As promised, here is my powerpoint for “Lies and Misrepresentation Behind the Curtain.” This session was sponsored by the Scene Design and Technology Commission for the United States Institute for Theatre Technology’s annual conference in Seattle, Washington.
USITT PRESENTATION (March 22, 2024):
Welcome to “Lies and Misrepresentation Behind the Curtain.” I am Wendy Waszut-Barrett and this is my colleague Ruben Arana.
Before we begin…
This session is divided into two sections. For the first 20 minutes, I will provide historic context and discuss women scenic artists. There will be a 10-minute break to answer questions. Then I will turn it over to Ruben Arana for the second half.
My quest for women scenic artists began in the 1989. In the midst, of learning about theatre history and scene painting techniques, I inquired about the nineteenth-century women scenic artists and was told, “They were all boys, get over it.”
Although our profession is more about what we can do, rather than who we are; this statement made me feel like I was not part of scenic art history. So, I threw myself into learning everything I could about historic scenic art, the people and process.
Who knew that I would discover the name of a woman scenic artist while indexing the diary and scrap book of Thomas Gibbs Moses, a scenic artist whose career spanned from 1873-1934. The project was assigned to me by Lance Brockman, now Professor Emertitis at the University of Minnesota.
My main task was to print up all the pages (feeding quarter after quarter into a microfilm machine), summarize the content of each page, and then create both subject and author indexes.
One of the articles in Moses’ scrap book mentioned “Little Theresa Sparks,” a scenic artist who was employed at a Chicago studio.
You can imagine my delight when I brought this to Lance’s attention. This began the a debate about when women actually entered the field of scenic art.
I tracked down the life and career of Theresa Sparks, posting her story to my blog drypigment.net in 2020. I knew by the 1920s, there was a growing workforce of women scenic artists gaining attention in various publications.
In fact, a 1927 article in The Scenic Artist mentioned the work of twelve women scenic artists, including Lillian Gaertner, Gretl Urbahn, and Vyvyan Donner.
The article included a very subjective analysis, stating:
“For many years women felt themselves barred from taking a part in the painting of scenery, because it involved extreme physical stamina, which, excepting in rare cases, women do not possess. However, being more or less tenacious, it is a foregone conclusion that women will work out theirown salvation, and this will perhaps lie in the line of designing or art directing, rather than the actual painting of scenes.”
And thus continued the myth that women scenic artists were few and far between, having not really contributed before the 1920s.
Here are a few names women scenic artists who worked between the 1860s and 1940s. These were women who painted stage settings and were listed as such in census reports, city directories, and newspaper accounts.
I believe historians try their best to represent the world as it was. However, at some point, the contributions of generations of American theatre artists were left out of theatre history. Aesthetic shifts, new design movements, and innovative technology continue to be credited to a select few.
There is a popular image of twenty-four scenic artists who were early officers and charter members for the Protective Alliance of Scene Painters in America.
This group has been constantly referred to as “the foremost scenic artists and designers” in America at the time. That is simply not the case. There is no doubt that each was a skilled and a relatively successful scenic artist, but this group does not comprise the best that America had to offer at the time. They only represent a small number of scenic artists working in a few specific regions. The picture is very telling, especially when you start realize those nationally-renowned scenic artists missing from the picture.
For me, these men represent those who had the most to lose without establishing a protective alliance and keeping OTHER scenic artists out.
I say this having carefully tracked the lives and careers of these gentlemen, including the Thomas G. Moses.
It was not until 1918 that women were allowed to join the Union. Mabel A. Buell’s late entry makes it appear that women were just beginning to enter the scenic art field.
It’s important to understand that when Mabel joined the Union, she was not only a scenic artist, but also a scenic studio owner. Both she and her mother worked as scenic artists, as did her father and brother. In many cases, it was a family affair.
By the way, this is Mable directing her employees. At times her staff numbered twenty people.
When Mabel joined the Union, she was described as the “only girl in the profession.” Buell continued to be listed as such in the early 1920s.
By this time GENERATIONS of women had worked as scenic artists. Some were wives, some were daughters, some were sisters, and some entered the profession all on their own.
The use of “ONLY” to describe a female scenic artist in newspapers, sends an underlying message – they are not a threat. After all, there is only one.
Here are examples of three women scenic artists identified as the “Only” in America over the course of two decades; On the left is Grace Wishaar (pronounced Wee-shar), listed as the only woman theatrical scene painter by 1901. On the right is Irene Kendrick, listed as the FIRST woman scene painter in 1909. In the center is Mable Buell – pictured in the 1921.
I am going to focus on Seattle Scenic artist – Grace Norton Wishaar- she is pictures on the left.
Born in 1876, she worked at both the Cordray Theatre and the Seattle Theatre in the early 1890s. An accomplished pianist, singer, and chess player, she was the eldest of 6 children born to Emile Bernard and Marie Ida Smith. When Grace was ten years old, she sailed with her family from New York to California.
Her career as an artist began at the San José Art School, with her first drawing instructor being Lee Lash. Lash was eight years older than Grace, and moved to New York where he established a scenic studio. Ironically, when Grace moved to New York looking for work, Lash turned her down, explaining: “scene painting was no work for a woman; her sex would make her unwelcome among the workmen’ and that women were too ‘finicky’ for work that demands broad effects.”
In 1894, The Washington Standard reported, “Seattle has a young lady scene painter in Miss Grace Wishaar. A new drop curtain at Cordray’s, which is universally admired, is from her brush.”
Grace had painted scenery for almost two years by this point.
In fact, the same year that Grace entered the scenic art profession, Sosman & Landis sent Thomas G. Moses to Seattle for several months to deliver a massive stock scenery collection. The studio frequently hired local artists to help with on-site work.
In 1901 Grace described her early career in an interview with a Buffalo Express reporter. She said:
“It was like this, I left school out in Seattle and went into society. But my sister cared for music, and I cared for art, and we tired of other things and decided to study. She began training her voice for grand opera. I fitted up a studio – a beautiful room it was, 80 feet long, in the Seattle business block – I kept at portrait work. My mother writes – she lately copyrighted a play on the Philippine war – so she understood how we felt. Then one day the Seattle Theater needed a drop. My father, E. B. Wishaar, is dramatic editor of the Post-Intelligence -sir. He heard about it and mentioned it to me. I thought I could do the drop. Mr. Russell – the manager – laughed at me, but he let me try it. I painted the scene and they said it was just what they wanted. After that, I had all I could do for the Seattle and Cordray theaters and for two years I worked as a professional…”
In the midst of all of this, Grace married her first husband in 1897, celebrated the birth of a son in 1898, and continued her artistic training at the William M. Chase School of Art – moving east in 1900.
When Grace headed to New York in search of scenic work at the beginning of 1901 -it was scenic studio owner D. Frank Dodge who provided an opportunity. Soon, she was painting for him at the Fifth Avenue Theatre, Manhattan Theatre, and Herald Square Theatre.
During the next few years, Grace became Dodge’s right-hand person – meeting with newspapers and explaining both the design and painting process. She continued with Dodge until 1904 when he sent to a project in Seattle. She remained there, painting at theaters in Portland, Seattle, Tacoma, San Francisco, and Oakland. While working for Dodge she married her second husband.
When Grace returned to the West Coast, she worked with Seattle scenic artist, Sheridan L. Jenkins. Photographs of the two working together in 1905 are priceless.
Sheridan was originally from Fairbury, Nebraska. He moved to Seattle by the late 1880s and began working as a scenic artist. In 1892 when, about the time Grace entered the profession, he moved to Chicago, working with Thomas G. Moses’ former business partner, Walter Burridge.
Here is another photograph of Grace and Sheridan on the paint bridge. From a quality standpoint, these are some of the best scenic art process photographs that I have ever encountered.
Here is another of the two in Grace’s studio. We are able to see – in detail – so many of her designs and models.
All of their stage scenery was painted with distemper paint, the mixture of pigment paste with diluted hide glue. By the way, I have solely used distemper paint for the last seven shows I that designed and painted for Haymarket Opera Company (Chicago) and the Gilbert & Sullivan Very Light Opera Company (Minneapolis). It reflects light so much better than any premixed product in a can. In 1903, Grace explained “Distemper is a really beautiful medium. You can produce such fine effects with it! But it’s very tricky unless you know JUST how to handle it.”
In 1904, Harry W. Bishop hired Grace as his scenic artist for Ye Liberty Playhouse in Oakland, California. The theater’s studio measured 100 by 35 feet, and included a machine shop and three paint frames. One frame was movable, and the other two were stationary with adjustable bridges. It was a remarkable stage, with a 75-foot revolve – purportedly the first in the west. Grace was working at a state-of-the-art theater.
Her scenic art at Ye Liberty immediately made the news and was described as “one of the strong points of the theater.” Grace’s gender was looked upon as an asset. On Jan. 12, 1905, The Berkley Gazette reported, “The Liberty is particularly fortunate in this [meaning her being female], for that is the secret of the delicate touches, artistic settings and finished details always present at their performances.”
In 1907, another article about Grace announced, “Ye Liberty’s Scene Painted, the only woman in the world of the profession – does amount of work which men scene painters find impossible to do.” Remember that two decades later, the 1927 article in The Scenic Artist reported, “For many years women felt themselves barred from taking a part in the painting of scenery because it involved extreme physical stamina.”
Progress made by one generation of women, can instantaneously evaporate with the next.
Wishaar’s scenery for Barbara Freitchie at Ye Liberty Playhouse was regarded “as proof of Miss Grace Wishaar’s uniformly good scene painting.” Here is an image of her Frederick Street setting for the show.
While working for Bishop, three major disasters struck: earthquake, divorce, and fire. In 1906, an earthquake damaged Ye Liberty Playhouse. This was the same year that she married her third husband. The next year, Grace filed for divorce, citing desertion.
In 1909, Grace and her family narrowly escaped a house fire. Evidence suggested that a faulty grate was to blame, but the fire destroyed everything, including her prized collection of paintings. This was a turning point for Grace. She collapsed at work. Her doctor advised a “rest cure.” This was the medical order for “go on a world tour.”
Enter Marian Smith Oliver, former ward of multimillionaire F. M. Smith, also known as the Borax King. In 1910, Grace and Marian journeyed around the world, ending up in Paris where Grace set up a studio and Marian began performing. Scandal ensued, with Marian returning home to her husband. Their marriage did not last. In 1912 Seattle newspapers reported that Grace was in the midst of a three-years art course in Paris and “At present she is on a summer sketching tour through Spain and Italy.” She participated in several art exhibitions, and in 1914 exhibited three portraits at the Salon des Beaux Arts.
Grace had played chess since a child and used it to relax during paint breaks at the theater. In Paris, Grace began competing in chess tournaments. In 1931, she won the French Woman’s Championship, the same year that her fifth husband completed suicide in Ceylon (Sri Lanka).
Grace’s sixth and final marriage was to world-chess champion, Alexander Alekhine (1892-1946). She was playing one of the boards in his simultaneous blindfold chess game. They were in Tokyo. They married the next year. Sixteen years her junior, Alekhine was a notorious alcoholic, The two traveled, played chess, and won awards, yet she continued to paint and maintain a studio in Paris.
When Grace passed away in 1956, she was buried next to her husband. Their gravestone even includes a chess board at its base. There is much, much, more to this story that is posted to www.drypigment.net.
The chess world has recently become fascinated with Grace Wishaar. Last year, Alan McGowan, historian at Chess Scotland, contacted me about my posts concerning her early life and painting career. In January 2024, McGowan published his article, “Amazing Grace,” for the English periodical Chess.
Grace left a treasure trove of photographs, newspaper articles and other historic records, yet, she still faded from theatre history by the 1920s. There are still hundreds who remain nameless; their contributions to the development of theatre history have yet to be counted.
Over the past few years, I have identified dozens of women scenic artists while writing the 120 biographies of Soman & Landis studios, including Grace Wishaar. This research is for my upcoming book Sosman & Landis: Shaping the Landscape of American Theatre. The Sosman & Landis staff was quite diverse, including women, African-Americans, and immigrants.
Which brings me to Lara Levero. She represents the thousands who did not make headlines, appearing as a brief spark at a particular moment. In 1920, Levero was counted in the US Federal Census, living in Los Angeles and working as a scenery painter. She listed her birthplace as Mexico and Spanish for her “mother tongue.” Levero emigrated in 1918 and was currently living with fellow scenery painter Felix Garcia.
I have managed to track the scenic art career of Felix Garcia, who settled in El Paso, Texas, and was listed in city directories by 1922. At this time, I have yet to determine if the two married, or went their separate ways. It is so very difficult to trace the lives and careers of women, especially after they marry.
Today, online databases provide massive amounts of information. We are now able to identify thousands of individuals whose contributions to theatre history were either forgotten or ignored.
Although women scenic artists are not currently included in the history books, they were present and contributed to our industry.
WE can no longer solely teach theatre history from the same books that have been used for generations of students. Teachers cannot teach what they do not learn.
WE are completely in control when choosing the lens through which we depict our industry’s past, present, and future of our industry.
The United States Institute for Theatre Technology is a membership organization, established in 1960 to advance both knowledge and skills in the areas of design, technology, and production. There are several commissions within USITT that focus on specific areas of the industry, such as scene design and technology, costumes, lighting, sound design, education, engineering, and management. Each commission meets at the annual conference to propose sessions and workshops for the next year. The Scene Design and Technology Commission includes scenic art, properties, safety and health, heritage and more.
A few years back, I was appointed Vice-Commissioner of Heritage in the Scene Design Commission, replacing Arden Weaver when he stepped down from the position.
The 2024 conference is in Seattle, Washington (March 20-23). I am one of two presenters for Lies and Misrepresentation Behind the Curtain, a 60-minute session sponsored by the Scene Design and Technology Commission.
Our session is in room 608 at the Seattle Convention Center on Friday, March 22, 2024 (10:00 AM – 11:00 AM). My co-presenter is Ruben Arana of Florida A&M University. We proposed this session last year after meeting meeting for the first time; sitting next to one another at the the Commission meeting.
Our session looks at the history of underrepresented people of color and women in the 19th and early 20th century, sharing the stories of four specific individuals. If you are attending the conference this year, please consider joining us!
For more information about the United States Institute for Theatre Technology, visit www.usitt.org
Peter Joseph Donigan (1871-1949) was not only the brother of Lawrence Edward “Ed” Donigan (1865-1944), but also the uncle of George Pat Wood (1891-1980). All three worked as scenic artists at Sosman & Landis.
1927 advertisement for Peter J. Donigan (1871-1949).
Unlike his older brother, Peter retained the surname of Donigan. His older brother changed his surname to Donohue by 1890 yet continued to work as a scenic artist under the name of L. E. Donigan. This was noted in Lawrence E. Donohue’s 1944 obituary.
On March 2, 1944, the Oak Park Leave reported,
“L. E. Donohue Dies; Scenic Artist.
Lawrence E. Donohue of 821 South Cuyler died on Wednesday, February 23, at his home after suffering from an ailment of two years standing. His wife, the late Mary Muir Donahue passed away on February 12 of this year. Mr. Donahue (known as Lawrence Donigan, professionally) was a scene painter and in years past painted scenery in the theatre throughout the United States, including New York Civic Opera House, Detroit Opera House, and Civic Opera House in Chicago and Ravinia. He was a business agent for the Scenic Artists’ union 350 for a number of years and was active until a few weeks before his death, despite poor health.
Born in Alton, Illinois, in 1864, Mr. Donohue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mrs., Mildred M. Coty of Chicago, and of James PO., and Mrs. Mary Krebec who live at home, and brother Peter J. Donigan and Mrs. Mary Berry of Chicago. Services on Saturday were conducted at Ascension church with burial at All Saints” (page 50).
