of Music in Chicago, placing an advertisement in the “Chicago Tribune” on July 20, 1902: “WANTED FRESCO PAINTER: Must draw and paint ornaments. Academy of Music. L. E. Donigan.”

In 1906, Lawrence and Mary celebrated the birth of their last child, Mary Florence. And this is about the time where a third Donegan relation becomes a scenic artist.

Their Nephew: George Pat Woods

George Pat Woods was the nephew of L. E. Donigan and Peter “Pete” Donigan. Woods was Sosman & Landis employee No. 98. George was one of Della’s sons.

George Patrick Wood was born in Chicago on April 10, 1891, although his birth was not registered with the State of Illinois until July 31, 1891. Later in life, he would go by George Pat Wood in newspaper article. He was one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (b. abt. 1870). His two younger brothers were Arthur Francis Wood and Walter James Wood. In 1900, the three boys were listed as “inmates” at the “St. Louis Home of Refuge.” The term “refuge” is a little misleading, as the home was well known as an abusive penal institution for juvenile offenders, as well as orphans. It remains unclear as whether all three boys were arrested for delinquent acts or committed by a family member, but their young ages suggest the latter. The ages of the three boys were listed as 9, 7, and 5 yrs. old. I have no idea how long they stayed at the St. Louis Home of Refuge or remained in the St. Louis area.

In later years, Wood credits that his uncle, Pete Donigan, as the one who helped George get a foothold in the scene painting business. On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush” (page 33). The article reported,

‘Pat,’ as he is known by members of the Stuart Walker Company got his start in the scene-painting business when he visited his uncle in Chicago. This uncle, one Peter Donegan, is a sort of scenic baron in the Windy City, doing the stage sets for the Chicago Opera Company and for most of the large theaters. His studio proved a fascinating place to hang out, and presently the nephew began dabbing in paint. Soon he was a regular member of the force. And so he began, rather far up the line as scenic artistry goes, by designing stage sets for the Chicago Opera. Following other successful positions, Pat was retained to assist in fashioning stage sets for Max Reinhardt’s first production of ‘The Miracle,’ the most stupendous and magnificently stages spectacle the American stage has ever seen. In between these high-light occurrences, Pat was for two seasons with the Metropolitan Opera Company. He was with Stuart Walker when Mr. Walker had the Portmanteau Theater and made all the original sketches for the company one season. Between times he has taken jaunts to Europe to provide him with inspiration for his work; there have been visits to old world museums and cathedrals where he has studied color and technique and gained experience which he had been able to translate into renewed efficiency when he has returned to his duties.”

Although there is no direct mention of Wood working at Sosman & Landis, he likely started at the firm about the same time as John Hanny and Art Oberbeck, c. 1905-1907. His uncle L. E. Donigan was still living in Chicago and associated with the firm in 1902. He was part of the crew sent to Cincinnati to paint for Sosman, Landis & Hunt. For historical context, in 1894, Sosman & Landis partnered with David H. Hunt to lease the Pike Theatre in Cincinnati and manage a touring stock company.

On Dec. 14, 1902, the Cincinnati Commercial Tribune reported, “CHRISTMAS ATTRACTIONS. The Christmas pantomime of ‘Cinderella’ will be presented one week from today at the Pike. Manager Hunt has done something never before attempted by a stock organization – prepared in four weeks an extravaganza such as David Henderson and other spectacle producers required four or five months to build. Scenic artist Reid had as his assistants, L. E. Donigan, Otto Schessling, William Thompson, George Smith and four helpers. Scenic carpenter Buck has had twelve carpenters in his department. Property Master Bruehl has had four assistants. Electrician H. Homer has had four assistants, the services of three women have been required for four weeks sewing on the scenic materials and the supplies for the stage alone have required an outlay of over $5,000. In the big transformation scene in the last act there will be 175 grown people and 75 children. A gold coach, drawn by eight of the smallest ponies on earth, will be the feature” (page 26).

That year Donigan was also associated the Academy of Music. On July 20, 1902, Donigan placed a want ad in the Chicago Tribune (page 7):

“WANTED – FRESCO PAINTER; MUST DRAW and paint ornaments. Academy of Music. L. E. Donigan.” Donigan remained in Chicago, continuing to list his surname as Donohue in census reports.

The 1910 US Federal Census listed Lawrence Donohue living at 857 Vernon Park Pl., in Chicago with his wife and children. Donahue, now 47 years old, listed his occupation as a theatre decorator. Other members of his household included: Mary M. Donahue (36 yrs.), with children Lawrence E. (14 yrs.), James P. (13 yrs.), Walter J. (10 yrs.), Mildred (8 yrs.) and Florence (3 yrs.). The report also notes that Mary gave birth 6 times, with 5 surviving children.

On July 8, 1913, both Donigan and Wood were mentioned in the “Des Moines Tribune” while working at the Empress Theatre in Des Moines, Iowa. The article reported, “…the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [Lawrence E. Donahue], George Wood, and Arthur Overholt [Arthur Oberbeck] are rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”

The Donohue family’s home remained at Vernon Park Place in Chicago, although the renumbering of streets shifted their house number from 20 to 857.

By 1922 Lawrence E. Donigan became associated with the Oliver Player production,. He painted scenery for the at least two of their productions, including the adventure melodrama, “The Barrier” and “Fair and Warmer.” His scenery for “Fair and Warmer” was mentioned in the South Bend Tribune on April 29, 1922, (page 6). The article reported, “Scenery for the play is of necessity of the rudest sort representing the rough cabins of Alaska. L. E. Donigan, scenic artist for the Oliver players has endeavored to reproduce the actual atmosphere of the mining country with the aid of Mr. Burnham, who has himself spent many months in Alaska (page 6).

L. E. Donigan was listed in the 1923 Grand Rapids MI Directory, working as an artist, and boarding at 621 Shawmut NW. He continued to work throughout the region. On November 14, 1925, the South Haven Daily Tribune reported,

“L. E. Donigan of Grand Rapids, theatrical scenic artist, was here Friday to look over the auditorium of the new Central school building with the view of submitting a bid on the scenery and other equipment. Mr. Donigan equipped the stage of the auditorium of the high school building at Covert” (page 2).

The Market Crash of 1929 changed everything for many scenic artists, including Donigan. John Hanny described the shifted in a letter to Dr. John Rothgeb: “The depression of 1929 just about stopped the production of stage scenery – at least in Chicago. Road shows, musical, etc. if any were being produced in New York and Hollywood. At this point the studios disappeared but the scene painter couldn’t disappear and had to become freelancers. There was no such thing as a steady job and the boys were hard put to find a day’s pay.” Despite a downturn in the industry, Lawrence’s little brother continued to soar. On Oct. 29, 1930, the “Detroit Free Press” reported. “At the studios of the Detroit Opera society in the old Fox-Washington theater, Peter J. Donigan, chief scenic artist of the Ravinia Park Opera, was introduced and his work for the last two months exhibited” (page 7). In article entitled “Opera Backers See 1931 Equipment.” Peter is the subject of my next post.

The 1930 US Federal Census reported that Lawrence Donahue was still painting, but now in the building industry. He was seldom employed as “L. E. Donigan. During the 1930s, the Donahue family home moved from Chicago to Oak Park, the same western suburb that had housed many other scenic artists since the 1890s, including Thomas G. Moses and Joseph Landis (Perry’s older brother). Over the next decade, Lawrence slowly fades from public record and simply retired.

The 1940 US Federal Census listed the Donahue residence as 829 South Cuyler, Oak Park. The household included: Lawrence (head, 76 yrs.), Mary (wife, 68 yrs.), Marie (Mary Florence) Krbec (daughter, 33 yrs.) and Marcelle Krbec (grandson, 9 yrs.). Their son James P. Donohue’s 1942 draft registration card still listed this address. At the time he employed by the U. S. Army Signal Corps in Chicago.

Both Lawrence E. and Mary Donahue passed away in 1944, within weeks of each other.

On Feb. 13, 1944, Mary Donahue’s obituary was published in the “Chicago Tribune” (page 18). It announced:

“Mary Muir Donahue, of 821 S. Cuyler avenue, Oak Park, beloved wife of Lawrence, fond mother of Lawrence E., James P., Walter T., Mildred M. Cotey and Mary F. Krbec, sister of Walter Dinnerville, Ina Frank and Louise Humphries. Resting at funeral home, 17, Madison street, Oak Park, Funeral notice later.”

Ten days after the announcement was published, Lawrence passed away on Feb. 23, 1944. The Illinois Death Index lists both surnames for Lawrence on his record: “Lawrence E. Donigan or Donahue.” The entry verifies his identity, listing his father as Peter Donahue, mother as Margaret Kelly, and wife was Mary Meier Donahue.

On March 2, 1944, the Oak Park Leaves announced,

“L. E. Donohue Dies;

Scenic Artist

I will explore the life and career of Lawrence’s older brother, Peter J. Donigan (1871-1949) in my next post.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 111: Mrs. J. S. Curran

Mrs. J. S. Curran worked at Sosman & Landis in 1885. On August 2, 1885, the Chicago Tribune listed her as an employee who donated fifty cents to the Grant Memorial Fund.

I immediately recognized that exploring the life and career of Mrs. Curran would be a challenge. The initials “J. S.” were likely her husband’s, meaning that even the “J” could stand for John, James, or Joseph. There were also dozens of men with the surname of Curran in Chicago during 1885. Of these numerous individuals, historical records and newspaper articles would include variations of Curran, such as Curren and Currin.

1885 listing for John S. Curran in the Chicago Directory.

Throughout my research, there was one name that kept catching my eye – John S. Curran. It was his address that made me look twice, and then a third, fourth, and fifth time. In 1885, he lived at 277 Clark and operated a cigar store at 283 Clark; this was on either side of Sosman & Landis’ studio. From 1880 to 1886, the firm was located at 277 and 279 S. Clark from 1880-1886.

1884 listing for Sosman & Landis in the Business Section of the Chicago Directory.

Note that in the 1880s Sosman & Landis also listed 277 and 279 S. Clark St. as their address.

There was also an Inter Ocean article that helped me connect a few dots. On Oct. 28, 1887, the newspaper announced, “Fred Bowman, J. S. Curran, Charles Tracey, Tressa Nelson, Carmero Passo, Joseph Spitts, George Bordenau and Mary Kee charged with violating the statute against selling tobacco to children, were fined $20 and costs each by the Justice R. H. White yesterday morning. The fines were subsequently suspended on payment of costs. About fifty small children were in court as witnesses against the prisoners” (page 6).

It was this event that linked J. S. Curran to Fred Bowman, another individual who weaved in an out in previous biographies. Bowman was tied to C. M. Crouse, Sosman & Landis employee No. 106. Crouse and Bowman were part of the Wood’s Museum/Aitken’s Museum theatre crowd, located at the corner of Clark and Randolph Streets in Chicago. The venue included a lecture hall, complete with a stage and stock company. Bowman and Crouse were part of the company.

In the end, Mrs. J. S. Curran was Mrs. John S. Curran; her maiden name being Warner. Sosman & Landis employee No. 111 is Mrs. Josephine Curran.

Josephine “Josie” Warmer was born in New York in 1858. She was the youngest daughter of Seth Porter Warner (1811-1892) and Statira Frary (1815-1907). Her father became a very successful Chicago blacksmith who funded the construction of Warner Hall in 1851. In fact, Seth Warner is considered a Chicago pioneer. On June 14, 1892, his obituary in the Chicago Tribune, detailed his arrival in 1837:

“Seth P. Warner Passes Away.

He was one of Chicago’s pioneers – the funeral will be held today.

Seth P. Warner, who died at the house of his daughter, Mrs. James [Mary] Wallace, No. 388 La Salle avenue, last Sunday, was one of Chicago’s pioneers. He was born in Amherst, Mass., Sept. 18, 1810, and came to this city in 1837. In 1849 he went to California but returned to Chicago in 1851. That year he built Warner Hall at Randolph and Clark streets, one of the former landmarks of the downtown district. Mr. Warner assisted in organizing the first fire company of the city. It was a hook and ladder company, with quarters near Lake and Dearborn Streets. He was also one of the organizers of the First Presbyterian Church. Later he became a member of the Second Presbyterian Church, where he remained until he joined Prf. Swing’s congregation, of which he was a member at the time of his death. Mrs. Warner leaves a widow and the following children, Orin Warner and Mrs. James Wallace of this city, Porter Warner, proprietor of the Times, Deadwood, S.D., and Mrs. James Chrisman of Glen Ferry, Idaho. The funeral will be held at 2 p.m. today at the residence of Mrs. James Wallace. Prof. Swing will make the funeral arrangements” (page 6).

Warner Hall (see arrow) from Chicagology.com

For geographical context, Warner’s Hall was located right across the street from Wood’s Museum. The proximity of the buildings was noted in a newspaper article published after President Lincoln’s assassination. On May 2, 1865, the Chicago Tribune announced, “Suspended across the street from Col. Wood’s Museum to Warner’s Hall were two flags, and between then a mammoth banner, having in its center the picture of a spread-eagle, and over it the following: Col. Wood’s motto: Victory, one destiny, one constitution, one country.’ Three flags floated half-masted from the roof. Bulletin boards in front of the Museum were shrouded in black, and everything denoted the deepest grief.”

