Copyright © 2023 by Wendy Waszut-Barrett
On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. For an understanding of the donations listed below, $1.00 in 1885 is equivalent in purchasing power to about $31.00 today.
The list of Sosman & Landis employees who made donations included:
Sosman & Landis $10.00
Thomas G. Moses $2.00
Henry J. Buhler $2.00
David A. Strong $1.00
George W. Dayton $1.00
J. C. Evans $1.00
Karl Boettger $1.00
Frank E. Gates $1.00
John Moore $1.00
Edward Loitz $1.00
C. W. Carey $1.00
C. M. Crouse $1.00
Frank Lewis $1.00
William Martin $0.50
Frank Ford $0.50
B. P. Lee $0.50
Julius Fehrman $0.50
Fred Miller $0.50
Hugo Schoessling $0.50
Mrs. J. S. Curran $0.50
Ed Donnigan $0.25
Kirke W. Moses $0.25
This post is about J. C. Evans who donated $1 to the Grant Memorial Fund in 1885.
I began researching Evans while waiting for a plane in the Minneapolis airport on January 9, 2023. My destination was Galveston, Texas. I had been hired by the Galveston Scottish Rite to examine the contents of their scenery collection. You could not have imagined my surprised when I began to track down the scenic art career of J. C. Evans (1841-1915), as he worked in Galveston, c. 1867-1880.
Advertisement placed by J. C. Evans in 1873.
The initials “J. C.” were for John Charles, but many people in Galveston called him “Charley.” It was a challenge tracking down the life and career of Evans as his ethnicity continued to shift. Even the end of his life presented more questions than answers.
There are two entries in the Cook County Illinois Death Index for John Evans; this is the same person, buried in the same cemetery. One entry lists his birthplace as Italy: the other lists Cuba. I encountered a very similar issue with the birthplace of Evans and his parents over the course of decades.
The 1880 US Federal census lists Evans mother as Spanish, with his father hailing from England. The 1900 Census indicates that Evans was born at sea, with his father from Spain, and his mother from England. The 1910 census lists his father as Spanish, and his mother from New York.
Spain – Cuba – Italy. I began to wonder if he was passing.
I took a deep dive into Evans’ life, examining name changes, directory listings, travels, and employment, all through the lens of enslaved Texans and the Jim Crow South. I traced the trail of Evans; male born in Texas, c. 1840-1841. I think that I located Evans and his family in East Texas. I certainly learned quite a bit about the region.
If I have tracked the correct J. C. Evans…eventual scenic artist at Sosman & Landis in 1885…here is his story:
As a young man, John C. Evans pops up in the small town of Angelina. You can’t find it now, as 1893 the town’s name was changed from Angelina to Durst. Angelina was in Angelina County, the only Texas county named after a woman. For geographical context, Angelina County lies in the angle between the Neches and Angelina Rivers, two waterways that provided access to Beaumont and other coast ports. Angelina County was also the ONLY East Texas County, and one of a select few throughout the state, that did NOT vote for secession in 1861.
The town of Angelina was settled before to the Civil War, with a post office opening in 1855. In 1850, the population of Angelina reached 1,165 with 196 enslaved residents, although I located only 130 on slave schedules for the county that year. The following slave owners were listed in the slave schedules filed in Angelina County: Solomon Wolfe (50 slaves), L. L. Ewing (35 slaves), Sammie Needham (9 slaves), John F. Robert (3 slaves), William Harrington (7 slaves), John L. Boman, (20 slaves), Gedas Weeks (4 slaves), W. W. Hankes (10 slaves), George R McClay (3 slaves), George Massingill (2 slaves), Gael Hill (6 slaves), Nathan Hicken (4 slaves), Mary Walker (4 slaves), Sarah Goodwin (2 slaves), Camelia Dalerhid (5 slaves), Ephraim Anderson (2 slaves), John Sessions (3 slaves), B Shelt (1 slave), S. Nearn (1 slave), James Ashworth (1 slave), L. F. McFaden (1 slave), A Almirall (7 slaves), Enoch Needham (3 slaves), Jameel Needham (14 slaves), E. H. Jennis (1 slave).
By 1859, the number of enslaved individuals in the Angelina County was purported to be 427, with an estimated value of $269,550. During this time, the cotton industry in the area occupied about 2,048 acres in the county land. Cotton and other goods were floated down the river. In addition to plantation owners, there were many very poor farmers who owned no slaves.
There are a few things to consider about the county of Angelina and the State of Texas between Evans birth in 1840-1841 and his work as a scenic artist by the 1860s. The 1850 and 1860 US Federal Census only reported the names of free black people.