Peter “Pete” J. Donigan was born on Jan 28, 1871, and purportedly spent his early years in Alton, Ill. For geographical context, Alton is located on the Mississippi Rover, upstream of St. Louis, Missouri. By 1880, Peter and his three siblings were living with their mother in Chicago at 1027 Wentworth Ave, using the surname of Donegan. Their household included his mother Mary (32 yrs.), older brother Lawrence (15 yrs.), and twin sisters Maggie and Della (14 yrs.). Peter was the youngest. His older brother was already working, his occupation listed as “works in painting house,” likely a scenic studio that mass-produced painted scenes.
By the time Peter turned 15 yrs. old, his brother was working at Sosman & Landis scenic studio. That year, his sister Maggie also married. On Jan. 7, 1885, Maggie married William Smith O’Brien (1852-1929) in Cook County, Illinois. William was a painter, a trade that he would continue until his passing in 1929. Much would change over the next few years for Donigan.
By 1890, two of his siblings had moved to St. Louis. In addition to moving south, both Della and Lawrence changed their surnames to Donohue. In the 1890 and 1891 Lawrence was listed in the St. Louis Directories as: “Donohue, Lawrence E., artist, 2204 Eugenia.” A few years later, Peter Donigan was also listed in the St. Louis Directory. In 1893, Peter Donigan was listed as a painter, living at 2204 Eugenia. He soon returned to Chicago but continued to visit his siblings in St. Louis. In 1895, the St. Louis Globe-Democrat reported that “P. J. Donigan, Chicago artist” was a visitor at the St. Louis Sketch Club who “also presented a sketch” (page 9).
It remains unclear as to whether Donigan met his first business partner, Fred Gibson, in Chicago or St. Louis. In 1897, Frederick J. Gibson was listed as a scenic artist In Chicago, living at 193 S. Robey. In 1899, Gibson was associated with the Columbia Theatre Comedy Company in St. Louis, Missouri. On Feb. 17, 1899, The Jewish Voice reported, “Mr. Richard Baker, will present each week a 30-minute comedy, with special scenic and stage environment provided by the noted scenic artist Mr. Frederick Gibson, whose work is so well known here” (page 7). On Feb 19, 1899, the St. Louis Post-Dispatch reported, “All the pieces will be staged under the personal supervision of Mr. Richard Baker and will be provided with special scenery by Mr. Frederick Gibson, the well-known scenic artist” (page 29). By 1900, Gibson had partnered with Donigan to form Donigan & Gibson. Both Donigan and Gibson were living at the home of Mary Gibson, Frederick’s mother.
The 1900 US Federal Census listed the following individuals living at Mary Gibson’s home, 10 Jackson Blvd., Chicago:
Mary Gibson (b. June 1843)
Frederick Gibson (b. April 1871)
Peter Donigan (b. Jan 1871)
Mary Gibson (b. Oct.1876)
Both Peter and Frederick were listed as scenic artists. Interestingly, Peter did not list a birthplace for either his mother or father, leaving that section blank. Please see my past post from April 29, 2023, about Lawrence “Ed” Donnigan for a possible reason.
1900 signaled his big break for Donigan, both professionally and personally. That year he partnered not only partnered with Gibson, but also met his future wife, Louise C. Lucas. In 1900, Donigan and Gibson briefly established the scenic studio of Donnigan & Gibson. An early project was delivering scenery for the Shaw Theatre in Hutchinson, Kansas. The Shaw Theater was located on the west side of Main street on the south side of Avenue B, opposite the new county courthouse. The stage was designed by Gus Wood of Chicago. The proscenium measured 26’h x 36’w, with the gridiron 60’ above the stage floor. The stage floor was measured 60×40 feet in size. The drop scenery was operated by 60 line sets, with a 30’h x 45w paint frame and paint bridge, spanning from the SR gallery to SAL gallery, along the back wall.
Their work was described on Oct. 26, 1900, in The Hutchinson News (page 5). An article about the new Shaw Theater announced, “Work of Scenic Artists.” The article reported, “The scenery was painted by the firm of Donigan and Gibson, of Chicago. The work here was done by Mr. P. J. Donigan and Mr. Charles Squire. Up to the time of opening the artists have completed twelve stage settings. There are six elegant interior settings of thirteen pieces each, including a dark mahogany interior, a light interior in lavender and gold, a kitchen, a plain interior, a prison, and a palace, in yellow and red, with cut drop arches and wings to match. Among the other scenery may be found a horizon, wood wings, beautiful landscapes, set cottage, house, set rocks for mountain pass scene and everything to meet almost any requirement, although there is still more scenery to be added. Still the most beautiful of the work done by the artists are the two drop curtains which must be seen to be appreciated. The front curtain has a beautiful English landscape center surrounded by light yellow and pink shades with green draperies. The second curtain has dark red draperies with business cards in rococo style, and an American landscape in the center. The beautiful grand drapery border is done in red and tallow shades, and the working border to control the stage height is light green satin. The proscenium wings and marble columns harmonize with the grand drapery border.”
That year, he delivered scenery at the Shaw Theatre in Hutchinson, Kansas. On Sept. 12, 1900, The Hutchinson News announced, “New Men Arrive. Scenic Artists and Electrician from Chicago Join the New Theater Force” (page 5). The article continued, There was an unusual stir at the Shaw Theatre this morning and from all appearances the workman will be successful in completing it before the time of the opening, October 15. The scenic artists have arrived and will begin work tomorrow. Mr. P. J. Donigan will have charge of the work and will be assisted by Mr. Charles Squires. Mrs. Frank Gannon, the expert electrician who will oversee the lighting of the house, arrived. He has been connected with Chicago Theatres for the past seventeen years, and is not only an electrician but is a specialist in the line of lighting theaters. It will perhaps take a little over two weeks’ time to complete his work here. Both Mr. Gannon and Mr. Donigan expressed surprise at the stage of the Shaw Theatre. They say that it is superior to many of their Chicago houses, and that there is no company on the road that cannot find every necessary convenience for putting on their show. The carpenters are now busy putting down the floors and a good force of plasterers will be run this week. The roof is almost completed as is also the stage. Two arc lights are being put in preparatory to running night force. The decorators will come from Chicago in about a week.”
Main Street in Hutchinson, c. 1906.
In Hutchinson, Donigan met his future wife, Louise Coe Lucas, the local doctor’s daughter. On Octo. 30, 1900, The Hutchinson News announced, “A box party will attend the Shaw Theatre this evening composed of the following: Mr. and Mrs. F. Prigg, Mrs. and Mrs. Cone, Dr. S. M. Colladay, Mrs. and Mrs. Edward Colladay, Mr. and Mrs. B. Nusbaum, Mr. and Mrs. Bascom, Mr. and Mrs. Sam Hirst, Mrs. J. U. Brown and Mr. C. H. Rogers. Another box party will be Mr. P. J. Donigan, Mr. Charles Squires, Misses Joe Bennett and Louise Lucas. Mrs. Gilpin, Mr. and Mrs. I. R. Shaw, W. J. Shaw and Mr. Gold Wheeler” (page 5).
In 1901, Peter married Louise C. Lucas, the daughter of William Lucas and Sarah Coe. Born in Cincinnati, Ohio, Louise was quite a bit younger than Donigan when they met. Lucas was from Hutchinson, Kansas.
On Dec. 28, 1901, The Hutchinson News announced, “To be Married Tuesday. Miss Louise Lucas of Manchester and Mr. P. J. Donigan of Chicago” (page 1). The article reported, “Miss Louise Lucas, formerly of Hutchinson, now of Manchester, will be married on next Tuesday at 3 o’clock to Mr. P. J. Donigan of Chicago. The wedding will occur at the home of Miss Lucas’ parents, Dr. and Mrs. Lucas. Miss Jo Bennett of this city and Mrs. Charles Squires o. Mr. Donigan and Mr. Squires will be remembered here as the scenic artists who painted the scenery for the Shaw Theatre. They arrived here from Chicago last night and Mr. Donigan went to Manchester this morning.”
Their wedding was later featured in The Hutchinson News on Jan. 4, 1902 (page 2):
“Mr. P. J. Donigan of Chicago and Miss Louise Lucas were married Tuesday, Dec. 31, at high noon at the home of the bride’s parents, Mr. and Mrs. Wm. Lucas, of Manchester, Oklahoma Territory. The home was decorated with pink and white carnations, white roses and smilax. The bride’s gown was white organdy, and she carried a shower bouquet of tea roses. Immediately following the ceremony, luncheon was served. Many elegant presents were received, all the gifts form admiring friends. Mrs. Donigan lived in Hutchinson until quite recently and numbers here friends here by the score. Mr. Donigan is also well known here and is a highly esteemed young man. THE NEWS extends congratulations to the young couple, wishing them much success in their new home in Chicago” (page 2).
By 1902, Donigan and Gibson had ended, with each periodically working at the Chicago Opera House. That year Gibson worked alongside Walter Burridge, delivering scenery for the premiere performance of “The Wizard of Oz.” Gibson did not remain in Chicago for many more years. He soon began traveling as a scenic artist for touring stock companies, briefly settling in Boston from 1906 to 1908. By 1915, Gibson had settled in Minneapolis, Minnesota, working as a scenic at the Twin City Scenic Co. until 1918. In 1919 he was listed as the scenic artist at the Lyric Theatre, then at the Schubert Theatre from 1920 to 1921. Sadly, he passed away in 1923, leaving a young widow named Elizabeth Gibson.
As far as Donigan’s career, he worked throughout the region during the early years of his marriage. In 1903, the Peter and Louise celebrated the birth of their first child, Robert L. Donigan. That spring, Donigan became associated with Buffalo’s Academy of Music. On May 9, 1903, The Buffalo Enquirer reported “Peter J. Donigan of Chicago has been engaged as scenic artist” (page 3). Donigan was painting scenery for the Academy’s Stock Theatre Season. On May 10, 1903, The Buffalo Times also included an article on the Academy Stock Co. reporting, “Joseph L. Brandt, the actor-playwright, will act as stage director, and Mr. Peter Donnigan, one of the most competent scenic artists of the West, who has painted several of the big productions of the season, has been engaged” (page 33).
During her husband’s frequent absences for work, Louise also began to travel. On Feb. 19, 1904, The Daily Independent of Hutchinson, Kansas, announced, “Mrs. P. J. Donigan, formerly Miss Louise Lucas, of this city, spent Thursday with her friends in this city, en route to Manchester, Okla. To visit her parents, Dr. and Mrs. Lucas” (page 8). On April 2, 1904, The Independent reported, “Mrs. P. J. Donegan and baby are here in the city visiting friends. Mrs. Donegan has been visiting her parents, Dr. and Mrs. Lucas of Manchester, and is on her way to her home in Chicago” (page 5).
In 1905, Louise gave birth to another son, William R. Donigan. She took is in stride and continued to visit both family and friends in Kansas and Oklahoma. On Sept. 14, 1906, the Grant County Journal of Medford, Oklahoma, announced, “Mrs. P. J. Donigan of Chicago, with her two little boys, Robert and William, is visiting her parents, Dr. and Mrs. W. M. Lucas” (page 8). Over the course of the next few years, visits became more frequent, as Louise’s mother became ill and passed away.
On May 2. 1907, The Hutchinson News of Kansas announced, Dr. W. M. Lucas of Manchester, Okla., and Mrs. P. J. Donigan of Chicago who have been the guests of Mr. and Mrs. Hall left this morning for Manchester” (page 6). They were in town to bury Louise’s mother, Sarah Lucas. Her obituary reported,
“Sarah J. Lucas, nee Sarah J. Coe, was born in Monroe County, Ohio, on October 10, 1846. She removed to Peoria county, Illinois, with her parents in 1855. About the same time the parents of Dr. W. M. Lucas removed from Pennsylvania to the same county. On Oct. 10, 1865, these two were married in Elmwood, Illinois, and resided from 1870 to 1879 at Peoria, Ill. After a residence extending from 1879 to 188 at Felicity, Ohio, Hutchinson was chosen as there home. It was in Hutchinson that Mrs. Lucas made so many friends and labored in song and service for the good of the Presbyterian church. It was just as the congregation was removing to the present stone church and under the beginning of Rev. A. Forbes Irwin, that Mrs. Lucas sang in the church choir as contralto and Miss Norris, as sopranos. She loved the labor of song for the churches uplift. After her daughter’s graduation, in 1901, Mrs. Lucas removed to Manchester, Okla. To join the doctor, who located there at that point for business. The tie of friends and school privileges and good environment for her child having been loosened by reason of her child’s graduation; Mrs. Lucas began her home making in the new land of Oklahoma where she lived til death summoned her on April 29th. Of her household, her daughter, Mrs. P. J. Donogan, of Chicago, Ill., but known to all Hutchinson people as Louise Lucas survive her. Another of the many good and amiable person who have worked and loved for the welfare of the old stone church on the corner, has been called away. With the passing of Mrs. Lucas, comes revered which bring the forms of old pastors and friends with whom she mingled, now long since called home and who welcomed her” (page 6).
Two years after her mother’s passing, the Donigan’s celebrated the birth of another child – Margaret L. Donigan. On Dec. 23, 1910, Louise returned to her hometown of Hutchinson, Kansas, with infant daughter. Of their visit, The Hutchinson News reported, “Mrs. Louise Lucas Donegan and daughter, Margaret, leave today for their home in Chicago after several weeks visit with Mr. and Mrs. Charles Hall on Avenue A. East” (page 5).
The 1910 US Federal Census listing Peter and Louise living with their three children at 1004 3rd Ave. By now, Peter was 38 yrs. old, and Louise was 27 yrs. old. Their children ranged in age from 1 yrs. old to 7 yrs. old. Peter’s occupation was still listed as “scenic artist,” but now in the “studio” industry.
It is around this time that Donigan’s nephew, George Pat Woods, also enters the scene painting profession. Woods and Lawrence E. Donigan deliver scenery for Des Moines’ Empress Theatre in 1913. On July 8, 1913, the Des Moines Tribune reported: “Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan, George Wood, and Arthur Overholt rapidly transforming the white canvas of the wings and drops and borders into surfaces of colored beauty.”
In other words, Uncle Lawrence E. Donigan (b. 1865), was assisted by 22-yrs.-old nephew George Pat Wood and 30-yrs.-old Arthur Oberbeck. Oberbeck was part of the Sosman & Landis staff from approximately 1902-1920.
Peter Donigan found his place at Chicago’s Grand Opera House with the Chicago Opera Association. On Nov. 21, 1915, the Chicago Tribune, “Pete’s Leaves Fell Him” (Page 10). “Autumnal Foliage at Grand Opera So Realistic They Follow Natural Laws. Pete Donegan, scenic artist of the Chicago Grand Opera company, painted some foliage for the production of Monna Vanna. The foliage adorned the top of a tall column in Guido Colonna’s garden. In November leaves fall from the trees. The painted leaves were true to nature, for they fell yesterday afternoon, just before the curtain rose on the matinee performance of Monna Vanna. Instead of drifting gently to the ground they struck heavily their creator on the head, cutting a deep gash. Donegan was carried from the stage unconscious. His injury is not serious.”
On Sept. 2, 1917, the “Des Moines Register” announced the coming season of the Chicago Opera association, Oct. 17 and18th at the Coliseum under the direction of the new artistic director Emile Merles-Forest. The article reported, “M. Merles-Forest is one of the foremost French masters of stagecraft whose greatest achievement have been made in his six seasons at the Theatre Monnaie in Brussels and four seasons at the Grand Opera in Paris. The only interruption in his career was his ten-month military service as a telegraph operator at Lyon. He will come to America shortly to assume charge of the making of new productions at the Chicago Auditorium for the coming seasons in Chicago, New York and Boston…M. Merles-Forest will have the same capable technical staff which was maintained at the auditorium last season, including Joseph Engel, stage manager, and Peter J. Donigan, scenic artist” (page 19).