Warner’s Hall also places Josephine within the midst of not only a theatrical community, but also a gathering place for many progressive political movements. For example, from Oct. 6-8, 1853, Warner’s Hall was the site for the “First Convention of Colored Citizens of the State of Illinois”, where members at the event resolved to fight the Illinois law that prohibited free Black Americans from visiting Illinois longer than 10 days. Frederick Douglas was a speaker at the convention, and members resolved, “we most especially recommend to our people throughout the state to become owners of land, to build houses and cultivate the soil, as the surest means of making themselves and families independent and respectable.” One decade later, war meetings were held at Warner Hall, including an enlistment event for the Union Army’s First Illinois Colored Regiment.

War meeting at Warner’s Hall in 1863.

A year later, little Josephine Warner also made the news. On Oct. 19, 1864, the Chicago Tribune reported, “The Efforts of Little Ones – a fair was held a few evenings since at the residence of S. P. Warner, Esq., No. 284 Michigan avenue, by Miss Josephine Warner. The proceeds netted $110 which were handed over to the committee of the Young Men’s Christian Association for the relief of soldier’s famine. We are glad to record these noble efforts of the little ones. They are worthy of all appreciation” (page 4).

Josephine came of age four years later, in 1870. For whatever reason, Josephine did not marry young. The 1870 US Federal Census listed 18-yrs.-old Josephine Warner living with her parents and baby sister, Mary, in their new home. The previous year, Warner built a mansion in the Austin neighborhood of Cicero, Illinois. Cicero is a western suburb of Chicago, a little southeast of Oak Park. Other members of the Warner household in 1870 included ticket agent James Wallace, his wife Mary Wallace, and a few German servants. I have yet to locate a connection between the two families, yet James Wallace (18135-1891) continued to work as a ticket agent for decades, always citing his place of employment as somewhere on Clark Street.

The Seth Warner home is still standing, having once housed the Austin Academy of Fine Arts. It has repeatedly made news over the years, as it is one of only thirteen Chicago landmarks that predate the 1871 Chicago Fire.

The Seth Warner home in the Austin neighborhood of Cicero, Illinois.

By 1878, Josephine was 26 yrs. old and living with John S. Curran, having just given birth to their first, and only child, Eva. That year, John S. Curran was living at 279 Clark in Chicago, working as a watchman. Eva Curran was born on April 16, 1878. I have yet to track down any more information about Josephine during the first two years of Eva’s life, specifically any marriage certificate or wedding announcement.

In 1880, Curran was still working as a watchman, living with his wife Josephine and 2-yrs. old daughter Eva. The 1880 US Federal Census listed the small Curran family living at 274 Clark Street. Josephine listed as his wife and “housekeeper” in the census. This is odd, as the tradition occupation for wives was “keeping house,” instead of housekeeper. It made me wonder if the Currans were financially struggling, and Josephine was working. Oddly, on June 6, 1886, their names were listed in the “Marriage License” section of the Chicago Tribune. At the time John Curren was listed as 26 years old, and Josephine Warner was listed as 29 yrs. old.

Part of me wonders if Josephine had a child out of wedlock, causing immediate estrangement from her family. It would explain a lot, especially her seeking nearby work in 1885 when their daughter was 7 years old. Getting married in 1886 just made everything legitimate as Eva entered school. During the 1880s, everything began to change as her husband transitioned from watchman to cigar store owner. Through it all, the Currans remained living on the exact same street – Clark.

And this brings us back to the mention of J. S. Curran and Fred Bowman in 1887 – the article that really helped me connect the dots. On Oct. 28, 1887, the Chicago Tribune reported, “Fred Bowman, J. S. Curran, Charles Tracey, Tressa Nelson, Carmero Passo, Joseph Spitts, George Bordenau and Mary Kee charged with violating the statute against selling tobacco to children, were fined $20 and costs each by the Justice R. H. White yesterday morning. The fines were subsequently suspended on payment of costs. About fifty small children were in court as witnesses against the prisoners” (page 6).

Their criminal charges were part of a much larger legislative shift that addresses under-age tobacco use.

On October 27, 1887, the Chicago Tribune elaborated on a change in legislation that led the charges: “June 15 last the Legislature approved the section to be added to the criminal code that ‘hereafter no person or persons in this State shall sell, but, or furnish any cigar, cigarette, or tobacco in any form to any minor under 16 yrs. old unless upon written order of parent or guardian.’ The penalty was placed at $20. The new law has never been enforced in the city, but some time ago the Mayor took the matter under consideration, and yesterday announced his resolve to stop the sale of tobacco to children. Orders to this effect were given to the police. The result of a morning’s work was the issuing of nearly 100 State warrants for the proprietors of small stores near the public schools, and a raid was made in the vicinity of Jones School.” J. S. Curran, No. 283 South Clark Street and Fred Bowman, No. 214 Clark Street” were included with the list of individuals” (page 8)

This entire event prompted Curran to change his business, having may have been his “series of unfortunate events” moment. About this time, Josephine also left him, remarrying her second husband in 1888.

Between 1887 and 1891, the Chicago Directory listed Curran in the boots and shoes business, still operating his business as 283 Clark. Curran was also mentioned in a Chicago Tribune article published on June 29, 1888 (page 8). He was named in an article about suspected fraud by John J. Clifford, a M. D. Shay & Co. employee. The article reported, “J. S. Curran, a shoe dealer at No. 283 South Clark street became suspicious when Clifford ordered the twenty-four pairs and reported the matter to police.”

The last mention of Curran in the newspapers that I have located is from 1890. On Sept. 3, 1890, the Chicago Tribune” reported, “Hyman Isaacs, the proprietor of a clothing house at No. 285 Clark street, sued his neighbor, John S. Curran, for $10,000 damages in the Circuit Court for false arrest. Curran took out warrants against Isaacs and a runner in front of his place under Sec. 1,799 of the ordinance, which prohibits a man soliciting business in front of a store. Justice Bradwell held that a proprietor could not be punished, but a fine of $10 was imposed against the runner” (page 9).

Curran passed away on May 28, 1894, and was buried at Calvary Cemetery in Chicago. Meanwhile, Josephine settled in Salt Lake City with her second husband.

Josephine’s second husband was William Chalmers Chrisman (1858-1928). Chrisman worked as a railroad engineer, having entered the profession as a mechanic in 1878, achieving engineer status in 1880. The two were listed in her father’s obituary as living in Glens Ferry, Idaho, at the time of his passing in 1892.

In his last will and testament, Seth P. Warner wrote, “To my daughter Josephine, I give the sum of twenty-five ($25) dollars, which is all she shall have of my estate.” When reading the rest of Warner’s obituary, this made quite a statement. Josephine’s three other siblings (Orren Warner, Porter Warner and Mary Wallace) were bequeathed “the balance and remainder of his property and estate” – a substantial sum. Even a granddaughter, Irene Vandewater, and in-law, Roderick B. Frary, received $300.

Six years after the passing of her father, Josephine and her husband moved to Salt Lake City, Utah. They couple never celebrated the birth of any children, and I don’t know if they were Eva’s guardians as she grew to adulthood. Later census reports indicate that Josephine only gave birth to one child; as child that was still living. This was likely her only daughter, Eva H. Curran, who I believe remained in Chicago after her mother remarried and left the state.

In 1899, Eva H. Curran married James Henry Minor in Cook County. Minor was employed as a cornice maker, and in 1900 they were living at 262 W Erie Street in Chicago. Their names were listed in the Marriage License section of the Chicago Tribune on Jun 16, 1899. Actual wedding took place on July 2, 1899. I have been unsuccessful in learning much about Eva’s life and family.

As far as Josephine, she slowly fades from public record. Her name only pops up a few times between her arrival in Salt Lake city and passing in 1915. The first mention that I have located of Josephine in Salt Lake is in 1908, a full decade after her arrival. On Feb. 28, 1908, The Salt Lake Herald listed Josephine Chrisman in the Real Estate Transfers section. She purchased a plot of land from Isaac G. Quinn (part of lot 1, block 150, plat A).

By 1913, there are a couple mentions of her involvement with the literary society. On Sept. 13, 1913, the Salt Lake Telegram includes her name in an article about the newly founded Salt Lake City Literary Club (page 16). That’s really it.

Josephine passed away on Jan. 23, 1915. She was 64 yrs. old. Her death certificate confirms here father as Seth Warner, but her mother is listed as “unknown.” This does make me pause and contemplate various scenarios; none of which I can confirm at this time.

In 1915, the cause of Josephine’s death was listed as mitral regurgitation, with an arteriosclerosis as a contributing factor. This meant that the valve between the left heart chamber didn’t close completely.

Josephine’s obituary was published in The Salt Lake Herald-Republican on 24 Jan. 1915 (page 21).

“CHRISMAN – In this city, January 23, Josephine Chrisman, aged 64 years, wife of W. C. Chrisman was an active members of the Ladies Literary society. Funeral Service will be held at S. D. Evans’ chapel, 48 S., State street, Monday at 2 o’clock. Interment Mount Olivet cemetery.”

Her last residence was listed as 217 Reed Ave. William C. Chrisman continued to live at this address for another 13 years. On Dec. 26, 1926, the Salt Lake Telegram announced that after forty years of service, William C. Chrisman was making his last railroad trip to Junction City (page 26). The article reported, “Declared by railroad officials to have been one of the most skilled engineers in their employ, Mr. Chrisman has piloted and engine on every branch of the Oregon Short Line railroad. He passed away only eighteen months later.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 110: Hugo Schoessling

Hugo Schoessling in front of his hardware store in Jefferson Park, c. 1910.

Hugo Schoessling worked a scenic artist at Sosman & Landis during the mid 1880s. In 1885 his name was included in a list of the firm’s staff members who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” reported that Schoessling donated 50 cents.

Hugo G. Schößling was born in Germany, on May 19, 1869. He was the third child born to Friedrich Wilhelm Schößling (1840-1914) and Louisa F. Hufield (1843-1918).

In 1872, Hugo and his family emigrated from Germany to the United States. Sailing aboard the ship Rhein, they arrived in New York Harbor on June 15, 1872. Passenger lists included the following family members:

Fritz Schoessling (31 yrs., farmer),

Louise Schoessling (26 yrs.),

Adolph Schoessling (5 yrs.),

Carl Schoessling (4 yrs.),

Hugo Schoessling (3 yrs.),

John Schoessling (9 months)

There was an infant son, not included on the passenger list, who also arrived with his parents. Hans, was born March 18, 1871, and also traveled with his family.

Like many Germans, names were slightly altered, Hugo’s father, Friedrich “Fritz” Schößling, became Fredrick Schoessling in the arrival lists of incoming passengers. Although listed as a farmer, Schoessling was a music professor.

Shortly after their arrival, the Schoessling family settled in Pennsylvania where they welcomed the birth of another child, Lena in 1873. By 1876, they had moved west to Chicago, where the family expanded again, and they celebrated the birth of another son, Fred, that July.

The Chicago Directory listings for the next few years shows that the family moved around quite a bit, yet Frederick continued to support his family as a music teacher.

1876 – Schoessling, Prof. Frederick, h. 389 North Ave.

1877 – Schoessling, Prof. Frederick, h. 136 North Ave.

1878 – Frederick Schoessling, teacher, 661 Larabee.

The 1880 US Federal Census listed the Schoessling family living at 566 Sedgwick St. in Chicago. The household included Frederick (39 yrs., music teacher), Louisa (36 yrs.), Adolph (14 yrs., machinist), Paul (12 yrs.), Hugo (11 yrs.), John (9 yrs.), Lena (7 yrs.) and Frederick (4 yrs.). By Feb 1881, another daughter was born to Frederick and Louisa -, Frida, arrived in Feb. 1881. Paul and Frederick Jr. followed in their father’s footsteps, going into the music profession, periodically performing at various venues. Paul became a very well-known cellist. Although musically gifted, Adolph and Hugo entered the technical theatre profession by the mid-1880s, specifically, scenic art, machinery, carpentry and hardware.

The 1886-1887 Town of Jefferson Directory listed both Hugo and his older brother Adolph as scenic artists, living with their family at the southwest corner of Strong and Everett in Jefferson Park. Here were their two listings. This means that when Hugo was listed as part of the Sosman & Landis staff in 1885, it was likely in the capacity of a scenic artist assistant. At the time, Hugo was 17 yrs. old and Adolph was 19 yrs. old. I don’t know how long the Schoessling brothers worked at Sosman & Landis, as I only have located the one Jefferson Directory.

Schoessling, Adolph, scenic artist Hooley’s theatre, city, r Strong sw cor Everett, Jefferson Park

Schoessling, Hugo, scenic artist, r Strong sw cor Everett, Jefferson Park

Schoessling listingsi n the 1886-1887 Jefferson Directory

On Feb. 15, 1894 “The Iron Age” announced, “Hugo Schoessling will soon open a Hardware store at Jefferson Park, Ill.” (page 341). He succeeded in his endeavor, and was soon listed as a hardware dealer on Milwaukee Ave.

