P. M. Almini & Co. – Drypigment.net

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Aikens Museum. From Chicagology.

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

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

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

“COMPLIMENTARY BENEFIT.

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

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

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

Aiken’s reply was also published:

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Sosman & Landis: Shaping the Landscape of American Theatre. Employee No. 40 – Fred Evans

Fred Evans was a scenic artist at Sosman & Landis who specialized in painting street scenes. I have yet to locate definitive employment dates for Evans at the firm, but it was the early twentieth century.

*Gravestone of Fred A. Evans, a scenic artist at Sosman & Landis Scene Painting Studio.* *Acacia Park Cemetery and Mausoleum in Norwood, Illinois.*

Frederick Arthur Evans was born in Wales, sometime between 1853 and 1855. He was the son of Robert Evans and Mary Roberts, with his birth possibly registered at Merthyr Tydfil in Glamorgan County. To date, nothing is known of his early childhood or emigration to America, yet Frederick was living in the United States by 1870 and naturalized by 1872. The 1870 US Federal Census lists a 16-yrs.-old Frederick Evans living with Robert Roberts and Elizabeth Roberts in Chicago’s Sixth Ward. As Roberts was his mother’s maiden name, this was possibly a maternal familial tie, likely an uncle. At the time, Robert Roberts was 32-yrs. old and employed as a brass moulder.

By 1875 Frederick was listed in the Chicago Directory as a printer. The next year, in 1876, he was listed as a painter, boarding at 514 Wabash Avenue in Chicago. Evans would continue to work in both the printing and painting fields for the remainder of his life. From 1878 until 1901, the “Chicago Directory” pretty consistently listed Evans as a printed, and the 1910 Census listed him as a “lithographer.” That being said, this does not mean that Evans solely worked for the printing industry, as many professional lithographers also worked at scenic artists throughout the late-nineteenth-century and early-twentieth-century. Even in 1920, the federal census listed two occupations and industries for Evans: the first entry was “editor” in the “newspaper” industry, and his second entry was “laborer” in the “drops” industry. Evans represents a unique type of career combination (scenic artist/lithographer); one that I have encountered before. These dual careers paired so well together at this time.

I am going to take a moment to address this blending of printing and painting occupations, a group of artists who lived with one foot in the painting profession and the other foot in the printing industry. Nineteenth-century scenic art paired beautifully with other illustrative arts. There is something extremely comforting about being able to paint both big and small, and there were always the small models and color renderings to create for projects. Until scenic studios began to function like a factory, scenic artists had to be well-versed in a variety of artistic mediums and scales.

Two of the most famous painter/printer pairings were Otto Jevne and P. M. Almini. There is a lovely article about the two at Chicagology, here is the link: https://chicagology.com/prefire/prefire175/

Jevne & Almini not only ran an extremely successful decorative firms, but also were well known for their pre-1871 color lithographs of Chicago. The two partnered in 1855 to establish Jevne & Almini, fresco artists. By the 1860s, they entered the publishing business. Their most popular work was a series entitled “Chicago Illustrated,” beginning in 1866. The publication included stunning views of Chicago and descriptive text.

*Plate published by Jevne & Almini. Posted to Chicagology.*

*Color lithograph published by Jevne & Almini.*

They did not leave the decorative painting business to focus on publishing, instead they diversified their interests. All the while, the two operated a successful painting firm and artistic supply business, securing interior decoration contracts for numerous churches, assembly halls, and public buildings across the country. Their project’s included well-known theaters such as McVicker’s Theatre and Crosby’s Opera House in Chicago, as well as other prominent structures across the country, including state capitols in Madison, Wisconsin, Des Moines, Iowa, and Topeka, Kansas. In addition to painting and publishing, Jevne & Almini also featured a “Free Art Gallery” and sold painting supplies in the mid-1860s, located at 152-4 Clark Street. An advertisement from 1869 announced, “JEVNE & ALMINI, Importers and Dealers in Artist and Painters’ Materials, and Fresco Painters, 152 & 154 Clark Street, Chicago. They became a hub, gathering a variety of artists and forming an incredible network of skilled labor; this was a brilliant business marketing strategy.

Unfortunately, it was the Chicago fire of 1871 that terminated the partnership and end their involvement in the publication business. The two split, with each artist establishing their own firm. Many Sosman & Landis artists got their start at P. M. Almini & Co., including last president of the firm, Thomas G. Moses (1856-1934). In the early 1870s, Moses worked for Louis Malmsha at Almini’s company, gilding opera boxes and assisting with ornamental painting projects. Moses entered the scenic art profession as an after-hours-assistant to his mentor Malmsha, painting stage settings at McVicker’s Theatre.