On Oct 14, 1916, Musical America published an article entitled “Pictorial Side of Grand Opera in the Making” (page 6). Peter J. Donigan and his assistant were pictured painting a setting for ‘Andrea Chenier’ on the auditorium stage.
Peter Donigan painting in 1916 (left picture). Scenery stored at the Chicago Opera Company’s warehouse on the West Side in 1916 (right).
Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.
Some of the same scenery after it was gifted to University of Northern Illinois. The University recently sold the storage facility without disclosing the contents of the collection inside.
The article reported:
“Grand Opera to most persons means simply the singing and acting of high-salaried performers to the accompaniment of an orchestra, pretty gowns and beautiful women, evening clothes and notices in the newspapers where the critic tears to pieces the singing the night before.
The public knows nothing of the tremendous amount of work which goes on month in and month out, summer and winter, when song bords are on their vacation and the opera house is dark, but this work is as necessary to successful opera as the orchestra. The accompanying pictures show something of the technical producing end of the Chicago Opera Company. While Cleofonte Campanini has been in Europe engaging singers and orchestral conductors, and army of men and women has been at work in Chicago under the direction of Joseph C. Engel, stage director, to make a triumph of the coming season possible. Since the first of March the three large warehouses and construction plants of the Chicago Opera Company, on Jefferson, Green and Harrison Streets, have been working full time on scenery, costumes, properties, and electrical effects. Complete scenery had to be made for seven new productions and eight revivals, and scenery for the standard operas had to be freshened and much of it replaced with new material. Two large auto trucks, owned by the Chicago Opera Company, have been going back and forth between warehouses and the auditorium all summer. Scenic rehearsals have been held almost daily under Mr. Engel’s direction, and every scene in every opera given this season has been set upon the stage, perfected, and taken back to the warehouse again, so that there will be no hitch when the operas are produced. – Farnsworth Wright.”
There was an interesting article published in The Musical Leader in 1917 (Vol, 34, page 425) entitled, “Transporting the Chicago Opera Company” (page 425. The article reported, “The backcloths or full-sized scene used in the auditorium are 68 feet wide and 40 feet high – this means, 2,720 square feet of painted and fire-proofed surface. This company carries forty-seven hanging pieces for scenic service in two operas, ‘Faust’ and ‘Lucia di Lammermoor,’ the full equipment as used in the home house of the Chicago Opera. In order to swing the scenes, the company carried its own rope, as no houses where they visit have lines enough to swing the productions. This detail necessitates twenty thousand feet of rope, all told twenty coils. I require the service of seventy-five men back of the scenes to handle these productions.
In order to produce all these sceneries and effects, it requires a big plant in Chicago, that is kept busy the year round in refurbishing old material and making new outfit for the coming season. The scene dock of the Auditorium would be considered large enough to house the equipment of most theatres, it being 150 feet long, 30 feet wide and 60 feet high, covering the space of the alley outside the stage, but this is only sufficient to store for the needs of a few performances. On the West Side of the city at its large warehouse filled with scenery and properties, valued a ta. Million and a half dollars, there are larger carpenter shops, scene rooms with painting stages and a costume department, where twenty-five seamstresses are employed. Twenty-five carpenters are always on the payroll and the stage carpenter, H. W. Beatty. Ten men are continually employed in building property under the skilled direction of Jack O’Malley, and there are twelve men in the scenic department under the direction of Peter J. Donigan, who work all year round.
On Dec. 12, 1917, The Billboard reported, “Emile Merle-Forest, who was stage director for the Chicago Opera Co, last year, is in the same position this year. His mise-en-scenes are famous for their excellency. Associated with him are Harry W. Beatty, as technical director and Peter J. Donigan as scenic artist” (page 23). Donigan remained with the Opera Association for quite some time. His name was even featured in various advertisements, listed alongside Norman Bel-Geddes and Robert Edmund Jones.
On Sept. 3, 1919, Chicago Opera Association advertisements in the Chicago Tribune announced, “The productions will be designed and staged by exceptional Russian, Dutch and American artists, including Boris Anisfeld, Herman Rosse, Peter J. Donigan, Norma-Bel Geddes, and Robert Edmund Jones” (page 6).
Peter Donigan listed alongside Anisfeld, Rosse, Bel-Geddes and Jones in 1919.
Here are a few more articles mentioning Donigan that season:
On Aug. 23, 1919, the “Chicago Tribune” reported, “Our Mary Garden, it is announced, proposed to sing Aphrodite as her first opera this season, with Mr. Campanini’s artists. The opera, which is listed as of the “tragic grand” type is by the late Camille Erlanger, and is founded on a romance of the same name by Pierre Louys. The scene is in Alexandria in the reign of Berenice, about fifty years before Christ. Peter J. Donnigan is painting the scenes for it.” (page 13).
The 1920 US Federal census listed the Donigan family living at 1004 S. 3rd in Proviso, Cook, IL. The household included:
Peter (48 yrs.)
Louise (36 yrs.)
Robert L. Donigan (17 yrs.)
Wm. R. Donigan (15 yrs.)
Margaret (11 yrs.)
In 1920 Donigan was associated with the world premiere of Reginald De Koven’s ‘Rip Van Winkle” at Chicago. On Jan. 8, 1920, an article published in Musical Courier reported, “The scenery designed and executed by Peter J. Donigan, scenic artis of the Chicago Opera Association, was beautiful and tasteful…” (page 40). His scenery was included alongside the article.
By the mid 1920s, Donigan drifted away from the Chicago Grand Opera Association and began to look for other work in the region.
On Dec. 12, 1924, he placed the following advertisement in The Billboard:
“Peter J. Donigan
Scenic Artist
At Liberty
Seven years Chief of Scenic Dept. Chicago Grand Opera Assoc., also Chief artist as Ravinia Park Opera Co. Thoroughly experienced in Stock and Presentation. Office – Room 1101 Otis Building., 10 South La Salle St., Chicago, Illinois.
Peter J. Donigan’s 1927 advertisement in THE BILLBOARD.
In 1927, Donigan was mentioned by his nephew, scenic artist, George Pat Woods, and credited with giving the young man a start in scene painting. Woods was the son of his sister, Della Donahue Woods. Like her older brother, Della’s maiden name shifted from Donigan to Donohue. Her son, George Pat, was born in Chicago on April 10, 1891, one of three sons born to George Wood (b. abt. 1854) and Della B. Donohue (Della B. Donigan). In 1927 interview Woods credited his uncle Pete Donigan with helping him secure a foothold in the scenic art world. However, Wood also worked with his uncle Lawrence, likely when they were both working for Sosman & Landis.
Peter J. Donigan’s nephew. George Pat Wood.
Here is the article about Wood that mentions Donigan:
On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush” (page 33). The article reported:
“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.
From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.
Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.
And so, this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.
Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’
‘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.”
By 1928, Donigan became associated with Detroit’s Civic Opera Co. His work for the Detroit Opera Co. was repeatedly mentioned in Detroit Free Press articles from 1929-1934. Initially, he was credited as “Peter J. Donigan, of Ravinia Park, Chicago, one of the nationally known scenic artists has started work on the scenery (Detroit Free Press 27 Oct 1929, p 62).
In 1929, Donigan was assisted by O. S. Davis in Detroit, They were painting at the studios of the Detroit Opera Co., located at 2154 Grand River Ave. Despite his work in Detroit, Donigan continued to work at Ravinia Park until 1932.
On Oct. 29, 1930, the “Detroit Free Press” reported. “At the studios of the Detroit Opera society in the old Fox-Washington theater, Peter J. Donigan, chief scenic artist of the Ravinia Park Opera, was introduced and his work for the last two months exhibited” (page 7). In article entitled “Opera Backers See 1931 Equipment.”
In 1931, Donigan made the news in Detroit several times. The Detroit Civic Opera Season was scheduled to opened April 21 that year. On Jan 25, 1931, the Detroit Free Press reported, “Even today, three months in advance of the season, the operas are practically ready for production. The scenery, painted by Peter J. Donigan and his corps of assistants from Ravinia Park was finished in November” (page 47). On April 29, 1931, the Detroit Free Press reviewed their production of “Tosca,” reporting, “The scenery painted for this opera by Peter J. Donigan had much to commend it artistically, especially in the church scene. In which lovely effects were secured in the stained-glass windows and there was a feeling of spaciousness, remarkable when the size of the stage in Orchestra Hall is considered” (page 6).
On May 1, 1931, the Detroit Free Press reviewed the production of “Madame Butterfly,” reporting “The opera has been mounted by Peter J. Donigan with a gorgeous wealth of color” (page 6).
On April 13, 1932, the Detroit Free Press applauded Detroit’s Civic Opera Company’s production “La Traviata” (page 5), reporting, “The startling effect of the scenes, painted by Peter J. Donigan, and the color of the costumes all helped to make the opera delightful.”
On April 20, 1932, the Detroit Free Press mentioned Donigans’ work on the Gounod’s Romeoand Juliet (page 10). The article reported, “Again Peter J. Donigan accomplished wonders with the scenery. Juliet’s garden and the public square were real, so well done, in fact the audience could not resist showing its appreciation. Mr. Donigan’s work in the interest of the Civic Opera has been of outstanding value since the beginning four years back. He is to be thanked a great deal.” His work for “Aida” that season was also very well received. On April 25, 1932, the Detroit Free Press announced, “Peter J. Doniogan’s scenery drew applause with each new curtain. The Temple scene, the banks of the Nile and the opening act – the King’s palace at Memphis – were striking” (page 9)
In 1933, Peter J. Donigan was credited with scenic painting for “It Pays to Sin” at the Morosco Theatre, 217 W 45th St, NYC. The show opened Nov. 3, 1933. A play in four scenes, the settings were conceived by Clive A. Rickabaugh and included the Office of Dr. David Janossy in Vienna; Greta’s Sitting Room; Moulin Rouge; Bedroom in Zoltan Keleti’s Apartment. This is Donogan’s only listing in the Internet Broadway Database.
Donigan was mentioned in an article entitled “Birmingham Music Lovers Attend Detroit Civic Opera,” published in Birmingham Eccentric of Birmingham, Michigan, on Thursday April 23, 1931. The article announced, “The scenery for all the operas was painted by Peter J. Donigan, of the Ravinia Opera.” The Detroit Civic Opera Company performed in Orchestra Hall, with productions including “Carmen, “La Bohème,” “Hansel and Gretel,” “Tosca,” and “Madam Butterfly.”
On Nov. 18, 1934, the “Detroit Free Press” advertised a production of Tristan and Isolde produced jointly by the Detroit Symphony Society and the Detroit Civic Opera (page 44). The article reported, “The new stage settings for the three acts of the opera [Tristan and Isolde], completed by Peter J. Donigan, Chicago scenic artist, have been moved to the Masonic Auditorium for the final rehearsals, which will begin Monday, Nov. 26, with the arrival of the principal stars” page 44). The production produced jointly by the Detroit Symphony Society and the Detroit Civic Opera. On Nov. 25, 1934, the Detroit Free Press reported, “Mr. Wronski also is production director and had staged the opera with new and exceptionally beautiful sets painted by Peter J. Donigan of Chicago” (page 44).
That same year, Donigan and his son were mentioned in the Chicago Tribune. On Oct. 28, 1934, the newspaper reported, “By coincidence the name of Peter J. Donigan, 548 Michigan avenue, Evanston, father of the prosecutor, Assistant State’s Attorney Robert J. Donigan, was drawn for the jury last week. He was excused without examination when Prosecutor Donigan told the court of the relationship” (page 11).
The 1940 US Fed Census listed that Peter was divorced and living at 1217 Albion Ave Chicago; he was living at the Albion Shore Hotel. His occupation was listed as “artist” in the “stage scenery” industry. They may have separated but were not officially divorced. When Louis L. Donigan passed away in 1946, her obituary noted that she was the “beloved wife of Peter J. Donigan.”
In 1941, Donigan visited his son in El Paso. On March 10, 1941, the El Paso Herald-Post reported, “WEDNESDAY- Capt. And Mrs. R. L. Donigan find much of interest in El Paso. So does the captain’s father, Peter J. Donigan, artist who is visiting here” (page 6).
Louise’s obituary was published in the Chicago Tribune on March 30, 1946, (page 12). It announced:
“DONIGAN- Louis L. Donigan, 860 Hinman avenue, Evanston, beloved wife of Peter J., mother of Robert L. and William R. At chapel, 1460 Sherman avenue, Evanston, after Saturday evening. Services Monday 1 p.m. Interment private. Please omit flowers.” A second notice announced:
“Mrs. Louise L. Donigan.
Services for Mrs. Louise L. Donigan, 63, mother of Assistant State’s Attorney, Robert L. Donogan, and prominent in Evanston club and Civic groups for many years, will be held at 1 p.m. Monday in the chapel at 1460 Sherman av., Evanston. Mrs. Donigan, who resided at 860 Hinsman av., died yesterday in Herotin hospital. Also surviving are husband Peter J. Donigan and another son, Maj. William R. Donigan.”
On June 30, 1943, Peter applied for social security, listing his name as Peter Joseph Donigan and his birthday as 28 Jan 1871 in Alton, Ill.He was 72 years old at the time of his application. This was less than six years before his passing.
On May 17, 1949, the “Chicago Tribune” published Donigan’s obituary:
Peter Donigan
The funeral of Peter J. Donigan, 79, retired dean of scenic stage designers and artist, who died Sunday in a Wilmette nursing home, will be held at 10 a.m. Wednesday in St. Francis Xavier church in Wilmette. Burial will be in All Saints cemetery. Mr. Donigan, a native of Alton, Madison county, created the original stage background for the “Wizard of Oz” in 1903. He also designed stage scenery for the Chicago Opera and Ravinia park. At one time he was business agent of local 350, United Scenic artist union. He leaves two sons, William R. and Robert L. Donigan, the latter a former assistant state’s attorney and now counsel for the Northwestern university traffic institute” (page 38).
Newspapers across the country carried news of Donigan’s death. On May 17, 1949, “The Idaho Statesman” reported, “Stage Artist Dies, Chicago (INS) – Peter J. Donigan, dean of American stage scenic artists, died Monday in suburban Wilmette at the age of 79” (page 1).
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 1st 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 3rd 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 16th. 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.
On Aug 2, 1885, the “Chicago Tribune” published a list of Sosman & Landis employees who contributed to the Grant Memorial Fund. For an understanding of the donations listed below, $1.00 in 1885 is equivalent in purchasing power to about $31.00 today.
The list of Sosman & Landis employees who made donations included:
Sosman & Landis $10.00
Thomas G. Moses $2.00
Henry J. Buhler $2.00
David A. Strong $1.00
George W. Dayton $1.00
J. C. Evans $1.00
Karl Boettger $1.00
Frank E. Gates $1.00
John Moore $1.00
Edward Loitz $1.00
C. W. Carey $1.00
C. M. Crouse $1.00
Frank Lewis $1.00
William Martin $0.50
Frank Ford $0.50
B. P. Lee $0.50
Julius Fehrman $0.50
Fred Miller $0.50
Hugo Schoessling $0.50
Mrs. J. S. Curran $0.50
Ed Donnigan $0.25
Kirke W. Moses $0.25
This post is about J. C. Evans who donated $1 to the Grant Memorial Fund in 1885.
I began researching Evans while waiting for a plane in the Minneapolis airport on January 9, 2023. My destination was Galveston, Texas. I had been hired by the Galveston Scottish Rite to examine the contents of their scenery collection. You could not have imagined my surprised when I began to track down the scenic art career of J. C. Evans (1841-1915), as he worked in Galveston, c. 1867-1880.
Advertisement placed by J. C. Evans in 1873.
The initials “J. C.” were for John Charles, but many people in Galveston called him “Charley.” It was a challenge tracking down the life and career of Evans as his ethnicity continued to shift. Even the end of his life presented more questions than answers.