This is only a very small portion of the population as so much of the black population was enslaved. Mixed-race cohabitation was also illegal in many areas and meant that census data may record a black individual as white, and vice versa. In many cases, passing necessitated that individuals physically distance themselves from family members (parents, spouses or children) who could not pass for white. It appears that John C. Evans left his family at the age of 18 and never returned. He headed to Galveston where he began working as a sign painter.
Galveston remained the only major port in Confederate hands at the end of the Civil War. In fact, on June 19, 1865, 2,000 US troops arrived in Galveston Bay, announcing that enslaved people in the state were free by executive decree. At the time, there were approximately 250,000 enslaved people in the State of Texas. Keep in mind that the Emancipation Proclamation was signed on Jan. 1, 1863. Juneteenth is the federal holiday commemorating the abolition of slavery in Texas on June 19, 1865.
This was the world where Evans was born, raised, and began his career as an artist.
Evans was the eldest son of John Evans and Mary H. Evans. His father was listed as a 37-yrs.-old carpenter in the 1850 Census, born in Mississippi. His mother Mary was listed as born in Tennessee. They were purportedly married in 1840 and celebrated the birth of their first child (J. C. Evans) in Texas the following year. According to 1850 and 1860 census reports, all of their ten children were born in Texas, although no county is specified.
The 1860 census listed an 18 yrs. old J. C. Evans as part of the Evans household. Other members included following Evans family members living in Angelina: Mary H. Evans (36), Sarah (16), William (14), Joel H (12), Polly (11), Marion (9), Latimore (7), Benedict (5), and Alice (3). Evans father had died earlier that year, but he may have left well before that. Interestingly, one family tree at www.ancestry.com lists a second spouse for John Evans Sr. – Citha Ann Smith, citing a marriage in 1854. However, I have only located only one marriage for Citha Ann Smith that same years to S. M. Tucker in Cherokee County, Texas; Cherokee County is directly northwest of Angelina County. Everything is a bit too close to completely discount this possible connection, especially since S. M. Tucker was living in Angelina, Texas, in 1850. I have encountered too many illegitimate children and bigamists to believe everything in a census report, especially prior to the Emancipation Proclamation.
18 -yrs.-old John C. Evans listed in the 1860 Census Report, Angelina, Texas.
There were numerous slave owners in the East Texas region with the last name of Evans, individuals who owned children, many listed as “mulatto,” sharing the same age as J. C. Evans, scenic artist. I have no concrete evidence to verify or disprove Evans’ race, especially when considering how enslaved people listed in slave schedules. I will say, there is something that hits you to the core when examining slave schedules; seeing thousands of human beings who are only identified by age, gender, color, and owner. This topic is central to American History, and any attempt to diminish its lasting legacy reveals an underlying desire to repeat it.
Portion of a slave schedule for Angelina County, Texas, 1850.
That being said, Evans’ theatrical endeavors made news by the fall of 1863 when he managed the Southern Dramatic Association. Keep in mind that the Civil War started April 12, 1861, and ended May 13, 1865. Evans first appears in a Houston newspaper on October 23, 1863.
Houston’s “Tri-Weekly Telegraph” published the following announcement:
“Notice. – The Southern Dramatic Association take pleasure in announcing to the ladies and gentlemen of this city and vicinity, that they have employed an efficient Police force to preserve strict order. Polite ushers will be in attendance to seat ladies. Smoking and other nuisances will be strictly prohibited. -J.C. Evans, manager” (page 1). On September 16, 1863, $3380 was raised in Houston by the Southern Dramatic Association to present silver battle medals. They were created from Silver dollars and the only Confederate wartime issued battle medals. These medals commemorated the Battle of Sabine Pass that allowed the Confederacy to maintain control of the Texas coastline for the duration of the Civil War. Here is a link to learn more about the Battle of Sabine Pass and the medals presented by the Southern Dramatic Association: (http://www.reaganscvcamp.org/Newsletters/Volume_8_Issue_7.pdf)
Perkin’s Hall became the home for the Southern Dramatic Association during the war. On January 28, 1864, the “Tri-Weekly Telegraph” reported, “The Southern Dramatic Association will play the thrilling drama called the ‘Guerilla Chief’ again this evening, at Perkins’ Hall. The play is founded on facts that have taken place during this war in Virginia and are of the most truthful and thrilling character. The Hall has been crowded nightly by delighted audiences, and all who have attended pronounce it the best play ever produced on the stage in this city. Mr. John English, the unrivaled actor, and Mrs. Sala sustain the leading characters. If our reader wishes to witness an interesting play, they should not fail to attend” (page 2)
He next appears as a theatre performer on May 2, 1866 (page 4). Mr. J. C. Evans was listed as performing a “comic song” after Mr. and Mrs. Bates production of “Leah the Forsaken; or the Jewish Maiden’s Wrong.”