On March 14, 1900, Hugo married Ida Sievert in Jefferson Park. At the time, he was 31 yrs. old and Ida was 20 yrs. old.

1900 US Federal Census listed newly married Hugo and Ida Schoessling living as 4319 Orr in Chicago. Although the census listed Hugo as a naturalized citizen, I have yet to locate any records. Ida had emigrated from Germany at the 2 yrs. old in 1882, but there was no indication as to whether she was naturalized or an alien.

On August 15, 1904, Hugo and Ida welcomed their first child, Edward H. Schoessling. That year, Hugo was listed in the Hardware Section of the Chicago Directory: Schoessling, Hugo G. 4319 Milwaukee av.

In 1906, the Schoesslings celebrated the birth of a second son. Robert George Schoessling was born on August 23, 1906.

The 1910 US Federal Census paints a pretty picture of the Schoessling family. They are living at 4875 Milwaukee Avenue in Jefferson Park, Chicago. Hugo is gainfully employed as a Hardware Dealer. That year, their household included: Hugo (40 yrs.), Ida (29 yrs.), Edward H (5 yrs.), Robert G. (3 yrs.), and Ida’s younger brother, Fred Siewert (21 yrs., salesman in the hardware industry). Whether it was premonition or care for his loved ones, Hugo also drew up a will on March 8, 1910, and filed it in Cook County.

Postcard showing Milwaukee Ave. in Jefferson Park.

Less than four years later, Hugo passed away. There was one section that caught my eye:

“I do hereby make, constitute and appoint my wife Ida C. Schoessling sole Executrix of this, my last Will and Testament and it is my wish, and I do hereby request that she may not be compelled to give any bond or security as such executrix, or as Guardian, and that she may settle the estate in her own way and sell any or all of the real or personal estate, at public or private sale, as she may think best, and pay the debts without being compelled to account to the Probate, County, or any other Court; and I do hereby revoke all and every former Will by me made.”

His passing seemed a surprise; his little family was doing so well and his business was booming. The year before his passing, Schoessling was listed in the Plumbing section of Construction News on June 14, 1913: “Plumbing Hugo Schoessling, 4875 Milwaukee Ave.” (page 21). While tracking down his business, I was amazed to find a picture and his young son standing in front of the Schoessling Hardware Store in Jefferson Park. Illinois. It was included in the Jan. 2020 issue of the Northwest Chicago Historical Society Newsletter (No. XXXI).

He is actually shown with both sons, and possibly his brother-in-law who was living with them at the time, c. 1910.

Fred Siewert, who lived with the Schoessling’s and listed his career as “hardware salesman” in 1910. It would make sense that he was working at his brother-in-law’s store while living with him.

Here is the link to the newsletter and photograph: https://nwchicagohistory.org/wp-content/uploads/2020/09/NWCHSJan-2020.pdf

Hugo Schoessling died on May 26, 1914, at the age of 45 yrs. old. His father soon followed, passing away on July 13 of the same years. Hugo was buried in Union Ridge Cemetery in Chicago on May 29, 1915. His father was buried at Montrose, with his occupation still listed as a music teacher. Frederick Schoessling was 73 years old when he died, whereas his son was only 45 yrs. old.

The gravestone of Hugo G. Schoessling in Union Cemetery, Chicago.

The gravestone of Hugo’s parents, Friedrich and Louisa Schoessling

Ida Schoessling was left a widow with two young sons, ages 7 and 9. His death certificate listed Hardware & Plumbing Business as his occupation.. At the time of his passing, his address was listed as 52^nd and Strong Ave.

Hugo left Ida and with two young sons, ages 7 and 9, to raise. Ida remarried Henry H. Diedesch (1871-1940); Ida died Aug, 1967 (b. March 5., 1881). This was also Henry’s second marriage; his first wife was Jeanette Kneedler Kiefer Diedesch (1872-1920).

On Sept. 1, 1967, in the Chicago Tribune” announced:

“Diedesch.

Ida C. [Schoessling] Diedesch, beloved wife of the late Hugo G. Schoessling and Henry H. Diedesch; loving mother of Edward H [Jewell] and Robert G. [Evelyn]; grandmother of Richard, Phillip, and Anita Barrett; five great grandchildren. Services Saturday, 2 p.m., at John V. May Funeral Home. 4553-61 Milwaukee avenue. Interment Union Ridge. Past W. M. of Providence chapter, No. 287, O. E. S. Past president of the Altrui club and past president of Ladies aux. Master Plumber’s Assoc. Eastern Star services Friday, 8 p.m.” (page 21). She was buried next to Hugo.

The gravestones of Ida and Hugo G. Schoessling in Union Cemetery, Chicago.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 109: Fred Miller

Fred Miller was a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” reported that Miller donated 50 cents.

Fred Miller.

Frederick Miller.

F. Miller.

Common names are the hardest to track, especially when I don’t know if he was a stage carpenter, scenic painter, or someone who worked in an office. There is nothing for me to follow, so it becomes a bit like playing darts blindfolded. I can only hope to have my dart land somewhere near the board; hitting a bullseye is almost impossible.

Some of the Frederick Millers listed in the 1885 Chicago Directory.

In 1885 there were 29 listings in the Chicago Directory for men named Frederick, Fred and F. Miller. I am sure some were erroneously left out too, or chose not to be listed. Of the potential directory candidates, there was one carpenter, one contractor, one salesman, one plasterer, one machinist, one wood carver, and three laborers. Any one of these men could have worked at Sosman. & Landis. However, with the amount of money that he donated to the Grant Memorial Fund, and his placement in the Sosman & Landis list, I had a hunch that Fred Miller was a carpenter.

SoI took a long shot, and did the newspaper search for “Fred Miller, stage carpenter.” I immediately got three hits in Hutchinson, Kansas, and whispered, “Gotcha.” That was a fatal mistake and I knew better. In fact, I should have learned my lesson by now. After spending several hours doing a deep dive into the life and career of Hutchinson’s Miller, I recognized that this couldn’t be the same 1885 Sosman & Landis employee.

It really is hard to step away from a significant amount of research, especially when you have invested so much time and energy in exploring the life of a one individual. In a way you become emotionally invested in telling this person’s story. It is hard to stop and shift your focus to another potential candidate.

Next, I began following the career of Fred W. Miller, Jr. , advance agent for Minnie Maddern from 1886-1889. This guy is fascinating. Miller got his start in Evansville, Indiana, and made quite a name for himself in the entertainment business by the 1920s. As I followed Miller’s success, and his relationship with Minnie Maddern Fiske, I began to realize that his success began about 1881. It was unlikely that he was working for Sosman & Landis in 1885, unless he was hired as a salesman. Also, this Miller was a little too good about getting his name in the paper, so I doubted that he would have missed an opportunity in promoting the studio if he visited a town. Again, it was hard to walk away from this one.

Then there were about a dozen more lives that I traced between 1850 and 1930, a realistic timeframe for someone working in 1885.

I was just about ready to give up, when a Chicago carpenter named Fred Miller popped onto my radar. Like the previous Sosman & Landis employee, Julius Fehrman, Miller was an immigrant from the same area of Germany. Too coincidental in my mind.

Some of the hardest individuals to track are immigrants who “just got by” and whose name never made the papers or directories for a variety of reasons. Fehrman had only made the papers with a few acting gigs and an fatal accident.

It does not appear that Fred Miller ever made the papers beyond the 1885 Grant Memorial Fund mention. This actually makes senses, as studio workers who never left the shop had little chance of making headlines, unless something tragic happened to them – like robbery or a fatal accident.

Of all the Miller’s lives that I explored, this one seems to be the best candidate.

Fred Miller was born Friedrich Muller in 1850. After emigrating from northern Germany, Muller continued to use his German surname, Muller. He was listed a Friedrich Muller on his 1874 marriage license and the 1875 birth certificate of his first child.

Illinois State records indicate that Friedrich Muller married Sophie Herzog on Jan. 3, 1874, in Cook County, Illinois. Their first child, Louis, was born the following year, also in Cook County.

Fred and Sophie were raised in the same area of northern Germany, and I suspect that they planned their trip to America. Fred came over first, and made enough money to send for his bride. Interestingly, I even found Sophie Herzog listed with her family in the 1867 German census. She was one of seven children born to Carl and Marie Herzog, emigrating to the United States in 1873, the year before her marriage to Fred. I can trace her lineage quite far back.

Friedrich Muller was a carpenter, who settled in Chicago and worked in this trade for his entire life.

Sosman & Landis carpenters worked in a basement studio in the firm’s fiorst an second building. The first building, leased in 1879, was a converted space. They built their second building in 1886, custom made for scenery production. On site carpenters had an entire wood shop at their disposal to making sandwich battens, drop rollers, and frames for wings, shutters and profile pieces. From a terminology standpoint, carpenters worked at the studio. Stage carpenters were sent on site to prepare stage spaces and install stage machinery; they fully understood the intricacies of a stage-house and intricacies of scenic illusion.

Miller was only listed as a carpenter in public records. He was certainly a skilled worker, but there is no indication that he was a stage carpenter, or traveled to deliver stage machinery and scenery.

Like Ferhman/Fährmanh, Miller/Muller knew the significance of a last name. They just wanted to fit in and find a job to support their families. As we see today, the general public seldom welcomes waves of immigrants with open arms, no matter what their reason for seeking refuge in the United States. Many Americans cannot overcome the fear of the unfamiliar; it takes some decades to accept strangers, and some never do.

By 1880, the Friedrich Muller had changed his name to Fred Miller. The 1880 US Federal Census lists Fred and Sophie Miller living in Lake, Cook County, Illinois with their 5-yrs.-old son, Louis. Fred listed his occupation as a carpenter.

The Millers had relocated from Lake to Chicago by 1883. That year, they welcome a second son to their home – Otto. Tragically, on Feb. 16, 1886, their first-born son, Louis, passed away. Despite loss, a third son was born the following year, in 1887. Then the Millers welcome a child almost every two years until 1898.

Unfortunately, there is no record for the Millers in the 1890 census; a fire at the U. S. Department of Commerce building in Washington, D. C., on Jan. 10, 1921, destroyed the majority of population schedules. This means that there is a twenty-year gap in the Miller family’s lives that must be filled with other public records. Despite an abundance of children, the Millers were almost impossible to track down during this period, and I have yet to locate any naturalization documents. They may have been living “under the radar” too.

The 1900 US Federal listed the Miller family as living at 7652 Winston Ave. The household included:

Fred Miller (50 yrs.)

Sophia (44 yrs.)

Otto J. (16 yrs.)

Edward Charles (13 yrs.)

Clara Caroline (11 yrs.)

Laura A (9 yrs.)

Rudolph (7 yrs.)

Frances (5 yrs.)

Lizzie (2 yrs.)

Ten years later, Sophie was listed as a widow, living with her six children in the same house on Winston Ave. The children ranged from ages 12 to 23 yrs. old, with four of them already working.

Fred passed away on Jan. 2, 1909. He was buried at Oak Woods Cemetery in Chicago. At the time of his passing, he occupation was still listed as carpenter. He may have still been working at Sosman & Landis. Without any studio records, it is impossible to know.

The year that Miller passed, Thomas G. Moses wrote about the Sosman & Landis staff in the firms’ two studio spaces: “We have quite a force now at Clinton Street. We have forty-eight on the payroll, which includes the sewing girls and foremen. At 20th Street we have an average of twelve. I think we should turn out some work and we do.”

Five years later Sophie Miller joined her husband in death. She died on Sept. 16, 1914 and was buried on Sept. 19, 1914 in Oak Woods Cemetery. Their youngest child was 17 yrs. old at the time.

If I discover anything else about Fred Miller, I will update this post.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 108: Julius Fehrman

Julius Fehrman was listed as a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” reported that Fehrman donated 50 cents. Fehrman was a stage carpenter.

Juls Fährmann emigrated with his family from Prussia in 1867. At the time, Julius was only nine-months-old, the youngest of three children born to Carl and Marie Fährmann.

I was able to locate the Fährmann’s on a passenger list from Hamburg to New York that fall. The departed Hamburg on Oct. 5, 1867, arriving in New York Harbor on October 23. They sailed aboard the Borussia, a vessel in the Hamburg-Amerikanische Packetfahrt-Actien-Gesellschaft shipping line. Coserow, Preußen was listed as their home. Today, their home is known as Koserow, a municipality on Usedom Island, in the Vorpommern-Greifswald district, Mecklenburg-Vorpommern, Germany. For centuries, the economy of the Koserow village was based on fishing and agriculture.

Map showing where the Fährmann family lived before sailing to the United States in 1867.

The 1867 passenger list included the following Fährmann members:

Carl (35 yrs., butcher)

Marie (36 yrs.)

Ottilie (7 yrs.)

Bertha (4 yrs.) –

Juls (9 ½ months)

By 1880, the Fährmann family was living in Chicago, and had changed their surname to Fehrman, although over the actual spelling would constantly change in directory listings. Some of their first names became Americanized too. This may have happened upon their arrival at Ellis Island, or shortly thereafter, as many Eastern European Jewish immigrants used anglicized or truncated versions of their Jewish surnames.

The 1880 Census listed the following Fehrmann members:

Charles (45 yrs., works as butcher)

Marie (46 yrs.)