There are two entries in the Cook County Illinois Death Index for John Evans; this is the same person, buried in the same cemetery. One entry lists his birthplace as Italy: the other lists Cuba. I encountered a very similar issue with the birthplace of Evans and his parents over the course of decades.
The 1880 US Federal census lists Evans mother as Spanish, with his father hailing from England. The 1900 Census indicates that Evans was born at sea, with his father from Spain, and his mother from England. The 1910 census lists his father as Spanish, and his mother from New York.
Spain – Cuba – Italy. I began to wonder if he was passing.
I took a deep dive into Evans’ life, examining name changes, directory listings, travels, and employment, all through the lens of enslaved Texans and the Jim Crow South. I traced the trail of Evans; male born in Texas, c. 1840-1841. I think that I located Evans and his family in East Texas. I certainly learned quite a bit about the region.
If I have tracked the correct J. C. Evans…eventual scenic artist at Sosman & Landis in 1885…here is his story:
As a young man, John C. Evans pops up in the small town of Angelina. You can’t find it now, as 1893 the town’s name was changed from Angelina to Durst. Angelina was in Angelina County, the only Texas county named after a woman. For geographical context, Angelina County lies in the angle between the Neches and Angelina Rivers, two waterways that provided access to Beaumont and other coast ports. Angelina County was also the ONLY East Texas County, and one of a select few throughout the state, that did NOT vote for secession in 1861.
The town of Angelina was settled before to the Civil War, with a post office opening in 1855. In 1850, the population of Angelina reached 1,165 with 196 enslaved residents, although I located only 130 on slave schedules for the county that year. The following slave owners were listed in the slave schedules filed in Angelina County: Solomon Wolfe (50 slaves), L. L. Ewing (35 slaves), Sammie Needham (9 slaves), John F. Robert (3 slaves), William Harrington (7 slaves), John L. Boman, (20 slaves), Gedas Weeks (4 slaves), W. W. Hankes (10 slaves), George R McClay (3 slaves), George Massingill (2 slaves), Gael Hill (6 slaves), Nathan Hicken (4 slaves), Mary Walker (4 slaves), Sarah Goodwin (2 slaves), Camelia Dalerhid (5 slaves), Ephraim Anderson (2 slaves), John Sessions (3 slaves), B Shelt (1 slave), S. Nearn (1 slave), James Ashworth (1 slave), L. F. McFaden (1 slave), A Almirall (7 slaves), Enoch Needham (3 slaves), Jameel Needham (14 slaves), E. H. Jennis (1 slave).
By 1859, the number of enslaved individuals in the Angelina County was purported to be 427, with an estimated value of $269,550. During this time, the cotton industry in the area occupied about 2,048 acres in the county land. Cotton and other goods were floated down the river. In addition to plantation owners, there were many very poor farmers who owned no slaves.
There are a few things to consider about the county of Angelina and the State of Texas between Evans birth in 1840-1841 and his work as a scenic artist by the 1860s. The 1850 and 1860 US Federal Census only reported the names of free black people.
This is only a very small portion of the population as so much of the black population was enslaved. Mixed-race cohabitation was also illegal in many areas and meant that census data may record a black individual as white, and vice versa. In many cases, passing necessitated that individuals physically distance themselves from family members (parents, spouses or children) who could not pass for white. It appears that John C. Evans left his family at the age of 18 and never returned. He headed to Galveston where he began working as a sign painter.
Galveston remained the only major port in Confederate hands at the end of the Civil War. In fact, on June 19, 1865, 2,000 US troops arrived in Galveston Bay, announcing that enslaved people in the state were free by executive decree. At the time, there were approximately 250,000 enslaved people in the State of Texas. Keep in mind that the Emancipation Proclamation was signed on Jan. 1, 1863. Juneteenth is the federal holiday commemorating the abolition of slavery in Texas on June 19, 1865.
This was the world where Evans was born, raised, and began his career as an artist.
Evans was the eldest son of John Evans and Mary H. Evans. His father was listed as a 37-yrs.-old carpenter in the 1850 Census, born in Mississippi. His mother Mary was listed as born in Tennessee. They were purportedly married in 1840 and celebrated the birth of their first child (J. C. Evans) in Texas the following year. According to 1850 and 1860 census reports, all of their ten children were born in Texas, although no county is specified.
The 1860 census listed an 18 yrs. old J. C. Evans as part of the Evans household. Other members included following Evans family members living in Angelina: Mary H. Evans (36), Sarah (16), William (14), Joel H (12), Polly (11), Marion (9), Latimore (7), Benedict (5), and Alice (3). Evans father had died earlier that year, but he may have left well before that. Interestingly, one family tree at www.ancestry.com lists a second spouse for John Evans Sr. – Citha Ann Smith, citing a marriage in 1854. However, I have only located only one marriage for Citha Ann Smith that same years to S. M. Tucker in Cherokee County, Texas; Cherokee County is directly northwest of Angelina County. Everything is a bit too close to completely discount this possible connection, especially since S. M. Tucker was living in Angelina, Texas, in 1850. I have encountered too many illegitimate children and bigamists to believe everything in a census report, especially prior to the Emancipation Proclamation.
18 -yrs.-old John C. Evans listed in the 1860 Census Report, Angelina, Texas.
There were numerous slave owners in the East Texas region with the last name of Evans, individuals who owned children, many listed as “mulatto,” sharing the same age as J. C. Evans, scenic artist. I have no concrete evidence to verify or disprove Evans’ race, especially when considering how enslaved people listed in slave schedules. I will say, there is something that hits you to the core when examining slave schedules; seeing thousands of human beings who are only identified by age, gender, color, and owner. This topic is central to American History, and any attempt to diminish its lasting legacy reveals an underlying desire to repeat it.
Portion of a slave schedule for Angelina County, Texas, 1850.
That being said, Evans’ theatrical endeavors made news by the fall of 1863 when he managed the Southern Dramatic Association. Keep in mind that the Civil War started April 12, 1861, and ended May 13, 1865. Evans first appears in a Houston newspaper on October 23, 1863.
Houston’s “Tri-Weekly Telegraph” published the following announcement:
“Notice. – The Southern Dramatic Association take pleasure in announcing to the ladies and gentlemen of this city and vicinity, that they have employed an efficient Police force to preserve strict order. Polite ushers will be in attendance to seat ladies. Smoking and other nuisances will be strictly prohibited. -J.C. Evans, manager” (page 1). On September 16, 1863, $3380 was raised in Houston by the Southern Dramatic Association to present silver battle medals. They were created from Silver dollars and the only Confederate wartime issued battle medals. These medals commemorated the Battle of Sabine Pass that allowed the Confederacy to maintain control of the Texas coastline for the duration of the Civil War. Here is a link to learn more about the Battle of Sabine Pass and the medals presented by the Southern Dramatic Association: (http://www.reaganscvcamp.org/Newsletters/Volume_8_Issue_7.pdf)
Perkin’s Hall became the home for the Southern Dramatic Association during the war. On January 28, 1864, the “Tri-Weekly Telegraph” reported, “The Southern Dramatic Association will play the thrilling drama called the ‘Guerilla Chief’ again this evening, at Perkins’ Hall. The play is founded on facts that have taken place during this war in Virginia and are of the most truthful and thrilling character. The Hall has been crowded nightly by delighted audiences, and all who have attended pronounce it the best play ever produced on the stage in this city. Mr. John English, the unrivaled actor, and Mrs. Sala sustain the leading characters. If our reader wishes to witness an interesting play, they should not fail to attend” (page 2)
He next appears as a theatre performer on May 2, 1866 (page 4). Mr. J. C. Evans was listed as performing a “comic song” after Mr. and Mrs. Bates production of “Leah the Forsaken; or the Jewish Maiden’s Wrong.”
J. C. Evans as a performer in 1866, Houston.
The first mention of Evans as a scenic artist was in 1866 at Perkin’s Hall in Houston. He delivered scenery for the “Camille” production on April 12, 1866. Houston’s “Daily Telegraph” reported, “J. C. Evans, the scenic artist, had contributed greatly to the success of the play.” Evans worked as both a scenic and decorative painter, initially specializing in fresco and sign painting.
On July 4, 1866, the “Tri-Weekly Telegraph” mentioned scenery by Evans at another Perkin’s Theatre Show, “Aladdin; or the Wonderful Lamp.” The advertisement announced, “Produced after weeks of preparation, and without regard to cost with NREW Scenery by J. C. Evans; New Machinery by J. G. Steele and assistants; New Properties and Appointments by W. L. Forrester; New Dresses and Wardrobe by Job Jameson.”
1866 advertisement listing New Scenery by J. C. Evans.
On May 17, 1867, Houston’s “Tri-Weekly Telegraph” announced:
“A solution. A correspondent sends us the following situation of the ‘Curious Fact,’ published in our columns yesterday: ‘Notwithstanding the removal of the Postoffice, the public are informed that they may still obtain letters of every description at its former locality by applying to J. C. Evan and E. S. Fendwick, house and sign painters. M.J.L.” (page 5).
This was Edward S. Fenwick; Fenwick’s father, Cornelius Cuthbert Fenwick (1815-1874), was an English painter, having passed along the trade to his sons, including Edward (b. New York, 1838), Charles (b. Illinois, 1852), and Fred/Fritz (b. Illinois, 1855). Evans partnership with Fenwick was short-lived, as Fenwick died from yellow fever that fall.
In 1867, Evans worked in both Houston and Galveston. On Aug 22, 1867, “The Galveston Daily News” reported, “Major Dick Dowling has just received from the easel of Charley Evans the handsomest sign in Texas – Evans is without rival in the Trans-Mississippi Department as a sign-writer, and Dick Dowling is a legitimate representative of Bacchus – ‘in a horn.’ (page 2).
Informal articles and stories refer to J. C. Evans as Charley or Charles; John Charles Evans used his middle name quite a bit in Galveston, until his only son came of age.
On Oct. 1, 1868, the “Weekly Telegraph” reported, “We have received from Mr. J. C. Evans, No. 84 Main Street, a bust of Horatio Seymour, executed in plaster. It is a striking likeness of the great statesman, and will place Mr. Evans as an artist, in a new light before the public. The bust is from a photograph recently taken in Utica, the home of Mr. Seymour, and therefore may be relied upon as correct. A specimen of this work can be seen at Marston & Hopkin’s store, on Main Street, or at the office of the TELEGRAPH. Mr. Evans informs us that he is now prepared to supply duplicates at reasonable rates” (page 6).
By the summer of1869, Evans became associated with a local Galveston business – Rice & Baulard.
Rice & Baulard advertisement mentioning J. C. Evans in 1869.
On June 16, 1869, a “Galveston Daily” advertisement announced:
“J. C. Evans, with Rice & Baulard.
Dealers in Paints, Oils, Glass, etc. Wall Paper and Window Shades.
77 Tremont Street, Galveston.
House, Sign, Fresco and Banner Painting.”
Joseph W. Rice and Victor Joseph Baulard established Rice & Baulard in 1850, advertising as dealers of ready mixed paints, window glass, wall papers, oils, and contract painters. Rice was the master painter, with Baulard first working as his assistant, c. 1845-1850. Their advertisements provide a sneak peak into the goods and services they were offering. On March 27, 1866, the “Galveston Daily News” included a Rice & Baulard advertisement noting: “Paints, oils, glass.-we are continually receiving fresh goods in our line from New York, such as WHITE LEAD. Different brands, French and American zinc, Linseed oil, raw and boiled, Turpentine, varnish. American and French glass, single kinds; together with Fire and Artist’s’ colors and tools and prepared canvas, etc. Work executed as usual” (page 4). The firm was later associated with the Galveston Paint Co.
Rice & Baulard’s firm in Galveston, showing a Galveston Paint Co. can of Ready Mixed Paints.
Evans continued to work for Rice & Baulard until the fall of 1868 when he struck out on his own. On Aug 11, 1868, “The Galveston Daily News” reported a series of transparent signs painted “by the skilled hand of our friend ‘Charley Evans’” (page 2). By Sept. 11, 1869, the “Galveston Daily” announced, “Mr. J. C. Evans, the popular sign painter, formerly with Rice & Baulard, has established himself at 220 Tremont Street. Mr. Evans, we understand, has been engaged as a scenic artist at the Galveston Theatre His card will be found in another column” (page 2). After Evans departure from Rice & Baulard, George W. Outterside joined the business.
Evans not only painted scenery for the venue, but also continued to advertise as a local sign painter. On Dec. 4, 1869, advertisement J. C. Evans Sign Painter 220 Tremont Street Galveston
J. C. Evans advertisement from 1869.
Sign painting was still listed as his primary occupation in 1870 Galveston City Directory: “J. C. Evans, Painter (Sign), 220 Tremont, or 23rd street.” This listing changed by 1872: “J. C. Evans, scene painter, Tremont Opera, res Ave. H, bet 18th and 19th St.” Around this time, Evans married and shared a home with his wife and child. Historical records suggest that the marriage took place in 1870, but the age of their child predates that date by several years. The only marriage certificate that I have been able to locate is dated Sept. 1, 1870, New Orleans; John Evans married Julia Kelly. I have yet to confirm these are the correct individuals, as Julia later went by Julia C. Evans or Julia E. Evans, remaining int the Galveston area with their son until the 1880s.
Oct. 16, 1869, “Galveston Daily News” (page 3). For Joe Jefferson’s “Rip Van Winkle”, Evans was credited with special scenery to accompany the touring production. The article reported, “The scenery has never been approached by anything ever put on the stage in this city. Aside from the difference in the size of the stage it would not be appropriate to compare the scenes with that of any other theatre in the country. From first to last they were true to nature, and finished with a degree of precision which can only be attained by a master hand, and being the production of Galveston artist, Mr. J. C. Evans, we take much pleasure in commending the work so faithfully and faultlessly performed. The scenery and effects are really beautiful, and deserving of all the praise that has been bestowed on them.”
A new playhouse was built in Galveston in 1870 on the corner of Tremont and Market, on the old site of Neitch’s. The new stage was described in detail by Joseph Gallegly’s “Footlights on the Border” (1962). Galleghy included an excerpt describing the theatre in his publication, writing:
“‘…in all its appointments an exact counterpart of Booth’s in New York’, extended the entire width of the building and was 39 feet nine inches deep, with a proscenium arch 45 feet in width. The scenery, mounted on rubber rollers, and all machinery for stage operations, were in imitation of similar devices at Booth’s. Footlights of white, red, and blue made possible interesting scenic effects.”
I included this description because it provides one more link with New York. Being a port town, Galveston was directly connected with New York, just like New Orleans. There was a constant stream of individuals traveling from the Gulf to the Eastern seaboard. Despite an ever-expanding network of railway transportation, a major exchange of goods and services was available at Galveston Island. Unlike many Texas communities that fell far inland, there was a close connection with major metropolitan communities linked by major waterways.
In addition to working as the scenic artist, Evans also became the stage manager. On July 25, 1872, “The Galveston Daily News” reported, “The general management of this entertainment devolves upon Mr. J. C. Evans, then whom no better man could possibly have been selected” (page 3). His role at the opera house was repeatedly mentioned in newspaper article. On August 2, 1872, “The Galveston Daily News” reported, “Mr. J. C. Evans, the stage manager, was, as he always is, up to his part. Charley has become an institution of this city, and if you wish to make an enterprise successful, all you have to do is to call on ‘Charley” (page 3).
Evans remained connected with the opera house, while continuing to work throughout the region. On July 4, 1873, The “Daily Mercury” of Houston, Texas, announced.” Artistic.
In another column will be found the card of J. C. Evans, the popular scenic artist and decorator. Mr. Evans has, as scenic artist of the Galveston Opera House, become well known to most people of our State, while his decorations and scenery at the Houston New City Hall and Theatre commands the admiration of every beholder.”
From the fall of 1873 to the spring of 1874, Evans placed advertisements in Houston and Galveston newspapers. On Sept. 27, 1873, the “Houston Daily Mercury” advertised:
“J. C. Evans, Scenic Artist and Fresco Painter.