J. C. Evans as a performer in 1866, Houston.
The first mention of Evans as a scenic artist was in 1866 at Perkin’s Hall in Houston. He delivered scenery for the “Camille” production on April 12, 1866. Houston’s “Daily Telegraph” reported, “J. C. Evans, the scenic artist, had contributed greatly to the success of the play.” Evans worked as both a scenic and decorative painter, initially specializing in fresco and sign painting.
On July 4, 1866, the “Tri-Weekly Telegraph” mentioned scenery by Evans at another Perkin’s Theatre Show, “Aladdin; or the Wonderful Lamp.” The advertisement announced, “Produced after weeks of preparation, and without regard to cost with NREW Scenery by J. C. Evans; New Machinery by J. G. Steele and assistants; New Properties and Appointments by W. L. Forrester; New Dresses and Wardrobe by Job Jameson.”
1866 advertisement listing New Scenery by J. C. Evans.
On May 17, 1867, Houston’s “Tri-Weekly Telegraph” announced:
“A solution. A correspondent sends us the following situation of the ‘Curious Fact,’ published in our columns yesterday: ‘Notwithstanding the removal of the Postoffice, the public are informed that they may still obtain letters of every description at its former locality by applying to J. C. Evan and E. S. Fendwick, house and sign painters. M.J.L.” (page 5).
This was Edward S. Fenwick; Fenwick’s father, Cornelius Cuthbert Fenwick (1815-1874), was an English painter, having passed along the trade to his sons, including Edward (b. New York, 1838), Charles (b. Illinois, 1852), and Fred/Fritz (b. Illinois, 1855). Evans partnership with Fenwick was short-lived, as Fenwick died from yellow fever that fall.
In 1867, Evans worked in both Houston and Galveston. On Aug 22, 1867, “The Galveston Daily News” reported, “Major Dick Dowling has just received from the easel of Charley Evans the handsomest sign in Texas – Evans is without rival in the Trans-Mississippi Department as a sign-writer, and Dick Dowling is a legitimate representative of Bacchus – ‘in a horn.’ (page 2).
Informal articles and stories refer to J. C. Evans as Charley or Charles; John Charles Evans used his middle name quite a bit in Galveston, until his only son came of age.
On Oct. 1, 1868, the “Weekly Telegraph” reported, “We have received from Mr. J. C. Evans, No. 84 Main Street, a bust of Horatio Seymour, executed in plaster. It is a striking likeness of the great statesman, and will place Mr. Evans as an artist, in a new light before the public. The bust is from a photograph recently taken in Utica, the home of Mr. Seymour, and therefore may be relied upon as correct. A specimen of this work can be seen at Marston & Hopkin’s store, on Main Street, or at the office of the TELEGRAPH. Mr. Evans informs us that he is now prepared to supply duplicates at reasonable rates” (page 6).
By the summer of1869, Evans became associated with a local Galveston business – Rice & Baulard.
Rice & Baulard advertisement mentioning J. C. Evans in 1869.
On June 16, 1869, a “Galveston Daily” advertisement announced:
“J. C. Evans, with Rice & Baulard.
Dealers in Paints, Oils, Glass, etc. Wall Paper and Window Shades.
77 Tremont Street, Galveston.
House, Sign, Fresco and Banner Painting.”
Joseph W. Rice and Victor Joseph Baulard established Rice & Baulard in 1850, advertising as dealers of ready mixed paints, window glass, wall papers, oils, and contract painters. Rice was the master painter, with Baulard first working as his assistant, c. 1845-1850. Their advertisements provide a sneak peak into the goods and services they were offering. On March 27, 1866, the “Galveston Daily News” included a Rice & Baulard advertisement noting: “Paints, oils, glass.-we are continually receiving fresh goods in our line from New York, such as WHITE LEAD. Different brands, French and American zinc, Linseed oil, raw and boiled, Turpentine, varnish. American and French glass, single kinds; together with Fire and Artist’s’ colors and tools and prepared canvas, etc. Work executed as usual” (page 4). The firm was later associated with the Galveston Paint Co.
Rice & Baulard’s firm in Galveston, showing a Galveston Paint Co. can of Ready Mixed Paints.
Evans continued to work for Rice & Baulard until the fall of 1868 when he struck out on his own. On Aug 11, 1868, “The Galveston Daily News” reported a series of transparent signs painted “by the skilled hand of our friend ‘Charley Evans’” (page 2). By Sept. 11, 1869, the “Galveston Daily” announced, “Mr. J. C. Evans, the popular sign painter, formerly with Rice & Baulard, has established himself at 220 Tremont Street. Mr. Evans, we understand, has been engaged as a scenic artist at the Galveston Theatre His card will be found in another column” (page 2). After Evans departure from Rice & Baulard, George W. Outterside joined the business.