Ottilie (20 yrs., works in show factory)

Bertha (17 yrs., works at paper box co.)

Juls (13 years, at school)

Their household also included Frank Schertgeger, a 24-yrs.-old cousin who worked as a clerk in a dry goods store. Their address was 66 Cornell Street, and they would remain on Cornell for quite some time.

Sadly, the patriarch of the family, Charles Fehrmann, passed away on April 20, 1881. His death certificate listed that he was a 49 yrs. old butcher who was buried in Graceland Cemetery, Chicago. So many Sosman & Landis employees were buried here, including the two founders of the firm.

The Fährmann family continued to reside on the same street, Cornell. Directory listings show the wide variations of the Fährmann name over the years. Due to constant misspellings, it is almost impossible to trace individual members. I was only able to locate Carl’s widow by her address. Here are the listing’s for Julius’ mother Mary Fehrmann from 1882-1889:

1882 Chicago Directory: Fehrmann, Mary wid. Charles, house 62 Cornell

1885: Chicago Directory: Fharmann, Mary wid. Charles, house 62 Cornell

1887: Chicago Directory: Fahrmann Mary, wid.. Charles, h. 62 Cornell

1889 Chicago Directory: Feurman, Mary, wid. Charles h 62 Cornell

It remains unclear as to when or where Julius entered the theatre. The abovementioned 1885 newspaper article lists Julius Fehrmann as a Sosman & Landis employee. He would have been 18 yrs. old at the time, likely living with his widowed mother and financially contributing to the household. I have yet to locate any other listing for a “Julius Fehrmann” in the region.

Interestingly, I discovered two newspaper articles from 1892 that listed Julius Fehrman as part of a touring production. That year he was associated with Alexander Salvini.

Alexander Salvini image from the Billy Rose Theatre Division, The New York Public Library. “Alexander Salvini” New York Public Library Digital Collections. Accessed April 16, 2023. https://digitalcollections.nypl.org/items/510d47df-3a8d-a3d9-e040-e00a18064a99

Like Fehrman, Salvini Americanized his first name, changing it from Alessandro to Alexander. Born in Rome to the famous tragedian, Thomas Salvini, Alexander Salvini’s American debut was in 1882. After a visit to Italy in 1890, Salvini returned to the US to tour with an impressive wardrobe form his father’s extensive costume collection, and began a tour. Julius Fehrman toured with Salvini in 1892 and 1893.

On August 28, 1892, the Buffalo Courier reported, “Alexander Salvini’s Company this season includes William Redmund, John T. Burke, William Ranous, Ben. Johnson, Edmond Day, Paul Cazeneve, J. B. Murphree, George Clare, Julius Fehrman, Max Mazzanovick, Edwin Lewis, Antonio Rusini, Judith Berolde, Augusta DeForrest, Maude Dixon, Grace Webster, with Alfred Bradley, agent George W. Magee, treasurer, and W. M. Wilkinson, Manager” (page 10).

Julius Fehrman listed as the Judge in Salvini’s production of “Don Cæsar de Bazan”, 1892.

I need to put this brief mention in technical theatrical context.

Fehrman’s name was listed just before Max Mazzanovick. This is well-known theatre technician Maximillian Mazzanovich (1870-1950). It was Mazzanovich who helped me later place Fehrman in New York, working as a stage carpenter again in 1900. The inclusion of Mazzanovich’s name also made me wonder if they were the technical crew for the production. This was actually Maximillian Mazzanovich (1870-1950), the son of Lorenzo Mazzanovich and brother of John C. Mazzanovich (scenic artist, 1856-1886) and Lawrence Mazzanovich (landscape painter, 1871-1959). In the 19^th century, it was common for members from the technical staff to fill in on stage, performing smaller roles in productions necessitating a large cast. It made financial sense, at it reduced the need to hire local actors. Before joining Salvini, Max was connected with the A. M. Palmer Stock company, of which Maurice Barrymore (Lionel’s father) was a member. Mazzanovich remained with Salvini’s troop until 1895. After Salvini, Mazzanovich became the technical man for Klaw & Erlanger, and was associated the famous Drury Lane plays that included ‘Silver Slipper,’ ‘Mother Goose,’ and ‘Jack and the Beanstalk.’ On an interesting side note, Max was a stagehand with the Bluebeard Co. when the Iroquois fire occurred in 1903. Purportedly, Max was outside smoking when the fire broke out, and therefore did not see the flames until the conflagration was well underway. He was among those arrested and held on bail. Max later went on to serve as George M. Cohan’s technical director for 32 uninterrupted years, retiring in 1938. His first show with Cohan was ‘Forty-five Minutes from Broadway’ (c. 1906) In census reports, he listed his trade master mechanic in the Theatre industry (1920) and Directory in the Theatre Industry (1930).

The second 1892 article also concerned Salvini’s tour, again listing both Fehrman and Mazzanovich. On Dec 14, 1892, The Seattle Post-Intelligencer reported that Julius Fehrman played the role of the judge in Salvini’s “Don Caesar de Bazan” at the Seattle Theatre (page 5). Other members of the cast included William Redmund, William Ranous, George Clare, William Marston, Charles Richards, Edmund Day, Max Mazzanovich, J. B. Murphree , Edward Lewis, Judith Berolde, Augusta De Forrest, and Maud Dixon.”

Fehrman was still with Mazzanovich and Salvini in 1893. On March 7, 1893, the Philadelphia Inquirer listed Julius Fehrman in the role of Pacola and Max Mazzanovich in the role of Perez in “Don Cæsar de Bazan” at the Walnut Street Theatre (page 7). Salvini’s Company also toured with “The Three Guardsman.”

Julius Fehrman listed as Pacola in Salvini’s production of “Don Cæsar de Bazan”, 1893.

It was Mazzanovich who helped me later place Fehrman in New York, working as a stage carpenter again in 1900. That year. The US Federal Census listed Jules Fehrman working as a stage carpenter and living at 225 Bowery Street in Manhattan, New York. That year, Mazzanovich was also living in Manhattan, with his wife of five years, Marie. Mazzanovich was listed as a “property man” living in Manhattan.

The last mention in that I have discovered for Fahrman was from 1908. On March 24, The Standard Union reported, “LEG BROKEN BY FALL AT RUNAWAY GATE. Frightened by a passing automobile on the bride to-day, two horses attaches to a truck of the Curtain Transfer Company, at 266 Bowery, Manhattan, bolted and broke away from control of their driver. The driver, James Judge, of 3 North Third street, jumped from the wagon, but his helper, Jules Fehrman, 41 years old, of 243 Bowery, Manhattan, remained clinging to his seat. The signal was given and the runaway gate at the Brooklyn terminal was closed. In spite of this, however, the horses continued their headlong flight and smashed into the gate with full force. Fehrman was thrown over the runaway gate and his leg was broken. He was removed to the Williamsburg Hospital by Dr. Baum. One of the horses was also fatally injured” (page 2).

Fehrman died four days later.

His death certificate, dated March 28, 1908, cited “fracture of left leg and chronic alcoholism” as his cause of death at Williamsburg Hospital. He was buried on April 1, 1908, at Linden Hill.

1909 Map showing the location of Linden Hill Cemetery and the Cemetery of Ahawath Chesed.

The death record does no specify whether it was Linden Hill Methodist Cemetery or the adjacent Cemetery of Ahawath Chesed. Linden Hill is located, near the intersection of Flushing and Metropolitan Avenues in Ridgewood, Queens, New York. Although Methodist, Linden Hill Cemetery has always been nonsectarian, with graves of individuals from multi-ethnic backgrounds. Linden Hill Jewish Cemetery occupies ten-acres on the northwest side of the Methodist Cemetery. In 1875, Ahawath Chesed, a prosperous German Jewish congregation located in midtown Manhattan acquired the tract of land on Linden Hill. Ahawath Chesed is now known as Central Synagogue. David Belasco is buried at the Cemetery of Ahawath Chesed.

The Belasco Mausoleum at Linden Hill Jewish Cemetery, April 2016 (photograph by Mary French).Here is the link to the photograph: https://nycemetery.files.wordpress.com/2018/06/belascomausoleum_april2016.jpg

If I locate any more information about the life and career of Julius Fehrmann, I will update this post.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 107: B. P. Lee

B. P. Lee was listed as a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” reported that Lee donated 50 cents.

Benjamin “Ben” P. Lee (b. 1856) was the son of Benjamin J. Lea (1830-1902). Both were both in Calne, Wiltfordshire, England. Fun Fact: Calne was the home of Samuel Taylor Coleridge!

Here is a view of Calne from the Canal in 1828. Here is a link to the image: https://en.wikipedia.org/wiki/Calne#/media/File:Calne_canal.jpg

In many ways, I know more about Lee’s parents, grandparents, wife, and son, than Lee himself . The side stories were quite compelling, and I ventured down a few stray paths. I am going to start with B. P. Lee’s father, Benjamin J. Lea. Lea lost his father, Thomas Stretch Lea, when he was only 2 yrs. old. Lea was raised by his mother, Ann Rutherford, who worked as a local dressmaker. Leas’s grandparents also lived in Calne. His grandfather, John Lea, worked as the local tailor. I have tracked down Leas’ birth, christening, and listing in the 1841, 1851, and 1861 England census reports. He became went into the trade of masonry and married Frances Sarah Pring on Jan. 1, 1853, at St. Mary’s in Portsea, Hampshire, England. The two settled in Lea’s hometown of Calne and began to raise a family. Benjamin Lea, Jr. was their second born; this is the same Ben Lee who worked as a stage carpenter at Sosman & Landis in 1885.

In 1870, the Lea family left Calne and headed to the United States. The arrived in New York Harbor on May 17, 1870. They sailed aboard the H.M.S. City of London, an Inman Shipping Line vessel. Passenger lists include the following members for the Lea family:

Ben Lea, 40 yrs., mason

Fran Lea, 39 yrs., wife

Henry Lea, 16 yrs., teacher

Ben Lea, 14 yrs., teacher

Jno Lea, 11yrs.

Francis Lea, 9 yrs.

David Lea, 7 yrs.

Thomas Lea, 5 yrs.

Ebenezer Lea, 3 yrs.

William Lea, 1 yr.

After their arrival, the Leas settled in Chicago, where they were counted in the 1870 US Federal Census. At the time, they were living in the 14^th Ward of the City, where Lea Sr. had secured work as a plasterer. The Lea household included: Benjamin Lea, Frances Lee, Henry, Benjamin, John, Fanny, David, Thomas, Ebenezer, William Lee, and boarder William Goff. Goff was 26 yrs. old and employed as a painter. The Lea family eventually relocated to Elgin, Illinois, where they were counted in the census in the US Federal in1880. Benjamin Lea Sr. continued to work as a mason as his children grew up and left the home. Many Lea family members were buried in Elgin, Illinois. For geographical context, Elgin is located on the Fox River, about 30 miles west of Chicago.

Sometime between Benjamin Leas Jr.’s arrival in 1870 and his marriage in 1883 he changes the spelling of his last name to Lee and begins going by B. P. Lee…and this is where his whole story goes through a series of twists and turns over the course of a few decades.

Ben Lee married Bandenah Hinkle Ellington (1849-1918) on Jan. 21, 1883. This date coincides with the birth of their first child Harry Chester Lee (1883-1940), who follows in his father’s footsteps as a stage carpenter.

The circumstances surrounding Bandenah’s first marriage, and the birth of Harry C. Lee, are very odd. They also bring the whole Lee tale to the area surrounding Peoria, Illinois, and the small township of Glasford. Keep in mind that Peoria is just downstream of Chicago by way of the Illinois River.

Bandenah Hinkle was the daughter of Nebat Hinkle. These two unique names made their story somewhat easy to trace and confirm the marriage of Hinkle to Lee. When Bandenah’s father passed away in 1904, his obituary mentioned his daughter, Mrs. B. P. Lee. On Feb. 26, 1904, the Glasford Gazette reported:

“In 1826 Daniel J. Hinkle, wife and five children, John, Obediah, Daniel, Jr., Elizabeth, and Polly came from Ohio and settled for a short time in Peoria. Here the sixth child, Nebat, was born Oct. 26, 1826. In the following spring they moved to Timber Township and settled on the N.W. ¼ of Section 21. This was the first family in the Township, and here, with no neighbors for miles around, amid deer, wolves, turkey and other wild game of the forest, the subject of our sketch spent his boyhood days. The father was a large, muscular man, 6 feet tall, and a great hunter. Brought up with such surroundings, it was but natural that Mr. Hinkle should acquire a love for the country, and a few years ago when he was visiting his daughter, Mrs. B. P. Lee, who then lived in Chicago, the writer spent several days with the family there. Mr. Hinkle remarked that he had heard so much noise of the great city, the elevated road running past the house, that he was homesick to get back to Glasford, and while he could not work much, he could tinker around on the farm and be happy. In 1848 he was married to Miss Margaret Shreffler, to which union two daughters were born, Mrs. B. P. Lee, and Mary, who died in infancy. In 1853 he was again married to Miss Matilda Shade. To this union eleven children were born. Six are dead and five are living as follows: Mrs. Hanna Floglore, of Pontiac; Alfred Hinkle and Mrs. M. B. Wilson, of Chicago; B. B. Hinkle, of Canton; and Mrs. Margaret Scovil, of Peoria. His son, B. B. Hinkle, and wife, lived on the home place for a number of years and kept house for his father. When Butler moved off the farm, his daughter, Mrs. B. P. Lee, and son Harry, took the farm and cared for Mr. Hinkle the remaining days of his life. He has been in failing health for some time, but we had hoped with the return of spring he would be able to come to town, as he seemed to enjoy coming in and talking to Col. Fahnestock of old times. A short time ago dropsy set in, and he continued to grow worse until the end came, Sunday, Feb. 21, 1904, about 1 o’clock a.m., aged 77 years, 3 months, and 26 days. All his children were present at the funeral, which was held at the residence, Tuesday, conducted by Rev. W. L. Jones of Chicago, who is here holding meetings at the Baptist Church, assisted by Rev. Oldham, the pastor. Singing was furnished by E. L. Fahnestock, A.C. Maple, Kate Wolgamott and May Maple of Glasford. Mr. Hinkle was one of the early members of Lancaster Lodge, No.106, A. F. & A. M., which conducted the funeral services at the grave, past Grand Master G. M. Saylor officiating. Mr. Hinkle leaves beside the children mentioned, one half-sister, Mrs. Katie Jane Sanders, and a host of friends to mourn his loss. The body was laid to rest in the Hinkle Cemetery, near Lancaster.”