Orders for public and private Theatrical scenery, Church, Theatrical and Public Hall Decorations promptly attended to Address, Galveston and Houston” (page 3).
On Sept 12, 1873, “The Galveston Daily News” reported on the opening of the remodeled opera house on Market and Tremont street (page 3): “By the way, our Houston friends are preparing for a brisk season. We had the pleasure of examining their new theatre the day before yesterday, under the guidance of scenic artist Mr. Chas. Evans, and find it a very pretty place indeed. The scenery and decorations, got up my Mr. Evans, are artistically executed and would do credit to a much more pretentious establishment than that at Houston” (page 3)…”Perkins Theatre had also been put in repair…” On Sept 16, 1873, “The Galveston Daily News” reported, (page 2) “The illumination of the Academy of music took place at 8 o’clock to-night. The electric light showed well. The scenery, painted by J. C. Evans was magnificent. The mayor and alderman, and many ladies of the city, were present. After the scenery was all shown, Mr. Evans was called out and made a neat speech.”
Evans continued to complete a variety of painting projects in Galveston, including banners for local fire stations. On March 29, 1874, “The Galveston Daily News” announced, “The beautiful banner, recently painted by Mr. J. C. Evans, for Star State Fire Company, No. 3, will be on exhibition tomorrow at Mr. Evan’s studio, No. 166 Twenty-second street. It is a splendid work of art and should be examined by all connoisseurs” (page 4). On April 11, 1874, “The Galveston Daily News” reported, ‘A beautiful banner for Island City Steam Fire Engine Company No. 2 has just been completed by Mr. J. C. Evans and will be exhibited at his studio on Monday next” (page 4).
By 1874, Evans was publicly acknowledged as a Galveston asset. On Feb 18, 1874, “The Galveston Daily News” published a letter to Mr. J. C. Evans in “New Advertisements. Complimentary.”-
“Mr. J. C. Evans:
Dear Sire – We the undersigned citizens of Galveston, having known and esteemed you for many years – both as a man and as an artist – and having witnessed the promptness with which you have always given your personal services to the calls of charity, and the alacrity with which you have contributed to the pleasure of our citizens, desire, in acknowledgment of these, to tender you for a complimentary benefit, and will be glad to have you name a time and place, for the evidence of your approbation” (page 2). A list of 48 names and Evans’ response followed:
“Gentlemen – It is with gratitude that I acknowledge the receipt of your note, tendering me a complimentary benefit. The obligation I feel for this mark of your approbation is enhanced by the feeling and delicate terms in which it is conveyed. Be pleased to accept my thanks; and, if it should suit your convenience, I will name Saturday, February 21, at the Tremont Opera House.
Like many American scenic artists, Evans continued to perform on stage. On June 25, 1874, “The Galveston Daily News” included an advertisement for an event at the Tremont Opera House for Louisiana Sufferers. J. C. Evans was listed as the stage manager and a performer of “Lamentable Facts” alongside, Messrs. Ketchum, Johnson and Shields” (page 2). On Nov. 19, 1874, “The Galveston Daily News” reported, “Mr. J. C. Evans, the well-known scenic artist, played one of the characters to DeBar’s Falstaff at the opera house Monday night” (page 2).
He also continued to complete fine art projects. On Jan. 15, 1875, “The Galveston Daily News” reported, “Portrait of General Lee. A life-size portrait of General R. E. Lee may now be seen in one of the windows of Shaw Brother’s jewelry store, on Tremont street. The portrait was executed by J. C. Evans, Esq. from a photograph of General Lee taken in Richmond, Virginia” (page 4). On Dec. 19, 1875, “The Galveston Daily News” reported, “Promenade Concert given under the auspices of the Mozartina and Island City Glee Clubs at Armory Hall, dec, 29 1875. On which occasion will be given away as prizes thirty-one oil paintings, executed by Mr. J. C. Evans.” (page 2).
Evans listed occupation in the Galveston Directory shifted over the years.
The 1874 Galveston Directory listed, “Charles Evans, painter, 171 e Postoffice.”
The1875 Galveston Directory listed, “J. C. Evans, painter, Opera House, bds. Av. E or Postoffice, bet. 21st and 22d.”
The 1876 Galveston Directory listed decorative painter, bds. 114 e Pst [Postoffice]. Res es 22nd, bet Post and Church.
The 1877 Galveston Directory listed, “J. C. Evans, portrait painter, res 36 Winnie, bet 18th and 19th.
The 1878 Galveston Directory listed, “J. C. Evans, scene painter, res 36 Winnie, bet 18th and 19th.”
In 1878 Evans began to travel farther and farther away from Galveston. On Oct. 27, 1878, the “Galveston Daily” reported, “Mr. J. C. Evans, the artist, has returned to the city from Dallas, where he has been engaged for several months” (page 11). On his return, he established a boarding house. On Oct 28, 1877, “The Galveston Daily News” published the following:
“Two and a half story house, fourteen rooms, newly repaired, suitable for boarding house. J. P. Evans” (page 1). Despite a variety of investments and painting projects, Evans was still associated with the opera house as its business and stage manager.
. On July 6, 1879, the “Galveston Daily” reported,
“Improvements at the Opera House.
A News reporter visited the opera house yesterday and was shown through the entire building by J. C. Evans, scenic artist of the theatre, who has been engaged on the scenery for some time past. Mr. Evans was up to his eyes in work when the reporter called upon him and was demonstrating that the scenery would. Be finished in the highest style of art, and in a manner which not only would reflect credit to him as an artist of the first rank, but resound to the honor of the city and the opera house. All of the scenes will be renewed, as well as the drop curtain. The auditorium is to be renovated throughout. All of the interior scenes are to be modern patterns and complete sets for such standard dramas as may be necessary to be presented, have been provided. All of the scenes will be complete in every particular, which has never before been attempted in this city. The number of new sets will number about twenty-eight. The parquette circle previously has contained three rows of chairs outside of the supporting posts of the auditorium. The intention now is to remove the circle about one-half the distance toward the stage and change the directions of the aisles in a manner that will not only improve the appearance of the interior, but greatly conducive to the comfort of the audience. The seats in the circle are also to be increased six inches in distance from each other, thus making the matter of ingress and egress much more convenient than formerly” (page 11).
On October 5, 1879, the “Galveston Daily News” reported:
“The Opera-House. During the past summer manager Evans has devoted not more attention to the securing of a list of first class attractions for the approaching theatrical season than to a renovation and remodeling of the interior of the opera-house. By liberal expenditure of money he has through the services of a competent artist and skilled workman carried out a comprehensive series of improvement. On Friday evening the whole was exhibited to the representatives of the press by gaslight for the purpose of informing the public of what has been done and of showing how everything worked. The performance passed off satisfactorily to the manager and was the subject of comments from others present. The stage has been supplied with a new stock of scenery out and out – new in in frame, canvas, gear, design and painting – and for the first time the opera-house was built a complete stock. The scenic artist Mr. J. C. Evans has been engaged several months in the work of painting the scenes. He has executed every design with care and skill, and has worthily illustrated his genius in several, the most significant of which is the drop curtain. In the center of this is a picture from which a copy of the picture by Barth furnished the design, representing the casket scene in the Merchant of Venice.
[This print by F. Barth, Casket Scene – Merchant of Venice” was published in “Harper’s Bazar in 1875. The article then includes a quote from the play, Act II, Scene iii].
“Bassanio stands before the open casket, in one of which is enclosed, ‘Fair Portia’s counterfeit.” More music plays, while the lover comments to himself on the caskets – which shall be three, the gold the silver or the lead;”
[The next quote in the article is from “Merchant of Venice”,]
Thou gaudy gold, Hard food for Midas, I will none of thee; Nor none of thee, thou pale and common drudge ‘Tween man and man: but thou, thou meagre lead, Which rather threatenest than dost promise aught, Thy paleness moves me more than eloquence; And here choose I; joy be the consequence!
“What find I here?Fair Portia’s counterfeit.“
“The picture is one that will hardly over tire the playgoer, especially if he has the critical faculty which always finds renewed pleasure in seeing a true work of art. The rest of the curtain is finished in hangings of crimson velvet and claret silk, profusely ornamented with gold drages and tassels. At the bottom of the richly carved framework surrounding the picture is a medallion portrait of Dante, supported on either side by figures holding cornucopias of flowers and fruits. The front of the stage has been lowered and the footlights sunk so that the floor is the stage may be seen from every seat. The auditorium is changed much for the better. The parquet circle has been enlarged to contain one hundred fifty to one hundred seventy-five more seats, reducing the parquet to one hundred fifty seats. The result is that there are over two hundred seats now facing the stage, the occupants which were heretofore under the necessity of twisting their bodied. In the large-parquet circle no two seats of adjacent rows are immediately in line with each other and the stage, so that hereafter nigh bonnets will be no obstruction to the view of a rear neighbor. The rows are six inches wider apart, giving room for the comfortable disposal of long limbs, they rise above each other at a rate of 5 ½ inches as you recede from the stage and the outer row is twenty inches above the old grade of the same. Much good sense has been brought to bear in the improvement of the auditorium. The credit is bestowed upon F. C, Yeager, the stage carpenter, for the manner in which he has performed his work; also upon Mr. Tom Boyle, the gas-fixture man, who has shown himself an artist in the graduations of lights and shades” (page 12).
The 1880 Galveston Directory and US Federal Census provides a snapshot into Evans’ last years in Galveston. Listed as a portrait painter, he is living with his wife, Julia E. Evans, and 16-yrs.-old son Charles Evans. His father is listed as being born in Spain and his mother being born in England.
In 1880 the Evans family were living at126 Avenue E or Postoffice Street; the same address listed for Evans in the Galveston City Directory. It is important to note that Evans was listed in Heller’s Galveston City Directory, 1880-81 containing the addresses of all white persons in and out of the city limits, with a classified Business Directory, Post Offices and Counties in this states, money-order offices, &c. Compiled and published by John H. Heller, 511 Broadway, bet. 15th & 15th. His listing notes that he was employed at the opera house, whereas his son was a clerk at a dry goods store, P. J. Willis & Bro., cotton factors and importers and dealers in groceries, dry goods, notions, dress good. Boots and shoes and hats. This was the last time that Evans was listed in the Galveston Directory, although his wife would remain in town for at least the next four years.
By the summer of 1880, Evans was traveling, working as a scenic artist. His first project was in Brenham, Texas, approximately 76 miles northwest of Houston. On June 17, 1880, “The Galveston Daily News” reported, “Contracts were closed to-day for the remodeling of the Brenham opera-house. Mr. G. A. Dickey, of Houston, is architect, and Mr. J. C. Evans, of Galveston, scenic artist” (page 1). On that same day, the “Brenham Weekly” reported:
“THE OPERA HOUSE –
Mr. J. W. Webb, contractor, will this morning begin the work of remodeling the interior of the opera house in accordance with the plans of Mr. Dickey. Mr. J. C. Evans will also begin work on the new scenery. When complete the interior of the house will be second to none in the state” (page 3).
On July 1, 1880, the “Brenham Weekly Banner” reported:
“THE DROP CURTAIN. Yesterday, through the politeness of Mr. J. C. Evans, the artist, a BANNER reporter had the pleasure of viewing the drop curtain, which has just been completed by him. It is a beautiful landscape representing Missisquoi, near Shelton Springs. The foreground is rocks and trees, then a beautiful river with valley and mountain sin the distance. The perspective and coloring are truly artistic, and the naturalness of the picture is apparent to the eye of anyone who admires the beauty of nature. At the top and on both sides of the picture are rich curtains, while at the bottom is some beautiful scroll work, in the center of which is a splendid likeness of Col. Sam Stone, the owner of the opera house In this piece of work, Mr. Evans shows himself to be artist, in the full sense of the word. The Brenham Opera House now has one of the most handsomest as well as the most artistically executed drop curtains in the state of Texas” (page 3).
In 1881, Evans was listed in the New Orleans City Directory as “J. Charles Evans.” He had partnered with fellow scenic artist and German immigrant, Harry Henry Dressel (1850-1905), to briefly form Dressel & Evans, scenic artists. Their firm was listed in the New Orleans Directory for 1881 and 1882.
Dressel was born in Hanover, moved to the United States with his family as a young boy, and became a scenic artist and decorator. His active years in New Orleans were approximately 1875 until his passing in 1905. Dressel is listed as an artist in a few publications, including “German Immigrant Artists in America” by Peter C. Merrill (1997).
H. H. Dressel’s grave in New Orleans.
Meanwhile his wife and son were still living in Galveston, listed in the 1882 City Directory, as “John C. Jr., clk Leon & H. Blum, home Mrs. Julia Evans” and “Julia Evans (Mrs. John C) r 210 22nd bet Ave E and F.” Her last listing at the address was in 1884: “Julia Evans (Mrs. John C.) r 160 E Winnie bt 21st, 22nd”. Evans occasionally returned to visit his family. On April 17, 1881, “The Galveston Daily News” reported, “Mr. J. C. Evans arrived from New Orleans yesterday on a visit to his wife and son, to stay during Spagerfest Week” (page 4).
Evans partnership with Dressel ended by 1883, with Dressel becoming the proprietor of Brown’s Hotel. Evans, however, continued to work as an artist in New Orleans, and was listed in the next three City directories. Although his address remained the same, his name shifted from Charles to John, and back again.
1883 listing: Charles Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1884 listing: John Evans, painter, r. ne Palmyra, bet Delhonde and Broad
1885 listing: Charles F. Evans, painter, r. 196 Palmyra
Meanwhile, Julia continued to struggle in Galveston without her husband. The few mentions of Mrs. John C. Evans trace the collapse of her finances and living situation. On June 26, 1884, “The Galveston Daily News” published:
“For Rent – a furnished 2-room cottage, to gentlemen only. Possession given July 1. Next to Casino Hall. Mrs. J. C. Evans.”
By the fall, everything was being auctioned off at a public sale. On October 14, 1884, the “Galveston Daily News” announced:
“AUCTION NOTICE
We will sell on Wednesday October 15, commencing at 10 a.m. The residence of Mrs. J. C. Evans, Winnie Street…Bedroom suit, parlor, dining room, kitchen furniture, glassware, ornaments, shades, three singing canary bords and miscellaneous articles. Immediately thereafter we will sell at the cottage on Winnie Street…marble and walnut suit, kitchen, dining room and parlor furniture…”
On Dec. 31, 1884, she advertised in the Situation Wanted section of the “Galveston Dily News”: “WANTED – Position as saleslady, seamstress, housekeeper, or governess for small children in city or country. Mrs. J. C. Evans, Winnie & 21st (page 17).
In 1885, Evans relocated to Fort Worth. On Nov. 30, 1885, “The Galveston Daily News” reported, “Mr. J. C. Evans, an old resident of this city, left yesterday to accept a business position at Fort Worth” (page 4). It remains uncertain as to when Julia Evans left Galveston to rejoin her husband. The next time that I have them together in the same residence in 1900.
We do know that in 1885, J. C. Evans is listed as an employee at Sosman & Landis who contributed to the Grant Memorial Fund. It is possible that his work in Fort Worth was for a Sosman & Landis regional branch office.
His wife Julia remained Galveston for at least another two years, making the local news again in 1887. It is at this point that I discovered Julia was also an artist. It is quite convenient that her initials were the same as her husband’s Julia C. Evans. March 20, 1887, “The Galveston Daily News” reported, “Photo painting on glass taught for $3. Printed directions and complete outfit going 24 pictures sent to any address for $5. Groups of any size painted by Mrs. J. C. Evans, next to Casino Hall. Orders can be left at J. E. Mason’s, L. C. Levi’s and Rose & Schmedling’s Photograph Gallery”.