Evans not only painted scenery for the venue, but also continued to advertise as a local sign painter. On Dec. 4, 1869, advertisement J. C. Evans Sign Painter 220 Tremont Street Galveston
J. C. Evans advertisement from 1869.
Sign painting was still listed as his primary occupation in 1870 Galveston City Directory: “J. C. Evans, Painter (Sign), 220 Tremont, or 23rd street.” This listing changed by 1872: “J. C. Evans, scene painter, Tremont Opera, res Ave. H, bet 18th and 19th St.” Around this time, Evans married and shared a home with his wife and child. Historical records suggest that the marriage took place in 1870, but the age of their child predates that date by several years. The only marriage certificate that I have been able to locate is dated Sept. 1, 1870, New Orleans; John Evans married Julia Kelly. I have yet to confirm these are the correct individuals, as Julia later went by Julia C. Evans or Julia E. Evans, remaining int the Galveston area with their son until the 1880s.
Oct. 16, 1869, “Galveston Daily News” (page 3). For Joe Jefferson’s “Rip Van Winkle”, Evans was credited with special scenery to accompany the touring production. The article reported, “The scenery has never been approached by anything ever put on the stage in this city. Aside from the difference in the size of the stage it would not be appropriate to compare the scenes with that of any other theatre in the country. From first to last they were true to nature, and finished with a degree of precision which can only be attained by a master hand, and being the production of Galveston artist, Mr. J. C. Evans, we take much pleasure in commending the work so faithfully and faultlessly performed. The scenery and effects are really beautiful, and deserving of all the praise that has been bestowed on them.”
A new playhouse was built in Galveston in 1870 on the corner of Tremont and Market, on the old site of Neitch’s. The new stage was described in detail by Joseph Gallegly’s “Footlights on the Border” (1962). Galleghy included an excerpt describing the theatre in his publication, writing:
“‘…in all its appointments an exact counterpart of Booth’s in New York’, extended the entire width of the building and was 39 feet nine inches deep, with a proscenium arch 45 feet in width. The scenery, mounted on rubber rollers, and all machinery for stage operations, were in imitation of similar devices at Booth’s. Footlights of white, red, and blue made possible interesting scenic effects.”
I included this description because it provides one more link with New York. Being a port town, Galveston was directly connected with New York, just like New Orleans. There was a constant stream of individuals traveling from the Gulf to the Eastern seaboard. Despite an ever-expanding network of railway transportation, a major exchange of goods and services was available at Galveston Island. Unlike many Texas communities that fell far inland, there was a close connection with major metropolitan communities linked by major waterways.
In addition to working as the scenic artist, Evans also became the stage manager. On July 25, 1872, “The Galveston Daily News” reported, “The general management of this entertainment devolves upon Mr. J. C. Evans, then whom no better man could possibly have been selected” (page 3). His role at the opera house was repeatedly mentioned in newspaper article. On August 2, 1872, “The Galveston Daily News” reported, “Mr. J. C. Evans, the stage manager, was, as he always is, up to his part. Charley has become an institution of this city, and if you wish to make an enterprise successful, all you have to do is to call on ‘Charley” (page 3).
Evans remained connected with the opera house, while continuing to work throughout the region. On July 4, 1873, The “Daily Mercury” of Houston, Texas, announced.” Artistic.
In another column will be found the card of J. C. Evans, the popular scenic artist and decorator. Mr. Evans has, as scenic artist of the Galveston Opera House, become well known to most people of our State, while his decorations and scenery at the Houston New City Hall and Theatre commands the admiration of every beholder.”
From the fall of 1873 to the spring of 1874, Evans placed advertisements in Houston and Galveston newspapers. On Sept. 27, 1873, the “Houston Daily Mercury” advertised:
“J. C. Evans, Scenic Artist and Fresco Painter.
Orders for public and private Theatrical scenery, Church, Theatrical and Public Hall Decorations promptly attended to Address, Galveston and Houston” (page 3).
On Sept 12, 1873, “The Galveston Daily News” reported on the opening of the remodeled opera house on Market and Tremont street (page 3): “By the way, our Houston friends are preparing for a brisk season. We had the pleasure of examining their new theatre the day before yesterday, under the guidance of scenic artist Mr. Chas. Evans, and find it a very pretty place indeed. The scenery and decorations, got up my Mr. Evans, are artistically executed and would do credit to a much more pretentious establishment than that at Houston” (page 3)…”Perkins Theatre had also been put in repair…” On Sept 16, 1873, “The Galveston Daily News” reported, (page 2) “The illumination of the Academy of music took place at 8 o’clock to-night. The electric light showed well. The scenery, painted by J. C. Evans was magnificent. The mayor and alderman, and many ladies of the city, were present. After the scenery was all shown, Mr. Evans was called out and made a neat speech.”
