Author: waszut_barrett@me.com

Copyright © 2023 by Wendy Waszut-Barrett

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

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).

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

Copyright © 2023 by Wendy Waszut-Barrett

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.

Copyright © 2023 by Wendy Waszut-Barrett

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.

Copyright © 2023 by Wendy Waszut-Barrett

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.

Copyright © 2023 by Wendy Waszut-Barrett

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.

Copyright © 2023 by Wendy Waszut-Barrett

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.

Copyright © 2023 by Wendy Waszut-Barrett

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.

Copyright © 2023 by Wendy Waszut-Barrett

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.

Copyright © 2023 by Wendy Waszut-Barrett

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.

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 19^th 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).

https://texashistory.unt.edu/ark:/67531/metapth232958/m1/4/zoom/?q=%22scenic%20artist%22&resolution=1&lat=530.2695636367425&lon=4482.065033119929)

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. 21^st and 22d.”

The 1876 Galveston Directory listed decorative painter, bds. 114 e Pst [Postoffice]. Res es 22^nd, bet Post and Church.

The 1877 Galveston Directory listed, “J. C. Evans, portrait painter, res 36 Winnie, bet 18^th and 19^th.

The 1878 Galveston Directory listed, “J. C. Evans, scene painter, res 36 Winnie, bet 18^th and 19^th.”

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. 15^th & 15^th. 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 22^nd bet Ave E and F.” Her last listing at the address was in 1884: “Julia Evans (Mrs. John C.) r 160 E Winnie bt 21^st, 22^nd”. 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 & 21^st (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).