Another example of this dual career approach is Charles S. Graham, who also greatly influenced Moses’ scenic art career (link to my past post about it: https://drypigment.net2018/10/03/tales-from-a-scenic-artist-and-scholar-part-524-charles-s-graham/). Graham was another professional who worked as both a scenic artist and lithographer, making a national name for himself by the late-nineteenth-century. His work was especially popular at Harper’s Magazine. Here is a work by Graham for Harper’s, dated Nov. 30, 1878; it really bridges the gap between lithography and scenic art:

*By Charles Graham for “Harper’s,” 1878.*

So, you see, Fred A. Evans working as a printer and painter is a common pairing.

I am including listings for Frederick A. Evans’ from the Chicago Directory, c. 1875-1901. There are a few gaps in years, but it still gives a pretty good scope of his printing career and residences in Chicago. It also provides a sense of how difficult it is can be to track down an individual with slight name changes; it involves searching each directory and making comparisons with other artists.

1875 Chicago Directory: Evans, Frederick. printer. R 49 W. Ohio.

1876 Chicago Directory: Evans, Frederick. painter, boarding at 514 Wabash av

1877 Chicago Directory: Evans, Frederick A. foreman 170 Clark, h 152 Douglas Av. [This is where the publication office of the Educational Weekly was located in 1877 until it moved to 170 Madison later that year].

1878 Chicago Directory: Evans, Fred A. printer, h 163 24^th

1882 Chicago Directory: Evans, Fred A. printer, h 2828 Groveland

1885 Chicago Directory: Evans, Frederick A. printer 18 Fullerton av h 372 Chicago av

1885 Lakeview, Illinois, City Directory: Evans, F. A. clk. Deering & Co. r 372 E. Chicago av [William Deering & Co. was a farm machinery firm; likely an illustrator for ads or painter of equipment.]

*Fred A. Evans periodically worked for Wm. Deering & Co. in the late nineteenth-century. Image from* https://chicagology.com/goldenage/goldenage077/

1886 Lakeview, Illinois, City Directory: Evans, Frederick. lithog, r 763 Sheffield av

1887 Chicago Directory: Evans, Frederick A. printer, h 763 Sheffield av

1887 Lakeview, Illinois, City Directory: Evans, Frederick A. lithographer, r 763 Sheffield av

1888 Lakeview, Illinois, City Directory: Evans, F. A. clerk, W. Deering & Co. 18 Fullerton av

1888 Chicago Directory: Evans, Frederick A. printer, h. 763 Sheffield av

1889 Chicago Directory: Evans, Frederick A. clk. 16 Fullerton av. H 763 Sheffield

1889 Lakeview, Illinois, City Directory: Evans, Fred A. clerk, W. Deering & Co. r. 760 Sheffield av

1890 Chicago Directory: Evans, Frederick A. printer, h. 763 Sheffield av

1891 Chicago Directory: Evans, F. A. clk. 18 Fullerton av. h. 763 Sheffield av

1896 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av.

1897 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av

1898 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av

1899 Chicago Directory: Evans, Frederick A. printer, h. 670 Sheffield av

1900 Chicago Directory: Evans, Fred printer h. 666 Sheffield av

1901 Chicago Directory: Evans, Frederick A. printer h 1239 Montana

The 1880 Census listed Fred Evans living with Ada Evans, still working as a printer. They lived at 2964 Dearborn St in Chicago. In actuality, Frederick Evans married Adah (Ada) Senior on June 10, 1885 in Norwood Park (Cook County), Illinois. They would later be buried in Norwood too. Adah L. Senior (b. 1859) was the daughter of Anna (Ann) Hewes and Fred Senior. Born in England, she emigrated to the United States in 1877 and was naturalized in 1892.

*Gravestone of Fred A. Evans’ wife Adah L. Senior Evans.* *Acacia Park Cemetery and Mausoleum in Norwood, Illinois.*

Any information pertaining to the Evans family has been extremely difficult to track down and I have spent countless hours examining census reports, immigration records, ship’s manifests, and city directories. Here is what I have located to date: The couple celebrated the birth of a daughter between 1888 and 1894. Pearle A. “Annie” Evans was listed as Annie, Perala, and Pearl. The 1910 US Federal Census lists Frederick A. Evans as a 53-yrs.-old lithographer working in the newspaper industry. At this time, he was living with his 49-yrs.-old wife Adah L. and is 22-yrs.-old daughter Annie S. (Pearl Annie), at 4148 Sacramento Ave.