Evans continued to complete a variety of painting projects in Galveston, including banners for local fire stations. On March 29, 1874, “The Galveston Daily News” announced, “The beautiful banner, recently painted by Mr. J. C. Evans, for Star State Fire Company, No. 3, will be on exhibition tomorrow at Mr. Evan’s studio, No. 166 Twenty-second street. It is a splendid work of art and should be examined by all connoisseurs” (page 4). On April 11, 1874, “The Galveston Daily News” reported, ‘A beautiful banner for Island City Steam Fire Engine Company No. 2 has just been completed by Mr. J. C. Evans and will be exhibited at his studio on Monday next” (page 4).
By 1874, Evans was publicly acknowledged as a Galveston asset. On Feb 18, 1874, “The Galveston Daily News” published a letter to Mr. J. C. Evans in “New Advertisements. Complimentary.”-
“Mr. J. C. Evans:
Dear Sire – We the undersigned citizens of Galveston, having known and esteemed you for many years – both as a man and as an artist – and having witnessed the promptness with which you have always given your personal services to the calls of charity, and the alacrity with which you have contributed to the pleasure of our citizens, desire, in acknowledgment of these, to tender you for a complimentary benefit, and will be glad to have you name a time and place, for the evidence of your approbation” (page 2). A list of 48 names and Evans’ response followed:
“Gentlemen – It is with gratitude that I acknowledge the receipt of your note, tendering me a complimentary benefit. The obligation I feel for this mark of your approbation is enhanced by the feeling and delicate terms in which it is conveyed. Be pleased to accept my thanks; and, if it should suit your convenience, I will name Saturday, February 21, at the Tremont Opera House.
Like many American scenic artists, Evans continued to perform on stage. On June 25, 1874, “The Galveston Daily News” included an advertisement for an event at the Tremont Opera House for Louisiana Sufferers. J. C. Evans was listed as the stage manager and a performer of “Lamentable Facts” alongside, Messrs. Ketchum, Johnson and Shields” (page 2). On Nov. 19, 1874, “The Galveston Daily News” reported, “Mr. J. C. Evans, the well-known scenic artist, played one of the characters to DeBar’s Falstaff at the opera house Monday night” (page 2).
He also continued to complete fine art projects. On Jan. 15, 1875, “The Galveston Daily News” reported, “Portrait of General Lee. A life-size portrait of General R. E. Lee may now be seen in one of the windows of Shaw Brother’s jewelry store, on Tremont street. The portrait was executed by J. C. Evans, Esq. from a photograph of General Lee taken in Richmond, Virginia” (page 4). On Dec. 19, 1875, “The Galveston Daily News” reported, “Promenade Concert given under the auspices of the Mozartina and Island City Glee Clubs at Armory Hall, dec, 29 1875. On which occasion will be given away as prizes thirty-one oil paintings, executed by Mr. J. C. Evans.” (page 2).
Evans listed occupation in the Galveston Directory shifted over the years.
The 1874 Galveston Directory listed, “Charles Evans, painter, 171 e Postoffice.”
The1875 Galveston Directory listed, “J. C. Evans, painter, Opera House, bds. Av. E or Postoffice, bet. 21st and 22d.”
The 1876 Galveston Directory listed decorative painter, bds. 114 e Pst [Postoffice]. Res es 22nd, bet Post and Church.
The 1877 Galveston Directory listed, “J. C. Evans, portrait painter, res 36 Winnie, bet 18th and 19th.
The 1878 Galveston Directory listed, “J. C. Evans, scene painter, res 36 Winnie, bet 18th and 19th.”
In 1878 Evans began to travel farther and farther away from Galveston. On Oct. 27, 1878, the “Galveston Daily” reported, “Mr. J. C. Evans, the artist, has returned to the city from Dallas, where he has been engaged for several months” (page 11). On his return, he established a boarding house. On Oct 28, 1877, “The Galveston Daily News” published the following:
“Two and a half story house, fourteen rooms, newly repaired, suitable for boarding house. J. P. Evans” (page 1). Despite a variety of investments and painting projects, Evans was still associated with the opera house as its business and stage manager.
. On July 6, 1879, the “Galveston Daily” reported,
“Improvements at the Opera House.