Mrs. B. P. Lee was Bandenah Hinkle Ellington Lee (1849-1918). I tracked down Bandenah and her two husbands (Benjamin Lee and Joshua Ellington) to Peoria, Illinois in the 1870s. Benjamin Lee worked as a photographer and bookbinder. Joshua Ellington worked a cooper. Bandenah was a dressmaker, living and working with Lizzie F. Hinman. All three lived in close proximity, so it would be unrealistic to think that in the days of walking to work, they didn’t cross paths, especially if they were living on the same street.

On May 4, 1875, Bandenah Hinkle married Joshua Ellington. The next year, Joshua Ellington is listed in the 1876 Peoria City Directory as living at 318 N. Washington. By 1879, Mrs. Bandenah Hinkle is living at 320 N. Washington and Mrs. Jenny Hinkle is living at 318 N. Washington. ….and then everything changes and only Mrs. Jenny Hinkle is left in town, listed in the 1880 Peoria Directory as living at 410 1^st. It is all so very odd.

Whatever happened in Peoria prompted a quick departure. On Jan. 21, 1883, Harry C. Lee is born in Chicago. Again, this is the same day that his mother Bandenah marries B. P. Lee.

Interestingly, in 1884, B. P. Lee was involved with the romantic drama “Se of Ice; or A Thirst for Gold” at the Chicago Museum. B. P. Lee was listed as the “Spanish Secretary” character in the third, for a fifth tableaux.

In 1885, Benjamin P. Lee is listed in the Chicago Director as a carpenter, living at 297 W. Randolph. This is the same year that he is listed as a Sosman & Landis employee in the Chicago Tribune. He is again listed as a carpenter in the 1887 Chicago Directory, now living at 24. N. Carpenter.

Just about the time I was ready to give up on locating anything about Lee’s work as a stage carpenter, I found him working on an opera house in Arkansas City, Kansas. On Oct. 7, 1888, the Arkansas City Daily Traveler reported, “Yesterday a reporter interviewed B. P. Lee, stage fitter for the new opera house and he said: ‘This opera house is the finest I have seen in this season, and it would do credit to a larger city.’ He also stated that Moses & Louderback, the scene painters, had fitted up several nice opera houses this season and although they had fitted up several larger houses yet for good arrangement, etc., our house never approached perfection than any of the others. Mr. Lee will be here about six weeks at it will take him that long to set the scenery” (page 6).

On Oct. 11, 1888, the Weekly Republican-Traveler of Arkansas City reported, “Yesterday a reporter interviewed B. P. Lee, stage fitter for the new opera house and he said: ‘This opera house is the finest I have seen in this season, and it would do credit to a larger city.’ He also stated that Moses & Louderback, the scene painters, had fitted up several nice opera houses this season and although they had fitted up several larger houses yet for good arrangement, etc., our house never approached perfection than any of the others. Mr. Lee will be here about six weeks at it will take him that long to set the scenery” (page 3).

On Oct. 25, the Canal City Dispatch of Arkansas City reported, “J. D. Louderback, of the Chicago scene painting studio, came to town today. His house is furnishing the scenery which B. P. Lee is putting in the new opera house” (page 7).

These three short articles connect Lee with Moses & Louderback, previously known as Burridge, Moses & Louderback. Thomas G. Moses, Sosman & Landis’s, one of the firm’s earliest employees. In 1887, Moses left the employ of Sosman & Landis to partner with Walter Burridge and J. C. Louderback. The firm failed after a series of disputes between Burridge and Louderback, causing Burridge to return to his position at the Chicago Opera House. Moses & Louderback continued the business, but it never regained its initial momentum. By the spring of 1888, Moses returned to Sosman & Landis. For more information about Burridge, Moses & Louderback, see past post https://drypigment.net/2017/06/30/tales-from-a-scenic-artist-and-scholar-acquiring-the-fort-scott-scenery-collection-for-the-minnesota-masonic-heritage-center-part-132/ .

It was Perry Landis who convinced Moses to return to the firm that spring. They accidentally met in Altoona, Pennsylvania, each going after the same project at the Mountain City Theatre. Of the encounter, Moses wrote, “Mr. Landis also showed up after the same job. After our meeting, we went to the hotel and sat up long after midnight, talking over business. Sosman and Landis wanted me to come back with them, and I agreed to do so as soon as I could finish my work. I was to receive my old salary of $50.00 per week, and a chance to do contract work, which would increase my salary to $4000.00 per year.” Because of this deal, Sosman & Landis won the contract, as Mr. Plack want Moses to paint the scenery for his Mountain City Theater.

However, the Arkansas City Opera House was already in the pipeline. Moses & Louderback had to finish the work of installing the scenery. This is where Lee comes into the picture. None of the above-mentioned articles suggest that Lee is representing the firm of Moses & Louderback. I think that Lee was still working for Sosman & Landis and sent to complete the install that fall. This is why Louderback to inspect the work, as mentioned in the Canal City Dispatch on Oct. 25. Louderback was a business manager who ran an auction house with fine art galleries. He was not a scenic artist of individual familiar with intricate stage mechanisms. However, he likely went because Moses was overwhelmed with work. In June 1888 Sosman & Landis sent him to complete two California contracts at the Grand Opera House and Los Angeles Theatre. Jack Taylor was one of scenic artist assistants assigned to Moses upon his return to the studio in 1888 (see Employee No. 70 https://drypigment.net/2022/01/06/sosman-landis-shaping-the-landscape-of-american-theatre-employee-no-70-jack-taylor/).

Moses would have also worked with a team of installers, that may have included B. P. Lee.

Benjamin P. Lee was listed as a stage building in the 1890 Chicago Directory, living at 45 Carpenter; this is same address from his 1887 listing. In 1890, however, Mrs. Benjamin P. Lee is working as a dressmaker, the same work that Bandenah was listed for in Peoria Directories in the 1870s.

On Dec. 24, 1890, Mr. and Mrs. B. P. Lee, were listed in an article entitled “A Great Ghost Dance” (page 6). A “ghost dance” event was held by the Logan Tribe of Red Men (a white fraternity) at the West Chicago Club. It was basically a social gathering with dinner and entertainment. In the section, “Prominent among those who were responsible for the affair,” Mr. and Mrs. B. P. Lee were listed alongside a few dozen others.

The Lees remained at 45 Carpenter until 1891 when they temporarily disappear from my radar until the turn of the century.

In 1900, Benjamin P. Lee was living with his wife Bandenah at 594 Lake St. Other members of the household include a cousin-in-law who works as a compositor, Frank Meyer (19 yrs. old) and a 23 yrs.-old boarder named Lizzie Mear. Meanwhile in Glasden, Bandenah’s half-brother, Butler B. Hinkle and his wife are caring for Nebat Hinkle; a job that Bandenah and her son Harry will soon assume.

This is where B. P. Lee really fades away from his family, and the story continues through articles about his wife and son. Bandenah returns to Glasden to care for his father until his passing in 1904. As noted in Nesbet’s obituary: “When Butler moved off the farm, his daughter, Mrs. B. P. Lee, and son Harry, took the farm and cared for Mr. Hinkle the remaining days of his life.” Nebat passed away on Feb. 21, 1904. Bandenah does not return to Chicago but stays in the area where she was born. The 1910 census lists her as living in Timber Township, Peoria County, Illinois. Timber is due south of Glasden.

Before returning to Chicago, Harry C. Lee marries Sylvia C. Smith in Peoria on March 16, 1904. The two celebrate the birth of a daughter, Clara B. Lee, on Feb.1. 1905 in Canton, Illinois.

The 1910 US Federal Census listed Harry as a lodger at 1840 Wabash. At 27 yrs. old, Harry lists his employment as “Stage Hand” in the “Theatrical” industry. By the time, Clara is of school age, both she and her mother have moved to Chicago and are living with Harry.

Harry Lee’s WWI Draft Registration Card listed their address as 326 E 25^th Street, in Chicago. His is working as a stage carpenter for the Columbia Amusement Co., located in the Columbia Theatre on North Clark St. I was excited to read his physical description, as I had no idea what any of the Lee family looked like until now. Harry Lee was described as medium height, medium build, dark brown hair, and blue eyes.

The same year that Harry registered for the draft, Bandenah passed away. Her obituary was the only indication that B. P. Lee was still alive. On Jan. 3, 1918, The Pantagraph, of Bloomington, Illinois announced, “Mrs. Lee Dies. Mrs. Bandenah Lee, aged sixty-nine, died yesterday in Glasford, Ill. Fourteen miles southwest of Pekin. She had been an invalid for seventeen years. Surviving her are the husband, Ben P. Lee and one son, Harry C. Lee, Chicago. The funeral will be conducted from the Methodist church in Glasford, Thursday afternoon at 1 o’clock” (page 2).

Reading, “she had been an invalid for seventeen years” really surprised me, as she returned to care for her father Nebat in his last years, sometime between 1901 and his passing in Feb. 1904. She had returned to Glasden with Harry. Harry would have been somewhere between 18 – 20 years old at the time of their return to Nebat’s farm. Harry was apparently there long enough to meet, court, and marry Sylvia in nearby Peoria too. There was no mention of Bandenah returning to Glasden with BOTH her son and husband. My assumption was that Harry was still working, or traveling, as a stage carpenter, and sending money home. Lee was estranged from his wife and son; it would be unlikely he would be mentioned in her obituary.

Bandenah died on Jan. 1, 1918, in Glasford. She was buried in the family plot, now known as Hinkle Cemetery. Fortunately, Janine Crandell documented the Hinkle Cemetery graves a decade ago and uploaded the images to www.findagrave.com. Without her documentation, I would have never located Bandenah’s grave, or the location of the Hinkle family farm. Thank you, Janine, for uploading your pictures to findagrave.com!

Gravestones of Bandenah and her mother at Hinkle cemetery. Photographs by Janine Crandell, 2013.

The Hinkle Cemetery in relation to Glasden. Google maps screen shot, 2023.

Hinkle Cemetery in relation to Peoria, Illinois. Google maps screen shot, 2023.

It is possible that B. P. Lee never left Chicago and worked for Sosman & Landis until the close of the firm’s first iteration in 1923. It would not be impossible, as unless his social activities made headlines, his working as a carpenter in the main scenic studio would go without any public record.

There was one mention of a B. P. Lee that caught my eye from 1921. On June 30, 1921, The Rock Island Argus included Lee’s name an article about the Chautauqua Club in Roseville, Illinois. The article listed B. P. Lee as one of the groups directors, elected as a meeting on June 30.

This is the last possible clue of Lee’s whereabouts and possible passing: The California Death Index includes Ben Lee with the following information attached to the file:

Ben Lee

Birth year: abt. 1856.

Death Date: 4 Dec 1936.

Age at Death: 80

Death Place: Los Angeles

It would make sense that Lee headed west after the passing of his wife. So many Sosman & Landis employees sought employment in the film industry after the first iteration of the studio closed. Lee would have had colleagues with connections in Los Angeles. If I locate any more information about B. P. Lee, I will update this post.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 106: C. M. Crouse

C. M. Crouse was listed as a Sosman & Landis employee in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune listed Crouse’s donation as $1.

In 1885, 48-yrs.-old Cyrus M. Crouse and his brother, 53 -yrs. old William F. Crouse, were well-known and well-respected stage carpenters. Both had been working as carpenters and master mechanics since the late-1850s, with decades of experience behind them as experts in stage machinery.

Their parents were John Crouse and Catharine Ziegler. Cyrus and William were two of nine children born to the couple; with only six children surviving infancy.