Tracking her husband proved to be much more problematic in the late 1880s. Both Charles Evans and John Evans periodically pop up in the Chicago City Directory, each listed as painters in 1889. Then they disappear until 1896. On March 19, 1896, “The Chicago Chronicle” announced, “John C. Evans of New Brunswick, N. J. is at the Auditorium” (page 6). If “Auditorium” were not in the announcement, I would be skeptical.
The 1900 US Federal Census confirms this address. John C. Evans is listed as a scenic artist in the Chicago Directory by 1898, living at 504 Van Buren Street, at this address for the next two years. In 1900, the US Federal Census confirms this address. His household includes his wife Julia and a servant named Alma Anderson. Information listed in this census is a little scrambled. In this public records. For example, Evans lists his birthplace as “at sea,” Jan. 1840. The birthplace of his parents has been swapped; now his mother is born in England and his father is born in Spain.
John C. Evans Jr. is also living at 504 Van Buren with his wife (Nellie), two children (Milton and Charlotte), and sister-in-law (Maggi). Evans Jr. lists his birthdate as Jan 1864, Texas. His wife Nellie was born in Wales, January 1877. Their two children, Milton L. (3) and Lottie (7 months) were both born in Illinois. Their household also included Maggi Thomas, Nellie’s 20-yrs.old sister. In 1910, Evans Jr. was working as a bookkeeper in an undisclosed industry. Evans Jr. had been living in Chicago for quite some time. In 1891, John C. Evans Jr. was listed in the Chicago directory as a clerk, working at 46, 5 Wabash Ave, and living at 61 Pearce. By the end of the 1890s, Evans Jr. was again living with his parents are 504 W. Van Buren, working as a bookkeeper. In 1901, Evans Jr. is living up the street at 516 W. Van Buren.
All the Evans were still in Chicago during the 1910 census report. Evans Sr.’ and Julia are now living at 503 Claremont Avenue, Evans is listed as a scenic artist. His birthplace is listed as “Spain” with the note “A Cit.” for “American Citizen.” The report lists that they have been married for 49 years, with Julia having given birth to only one child: one child still surviving. Evans Jr. and his family are living at 2712 Gladys St. IN Chicago.
Evans passed away on Feb. 23, 1915. I have yet to identify any obituary or article that mentions his death. As I mentioned at the beginning, there are two death records with conflicting information. Both list the name of the deceased as John Evans, each were born in 1841, and each died on Feb 23, 1915, in Cook County, Illinois. One states that the deceased’s occupation was “scene painter” and the other lists “house painter.” One lists birthplace as Italy and the other Cuba. Both records indicate that the bodies are buried in Forest Home Cemetery. It is possible that he was living two lives, but both of his wives would have been named Julia.
After her husband died, Julia lived with her son and his family; they were also living in Chicago at the time. They were still living together at the time of the 1920 US Federal Census. At the time, their household included John C. Evans Jr. (55), Nellie Evans (42), Milton Evans (22) and Charlotte Evans (20). Their household is located at 2720 Jackson Blvd. Grandson Milton Lewis Evans was working as a commercial artist.
Julia passed away on April 14, 1924. Her last residence was listed as 2720 Jackson, Blvd. She was buried on April 16, 1924, in Woodlawn Cemetery.
John C. Evans Jr. remains in Illinois, passing away on March 8, 1952. His obituary was published in the “Chicago Tribune” on March 10, 1952: “John C. Evans of 3305 Jackson Blvd, formerly of Clarendon Jills, Ill., beloved husband on the late Nellie Evans, father of Milton L. and Mrs. Charlotte La Nove, grandfather of six, great-grandfather of seven. Services Tuesday, 1:30 p.m. at chapel, 3159 Jackson boulevard, at Kedzie. Interment Woodlawn. Member of Blarney lodge, No. 271, AF&AM, and honorary member of Hinsdale lodge AF & AM Kedzie” (page 59).
The biography for Lawrence Edward Donohue (professional name L. E. Donigan) is connected to Sosman & Landis employee No. 98, George Pat Wood. They were relatives.
Wood’s mother was Bridget “Della” Donohue/Donigan, the sister of scenic artist Lawrence E. Donohue/Donigan. Both Donohue and Wood worked as scenic artists in St. Louis and Chicago, as well as many other cities across the country. In 1913 they were associated with Sosman & Landis, painting stock scenery together for the Empress Theatre in Des Moines, Iowa.
Postcard of the Empress Theatre in Des Moines, Iowa.
I have been unsuccessful in my attempt to track down Donohue’s early theatrical career in either the 1870s or 1880s. This is not unusual if he were working as a scenic artist assistant or at a scenic studio during this time. Such is the case for many itinerant scenic artists who went from town to town looking for work. For example, when Sosman and Landis began their partnership in the mid-1870s, the continually traveled before selecting a permanent residence.
By 1890, Lawrence E. Donigan changed his name to Laurence E. Donohue. He was listed in the 1890 and 1891 Chicago Directories as an artist, residing at 20 Gurley. He remained in the region for the next few years, marrying Chicago-native Mary Muir Dinnervell on June 25, 1894. Interestingly, Mary’s maiden name also varied from Dinnervell to Drimervell, Dennerwell, and Dinnerville. The surnames were certainly a challenge this time! Their wedding announcement was published in Chicago’s “Inter Ocean” on June 26, 1894 (page 8).
Shortly after marrying, the couple relocated to St. Louis, Missouri and celebrated the birth of Lawrence Edward Donohue Jr. (May 1895). At the time, the small family was living at 1302 Sidney St. Lawrence. Lawrence was listed as an artist in the St. Louis City Directory in 1895 and 1897. The following year he celebrated the birth of a second son, James P. Donohue. Their stay in St. Louis was short-lived and the small family soon returned north.
By 1899, the Donohues were back in Chicago where their third son, Walter J. Donohue, was born. The couple celebrated the birth of at least two more children over the next several years. Mildred Donohue was born in 1901, with Mary Florence Donohue following in 1906. It is likely that more children were born, but did not survive infancy.
By 1900 the Donohue residence was located at 20 Vernon Park, Chicago; they would remain at this location until the 1930s.
It was also at the onset of the twentieth century that Lawrence E. Donohue changed his professional name to Lawrence E. Donigan. I have yet to find any official records which explains why census reports consistently listed Donohue or Donahue, but all newspaper references listed L. E. Donigan; they were the same person. Even his death certificate lists both names, suggesting that Donigan was simply an alias for work.
Lawrence E. Donigan continued to work as an itinerant scenic artist, traveling across the country for work. He was listed as the scenic artist for the Grand Opera House in Memphis Tennessee, during 1900. For a year, he was even listed in the Memphis Directory, rooming at 441 ½ Main. Scenic artists frequently listed themselves in local directories, despite having a permanent residence and family in another city. The key is “rooming, “boarding,” or just listing the address of a theater. This was to ensure that they were able to receive mail during extended absences from their permanent residence.
By 1902, he was working 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.” This also foreshadows his transition to the decorative arts during the Great Depression.
Want Ad in the Chicago Tribune from July 20, 1902.
In Chicago, Lawrence also began working at Sosman & Landis, later securing a position for his nephew, George Pat Wood. Wood likely started with the firm about the same time as John Hanny and Art Oberbeck, c. 1905-1907.
Donohue continued to work for the Chicago-based firm under his professional name, L. E. Donigan. 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.”
Over the years, the Donohue family remained at their house on Vernon Park Place in Chicago, although the renumbering of streets shifted their house number from 20 to 857. Donohue/Donigan continued to work as a scenic artist until the 1920s, eventually drifting toward the decorative arts. The last mention that I have located of Lawrence’s scenic art work is in 1922. That year Lawrence E. Donigan was credited with painting the scenery for the Oliver Player’s production of “The Barrier,” an adventure melodrama. On April 29, 1922, “The South Bend Tribune,” reported, “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. Burham, who has himself sent many months in Alaska” (page 6).
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.”
The 1930 US Federal Census reported that Lawrence Donahue was working as a painter in the building industry. I have yet to locate any newspaper reports for L. E. Donigan at this time. This is not unusual as scene painters gradually began to fade from the public notice.
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).
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, who had continuously lived with his parents since birth was missing that year. James P. Donohue’s 1942 draft registration card listed that he was working for the U. S. Army Signal Corps in Chicago. However, his home residence was still listed as 829 South Cuyler, Oak Park.
Both Lawrence E. and Mary Donahue passed away in 1944, within weeks of each other. Their two children, James P. Donohue and Mary Florence Krbec inherited the house, remaining in the Oak Park family home for at least another decade.
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.”
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. Donoahue has resided in the village for the past fifteen years. He was the father of Lawrence E., Walter J., and Mirs, 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).”
George Pat Wood (left) and Victor Hubal (right) in 1912.
Victor Hubal & George Wood are pictured together in a 1912 photograph; each working as a scenic artist in Winnipeg at the time. The caption written on the photograph reads, “Dad [Hubal] in 1912 at Winnipeg, Canada, Scenic Studio. His Pal Scenic Artist George Wood.” At the time, Hubal was 24 and George was 21 yrs. old; both were associated with Sosman & Landis. As with many artists at the Chicago-based firm, they traveled all across North America, rapidly painting scenery as they journeyed from one venue to the next. Although Sosman & Landis was known for shipping scenery to distant locations, many of their projects still continued to be painted on site. Much had to do with the fact that despite the large size of their main studio and additional paint spaces at various annexes, some projects were still completed on site.
It has taken me quite a while to track down George Patrick Wood, as there are several George Woods who worked as artists from the mid-nineteenth century to the mid-twentieth century, including his father, George Wood Sr.
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 (also erroneously listed as Donahue/Donaghue/Donigan in many historical records), Della Bridget Donohue was born about 1870 and named after her maternal grandmother Bridget (McDermot) Donohue.
Wood had two younger brothers: Arthur Francis Wood, born in Feb. 1893, and Walter James Wood, born in Feb. 1895.
I have uncovered very little about their early childhood, or the Wood family’s activities between 1895-1900. However, sometime between the birth of Walter Wood in 1895 and the US Federal Census in 1900, the Wood family moved from Chicago to St. Louis, Missouri. They likely followed Della’s older brother, Lawrence E. Donohue, who worked as a scenic artist and moved from Chicago to St. Louis in 1895. L. E. Donohue was listed as an artist in the St. Louis Directory from 1895-1897. Two of his younger children were born in St. Louis, suggesting that his family also relocated from Chicago to St. Louis. By 1899, however, Donohue returned to Chicago where another child was born that fall. He continued to work as a scenic artist throughout this entire time.
It remains unclear as to whether Della Wood returned with her brother to Chicago at the same time. However, by 1900, neither George Wood nor Della Wood were living with their three children in St. Louis. They both appear to have vanished from public records, with George Sr. never reappearing in the lives of his wife or children. My gut instinct says that George Sr. passed away, Della became a single parent, and could not provide for her sons, leaving them at an orphanage. My theory is based on the 1900 US Federal Census.
St. Louis Home of Refuge where George Pat Wood, Arthur Wood and Walter Wood lived as “inmates” in 1900.
In 1900, George, Arthur and Walter Wood are all 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. They, like their parents, disappear from public records for about a decade.
By 1913, George and Arthur are again living with their mother, now in Chicago. I have no idea when they returned to the Windy City, or where their youngest brother Walter during this this time.
Newspaper accounts from 1913 indicate that George Wood worked as a scenic artist with his maternal uncle, Lawrence Donohue. Both painted scenery for the Empress Theatre in Des Moines that year; a Sosman & Landis project.
The Empress Theatre in Des Moines, Iowa, became the Pantages Theatre.
On July 8, 1913, the “Des Moines Tribune” reported:
“Rushing work for Empress Theatre.
Work on the scenery and stage settings for the new Empress is being rushed preliminary to the opening of it season on Sept. 14. Several carpenters, under the supervision of Master Mechanic D. E. Bradish and assistant A. Brubauer, are turning out the elaborate settings that will adorn the stage of the new theater and three scenic artist, L. E. Donigan [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.”
I am going to pause here as newspapers are rife with misspellings, especially last names. As this was a Sosman & Landis project, Lawrence Donahue would have been the head scenic artist, with his tow assistants – George Wood and Art Oberbeck. This was very common for the studio at the time; a master artist and two assistants on site. In many ways it was cheaper to put up three staff members, than painting and shipping scenery from Chicago, especially during busy periods.
The Des Moines article continued:
“All is activity in the Elbert & Getchell building studio. More than thirty house sets of scenery will be provided for the Empress stage in addition to the settings that are carried by larger acts on tour. The management promises that there will be no better dressed stage in the country than that of the new Empress. Elbert and Getchell leave that latter part of the month for New York and other eastern cities, where they have many of next seasons musical comedy company for the Princess tentatively under contract. It is their purpose to complete the company on this trip and to bring the members back with them about Aug. 10 when stage director Wedgewood Nowell will be here to begin rehearsals. The new company will number fifty and the management promises a surprise when the roster is announced.” The Empress Theatre opened in September 14, 1913. It was located at the intersection of 8th and Locust Street.
From 1913 to 1914, George, Arthur, and Della Wood were listed in the Chicago Directory, living at 736 Wrightwood. Della Wood was listed as the widow of George Wood, and her sons, were each listed as an “artists.”
George Wood divided his time between Chicago and New York while working for Sosman & Landis. In August 1915, he left the firm’s New York branch to take a design an painting position at the Grand in Fargo North Dakota in 1915. On Aug. 14, 1915, The Fargo Forum and Daily Republican listed George Woods in a list of individuals secured for the upcoming season (page 8). The article announced, “The scenery will be designed and painted by Geo. Wood, who comes direct from the Sosman & Landis studio, New York City.”
By the onset of WWI, however, Della and her sons all returned to St. Louis, Missouri. In St. Louis, George, Arthur and Walter all registered for the WWI Draft. Walter joined the Navy, and Arthur served in the Army for both WWI and WWII. It doesn’t appear as if George was ever drafted into the military.
The gravestone of George Pat Wood’s younger brother Arthur F. Wood.The gravestone of George Pat Wood’s youngest brother, Walter J. Wood.
Wood registered for the WWI draft in St. Louis eleven days after his wedding, listing his wife and mother as a draft exemption. His draft card listed that he was living at 2215 Benton in St. Louis, MO, working as a scenic artist for himself. Wood also requested a draft exemption to “support wife and contribute to mother.” In regard to his occupation, Wood listed his present trade as “scenic artist” and current employer as “himself.” He was described as medium height, medium build, light brown hair, and grey eyes.
George Pat Wood’s WWI Draft Registration Card, dated June 12, 1917.
It was on June 1, 1917, that George P. Wood married Alice V. Chalfont (1898-1981) in Jackson County, MO; he was 25 and she was 19 yrs. old. Their marriage was announced on Sept. 21, 1917, in the “St. Louis Star and Times” – “George P. Wood, 1825 North Garrison avenue; married June 1” (page 3). George and Alice Wood celebrated the birth of their only daughter the following year. On August 29, 1918, Joy Patricia Wood was born in Kansas City, Missouri. Unfortunately, their marriage was extremely short lived, ending in divorce by 1920. The 1920 US Federal Census listed Alice and Joy Wood living in St. Louis, Missouri, with Alice’s parents, Julian O. Chalfant (1857-1932) and Virginia “Dolly” Wetzel Chalfant (1857-1931). In 1920, George was again living with his mother.
Della Wood married her second husband, Rudolph Luedewink, by 1920. The census that year listed George Wood and Arthur Wood the Luedewink’s step-sons. At 48 yrs. old, Luedewink was also a painter, employed at the J. W. O. C. Painting Co. The same census listed George as an artist and Arthur as a paperhanger.
George’s ex-wife Alice also remarried. The first name of her second husband remains a mystery, but his last name was Knox. I have yet to locate a marriage license or anything else that indicates when Alice V. Wood and Joy P. Wood became Alice V. Knox and Joy PP. Knox, however they began using the last name of Knox by 1921. In 1930, Alice V. Knox and Joy Knox were still with Julian and Virginia Chalfant in St. Louis, Missouri.