A News reporter visited the opera house yesterday and was shown through the entire building by J. C. Evans, scenic artist of the theatre, who has been engaged on the scenery for some time past. Mr. Evans was up to his eyes in work when the reporter called upon him and was demonstrating that the scenery would. Be finished in the highest style of art, and in a manner which not only would reflect credit to him as an artist of the first rank, but resound to the honor of the city and the opera house. All of the scenes will be renewed, as well as the drop curtain. The auditorium is to be renovated throughout. All of the interior scenes are to be modern patterns and complete sets for such standard dramas as may be necessary to be presented, have been provided. All of the scenes will be complete in every particular, which has never before been attempted in this city. The number of new sets will number about twenty-eight. The parquette circle previously has contained three rows of chairs outside of the supporting posts of the auditorium. The intention now is to remove the circle about one-half the distance toward the stage and change the directions of the aisles in a manner that will not only improve the appearance of the interior, but greatly conducive to the comfort of the audience. The seats in the circle are also to be increased six inches in distance from each other, thus making the matter of ingress and egress much more convenient than formerly” (page 11).
On October 5, 1879, the “Galveston Daily News” reported:
“The Opera-House. During the past summer manager Evans has devoted not more attention to the securing of a list of first class attractions for the approaching theatrical season than to a renovation and remodeling of the interior of the opera-house. By liberal expenditure of money he has through the services of a competent artist and skilled workman carried out a comprehensive series of improvement. On Friday evening the whole was exhibited to the representatives of the press by gaslight for the purpose of informing the public of what has been done and of showing how everything worked. The performance passed off satisfactorily to the manager and was the subject of comments from others present. The stage has been supplied with a new stock of scenery out and out – new in in frame, canvas, gear, design and painting – and for the first time the opera-house was built a complete stock. The scenic artist Mr. J. C. Evans has been engaged several months in the work of painting the scenes. He has executed every design with care and skill, and has worthily illustrated his genius in several, the most significant of which is the drop curtain. In the center of this is a picture from which a copy of the picture by Barth furnished the design, representing the casket scene in the Merchant of Venice.
[This print by F. Barth, Casket Scene – Merchant of Venice” was published in “Harper’s Bazar in 1875. The article then includes a quote from the play, Act II, Scene iii].
“Bassanio stands before the open casket, in one of which is enclosed, ‘Fair Portia’s counterfeit.” More music plays, while the lover comments to himself on the caskets – which shall be three, the gold the silver or the lead;”
[The next quote in the article is from “Merchant of Venice”,]
Thou gaudy gold,
Hard food for Midas, I will none of thee;
Nor none of thee, thou pale and common drudge
‘Tween man and man: but thou, thou meagre lead,
Which rather threatenest than dost promise aught,
Thy paleness moves me more than eloquence;
And here choose I; joy be the consequence!
“What find I here? Fair Portia’s counterfeit.“
“The picture is one that will hardly over tire the playgoer, especially if he has the critical faculty which always finds renewed pleasure in seeing a true work of art. The rest of the curtain is finished in hangings of crimson velvet and claret silk, profusely ornamented with gold drages and tassels. At the bottom of the richly carved framework surrounding the picture is a medallion portrait of Dante, supported on either side by figures holding cornucopias of flowers and fruits. The front of the stage has been lowered and the footlights sunk so that the floor is the stage may be seen from every seat. The auditorium is changed much for the better. The parquet circle has been enlarged to contain one hundred fifty to one hundred seventy-five more seats, reducing the parquet to one hundred fifty seats. The result is that there are over two hundred seats now facing the stage, the occupants which were heretofore under the necessity of twisting their bodied. In the large-parquet circle no two seats of adjacent rows are immediately in line with each other and the stage, so that hereafter nigh bonnets will be no obstruction to the view of a rear neighbor. The rows are six inches wider apart, giving room for the comfortable disposal of long limbs, they rise above each other at a rate of 5 ½ inches as you recede from the stage and the outer row is twenty inches above the old grade of the same. Much good sense has been brought to bear in the improvement of the auditorium. The credit is bestowed upon F. C, Yeager, the stage carpenter, for the manner in which he has performed his work; also upon Mr. Tom Boyle, the gas-fixture man, who has shown himself an artist in the graduations of lights and shades” (page 12).
The 1880 Galveston Directory and US Federal Census provides a snapshot into Evans’ last years in Galveston. Listed as a portrait painter, he is living with his wife, Julia E. Evans, and 16-yrs.-old son Charles Evans. His father is listed as being born in Spain and his mother being born in England.
In 1880 the Evans family were living at126 Avenue E or Postoffice Street; the same address listed for Evans in the Galveston City Directory. It is important to note that Evans was listed in Heller’s Galveston City Directory, 1880-81 containing the addresses of all white persons in and out of the city limits, with a classified Business Directory, Post Offices and Counties in this states, money-order offices, &c. Compiled and published by John H. Heller, 511 Broadway, bet. 15th & 15th. His listing notes that he was employed at the opera house, whereas his son was a clerk at a dry goods store, P. J. Willis & Bro., cotton factors and importers and dealers in groceries, dry goods, notions, dress good. Boots and shoes and hats. This was the last time that Evans was listed in the Galveston Directory, although his wife would remain in town for at least the next four years.