In 1914, there were two Pearl (Pearl Annie) Evans in the Chicago Directory: One as a stenographer with Swift & Co. stockyards, h. 3850 Indiana av and the second a stenographer 1047, 175 W Jackson bl h 5949 S Wood. Meanwhile, Fred and Adah were living at 4140 Sacramento av, with Fred Evans still listed as a printer.

On July 19, 1918 the “Chicago Tribune” listed Adah L. and Pearle A. Evans’ involvement with the Grover Cleveland school dedication services (page 7). The article reported, “Mrs. Adah L. Evans sang “The Star Spangled Banner,” accompanied by Miss Pearle A. Evans, who was pianist for the evening.” On July 22, 1918, the “Chicago Tribune” reported that Mrs. Adah L. Evans would sing “Star Spangled Banner,” accompanied by Miss Pearla Evans (Miss Evans is also a musician during the ceremonial part of the evening). The performance “for the installation of officers at the White Star auxiliary to the Second Illinois Infantry, now the 132 United States infantry” (page 11).

Six years later, the 1920 census lists Pearla Evans as a dancer in the “stage” industry, living with her parents on Sacramento Ave. At this time, Fred was still associated with the publishing and scenery professions. In 1920, “Pearla” listed her age as “26” in the census, but I highly suspect this information.

Both Fred and Adah died in 1925 and were buried at the Acacia Park Cemetery and Mausoleum in Norwood, Illinois. It originated as a cemetery for Masons and their families, opened on Chicago’s far northside in 1922. Fred died on January 9, 1924,with Adah following on March 18 of that same year. By 1940, the federal census listed Pearl Evans as an “inmate” (b. 1894) at the Lincoln State School and Colony. It was not a prison, but an asylum for the “feeble minded” in West Lincoln Township, Illinois. The census notes that Pearl only attended the first grade of school; no other information about her past was provided. I have no way of knowing if this is the real fate of Fred and Ada’s daughter. I have yet to locate any marriage or death records for her.

The only other information pertaining to Fred Evans’ scenic art career at Sosman & Landis was provided by Art Oberbeck in an interview with Dr. John Rothgeb on July 24, 1976. Oberbeck worked at Sosman and Landis at the same time Fred Evans, approximately 1907-1915. He referred to the former Sosman & Landis as a 75 yrs. old “oddball;” but age and character is quite subjective, so I take his comments with a grain of salt. Oberbeck credited Evans’ approach to laying out street scenes as infallible. His process was accounted by Randi Givercer Frank’s M.A. Thesis, “Sosman & Landis Studio: A Study of Scene Painting in Chicago, 1900-1925.” She credits Evan’s Sosman & Landis’ foremost “street painter.” Evans process for laying out street scene included placing the perspective point or horizon line should approximately 5’-9” up from the bottom of the painted composition. For many, this fell at eye-level when painting on a vertical frame. Once the horizon line was established, the correct way to position any single-story building was to put two-thirds of the of the building above the horizon line and one-third below the horizon line. If it was a two-story building, the height of the first story was simply doubled. Keep in mind that painted perspective for the early-twentieth-century stage did not follow the conventional rules for perspective in fine art.

On that note, I am going to include an excerpt from a publication written by another Sosman & Landis employee, Frank H. Atkinson. Atkinson’s publication “Scene Painting and Bulletin Art” (1916) includes a section entitled “Stage Perspective.” Atkinson writes, “Rules of perspective are often very much modified, or even rejected, in scene painting, and “stage perspective” is adopted, especially in the creation of wings or side scenes. In true perspective all lines must converge to a single vanishing point, or they must converge to a double vanishing point. But in scene painting it becomes necessary to violate the rules in order to avoid embarrassment in the result which would follow if true perspective rules are applied below the horizon line. Stage perspective dictates that all lines below the horizon line be kept parallel to the stage floor and the horizon line.” Atkinson’s illustrations place the horizon line at approximately 5’-9” in most scenarios. I am including mention of Atkinson, as he enters the storyline tomorrow when I explore the life and career of Sosman & Landis employee #41 Frank Lewis. Lewis’ younger sister married Atkinson, and they were all living in Chicago and working at Sosman & Landis when Atkinson published his book.

Finally, Dr. John Rothgeb interviewed another former Sosman & Landis scenic artist John Hanny between 1976 and 1983. A letter from John Hanny to Dr. John Rothgeb on July 14, 1976, stated, “[Sosman & Landis] was a wonderful place to work – especially for young and hopeful painters where they could get fine training and experience working with such men as Thomas G. Moses. David Strong, Fred Evans. Frank Lewis, Fred Scott, and William Nutzhorn and others.”