George continued to work as an itinerant artist, going from one project. In 1921, he was working at the Orpheum Theatre in Montreal, Canada. On Sept. 24, 1921, “Billboard” announced, “George Pat Wood is again at the Orpheum Theatre, Montreal. Mr. Woods went there at the end of last season, and after a short vacation resumed work for the coming season” (page 21). This means that he arrived in Montreal during the spring of 1921 and stayed until the spring of 1922. By 1923, he relocated to Cincinnati, Ohio, and was listed in the City Directory as a scenic artist, rooming at 3422 Ibsen Av. There was no mention of his wife, but it was common for itinerant scenic artists to list themselves in a directory when working in one area for an extended period of time.
In Cincinnati Wood became associated with the Stuart Walker and his touring company. It was a successful working relationship that would last for six years. On August 26, 1924, “The Post” (Covington, Kentucky) listed Wood as the scenic designer and artist for Alice M. Bradley’s new play “Three Roses” at the Cox Theater, produced by Stuart Walker. The article reported “the scenes are designed and executed by George Pat Wood.” Peggy Wood starred in the three roles -Rose Lovejoy, Rose Payne and Rose Frely. The article reported, “Peggy Wood, guest player, who portrayed each of the three Roses …has a certain vitality, and intensity, which is of great assistance to her in interpreting the high courage and independence of the various Roses. She as in addition a charming personality, and in her acting is quite free from theatricalism.” On July 2, 1921, the “Indiana Daily Times” announced that “Mr. Walker has engaged Peggy Wood herself, to appear in her own play ‘Artist’s Life.’” (page 7). I have yet to locate that George was related to Peggy Wood in any way. However, George did remarry in the 1920s. I have no idea what her first name was or when they were married.
On July 2, 1926, an amazing article was published in the “The Kentucky Post and Times-Star that indicated BOTH George Pat Wood and his wife were working as scenic artists (page 30). It also discusses the importance of lighting on stage scenery.
I am including the article in its entirety as female scenic artists were seldom mentioned in the press at this time:
“Only three or four people were sitting in the theater Monday morning when Stuart Walker called a scene rehearsal of ‘The Swan.’ Painters, carpenters, property men, and others were rushing around putting on finishing touches or checking over lists. When on the day of an opening performance Walker orders all scenery set and the stage arranged for the various acts, nothing must be missing.
These scene rehearsals usually constitute Walker’s first view of the settings. He has conceived what they should look like, for he himself has drawn the designs, selected the furniture and properties and visualized the whole play.
He walked in, looked over the first sets, approved it with some minor suggestions and ordered the second scene put up. The work began. Two men carried out a superfluous piano. Two others dragged in a throne chair which they stood against the back drop in the banquet scene. Two others lugged in great tall pillars, apparently of black Italian marble. These they handled easily. There were six of them in all.
Then came the banquet table, covered with lacy cloths, brilliant silver candelabra and so on. A man walked in with two enormous champagne collers which caused sarcastic remarks from everybody on the stage.
Then a spontaneous touch of realism was added when the chef from the Havlin Hotel, in cap and white apron walked upon the stage with two huge platters, on which were the broiled salmon and the salad needed in the dinner scene. He proudly submitted these ‘properties’ for inspection and the praise he received delighted his artistic soul. Then he brought out the bullion and set the 10 or 12 cups on the table.
Boyd Again, property man and actor, practical person that he is called to ‘Jack,’ a stage hand, and said, ‘Put this soup some place where it won’t get dusty. Jack grinned and obeyed.
Finally, the beautiful scene, which throughout the week has evoked applause from the audience, was ready for inspection.
‘Somebody call Mr. Walker,’ directed Again and everyone stood about in expectancy mixed with some anxiety. Finally Walker, appearing from somewhere, walked down the aisle of the theater. A moment of silence, then,
‘Where’s Mr. and Mrs. George Pat Wood?’ The call was taken up by those standing at the rear of the stage. Finally it reached the place where the Woods, scenic artists, happened to be.
A droll figure walked out and stood before the footlights. It wore a cap pushed back over short hair. Its body and legs were covered with paint smeared overalls, much too large. The bottoms dragged on the floor, concealing what appeared to be very small feet. But under the visor of the cap were two very alert, if startled eyes.
The figure looked like a larger edition of Jackie Coogan. Seeing it, Walker said in a somewhat positive tone, ‘Mrs. Wood, that is not the set I designed. It is nothing like it.’ So, the little figure was a woman, it seemed.
Mrs. George Pat Wood went one step forward and said quietly, “I’m sorry. I’ll come down where you are.’ And she scrambled into the darkness of the auditorium. There was something in her bearing which suggested a shattered dream, a keen disappointment.
A few moments later two bobbing heads were seen near one of the boxes. Then the petite Mrs. Wood scrambled back onto the stage and disappeared thru a door at the rear. After that came a readjustment of the lights, a softening of the tints, a mellower effect generally. And finally the voice of Walker again.
Oh, Mrs. Wood.’ The call again was repeated and Mrs. Wood, very feminine despite her overalls, came forward.
‘I spoke too soon, much too soon,’ said Walker generously. ‘It’s lovely.’
Mrs. Wood executed a sprightly little jig, just a few steps which indicated immense relief and pleasure.
And that was that, and all of it. But it showed that Walker makes his amends just as publicly as he does his criticisms.
The whole episode was just one of those little things which are a happening constantly around a repertoire theater but which not many people see.”
Portrait of Pat Woods in the article “Born to Blush Unseen,” 1927.
On July 31, 1927, Cincinnati Commercial Tribune featured Pat Woods in an article entitled, “Born to Blush Unseen” (page 33). The article reported:
“This story is about one of those romantic persons dubbed ‘powers behind the throne’ – the people who pull the strings while the puppeteers who were Kings and Queens walked and talked and made what was called history.
From such tales it may fairly be deduced that it is not always the people who are the most in the spotlight of wield the most influence or who contribute most largely to the success of any project. All of which is a roundabout way of saying that one of the factors in the excellence of the Stuart Walker Company productions at the Grand Opera House are the effective stage sets designed and painted by George Pat Woods, scenic artist of the organization.
Charming as are the feminine members of the Stuart Walker Company, they would appear less charming were their graces of manner and daintiness of costume obscured by ugly or uninteresting settings. Clever as are the men whom Cincinnati audiences have come to regard as great actors, there would have been less force to their performances if the stage sets did not produce accurately the environment in which type of character they represent is supposed to move.
And so this George Pat Woods who splashes merrily away in the paint-bedaubed smock away up in his aerie among the roof girders at the Grand Opera House, is a ‘power behind the throne’ in the fortunes of Stuart Walker Company.
Observe the settings and painted scenes in ‘Alias the Deacon,’ the Stuart Walker Company attraction opening tomorrow night, and you will realize what an important role the stage settings have in any production. Or recollect the mystic beauty and atmosphere secured in ‘The Road Yesterday’ by the settings. Another prime example would be the gorgeous beauty and realism of the Orient in evidence in ‘Kismet.’
‘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.”
George Pat Wood pictured in the “Cincinnati Commercial Tribune” in 1928.
On July 15, 1928, a portrait of Wood accompanied an article in the “Cincinnati Commercial Tribune” entitled, “Busy Building Italian Scenes For First Play on New Stage” (page 38). The article reported, “While members of the entire Stuart Walker forces are busy preparing to move to their new home at the Taft Auditorium at Fifth and Sycamore street, one member, George Pat Wood, artist of the Stuart Walker Company, is particularly busy at the Taft designing and painting the settings for ‘The Firebrand.’ For the past few weeks Mr. Wood and Stuart Walker have been panning the final arrangements for the scenery for this lavish production.
‘We have studied many old books and looked through volumes of Renaissance art to get the correct details for the production of ‘The Firebrand.,’ said George Pat Wood. ‘We really started brushing up on our early architecture last spring, when it was decided ‘The Firebrand’ would be one of the plays to be presented in Cincinnati this summer. In designing a setting there are many details that must be perfectly worked out. Color schemes must be in harmony with the spirit of the play as well as with the costumes that will also blend with it. In a play of a period, such as ‘The Firebrand,’ arches, windows, vases, lights and all very small trinkets that are seen from the audience must harmonize with each other.
‘In a period play the exact date of the piece will determine its architecture, naturally, but all the other articles, naturally, but all the other articles in the room must also be of the same period and keep the unity. There must be no anachronism, nothing that will break the illusion.’
When asked if he ever ran out of ideas in designing stage settings Pat Wood merely replied: As no two homes are ever alike, so no two stage sets are ever alike. If we study the spirit of the play we will know very nearly how the characters think, and with a little imagination we can picture their homes. That much accomplished, all there is left to do is to execute it. So you see it isn’t so very bad.
‘The scenery for ‘The Firebrand’ is dated about the early fifteen hundreds, and as the locale is Florence it calls for some very rich settings at the time when Medicis were in all their glory. The scenery must express the feeling of age, the romance and gayety of the Court of Florence, and the richness of the beautiful city. All this must be brought out without making the audience realize that they are being told all this as the curtain goes up and brings them into a new atmosphere. We hope that the settings for ‘The Firebrand’ will do all things.’
The beautiful stage settings of the Stuart Walker productions have been one of the charmingly distinctive features. Already this season the productions have brought forth no end of favorable comment on each play. Particularly attractive sets this year have been in ‘The Jest,’ a charming costume play presented earlier in the season, ‘Interference,’ ‘Crime,’ ‘Her Cardboard Lover,’ ‘The Baby Cyclone,’ and last week’s revival of ‘The Dover Road.’
All of these sets owe their beauty and charm to the combined work of Mr. Stuart Walker, George Pat Wood, and George Kinsey, the stage manager” (page 38).
George Wood and Stuart Walker enjoyed a very successful run. I have not uncovered any additional information about Mrs. George Pat Wood at all.
However, George Pat Wood continued to work for Stuart Walker. Their working relationship was the subject of a newspaper article on Jan. 29, 1929, published in the “Cincinnati Post” (page 2):
“Venice.
Although Stuart Walker still clings to house slippers and a chair by the fire because of his flu failings, he calls his players to his house every day for rehearsal. And he has worked out in his characteristically elaborate setting for the Venetian scene of the first act of “The Big Pond” for next week.
One sometimes suspects that his sets cost Dr. Walker more beads of hearts blood than do his artists. A performer can be tossed a script early in the week, then whipped, cuffed and cussed toward steady improvement. If he or she looks deplorable on Wednesday a director can strive for a better appearance by diligent application of the lash, so that a presentable portrayal may be forthcoming by the following Monday.
But a set is different. Once “cast,” it’s done. You can’t expect it to grow doggier or any worse.
Consequently, the aesthetic Mr. Walker ties himself 18 knots every time he evolves instructions for a stage scene.
When [Stuart Walker] and his artist, George Pat Wood, conferred in the Eden Park mansion of the producer it must have been almost terrifying, considering the fury with which Mr. Wood blasts smoke and sparks from his pip even when calm and the zeal with which Dr. Walker flagellates his soul when thinking up eyeful settings.
The two of them wrestle beauty for every show, almost always turning out something convincing. One of the very few times when they have felt they missed their mark came in the set for “Treasure Island” which showed an English quay. Somehow that did not look exactly British and it seemed a trifle too lovely in a Latin way for the situation.
But since Dr. Walker knows more about scenery that your deacon ever will dream of, we take it that his quay set had in it something artistic which passed quietly over our brow. The Venetian scene for the next week is to show a palace in which lives a bizarre American family. The set must be persuasively imposing to bring out the artistic shortcomings of the Ohio people moving through it. It is exactly the thing on which Dr. Walker likes to cast up wave on wave of devotion.”
After years of existence, the Cincinnati Stuart Walker Company was incorporated on July 1, 1929, in Cincinnati. It only lasted a few years, and was dissolved on Dec. 29, 1931; it did not survive the economic downturn.
The last article that I have located about George Pat Wood as a scenic artist is from the fall of 1930. On Nov. 16. 1930, “The Cincinnati Enquirer” reported, “George Pat Wood, scenic artist at the Taft, designed and painted his settings for “Monna Vanna” from color plates used in Stuart Walker’s earlier production of the Maeterlinck play here three years ago” (page 71).
This is the last reference that I have found citing Wood as a scenic artist. As with many theatrical scene painters at this time, it is likely that Wood sought work as a decorative painter to keep afloat during the Great Depression.
At some point, Wood returned to his remaining family, as Rudolph and Della Luedewink were still living in St. Louis. His move may have been prompted by aging parents.
In regard to Wood’s mother and stepfather …
Rudolph Luedewink was still listed in the 1931 St. Louis Directory as a painter a 4245 St. Louis Ave. This is about the time that George Wood returned home.
His mother passed away in 1934, with her obituary published in the “St. Louis Post-Dispatch” on March 7, 1934 –
“Luedewink, Della (nee Donahue) – Entered into rest Mon. March 5, 1934, 4:20 PM, beloved wife of Rudolph Luedewink, dear mother of George Pat, Arthur F. and the late Walter J. Wood, our dear grandmother and aunt. Funeral from Arthur J. Donnely’s Parlors, 3840 Lindell bl. Thurs., March 8, 9 a.m., to Notre Dame Church, Interment Calvary Cemetery. Alton (Ill) and Chicago (ILL) papers please copy.”
Her son Arthur was listed as the informant on her death certificate when she passed away from pneumonia. At the time of her passing, Della was living with her son Arthur at 1328 Annie Ave. By 1930 Arthur F. Wood was employed as a mail carrier, a profession that he continued for the remainder of his life. He married Mabel Eppley late in life, celebrating the birth of a son late in life, James A. Wood.
George Wood’s WWII Draft Card listed him as running his own Interior Painting & Decorating business. His wife was listed as Frances Wood and the two were living at 5645 Summit Place, St. Louis. I have yet to locate another other significant mention or further information about the couple.
George Patrick Wood died in Dec 1980 and is Buried at Calvary Cemetery and Mausoleum in St. Louis. His first wife, Alice V. Chalfant Wood Knox, was laid to rest in the same cemetery a year later. Their daughter, Joy Wood Knox MacKinnon (1918-2007), is also buried at Calvary Cemetery and Mausoleum.
The gravestone of scenic artist George Patrick Wood.
Part 322: Charles E. Porter, African-American Scenic Artist
Before I was distracted by Daguerre’s chemical paintings, I was getting ready to complete my section on African-American scenic artists when another was brought to my attention. Gene Meier contacted me when I first mentioned Solomon E. White about an African-American panorama painter – C. E. Porter.
C. E. Porter
Charles E. Porter (1847-1923) worked on the cyclorama Niagara Falls for the Columbian Exposition. Meier shared information from a newspaper article, April 9, 1892 – the Freeman (Indianapolis, Indiana). It reported that C. E. Porter, an artist if Meridian, Conn., was working on the cyclorama of Niagara Falls that would be presented at the World’s Fair. Porter was also noted as the first “colored man” admitted to the Art Academy of New York and had studied two years in Paris. That was all he knew about C. E. Porter, so I decided to do a little digging.
First page Article in the Hartford Courant, “Charles E. Porter Paintings to be Auctioned” 9 Sept. 2012, page G1.
Second part of the article in the Hartford Courant, “Charles E. Porter Paintings to be Auctioned” 9 Sept. 2012, page G2.
Midway into my search, I encountered an article in the Hartford Courant, “Charles E. Porter Paintings to be Auctioned” (9 Sept. 2012, page G1-G2). It was an ideal story for “Antiques Roadshow”; a woman is urged by her mother to purchase some paintings at an estate sale by an unknown artist who turns out to be remarkable. Thirty years later, the paintings are positively identified as the work of C. E. Porter. Luckily for me, his life was briefly summarized to generate interest in the upcoming auction. Someone had really done their research, and the story helped me locate additional information. This article also reported that Porter was one of the first African-American artists to exhibit at the National Academy of Design.