By the summer of 1880, Evans was traveling, working as a scenic artist. His first project was in Brenham, Texas, approximately 76 miles northwest of Houston. On June 17, 1880, “The Galveston Daily News” reported, “Contracts were closed to-day for the remodeling of the Brenham opera-house. Mr. G. A. Dickey, of Houston, is architect, and Mr. J. C. Evans, of Galveston, scenic artist” (page 1). On that same day, the “Brenham Weekly” reported:
“THE OPERA HOUSE –
Mr. J. W. Webb, contractor, will this morning begin the work of remodeling the interior of the opera house in accordance with the plans of Mr. Dickey. Mr. J. C. Evans will also begin work on the new scenery. When complete the interior of the house will be second to none in the state” (page 3).
On July 1, 1880, the “Brenham Weekly Banner” reported:
“THE DROP CURTAIN. Yesterday, through the politeness of Mr. J. C. Evans, the artist, a BANNER reporter had the pleasure of viewing the drop curtain, which has just been completed by him. It is a beautiful landscape representing Missisquoi, near Shelton Springs. The foreground is rocks and trees, then a beautiful river with valley and mountain sin the distance. The perspective and coloring are truly artistic, and the naturalness of the picture is apparent to the eye of anyone who admires the beauty of nature. At the top and on both sides of the picture are rich curtains, while at the bottom is some beautiful scroll work, in the center of which is a splendid likeness of Col. Sam Stone, the owner of the opera house In this piece of work, Mr. Evans shows himself to be artist, in the full sense of the word. The Brenham Opera House now has one of the most handsomest as well as the most artistically executed drop curtains in the state of Texas” (page 3).
In 1881, Evans was listed in the New Orleans City Directory as “J. Charles Evans.” He had partnered with fellow scenic artist and German immigrant, Harry Henry Dressel (1850-1905), to briefly form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882.
Dressel was born in Hanover, moved to the United States with his family as a young boy, and became a scenic artist and decorator. His active years in New Orleans were approximately 1875 until his passing in 1905. Dressel is listed as an artist in a few publications, including “German Immigrant Artists in America” by Peter C. Merrill (1997).
H. H. Dressel’s grave in New Orleans.
Meanwhile his wife and son were still living in Galveston, listed in the 1882 City Directory, as “John C. Jr., clk Leon & H. Blum, home Mrs. Julia Evans” and “Julia Evans (Mrs. John C) r 210 22nd bet Ave E and F.” Her last listing at the address was in 1884: “Julia Evans (Mrs. John C.) r 160 E Winnie bt 21st, 22nd”. Evans occasionally returned to visit his family. On April 17, 1881, “The Galveston Daily News” reported, “Mr. J. C. Evans arrived from New Orleans yesterday on a visit to his wife and son, to stay during Spagerfest Week” (page 4).
Evans partnership with Dressel ended by 1883, with Dressel becoming the proprietor of Brown’s Hotel. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again.
1883 listing: Charles Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1884 listing: John Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1885 listing: Charles F. Evans, painter, r. 196 Palmyra
Meanwhile, Julia continued to struggle in Galveston without her husband. The few mentions of Mrs. John C. Evans trace the collapse of her finances and living situation. On June 26, 1884, “The Galveston Daily News” published:
“For Rent – a furnished 2-room cottage, to gentlemen only. Possession given July 1. Next to Casino Hall. Mrs. J. C. Evans.”
By the fall, everything was being auctioned off at a public sale. On October 14, 1884, the “Galveston Daily News” announced:
“AUCTION NOTICE
We will sell on Wednesday October 15, commencing at 10 a.m. The residence of Mrs. J. C. Evans, Winnie Street…Bedroom suit, parlor, dining room, kitchen furniture, glassware, ornaments, shades, three singing canary bords and miscellaneous articles. Immediately thereafter we will sell at the cottage on Winnie Street…marble and walnut suit, kitchen, dining room and parlor furniture…”
On Dec. 31, 1884, she advertised in the Situation Wanted section of the “Galveston Dily News”: “WANTED – Position as saleslady, seamstress, housekeeper, or governess for small children in city or country. Mrs. J. C. Evans, Winnie & 21st (page 17).
In 1885, Evans relocated to Fort Worth. On Nov. 30, 1885, “The Galveston Daily News” reported, “Mr. J. C. Evans, an old resident of this city, left yesterday to accept a business position at Fort Worth” (page 4). It remains uncertain as to when Julia Evans left Galveston to rejoin her husband. The next time that I have them together in the same residence in 1900.