In 1850, the Crouse family home was in East Brandywine, Chester County, Pennsylvania. This is about 40 miles west of Philadelphia. Census reports that year listed the following individuals are part of the Crouse household: John (45 yrs.), Catharine Crouse (42 yrs.), William (18 yrs.) Amos (15 yrs.), Cyrus (13 yrs.), Mathilda (9 yrs.), Emma (7 yrs.), Charles (5 yrs.), Mary Ann Yoder (17). and Benjamin Harris (48). I am uncertain as to whether Yoder and Harris were extended family members or boarders.

The Crouse family moved to Carroll County, Illinois, in 1856. At the time Cyrus was 19 yrs. old. For geographical context, Mount Carroll is about ten miles east of the Mississippi River (a two-an-a-half hour drive from Chicago). This was part of a larger relocation plan for not only John Crouse, but also his older Daniel Crouse. Both are included in the History of Carroll County, Illinois (1878, page 405). Here are their listing in the section entitled “Portraits of Early Settler and Prominent Men” –

CROUSE, JOHN, Farmer; Sec. 27; P.O. Mt. Carroll; born in Chester Co, Pa., Nov. 24, 1805; was a tanner by trade’ kept hotel and public house 24 years; lived in Philadelphia and 50 years in the State of Pa; came to Carroll Co. in 1856, engaged in farming; owns a farm of 55 acres; married Catherine Ziegler, from Lancaster Co. Pa., in Feb 1828; they have six children: Amos L., William, Cyrus, Charles J., Mathilda G., and Emma; they have lost three children.

CROUSE, DANIEL, Farmer; Sec. 17; P. O. Savanna; born in Chester Co., Pa., July 17, 1803; lived in that state 53 years; was tanner and currier by trade for 20 years; came to Carroll Co., in 1856, and is engaged in farming and stock raising; owns 636 acres of land; has held the office of School Director; married Mary Maurer, from Chester Co., Pa., in March, 1830; they have eight children: Elizabeth, Henry M., Davis F., Jacob H., Hanna M., John, Daniel W., and Mary A.

Daniel Crouse’s land in Carroll County, Illinois, 1869. Daniel was Cyrus’ uncle.

It is important to understand that John and Daniel were “orphaned” in 1819 when their father passed away. Their legal status as “orphan” did not indicate that they had lost BOTH of their parents. The family had to go through orphan court to identify a new male guardian, or guardians, as their mother could not legally fill that role. This was an eye-opening moment for me, as I was reminded that women were not legally allowed to handle any financial or family matters, especially after the loss of a spouse if a large estate was involved. In 1819, the Chester County Orphan Court appointed three guardians to manage the estate and care for the Crouse children. There was one guardian appointed for all the boys, and two separate guardians for the girls.

Lets put this in historical context. The age at which a minor could request naming their own guardian was 14 yrs. old. Keep in mind that the age of consent was much younger than that for all of the nineteenth century. In 1880, 37 states set the age of consent at 10 years old, with only 12 states setting the age of consent at 12 years old. In some states this actually signified progress as in 1871 Delaware lowered the age of consent to 7 yrs. old.

The Crouse brothers’ move west in 1856 must have been a breath of fresh air, especially since John and Daniel had worked in a tannery for decades. The 1860 US Federal census listed the following John Crouse household members in Carroll County, Illinois, including: John (54, farmer), Catharine (51) Amos (25, blacksmith), Mathilda (20, dressmaker), Emma (17, milliner), Charles (16), and Eugene Cogley. Eugene was an infant, only 4 years old. The census listed that he had been born in Illinois, but I am unable to unable to determine if he was related, or an adopted orphan. Interestingly, John and Catherine Crouse would take in another child during the 1860s. The 1870 census listed that they were caring for their 8-yrs.-old nephew, Charles Crouse; not to be confused with their son Charles who was born in 1845.

Mount Carroll offered many possibilities for the Crouse family, especially for their two eldest sons. By 1860, both Cyrus and William had moved south and were living in St. Louis, Missouri.

By 1860, William had already married and celebrated the birth of two children. He and Cyrus were listed as carpenters in the US Federal Census. That year, the extended Crouse household in St. Louis included Cyrus, William F., William’s wife Charlotte, and Williams’ children Mary C. and William P. Crouse. At some point during the early to mid-1860s, Cyrus and William relocated to Chicago. Their move may have been prompted by the onset of the Civil War or employment opportunities.

Only a few years after moving to Chicago, Williams wife and children died. His son, William, was the first to die on April 11, 1864. His daughter, Mary C., died the next day on April 12. His wife followed less than a week later. Charlotte A. Crouse died on April 18, 1864. The Cook County Death Index listed the dates as April 12, 13, and 19. The close proximity of the dates, suggests illness swept through the family. All three were buried at Graceland Cemetery (Section G. Lot 951, graves 1, 2, and 3). The fourth grave in the same family plot is occupied by Henry P. Crouse, who died on Sept. 11, 1964. It is possibly that he was the third child of William and Charlotte.

Other family members include Blaney J. Crouse, occupying the fifth grave; he passed away on July 17, 1875.

William F. Crouse eventually joined his family and was laid to rest in grave 8 after his passing on Oct. 7, 1906.

The first mention that I have located of Cyrus in Chicago is from the fall of 1864. On Nov. 28, 1864, Cyrus M. Crouse was listed in the Chicago Tribune in the unclaimed letter section (page 3). It remains unclear as to exactly when Cyrus settled in Chicago and began working as a stage carpenter. He may also have been on the road, outfitting theaters throughout the region staying with his brother whenever he passed through town.

William, however, continued to live and work in Chicago. On Oct. 11, 1866, William F. Crouse and Catherine “Kittie” Doulin. The couple was listed in the Marriage section of the Chicago Tribune. A few years later they celebrated the birth of twin boys, William C. and Howard. A third son, Frank, arrived in 1870. All the while, William continued to work as a stage carpenter, becoming extremely well-known and well-respected by the theatre community for his knowledge of stage machinery.

C. M. Crouse followed his brother’s lead in the windy city and soon garnered a reputation as a master stage carpenter and mechanic. The second mention that I have located about Cyrsu in Chicago newspapers is from 1865. He was mentioned in a newspaper article, following year after fire broke out at a business block in Chicago. On Dec. 15, 1865, the Chicago Tribune mentioned that C. M. Crouse occupied room No. 18 fourth floor and sustained $50 worth of damage from the fire (page 4). Then he disappears from print again until 1869.

Both Cyrus and his brother were listed in the 1869 Chicago Directory:

Crouse, William F., stage carpenter, r. 147 Townsend

Crouse, Cyrus, carpenter, r. 112 Chicago ave.

Cyrus may have married around this time too. By 1870, Cyrus was living in the 20^th Ward of Chicago. The US Federal Census that year listed Cyrus (34, stage carpenter) living with Hattie Crouse (27, keeps house). Although it appear he was married, I have yet to locate any records that confirm their relationship. Therefore, I cannot be certain that she was actually his wife. Hattie Crouse also seems to disappear shortly after the census was taken in 1870. Interestingly, Cyrus and Hattie Crouse were also living with another family in 1870 – the Wilkinsons. The Wilkinson family included Tom (33, Traveling Agent), Agnes (28, keeps house), Thomas (8, at school) and Harry (6).

It was around this same time that Cyrus became associated with Aiken’s Museum. Sometime between 1870 and 1873, Cyrus M. Crouse, stage carpenter, became known as C. M. Crouse, master mechanic.

Aikens Museum. From Chicagology.

Previously known as Wood’s Museum, after the infamous Col. Wood, the entertainment venue was managed by Frank E. Aiken from approximately 1867-1871. The museum featured natural history objects, paintings, panoramas, and performances in a lecture hall. The hall was actually a full-functional theatre; both Wood and Aiken had recognized the popularity of stage performances. Here is a link to learn more about the history of the venue: https://chicagology.com/prefire/prefire057/

On April 14, 1870, the Chicago Tribune published an advertisement for and event at Aiken’s Museum, announcing, “Friday evening. Benefit of C. M. Crouse” (page 4). Located at the rear of the museum, the performance hall was home to a stock theatre company, where Crouse was likely employed.

On Feb 22, 1871, the Chicago Tribune linked Crouse to Aiken’s Museum again:

“COMPLIMENTARY BENEFIT.

The following correspondence explains itself; Mr. Frank E. Aiken:

DEAR SIR: We, the undersigned, the Chicago Press, the members of your company, friends, and admirers, appreciating your merits, not only as manager and an artist, but a gentleman, would kindly ask you to accept a complimentary benefit, to take place on. Wednesday afternoon and evening, March 1. Wishing you every success in the future. We remain yours Truly.”

The letter was signed by sixty-seven people, including C. M. Crouse, Charles Crouse, and Charles’ roomate Fred Bowman.

Aiken’s reply was also published:

“To the Chicago Press, the Public, and my Brother and Sister Artists: I wish to tender my sincere thanks to the ladies and gentlemen whose names are signed to the above communications, this day received by me. I accept the proposed testimonial, not because I think I deserve it, or have any claim upon you, but as a mark of affection, which I shall ever cherish from my Chicago friends and the members of my company. With the hope that our intercourse may be as pleasant in the future as it has been in the past, I subscribe myself your obedient servant – Frank E. Aiken.”

Crouse was still associated with Fred Aiken in 1873, now at his new theatre. On June 15, 1873, the Chicago Tribune advertised “Enormous Attractions for the Summer Season!” with “magnificent new scenery by Halley and Smith, Mechanical novelties by our master mechanic C. M. Crouse, and assistants” (page 16).

C. M. Crouse is listed as the master mechanic at Aiken’s Theatre in 1873.

The timing of this is important to note with the context of Sosman & Landis. 1873 is two years before they meet and six years before Sosman & Landis establish a studio in Chicago. This means that when Crouse joins the staff at Sosman & Landis, he is a well-known quantity and an asset to the firm.

On July 19, 1873, The Chicago Evening Mail announced:

“Aitken’s Theater. A grand complimentary benefit for W. H. Harrison, Charles Crouse, Fred Bowman, and Cyrus Crouse, attaches of Aitken’s Theatre, is announced for next Monday evening. John R. Allen and wife, Harvey Pratt, Fred Woodhull, John Marble, Jennie Morgan, and a host of others, have volunteered for the occasion. The bill will consist of a light comedy and farce programme, with Billy Rice in a stump speech and Harry Hart in a recitation of ‘Shamus O’Brien.’ Ben Owens acts as conductor. The attendance will undoubtedly be large.”

On July 20, 1873, The Chicago Tribune reported, “On Monday night a complimentary benefit will be tendered the following-named gentlemen, attached of Aitken’s Theatre: W. H. Harrison, Treasurer, Charles Crouse, Fred Bowman, and Cyrus Crouse, upon which occasion J. R. Allen, Harry Pratt, Fred Woodhull, W. H. Otis, Mrs. J. R. Allen, Miss M. Vickers, Miss Kate Morriss, the Misses Grace and Ada Perkluc, and many others have volunteered to play. Besides, there will be the great Billy Rice and Harry Hart. The bill comprises a great variety of entertainment, and will, without doubt, net for the beneficiaries a very acceptable sun” (page 4).

Throughout the 1870s, Crouse’s reputation continued to grow. He worked at a variety of theaters throughout the region, venturing west to Iowa with several Chicago colleagues. On Nov. 27, 1881, the Burlington Hawk Eye of Burlington, Iowa, reported, “Cyrus M. Crouse, of the Academy of Music, Chicago, is in our city. Mr. Crouse has been for some years connected with that institution as stage carpenter and has earned a reputation for worksmanship unexcelled by any member of his craft” (page 4). By now, Crouse is 55 years old and well-versed in stage machinery. It would have been foolish if Sosman & Landis had not actively gone after Crouse to get home on their staff. We do know that by 1885, Crouse was working for Sosman & Landis. He may have been working part-time at the firm since 1879 when they leased their first shop space in Chicago.

On Jan. 7, 1882, the Chicago Tribune published an extensive article about the Burlington Opera House project, mentioning The building, which has a completeness of construction seldom reached by contractors, deserves a special notice, particularly as the contractors are all well-known Chicago men who make this class of building a specialty. The architect Col. S. V. Shipman, and the woodwork, which in construction of this kind is by far the most important item, was under the immediate charge of Mr. M. B. Bushnell, who in connection with the building of the Academy of Music and Haverly’s Theatre of Chicago, is already widely known…Further inquiry reveals the fact that the stage – a work usually set aside as calling for a special construction – was also built by Mr. Bushnell, and has all the necessary traps and other accessories necessary to a complete theatre. In every particular throughout the entire structure, we find that Mr. Bushness, assisted by able foremen, Messrs. James, Evans, and Crouse, and a gang of skilled workman, has been eminently successful” (page 5).