Charles E. Porter, “Landscape with Grain Stacks.”
Here is what I discovered about C. E. Porter:
Porter was born in Hartford, Connecticut, and raised in the Rockville section of Vernon. The family was well connected to the New England abolitionist community, but exceedingly poor. Before reaching adulthood, he lost eight siblings due to childhood illnesses and war. Eight, I cannot imagine. Porter’s artistic talent was recognized by the local community at a young age, and he soon established a studio in Hartford. Porter gained the respect and admiration of many other, and much more well known, artists who lent their support over the years. One of his sponsors was Frederic Edwin Church. I was intrigued as Church has always been one of my personal favorite landscape artists. Then a second famous personality popped up in the story!
Mark Twain wrote a letter of recommendation for Porter to continue his studies at the Académie Julian in Paris. Wow. After studying abroad, Porter returned to the Hartford area where he established his residence at 23 Spruce St in Rockville. Near the top of Fox Hill, he had a studio at the summit.
As many artists, his fortunes slipped later in life and he ended up selling his paintings door-to-door in the town of Vernon. As many Vernon residents were hesitant to buy art from a minority, his friend Gustave A. Hoffman, a Bavarian artist, helped Porter sell his work. Hoffman (1869-1945) was a portrait painter, etcher, and lecturer. Born in Cottbus, Brandenburg, Germany, he studied at the Royal Academy in Munich before moving to America.
Landscape by Gustave Hoffman, nd
Sadly, Porter’s artwork was not always purchased, and on some occasions, he was forced to barter his artwork for food or clothes. Some historians have purported that when the community tired of trading goods for paintings, Porter was reduced to menial labor and had to cease painting for periods of time. Hildegard Cummings in “Charles Ethan Porter: African American Master of Still Life” (2007 exhibition at the New Britain Museum of American Art) wrote that “[Porter] was referred to as respectfully as Professor Porter and a disparagingly as Charles the Nigger.”
His tail continues as so many artists who never see fame in their lifetime. He sadly and slowly sank into obscurity until his death in 1923. Gradually losing his faculties, Porter continued to paint throughout his final years. I immediately got that mixed feeling of anger and helplessness. It never fails; extremely talented artists die penniless, only to have patrons crawl out of the woodwork and sell their art for exorbitant prices when they no longer need any care or financial support. Porter’s paintings now sell for the thousands and are included in collections at the Whitney in New York and the Smithsonian in Washington, D.C. In Connecticut, his work is part of the collections at the Wadsworth Museum of Art in Hartford, Florence Griswold Museum in Old Lyme, Lyman Allyn in New London, Connecticut Historical Society and the New Britain Museum of American Art.
Well, there is more to the story that came to light as I scanned newspaper databases. The Hartford Courant reported, “D. W. Tryon, the artist, has been sketching in the neighborhood of Rocky Hill for a couple of weeks, and C. E. Porter has been working with him.” (1 Aug 1881, page 2).
Article in the Hartford Courant about D. W. Tryon and C. E. Porter (1 Aug 1881, page 2).
D. W. Tryon.
This was Dwight W. Tryon (1849-1925) who was born in Hartford and raised on his grandparent’s farm in East Hartford. Tryon first sold his art in 1870, exhibiting at the National Academy of Design by 1873. Quick rise to fame, but he was also a white male. In 1876, Tryon auctioned all of his paintings to partially fund a trip to France with his wife where he enrolled at the atelier of Jacquesson de la Chevreuse and took classes at the École des Beaux-Arts. In addition to painting, Tryon was an art instructor at Smith College from 1886-1923. His personal papers are currently held at the Freer Gallery of Art and the Arthur M. Sackler Gallery in Washington, D.C. Charles Land Freer, founder of the Freer Art Gallery. Freer was a primary patron of Tryon.
Dwight W. Tryon, “Cernay da Ville.”
D. W. Tryon, “Haymaking.”
In 1881 Porter prepared for his trip abroad and also auctioned off all of his studio collection (Hartford Courant, 25 April 1881, page 2). The article titled “Porter’s Paintings” reported, “The pictures, nearly one hundred in number, were painted with the strictest regard to artistic worth, from time to time during the past two or three years, and it is to satisfy a desire to acquire a finishing touch to his art education in Europe that Mr. Porter has decided to put them on sale at auction. The collection is quite varied in subjects and incudes some of his best efforts at fruit, flower, game, fish, interior and landscape painting. All the pictures have been elegantly framed by D. Vorce & Co. The sale will be held at the large studio in the Chesney building…”
Upon his return two years later, there was an art exhibition in Hartford of watercolors and oil paintings. The exhibition included not only Porter but also some very successful artists from the region (Hartford Courant, 16 Nov. 1883, page 2). The hope of this exhibit was to revive the Connecticut School of Design. I quickly scanned the names and found both Charles E. Porter and Dwight W. Tryon. Then I encountered a surprise – Mrs. Porter. It appears as though his wife was an artist too. I was unsuccessful with tracking down any of Mrs. C. E. Porter’s story or artwork. I finally managed to locate her married name in 1903 beyond a simple “Mrs.”
On January 13, 1903, the Pittsburgh Press posted the legal notification of the divorce between Charles E. Porter and Sallie G. Porter (page 15). I had to wonder if that was the beginning to his end.
Part 317: The Cincinnati Venue for the Chemical Paintings in 1843
Here is a description of the venue where Duncanson and Coate’s chemical paintings premiered in 1843. A Cincinnati Enquirer article describes in great detail the transformation for each visual spectacle: the Milan Cathedral, Jerusalem and the Crucifixion, the Interior of the Holy Sepulchre and Belshazzar’s Feast in 1843. This was the collaborative effort between African-Americans artist Robert S. Duncanson and the photographer Coates to create a unique form of visual spectacle. There are four descriptions will be posted tomorrow after examining the venue where the production was first presented in Cincinnati.
While researching the Cincinnati venue, however, I was surprised when I realized that the first performance actually took place in the same room where the Cincinnati Masons met. The advertised Concert Hall above the Cincinnati Post Office is also considered one of the first Masonic meeting spaces in the city.
White corner building (on right) was the first Masonic Hall (also used as a concert hall) above the post office in Cincinnati on Third Street. The second Masonic building (tan facade on right) building is depicted past the bank (building with the columns). This would be the same location as the third Masonic building too. Image from http://www.mormoninterpreter.com/where-in-cincinnati-was-the-third-edition-of-the-book-of-mormon-printed/
The two-story brick building was erected on the corner of Third Street and Bank Alley (now the corner of Third Street and Walnut).One of the men responsible for the construction of the building was Postmaster Elam Langdon. The Post Office was situated on the first floor of the building and the Masons used the second floor hall for their lodge room. The road called Bank Alley was also known to local citizens as either Post Office Alley or Masonic Alley. Interestingly, that same second-floor space was also advertised as a Concert Hall for musical performances during 1843. Newspaper advertisements for concerts, such as that by Max Bohrer, noted the 1843 venue as “the Concert Hall, over the Post Office” (Cincinnati Enquirer, 13 June 1843, page 3).
This is the same concert hall above the post office where the chemical paints were displayed in 1843. The Cincinnati Enquirer, 13 June 1843, page 3
“Masonic Review” describes the history of early Masonry in Cincinnati and the cooperation of the various Masonic bodies to construct a Masonic Hall in the city. The first committee was composed of David Brown, William Burker and Postmaster Elam Langdon, “men of executive ability” (Masonic Review and the Masonic Journal, 1892, Vol. 76, page 15). “Subscriptions and dues were paid in bricks, lumber, labor &c., and in March, 1824, the first Masonic hall built in this city was completed at a cost of $2,437.72. The hall was a frame building, and was erected on the Town Lot, now the northeast corner of Third and Walnut…It was not until 1843 that an active interest was taken to build a second building, and in 1845 plans were submitted for a new building and approved.” The Hall was enlarged during 1834 as membership dramatically increased. This was the transitional step between the first and second buildings in Cincinnati. The second building was located just down the block on Third Street from the original corner building.
The third building was located on the same spot as the second building, just down the street from the original Masonic Hall. Image from: http://www.mormoninterpreter.com/where-in-cincinnati-was-the-third-edition-of-the-book-of-mormon-printed/
The following article was in the Cincinnati Enquirer on 14 Aug 1843 and describes the premiere of the Chemical Paintings (page 3):
“Daguerre’s Grand Chemical Secret Discovered! To be exhibited at Concert Hall, over the Post Office, every evening, until further notice.”
“Robert Winter, Jr. respectfully informs his friends and the citizens of Cincinnati generally, that stimulated by the assertion of Mons. Maffy, the proprietor of Daguerre’s celebrated chemical paintings, that it was impossible for any one in this country to imitate them, he has succeeded in producing the undermentioned pictures, which he confidently places before the public for them to decide relative to the merits of his productions, and whether he has not completely nullified Mons. Maffy’s assertion, by imitating or surpassing those painted by Daguerre himself, and which have so justly gained the admiration of the patrons of the Fine Arts wherever they have been exhibited.”
Here is the “Maffy” who Winter is referring to:
The first set “chemical paintings” credited to Daguerre and managed by Mons. Maffy.Article from Commercial Advertiser and Journal (Buffalo, NY) 30 June 1842, page 2.
“Each painting covers a surface of nearly two hundred square feet of canvas, and represents two distinct pictures, which form the peculiar style of execution, the varied nature and combination of the illuminating powers employed, produces changes the most astonishing, and at the same time the most natural, in the power of the artist, machinist or optician, to effect.
Appropriate music, selected and arranged expressly for the occasion, will accompany each change; and the proprietor confidently anticipates the exhibition will form one of the most attractive, moral and pleasing entertainments, ever offered to a Cincinnati audience.”
From the National Gazette (Philadelphia) 25 Jan. 1841, page 3. Note that the venue was in New York’s Masonic Hall.
Part 316: A Duncanson and Coates’ – Chemical Paintings
Robert S. Duncanson (1821-1872)
While researching the life and times of Robert S. Duncanson, I repeatedly stumbled across the mention of his collaboration with an African-American photographer named “Coates.” They created a form of visual spectacle called “chemical paintings.”
Contemporary authors repeatedly cite the same article from March 19, 1844, advertising “Chemical Paintings…four splendid views after the singular style of Daguerre.” I located other newspaper advertisements for the same show that predate this one, however, none credit either Duncanson or Coates. Chemical paintings originate in Cincinnati during 1843 which coincides with Duncanson’s participation in the project. Some scholars purport that Duncanson was the artistic mind behind the images while Coates took care of the technical side.
The Brooklyn Daily Eagle, 11 Feb 1844, page 2.
Did “chemical paintings” refer to the paint or the process? In 1993, Joseph D. Ketner suggested that the compositions were created on light-sensitive surfaces and were allowed to develop under the auditorium lights with dramatic contrasts of lights and darks (“The Emergence of the African-American Artist: Robert S. Duncanson, 1871-1872”). They would have to be a reversible effect if they used the same canvases repeatedly. I discovered that they did use canvas, Ketner described, “With each of the images, the darkened auditorium was gradually illuminated, causing lighting effects in the pictures that thrilled the crowds.” So, front light on the composition caused the change? Ketner was much more fascinated with the collaborative aspect than the process, suggesting that was one of the earliest collaborations between a painter and a photographer in the United States.
I was intrigued with the actual process and theatrical venues for the presentation more than their collaborative effort. What Ketner, and all of the other authors failed to cite, was that the production actually opened in 1843 before touring under the proprietor’s name – Robert Winter Jr. “Chemical Paintings” opened during August of 1843 at the Concert Hall in Cincinnati and then went on tour for three years. The last advertisement that I found was when the show was in Richmond, Virginia.
The Cincinnati Enquirer, 4 Sept. 1843, page 3
The four scenes exhibited at the Concert Hall were listed as “the Milan Cathedral,” “City of Jerusalem and Crucifixion,” “Interior of the Holy Church of the Sepulchre,” and “Belshazzar’s Feast.” Newspaper advertisements promised, “Each painting possesses the peculiar properties of portraying two distinct Pictures on the same canvas” (The Cincinnati Enquirer, 4 Sept. 1843, page 3). I thought of the electric scenic theatres during the 1890s – FIFTY years later. Any scene lit by colored lights could alter the composition from day to night, especially if portions were backlit. Could it be that simple? I though of the colored panels on the back of a drop from 1867 to create a brilliant sunset.
Colored panels sewn to the back of a drop to create a brilliant sunset effect. The 1867 drop is one of many in storage at the Royal Swedish Workshop space.
Detail of colored panels sewn and glued to back of drop.
Front of the scene.
Front of he scene with tree
Side view of 1867 scenic pieces.
While on tour, three of the paintings were damaged during a fire and we learn a little more about their composition; portions of it were linen (Public Ledger 1 Dec. 1843, page 2). Obviously, the surfaces that were “light-sensitive” had to reverse for another performance the next day. Only one set of paintings toured. There was also no apparent competition, so they had the market on the secret. These were also not one-time-use, or disposable paintings on photographic paper as suggested by Ketner. I highly doubted that with the amount of detail described for the “reveal” in each scene that anything could be painted with fresh paint, or applied to the surface before another show. Maybe the “chemical picture” referred to the new and brilliant chemical-colors used to paint the linen backing – dyes. So what about Louis-Jacques-Mandé Daguerre’s process, other than it was introduced worldwide in 1839? Ten years earlier this French artist and chemist came into contact with Nicéphore Niépce when obtaining a camera obscura for his work on theatrical scene painting from the optican Chevalier. Niépce had already managed to make a record of an image from a camera obscura using a process he invented – heliography.
I thought of something that Gene Meier mentioned a month ago – many of the early Chicago and Milwaukee scene painters were also chemists. Daguerreotypes use a silver-plated copper plate that is first buffed and polished. Then the plate is sensitized to light with iodine and bromine in specialized, light-proof boxes. A light-proof holder exposures the plate to capture the image. Then the plate is developed (“brought out”) over hot mercury, fixed by immersion in a solution of sodium thiosulfate and then washed with distilled water. The final step was to tone or gild the plate with gold chloride. I was stumped and could not see how this could be anything other than the utilization of Daguerre’s “light-proof boxes” on the back of a dyed section of linen. The images created by Daguerre seemed to be permanent and not reversible.
But I was thinking of how this spoke to the public’s insatiable appetite for visual spectacle and curious about the compositions and touring productions venues. One of their shows opened at the City Hotel in Brooklyn on December 20, 1843. A later article (Brooklyn Daily Eagle 11 Feb, 1844, page 2) described the Chemical Paintings for the Milan Cathedral scene: “The first appearance of the picture – which represents a day scene – does not impress the beholder with anything like an adequate idea of the subject; but presently the gorgeous hues of an Italian sunset fall upon it, and the turrets, spires and statuary of the Cathedral, as well as neighboring café and exchange, are bathed in a ruddy glare of light. To this twilight succeeds, when the picture assumes a beautifully calm and soft aspect. Finally, the shades of night fall upon it, and the moon darts her beams upon the tall pinnacles – which appear to stand out in bold relief, while the sky gradually becomes enlightened. At this point of the exhibition, the spectator involuntarily breaks forth in applause. But its grandeur and artistical skill are not fully apparent until the illumination takes place. Then you see persons clustering about the café and exchange, or going to the midnight mass, while the solemn notes of the bell and organ seem to invest the multitude with life and motion. It is really a very splendid thing” (15 February 1844, page 2). Ads promised “A glance at the “Cathedral of Milan,” when illuminated for the midnight mass, is alone worth the price of admission” (Brooklyn Daily Eagle, 20 February 1844, page 2).