We do know that in 1885, J. C. Evans is listed as an employee at Sosman & Landis who contributed to the Grant Memorial Fund. It is possible that his work in Fort Worth was for a Sosman & Landis regional branch office.
His wife Julia remained Galveston for at least another two years, making the local news again in 1887. It is at this point that I discovered Julia was also an artist. It is quite convenient that her initials were the same as her husband’s Julia C. Evans. March 20, 1887, “The Galveston Daily News” reported, “Photo painting on glass taught for $3. Printed directions and complete outfit going 24 pictures sent to any address for $5. Groups of any size painted by Mrs. J. C. Evans, next to Casino Hall. Orders can be left at J. E. Mason’s, L. C. Levi’s and Rose & Schmedling’s Photograph Gallery”.
Tracking her husband proved to be much more problematic in the late 1880s. Both Charles Evans and John Evans periodically pop up in the Chicago City Directory, each listed as painters in 1889. Then they disappear until 1896. On March 19, 1896, “The Chicago Chronicle” announced, “John C. Evans of New Brunswick, N. J. is at the Auditorium” (page 6). If “Auditorium” were not in the announcement, I would be skeptical.
The 1900 US Federal Census confirms this address. John C. Evans is listed as a scenic artist in the Chicago Directory by 1898, living at 504 Van Buren Street, at this address for the next two years. In 1900, the US Federal Census confirms this address. His household includes his wife Julia and a servant named Alma Anderson. Information listed in this census is a little scrambled. In this public records. For example, Evans lists his birthplace as “at sea,” Jan. 1840. The birthplace of his parents has been swapped; now his mother is born in England and his father is born in Spain.
John C. Evans Jr. is also living at 504 Van Buren with his wife (Nellie), two children (Milton and Charlotte), and sister-in-law (Maggi). Evans Jr. lists his birthdate as Jan 1864, Texas. His wife Nellie was born in Wales, January 1877. Their two children, Milton L. (3) and Lottie (7 months) were both born in Illinois. Their household also included Maggi Thomas, Nellie’s 20-yrs.old sister. In 1910, Evans Jr. was working as a bookkeeper in an undisclosed industry. Evans Jr. had been living in Chicago for quite some time. In 1891, John C. Evans Jr. was listed in the Chicago directory as a clerk, working at 46, 5 Wabash Ave, and living at 61 Pearce. By the end of the 1890s, Evans Jr. was again living with his parents are 504 W. Van Buren, working as a bookkeeper. In 1901, Evans Jr. is living up the street at 516 W. Van Buren.
All the Evans were still in Chicago during the 1910 census report. Evans Sr.’ and Julia are now living at 503 Claremont Avenue, Evans is listed as a scenic artist. His birthplace is listed as “Spain” with the note “A Cit.” for “American Citizen.” The report lists that they have been married for 49 years, with Julia having given birth to only one child: one child still surviving. Evans Jr. and his family are living at 2712 Gladys St. IN Chicago.
Evans passed away on Feb. 23, 1915. I have yet to identify any obituary or article that mentions his death. As I mentioned at the beginning, there are two death records with conflicting information. Both list the name of the deceased as John Evans, each were born in 1841, and each died on Feb 23, 1915, in Cook County, Illinois. One states that the deceased’s occupation was “scene painter” and the other lists “house painter.” One lists birthplace as Italy and the other Cuba. Both records indicate that the bodies are buried in Forest Home Cemetery. It is possible that he was living two lives, but both of his wives would have been named Julia.
After her husband died, Julia lived with her son and his family; they were also living in Chicago at the time. They were still living together at the time of the 1920 US Federal Census. At the time, their household included John C. Evans Jr. (55), Nellie Evans (42), Milton Evans (22) and Charlotte Evans (20). Their household is located at 2720 Jackson Blvd. Grandson Milton Lewis Evans was working as a commercial artist.
Julia passed away on April 14, 1924. Her last residence was listed as 2720 Jackson, Blvd. She was buried on April 16, 1924, in Woodlawn Cemetery.
John C. Evans Jr. remains in Illinois, passing away on March 8, 1952. His obituary was published in the “Chicago Tribune” on March 10, 1952: “John C. Evans of 3305 Jackson Blvd, formerly of Clarendon Jills, Ill., beloved husband on the late Nellie Evans, father of Milton L. and Mrs. Charlotte La Nove, grandfather of six, great-grandfather of seven. Services Tuesday, 1:30 p.m. at chapel, 3159 Jackson boulevard, at Kedzie. Interment Woodlawn. Member of Blarney lodge, No. 271, AF&AM, and honorary member of Hinsdale lodge AF & AM Kedzie” (page 59).
Your scholarship and research is astounding. Many thanks and future discoveries.
I notice in the list of charity donors at the beginning of this essay, the name Kirk Moses. Is that a son of T. Moses?