On Jan. 8, 1882, the Burlington Daily Hawkeye Gazette reported, “C. M. Crouse, of Chicago, superintended the stage carpenter work. That has been his life-long business, and what Mr. Crouse does not know about stage paraphernalia is not worth much trouble to find out. He was brought here from the Chicago Academy of Music to superintend the stage construction, and it is the general verdict that he has made an entire success. The stage appliances are as near to automatic as possible” (page 2). The same article also noted, “It is claimed by theater men that the Burlington Opera House is the most elegantly frescoed building in the northwest. The style is Moorish or Arabic and the work in detail and, as a whole, is artistic and worthy of the admiration so generally bestowed upon it by all who have seen it. Frank D. Skiff, of Chicago, is the scenic artist. He is from the Academy of Music, and his long experience enabled him to produce work that gives satisfaction and has achieved it with rapidity that is marvelous. He not only fulfilled his contract, but as a matter of fact, he has done more that he agreed to do. The opera house company will hold him in grateful remembrance. The drop curtain, which is truly “a thing of beauty,” was painted by L. L. Graham of Chicago, who ranks alongside the best artists in this line in the United States. The curtain is the topic of general conversation among the audiences and the subject of enthusiastic praise.”

And this is where several lives and careers intersect. L. L. Graham and Thomas G. Moses painted scenery at the Academy of Music in 1881; this is while Moses was working for Sosman & Landis. Moses’ sister Illie also worked as an actress at the Academy of Music during this same time. In 1882, Moses leaves Sosman & Landis to partner with L. L. Graham, establishing Sosman & Landis. By 1883, both are working at Sosman & Landis. In 1884, Graham relocates to Kansas City where he established his own studio and operated a branch office for Sosman & Landis. Also, in the spring of 1884 the Chicago Theatrical Mechanics Association was organized by John Barstow, John E. Williams and Frank Goss. Many of the Sosman & Landis stage carpenters, as well scenic artists, belonged to the organization.

Now read the next newspaper article about the new Burlington Opera House with a new perspective about what is going to happen.

Jan. 17, 1882, Ottumwa Daily Democrat reported, “The following, from the Fort Madison Plain Dealer, reads more like a Chicago item than an Iowa Item, “Burlington had to draw largely on Chicago for the skill and material necessary in the construction of the new opera house. The following list looks rather bad for the ‘home talent’ of the ‘metropolis of Iowa;’ The architect was Col. S. V. Shipman, of Chicago; the masonry work was done by George Chambers, of Chicago; the carpentry was let to M. B. Bushness, of Chicago; Fitzgerald & Querk, of Chicago, did the plastering; the cut stone and granite were furnished by Tomlinson & Reed, of Chicago; fresco work was done by P. M. Almini, of Chicago; Frank D. Skiff, of Chicago, painted the scenery except the drop curtain, which was done by L. L. Graham, of Chicago; C. M. Crouse, of Chicago, superintended the stage carpenter work; A. C. Hickey, of Chicago, did the plumbing and gas-fitting; Richardson & Boynton, of Chicago, furnished the heating apparatus; the galvanized iron and tin work was done by Kinsley Bors. & Miller, of Chicago; the roofing was put on by M. W. Powell & Co., of Chicago; the opera chairs came from H. Andrews & Co., of Chicago, the sculpture work was executed by D. Richards, of Chicago; the fancy tile flooring was laid by Henry Dibler, of Chicago; H. L. Berry, of Chicago, put up the iron shutters; E. Baggatt & Co. of Chicago, furnished the gas fixtures, and the silverplated work was done by Baldwin & Co,, of Chicago, Chicago ought to be well pleased with the part she took in Burlington’s Building. She was certainly well paid” (2).

Crouse remains in Chicago where is continues to be listed in the City Directory. Here is his 1885 Chicago Directory listing: “Crouse, Cyrus M. Crouse, carp. House 157 W. Washington.” Crouse continues to travel, keeping the same address for the next few years. During this time, Crouse continues to travel for work. Likely representing Sosman & Landis and leading on site installations and outfitting of stages. On Sept 10, 1886, the Columbus Enquirer Sun announced, the arrival of “C. M. Crouse, Chicago” at the Central Hotel (page 23).

Here are the Chicago directory listings for the next few years:

1887 Crouse, Cyrus M., carp. h. 157 W. Washington

1888 Crouse, Cyrus M., carp. h. 51 S. Union

1889 Crouse, Cyrus M., machinist. h. 51 S. Union

In 1889, Crouses’ residence, 51 S. Union, was a multi-residence building, home to a variety of businesses and people, including stage carpenter James A. Carana, was also boarding at 51 S. Union. For example, on March 3, 1889, the following want ad was placed in the Trades section of the Chicago Tribune (page 23):

“SITUATION WANTED – By practical engineer with best references, Chas. Jorgenson, 51 S. Union.”

In the late-1880s, there were dozens of stage carpenters working in Chicago, with many listed in the City Directory simply by the trade “carp”, for carpenter. Of these men, only a few were mentioned newspaper articles. This was a period of change in the industry, as allegiances formed, and groups worked toward a common goal. However, not everyone held the same common vision. While some worked toward a mutual aid association, others pushed for a labor society. Crouse was in the middle of this debate, a battle that made headlines in Chicago. On May 13, 1888, the Chicago Tribune published an article entitled “In Pursuit of a Corpse.” Theatrical charities were discussed, with emphasis on Chicago’s Theatrical Mechanics Association.

John Bairstow, stage carpenter at the Grand Opera and McVicker’s, was also featured in the article:

“Chicago has also a Theatrical Mechanics’ Association, which takes in all the hands about a theatre except the actors and managers. Many persons are employed in the purely mechanical department of the theatre. At McVicker’s 120 persons were behind the curtain when Irving played, their duty being to look after scenery, lights, traps, ‘drops,’ properties, etc. It required sixty to look after ‘A Run of Luck,’ and forty is the average number of men employed. Mr. John Bairstow, master carpenter at McVicker’s, has been the head of the Theatrical Mechanics’ Association since it was started, but recently has been pushed out by radical members, who wish to make the society a labor instead of a mutual aid association. The men work only a couple hours a night, and they want $9 a week instead of $6. This exorbitant demand is likely to be firmly resisted by the capitalist managers. The theatrical mechanics will likely find that they have destroyed a worthy charity in forming a worthless labor machine” (page 25).

Although Crouse continued to work as a stage carpenter in the 1890s, his name no longer makes news. I have only been able to trace him to a handful of Chicago Directories. Here are his listings in the 1890s:

1890 Crouse, Cyrus M., carp. 116 S. Halsted

1891 Crouse, Cyrus M., carp. 116 S. Halsted

1896 Crouse Cyrus M., Cyrus M., carp. 118 S. Halsted

1897 Crouse, Cyrus M., carp. h. 51 S. Union (same home address as he listed in 1888 – 1889)

1898 Crouse, Cyrus M., carp. h. 51 S. Union

Crouse passed away on Sept. 9, 1899, in Chicago. He was 62 years old and listed as a stage carpenter. Like many of his Sosman & Landis colleagues, Crouse was buried at Forest Home Cemetery, Forest Park, Illinois. Forest Home Cemetery is located at 863 S. Des Plaines, Ave. in Forest Park. His name was published in the Official Death Record section of the Chicago Tribue on Sept. 12, 1899 (page 5). The listing for Burial Permits issued by the Health Department included, “Crouse, Cyrus M., 62; 188 S. Halsted-st., Sept, 9.”

Sadly, I cannot even include a picture of Crouses’ gravestone as cemetery records do not indicate where he was actually laid to rest in 1899.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 105: John Moore

John Moore worked as a scenic artist at Sosman & Landis in 1885. His name was included in a list of individuals who made donations to the Grant Memorial Fund in Chicago. On August 2, 1885, the Chicago Tribune published a list of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). John Moore was included as part of the Sosman & Landis staff, having contributed $1.

After weeks of tracking down numerous artists named John Moore who worked during the late-nineteenth century and early-twentieth century, I struck gold in California. It was Moore’s ending that brought me back to his beginning. All I needed was an approximate birth year and connection to the theatre.

On Jan 20, 1933, The Placerville Mountain Democrat announced: “Old-Time Trouper Dies; Funeral Held on Monday” (page 8):

“John Moore, 67, a native of Boston, who spent the last years of his life as a scenic artist for manager Frank Atkins, of the Empire Theatre, died on Friday. The funeral services were held on Monday from the Dillinger mortuary chapel, the Rev. John Barrett officiating. Burial was in Middletown cemetery.”

With this little bit of information, I was able to zero-in on scenic artist John Moore. He was born on April 4, 1866, in Hingham, Massachusetts. For geographical context, Hingham is situated on the south end of Boston Harbor, in Hingham Bay. It made sense that Moore told people he was from Boston, and not Hingham, as Boston was much more identifiable to those from far way.

I was thrilled to have a beginning, but there was so much more. His 1933 obituary continued:

“John Moore has no known surviving relatives. Little is known of him save that he was a veteran of the theatrical profession in every sense and meaning of the word. At the age of sixteen, he left his home in Boston and for more than half a century engaged in various branches of the theatrical business. He traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville. He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the empire theatre has shown.”

Moore’s relatives may have predeceased him, but he certainly had a “theatrical family” who mourned his passing. John Moore was remembered by those who listened to his stories and considered him to be “a veteran of the theatrical profession in every sense and meaning of the word.” That is quite a compliment. When reading that line, I understood why it was so difficult to track down Moore’s life and career; he was constantly on the road.

Of all the obituaries that I have read, Moore’s managed to touch my heart in just two short lines. Someone cared enough to write, “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”

This brought me back his early days in the theatre. Moore was 19 years old when he painted for Sosman & Landis. This was three years after he left Boston. In 1885 Moore was listed in the Chicago Directory as a painter, living at 2329 LaSalle. In addition to working as a scenic artist, Moore also performed at the Academy of Music in Chicago. On Sept. 13, 1885, John Moore was listed as an actor at the Academy of Music, playing the role of Rushton in a revival of “The World.” The article also reported, “It will be produced under the management of Dickson & Joel, with new scenery, including the great raft scene, the departure from Cape Town, explosion in midocean, and the escape from the asylum. All the original novel scenic and mechanical effects will be introduced” (page 13).

Moore left Chicago by 1886 and headed south to Kansas City. From 1886 to 1896, he was sporadically listed in the Kansas City Directory as a scenic artist working, often working for for L. R. Close and Co.

This places Moore with the same group of scenic artists who constituted the main labor pool for Sosman & Landis, L. R. Close & Co., and L. L. Graham. Close and Graham both worked as Sosman & Landis, as well as founding their own studios. Keep in mind that scenic artists were constantly shuffled between shops by studio owners. Scenic studios formed alliances and were often listed as affiliates in various publications.

Furthermore, Sosman & Landis ran several branch offices, including one in Kansas City. Both Close and Graham managed the Sosman & Landis branch office while conducting business at their own Kansas City scenic studios in the 1880s and 1890s. L. R. Close primarily worked in Kansas City from 1883 to 1894, when Close relocating to Chicago. From 1895 until his passing in 1901, Close worked as a traveling salesman at Sosman & Landis.

Moore’s listing in the Kansas City directory from 1886 to 1896 suggests that he was constantly on the move. Moore lived at six different addresses over the course of ten years during his time in Kansas City. This was not uncommon, as scenic artists traveled constantly, delivering scenery from one opera house to the next, or traveling with road shows.

Here are the City Directory listings for John Moore in the Kansas City, Missouri:

1886 Moore, John, scenic artist, L. R. Close Co., bds Tiltons Hotel

1887 Moore, John, artist, L. R. & Co. Close rms 516 B’way

1889 Moore, John, artist, L. R. Close & Co., rms 119 W 5^th

1891 Moore, John, artist, L. R. Close & Co. rms Cherry nw cor 5^th

1892 Moore, John, artist, r 524 e 5^th

1896 Kansas City Directory Moore, John, artist KC Scenic Co. b 2337 Grand av

A few things…516 Broadway was the business address for L. R. Close & Co. This meant that in 1887. Moore was rooming at the studio and accepting his mail there. Many of the scenic artists workin for both Close and Graham listed the studio address as their residence. This was because they were constantly on the road, going from one venue to the next.

Between 1897 and 1922, I lose track of Moore. There are plenty of John Moore’s working in the poplar entertainment industry; I just don’t know if they are the same “John Moore.” This is likely when his career took a series of twists and turns, as he “traveled with the old-time wagon shows, the circuses, with stock companies, and road shows and in vaudeville.” As mentioned in his obituary: “He was advance man, publicity man, an actor, scene-shifter and sometimes nursemaid to the elephants. But always, he was a scenic artist and a good one, too, as his work for the Empire Theatre has shown.”

The next mention of Moore’s scenic art activities ties him to northern California, in the Sacramento region.

By the early 1920s, Moore became associated with actor Will Maylon and the Maylon Players. Maylon, and his wife, Caroline Edwards, traveled with a small group of performers, a technical director (Leonard Bouford), and a scenic artist (John Moore). Advertisements highlighted Maylon’s US military service; he fought overseas during WWI, with the 40^th Division in France.

In 1921, the Maylon Players primarily performed in northern California towns including, Red Bluff, Gridley, Corning, Oroville, Chico, Calusa, Lincoln, and Marysville. It is at this time that Moore settled in Marysville, California and began making local newspaper headlines. In 1922, the Maylon Players selected Marysville, California, for their headquarters. For geographical context, Marysville is the county seat of Yuba County, situated at the junction of the Yuba and Feather Rivers on the western slope of the Sierra Nevada mountains.