*One of the many letter’s from written by John Hanny to Dr. John Rothgeb at the University of Thexas, Austin, between 1976 and 1983. This one is not dated.*

To be continued…

Tales from a Scenic Artist and Scholar. Part 164 – Thomas G. Moses at P. M. Almini & Co.

I have often found myself being in the right place at the right time. Whether intentional or not, I stumbled into the right room and met the right people. This happens to many individuals over the course of their lives. Life throws a series of opportunities at us. Occasionally, one will make contact. Hopefully, you are able to later look back, connect the dots, and reflect on these moments with profound appreciation. If I had not missed all of the necessary deadlines to attend college in Duluth, I never would have ended up in the Twin Cities. If Lance Brockman had not happened to say, “You should think about taking scene painting class” when I handed in my first production model for Tech II, I could have never started painting for VEE Corporation that summer.

I look at Thomas Moses traveling to Chicago in 1873 and seeking out a master painter for the C. & N. W. Rail Road. He could have arrived and found employment at many businesses as the city built itself up after the devastating fire two years earlier. As an inexperienced boy from a small town, many established art studios could have said “no.” Would anyone else beside Mr. Michaels have gone out on a limb to not only help this young artist find work and lodging, but also write a letter on his behalf to an irate father? Michael managed to bring Moses to the foremost painting studio in the area and help him secure a position. There were dozens of places to work as a decorator in Chicago at the time.

Mr. Michaels also found Moses a place to stay. It was a room with another artist, a man by the name of Nichols. They both worked for P. M. Almini & Co. Moses. In his manuscript Moses noted that Mr. Nichols was a very good pattern maker at the studio, but “a hard drinker.” Regardless of either attribute, he was very kind as Moses got adjusted to living in the big city. In all reality, Moses’ adventure in the big city could have ended in disaster as “a green one from the country.”

Moses was just one of many artists who found their start with Peter Magnus Almini (1825-1890).

Almini and Otto Jevne (1823-1905) founded a fresco painting and decorating firm in Chicago during 1853, each having arrived in the country just a few years before forming their partnership. Almini was from Sweden and a previous assistant superintendent in the decorating of the royal palace in Stockholm. He also had worked as a fresco artist throughout Russia and Finland. Jevne was fresco painter from Norway with a variety of skills in both stained glass and fresco work. The 1862 publication titled “History of Chicago; Its Commercial and Manufacturing Interests and Industry; Together with Sketches of Manufacturers and Men Who Have Most Contributed to Its Prosperity and Advancement with Glances at Some of the Best Hotels; also the Principal Railroads which Center in Chicago,” included the firm of Jevne & Almini in his chapter “Interior Decorations.” It recorded that the firm had “inculcated and infused a higher level of Fresco Painting.” Jevne & Almini were not simply known for their plaster innovations and decorative painting skills. The two were also well known publishers, printing descriptive lithography of landscapes, architecture, publishing a journal devoted to art and architecture titled “Chicago Illustrated” with portfolios that provide many if the visual records from the bustling city before the fire of 1871.

Advertisement in “Chicago Illustrated” for Jevne & Almini.

After the 1871 fire, Jevne and Almini separated, each going their own way and founding new companies. Otto Jevne & Co. was initially located at 79 and 81 Dearborn Street, later moving to 226 E. Washington Street. and P. M. Almini & Co. (344 State Street). Jevne advertised as both a fresco painter and glass stainer, but Almini was the greater success by far.

Additionally, Jevne & Almini had advertised as “dealers in artists’ and painters’ materials, oil paintings, steel engravings, chromo lithographs, &c.” As a paint supplier, they knew all the local artists. They were also credited with establishing the first art gallery in Chicago, the forerunner to the Academy of Fine Arts (1879-1882) and later the Art Institute of Chicago.

Ad for Jevne & Almini’s free art gallery in Chicago, Illinois.

Furthermore, Almini was a member of the Academy of Design and vice-president of the Master-Painters and Decorator’s Association of Chicago. He was also the treasurer of the National Association of Painters and Decorators when it was founded. His connection to the fine art world and the artists that he employed in his decorating studio provided a perfect situation for an aspiring artist from Sterling, Illinois.

At the same time that Moses found employment with Almini, the company participated in the Inter-State Industrial Exposition of 1873. This was the perfect place and time for Moses to find his first job. Their description in the souvenir catalogue noted:

“P. M. Almini & Co., 344 State street, Chicago, made a fine and attractive display of artists’ material, paints, oils, brushes, foreign and domestic designs in fresco, etc., the whole presenting and exhibition of much attraction to all, being arranged in a highly commendable manner.”

Chicago was building itself up again after the fire and many of its artists were along for the ride.

To be continued…