Here is the link to the above-pictured map drawn by C.P. Cook and published by W.W. Elliott for the “Daily and Weekly Democrat.” https://www.raremaps.com/gallery/detail/32031/birds-eye-view-of-marysville-and-yuba-city-cal-and-surrou-elliott-publishing-company

Detail from the map of railroads to Yuba County, California.

On Sept. 13, 1922, the Marysville Daily Appeal announced (page 7): “Marysville To Be Headquarters For Maylon Players. Coming back stronger than ever the Maylon Players will open at the Atkins theatre Monday, September 18, in the comedy sketch ‘An Indiana Romance.’ The Maylon Players, always a favorite with Marysville audiences have been enlarged until today they stand premiere before the coast wide stock organizations as a leader in their particular line of endeavor. Led by Mrs. Lulu Wasley, the grand old lady of stagedom, loved and revered by all good people, the Maylon Players with their new scenic effects, costuming and real acting are coming home. The company will make their headquarters in Marysville for the season, and will become one of the big families of this city. Marysville will this year be given the first presentations of the Maylon Players’ activities. All business concerning the placing of plays the painting of scenery and other matter pertaining to the company will be done in Marysville.”

On Sept 20, 1922, the Oroville Daily Register reported, “An Indian Romance” [by the Maylon players] which opens tonight, is a play that follows a success in New York run recently was presented at the Alcazar Theatre in San Francisco. Mr. John Moore, considered one of the cleverest scenic artists in California, has designed come beautiful settings for this play. Petaluma critics were lavish in their praise of Mr. Moore’s mounting of the Maylon production” (page 3). On Oct. 11, 1922, the Oroville Daily Reporter reported, “The scenes of the coming play especially painted for this great production by John Moore, veteran scenic artist, in the Maylon Studio at Marysville, are taken from an actual Cantina of Ensenada, Mexico.” (p. 5).

The Maylon Players productions were very well-received in Marysville, with Moore’s work repeatedly mentioned in the local newspaper. On Oct 22, 1922, the Daily Appeal reported, “the work of John Moore scenic artist placed an atmosphere of old Mexico that was very realistic” (page 8). On Oct. 25, 1922, the Daily Appeal reported, “Packed House Is Pleased by Show Given by Maylons (page 1). The article continued, “There was no disappointed theatregoers last night leaving the packed Atkins theatre, where they viewed the work of the Maylon Players in producing “Bought and Paid For” a play that from start to finish rang true to those little incidents of high society life that make for sadness in the hearts of man and wife. The story of Virginia, enacted by Mrs. Ted Maxwell, and that of Afford, man of wealth, but subject to a habit, portrayed by Will Maylon, proved to be a shining vehicle for the little company that lust night packed the theatre. The tale as told before the footlights contained elements of human interest, and high lights of clean comedy with all character portrayals played as only the Maylon players can do. There was Ted Maxwell, is Jimmie. who falls into a fortune of wages in his rise from $l4 to $100 per, and ‘Mother Wasley in the role of Josephine, the maid. Her part last night was small but well played. Oku, Japanese man-Servant. was creditably portrayed by Leonard Bouford. With his sly, cunning, Japanese manner and his curious, ‘Sense please. Oku.’ he gave a true interpretation of his part. The costuming and scenery proved to all that the head of the popular players was attempting to give Marysville theatre patrons, the best to be had. The scenes were the work of John Moore, scenic artist of the company, and of Bouford, technical director. As an added attraction “Rawling’s bears,” were put through difficult animal acts, to the evident satisfaction of all patrons of the Atkins. These animals show themselves to be well trained. Next week’s play will be “Other People’s Money.”

Atkins Theatre on D Street (right side of street).

The Atkins theater becomes an incentive for Moore to remain in Marysville, after the Maylon Players leave town. Built in 1921, the Atkins Theatre was in the same building as the original Marysville Theatre (c. 1908). It burned down in 1926. Atkins Theatre was rebuilt and later renamed the National Theatre.

Atkins Theatre on D Street in Marysville, California.

Marysville Theatre before it became Atkins Theatre.

Interior of the Marysville Theatre, later renamed the Atkins Theatre. This stage once featured the scenic art of John Moore.

In addition to working for the Maylon Players, Moore secured a variety of other projects in town. On Oct. 14, 1922, the Marysville Daily Appeal reported, “Many of the Egyptian decorations of the Sciot Circus that are attracting wide-spread attention are the work of John Moore, scenic artist of the Will Maylon Players. Moore, has won a good reputation for his work with various stars of the theatrical profession, having produced some of the best scenes ever presented before the public.” (page 5).

That winter, the Maylon Players presented “The Dangerous Age” at Atkins Theatre. Of the scenery, the Daily Appeal described, “The living room of the – Harvard home was portrayed beautifully. From a French window in the distance was seen the lights of a great city, with twinkling stars from a pure sky sending forth a thrilling message over the Harvard home. The scene was one of beauty, entailing much work on the part of Leonard Bouford, technical director, and of John Moore, scenic artist of the Maylon company” (Dec. 13, 1922, page 4).

By 1925, Moore was no longer associated with the Maylon Players. The troop had relocated to Spokane, Washington, and were performing at the Auditorium Theatre. In 1925, The Billboard listed the Maylon Players as including Will Maylon, wife Caroline Edwards (Mrs. Maylon); Lou J. Foote, director; Crawford Eagle, heavy; Grace Van Winkle, Edith Mote, Leonard Bouford, Jack Whittemore and two new members William Ruhl and Louise Miller (Aug 29., 1925 Vol 37 No. 35, page 26).

Moore remained in Marysville, and in 1926 was listed in California voter records, as a scenic artist living in Yuba City. By 1928. Moore was listed as scenic artist at the National Theatre. On Feb 21, 1928, the Appeal-Democrat of Marysville, CA, reported, “platform trimmings were put in place by John Moore scenic artist of the National Theatre. He draped the platform foundations and then painted the draping. He erected the stage set which gave the platform a back wall. He did a good job” (page 7)

The following year, Moore was credited with delivering scenery for the Yuba City Highschool’s production of “Bells of Capistrano.” On April 17, 1929, the Appeal-Democrat reported, “Special scenery with Spanish settings will be used. This scenery was recently painted by John Moore, of the National theatre, scenic artist” (page 12). This production was the first operetta ever given by the Yuba City High School. On April 20, 1929, the Appeal-Democrat commented that Moore’s scenery “greatly added to the atmosphere of ranch life in the early days of California. The opening scene was in the hills at night with a ceremonial fire burning, and Indians grouped around it singing prayers to the Great Father, while the medicine man beat incessantly on his drum. The other scenes were on the ranch, Orteog, which was in trouble due to the disappearance of the great herd that would have paid of the mortgage on the home” (page 16).

That summer, Moore was on the road again, painting scenery for neighboring towns such as Colusa. On Aug. 28, 1929 The Colusa Herald reported, “Yuba Man Paints Drapes for New Gem Theater. John Moore, Marysville scenic artist, has completed a contract whereby the stage of the gem theater here is equipped with new draped and curtains. Moore has outfitted a number of theaters in northern California with scenery. His screen, for moving pictures, is widely used” (page 2).

Moore relocates from Marysville to Placerville in 1930, following Frank Atkins, previous manager of Atkins Theatre in Marysville and likely author of Moore’s obituary. Placerville is approximately 71 miles southeast of Marysville, and due east of Sacramento.

Distances between Marysville, Placerville and Sacramento.

Maysville and Placerville in California.

On Sept. 19, 1930. Atkins opens the Empire Theatre in Placerville. Moore immediately becomes scenic artist for the venue. This is where is important to know a little bit about Atkins. On Sept. 19, 1930, The Mountain Democrat of Placerville reported, “as a youth Mr. Atkins managed the Atkins Theatre at Marysville for his father and at 21 was owner and manager of his business” (page 4). The article also credits Atkins as manager of the Campus Theatre, Berkley, and owner of the Lyric Theatre, Marysville; in Marysville, Atkins’ brother still managed the venue.

Advertisement for the opening of the Empire Theatre in Placerville, California, on Sept. 19, 1930.

Moore continues to accept many other projects, including the design and construction parade floats. On May 29, 1931, Placerville’s Mountain Democrat announced, “There was an ‘Old Freighter’ in the parade driven by Ludwig Peterson. The wagon had been rebuilt by John Moore, the expert decorator at the Empire Theatre, and old timers say that the wagon looked like the real article” (page 4). On June 19, 1931, the “Placerville Mountain Democrat” reported, ““Last week-end was put on by the Native Sons and Daughters in real style, wasn’t it? The float depicting the early days of mining in this vicinity entered in the parade by the Native Sons was certainly attractive. Lots of work to make that float, and if happens that you have not heard who made it, we’ll state that it was the work of John Moore, of the Empire Theatre staff” (page 1).”

Less than 18 months later, Moore has passed away in El Dorado, California, on Jan. 13, 1933. The Mountain Democrat reported that Moore spent the “last years of his life at Empire Theatre.”

The Empire Theatre in Placerville, California.

The Empire Theatre is now home to Empire Antiques in Placerville, California.

The building that once housed the Empire Theatre is still standing, now home to Empire Antiques store. Someone is certainly trying to save this old theatre, as I was able to find some interior images posted to the FB Group “Restore the Empire Theatre Placerville, CA.” Here is a peak into a building that once featured the scenic artworks of John Moore.

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 104: Karl Boettger

In 1885, Karl Boettger was listed as a Sosman & Landis employee, included in a list of employees who made donations that summer to the Grant Memorial Fund. On August 2, 1885, the Chicago Tribune” listed Boettger as one of “Thousands contributing their dollars and dimes to the memorial fund” (page 9). Karl Boettger donated $1.

Born in 1864, Boettger emigrated from Germany 1883. Boettger sailed from Antwerp aboard the Belgenland. On April 20, he arrived in New York. The ship was part of the Red Star shipping line, measuring 403’ x 40’ with compound engines, four masts, and an iron hull. In many ways, I know more about the ship that transported Boettger than Boettger himself.

After arriving in the United States, Boettger settled in Chicago and made quick in-roads into the midwestern scene-painting community. In America, Karl soon went by Carl Boettger, anglicizing his first name. By the fall of 1885, he was even listed as part of the Scene Painter’s show, mentioned in the “Art Union” article by John Moran: “…works deserving of notice are Messrs. George Dayton, Sr., George Dayton, Jr., the late L. Malmsha, C. Boettger, Chas. Ritter, H. Buhler and John Howell Wilson.”

Within three years if his arrival in the United States, Boettger had secured employment, exhibited his fine artworks, and married. On July 10, 1886, Boettger married another German immigrant, Katharine “Katie” M. Rosener. Katherine was born on May 6, 1866, emigrating with her family in 1872.

In 1887, Boettger was living at 160 Crystal, Chicago, listed as a painter…and that is all that I have uncovered about his career!

Listing for Carl Boettger in the 1887 Chicago City Directory.

Boettger passed away on Dec. 4, 1888, just a few months before the birth of his first-born child, Charlotte.

His obituary was published on Dec. 6, 1888, in the “Inter Ocean” –

“BOETTGER – Dec. 4, at No 84 Crystal St, Carl, husband of Kate Boettger, aged 25 years, 3 months, and 4 days. Funeral to-day by carriages to Graceland” (page 8). Graceland Cemetery records list him as “Carl Boetocher, died 12/4/1888.” He is buried in Block 12, grave 451. This is the same person, but you can see how hard it is to trace the lives of some individuals. Many of the difficulties stem from a combination of poor handwriting, human error, and computer software that exacerbates misspellings. I have yet to locate a death certificate or newspaper article that identifies any cause of death. Boettger was only 25 yrs. old when he passed away.

Gravesite of Carl Boettger at Graceland Cemetery in Chicago, Illinois.

Boettger’s daughter, Charlotte P. Boettger, was born on Feb. 13, 1889.

His wife, Kate Boettger, remarried the next year, on May 3, 1890. Her second husband was William S. Bird, a mechanic and gas fitter. Bird was also an immigrant, born in England about 1852. The couple went on to celebrate the birth of two children.

In 1900, the Birds were living at 110 Stewart Avenue in Chicago and their household included: William (45), Katherine (33), Charlotte (11) and Beatrice (8).

Carl’s only child, Charlotte, was married to Frederick J. Nathanson on June 9, 1906; she was 17 yrs. old at the time. Frederick worked as a theatre musician and continued to do so for the next several years. The 1910 census listed Charlotte and Fred Nathanson living with their two children, Mildred D. (3 yrs.) and Richard W. (8 months) at 6800 Union Avenue; the same address as her mother, stepfather, and half-sister Beatrice. Beatrice eventually married Daniel Joseph Kelly, a mechanic who initially worked for Bennet & Davos Co., later becoming primarily a chauffeur. Beatrice and Daniel Kelly continue to live with Kate Bird at 6740 Sangamon. William S. Bird died on March 29, 1918. In 1920, the US Federal Census again listed the Nathanson and Bird families living at 6740 Sangamon in Chicago. The extended family continued to live in Chicago, at Sangamon, until the 1930s; Fred Nathanson was still working as a musician.

Kate Boettger Bord passed away in 1928 and is buried next to her second husband, William, at Evergreen Cemetery.